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AKA: 赤ずきんチャチャ, Little Red Riding Hood Chacha, Red Hood Chacha, Red Riding Hood Chacha
Genre: Children's fantasy comedy
Length: Television series, 74 episodes, 25 minutes each
Distributor: Currently unlicensed in North America
Content Rating: Y7 (slapstick violence, mild language, fantasy silliness)
Related Series: Akazukin Chacha OAV
Also Recommended: Card Captor Sakura, Sailor Moon, Saint Tail, Mahoujin Guru Guru
Notes: The title directly translates to "Red Hood Chacha". However, this is a direct reference to the Western folktale "Little Red Riding Hood", which is why we have are not using the literal translation in this discussion. For now, due to the lack of an official commercial release, we are preserving the Japanese title in the alphabetical list. Based on the manga by Ayahana Min.
The red-hooded young girl Chacha is an apprentice to the great and wise sorcerer Seravi (sort of a pretty-boy Merlin with an amusingly sarcastic doll on his shoulder). She proves herself worthy to attend magic school, and goes off on various misadventures with her friends, including the loyal were-puppy Riiya, the chivalrous and clueless mageling Shiine (who is apprentice to Seravi's rival, Dorothy), and a motley cast of other kiddified fairy-tale characters. But Chacha has a secret that not even she knows - she has the power to become the Magical Princess, and can use this power to defeat the forces of Darkness! (If only she can get all those spells right first.)
There are anime that get aired on Saturday morning. And then there are anime that NEED to be aired on Saturday morning. If there was ever an anime cartoon that seriously needs to be distributed outside of Japan, Akazukin Chacha is it. Super-cute, often hilarious, and heavily referencing folktales both Eastern and Western, Chacha is all that is good and wonderful about anime as children's entertainment, and proves that children's shows don't need to be just glorified toy advertisements at all.
The jokes start flying from the first frame. It's obvious that anyone with even an elementary-school knowledge of Japanese that puns are rampant in this series - Chacha for example attempts to summon a bouquet of flowers (hana), but comes up with a bouquet of noses (hana) instead. Most of Chacha's magical goofs end up being silly little things like this, and sometimes they're even translatable.
Easier to translate are the parade of allusions to numerous folktales from across the globe, ranging from quirky irony (like "the wolf", Riiya being "Red Riding Hood" Chacha's semi-boyfriend, or the school bus, which is a giant witch's broom) to direct parody (the three little pigs in one episode using straw, wood, and bricks in an attempt to defeat Chacha) and even throwaway cameos (watch for Momotaro and Hiawatha as Chacha's classmates).
Visually, Akazukin Chacha is one of the cartooniest anime in existence, with backgrounds that often seem like crayon drawings, characters who go into exaggeration expressions (even for anime), and a general aura of cute strangeness that will induce rashes in the super-serious. The school principal, Urara, is especially strange - her eyes have to be seen to be believed.
But beyond the whimsy lies a very heartwarming and intensely cute story of a girl and her friends just being kids, while defeating darkness with the powers of courage, friendship, and love (and I don't just mean the phrase they use to transform Chacha into the Magical Princess, either). Intimidating teachers turn out to be kindly protectors, enemies become allies, and rivals band together. It's all warm and fuzzy and wonderful because it entirely manages to avoid being cheesy. It's all in good fun, and the only thoroughly derivative part of it (the Magical Princess transformation) can be easily forgotten as the afterthought Sailor Moon reference that it is. (The manga actually precedes Sailor Moon and does not include that subplot at all.)
If anything, only the purposely simplistic animation and the whole Magical Princess thing have the potential to bring this down - but for a children's show, the characters and plot are light years beyond the glossier, but more artificial series that are now being offered. And as anime series go, Beyblade and Yu-Gi-Oh don't hold a candle to this series in pure entertainment value. (But don't tell the toy merchants that.)
Akazukin Chacha has been pleasing children and parents alike at our conventions for years, and I am only happy to continue recommending this series as long as there are parents who want to show anime to their children. Now, if only they would license this series locally already.
It's just so much fun!
A cute, wonderful series that needs to be released in North America as soon as possible! If you seriously don't like cute, or only watch "sophisticated, adult" series like Evangelion and Cowboy Bebop, then you can take off a star or two. If, however, you have young children or just generally love the idea of cute grade school versions of your favorite fairy tales, add a star or two. (I won't tell.) — Carlos Ross
Recommended Audience: Fine for most, though people opposed to the idea of magic (Chacha is a witch, after all) should be warned. No more offensive than Bewitched or Kiki's Delivery Service, though. Some mild violence, though, all of it slapstick. No sex, and one episode involving implied alcohol potion usage (and subsequently, a bit of mild language, but nothing that's truly offensive with translation).
Version(s) Viewed: Prelicense digital source
Review Status: Partial (24/74)
Akazukin Chacha © 1993 Ayahana Min / Shueisha / TV Tokyo / NAS
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Welcome to the #WeToo Era
“We did this because of our friendship, our creative union and our support of each other…Wow. The power of women.”
— Nicole Kidman, The Golden Globes, January 2018
Strong, powerful women are publicly celebrating their partnerships with other women. Exhibit A: Nicole Kidman’s shout out to Reece Witherspoon and the rest of her sistership when Big, Little Lies, the product of their collaboration, took home a slew of Golden Globes.
This shouldn’t be a surprise. Haven’t we been headed in this direction for a long time now? The Lean In solution has been around for several years but places the mantle of success squarely on the shoulders of solo women without the full recognition of the team behind her.
Then there’s the #MeToo movement which surfaced the bitter realities women have known all along — we’ve been putting up with a whole lot of crap in the workplace and beyond. No surprise, there.
And now. We’re entering a #WeToo era that’s packed with powerful women bringing together our creative, skilled smarts to visibly lead together.
And that is a surprise — even as women have made our marks in unignorable ways. Exhibit B: the Women’s March last January.
Because a scan of history reveals that examples of women joining forces are few and far between. Go ahead, test this yourself. Count every well-known male business partner you can think of. Now list all the well-known female partners you know of. Chances are the male partners will keep on coming to mind. The women? Not so much.
And yet, after interviewing many female business partners, we know there are plenty of women who are successfully, effectively and, often times, joyfully working together. But they are under the radar. Sure, they are accomplishing big things but without a lot of fanfare. And to every woman who just read this and thought, who needs fanfare? We’re here to say that we – as in all us women – do. Because fanfare shines the light and says to all the other women out there who are going at it alone that this under the radar way of women leading together is a way of work that’s ready to be seen.
And that’s a very good thing. We women need each other, professionally, creatively as well as personally. We need our posse.. We’ve known this to be true but we resisted. Women could be friends, yes but work together, no thank you. Not because we didn’t want to but because there weren’t a whole lot of accessible, positive examples out there.
We are two long-time business partners who experienced this first-hand when we looked for role models and had to dig and dig to find them. We wanted to know if other women relied on each other as much as we did for support, accountability and as safe buffers from the hand on the thigh, the awkward invitation, the play of power that too often blocks the way for women stuck navigating a patriarchal world.
After a lot of searching, we found these women and learned they did, they do indeed rely on each other. Like us, these women who are working, leading and creating together are much more than partners – they are the posse every woman needs.
With our posses, our partners, our WeToos, we have support and safety in numbers. With these women, quietly and below the radar, we’ve shared our own big, little lies about how to navigate the patriarchal world we’ve found ourselves in and we’ve figured out how to accomplish big things within it.
Welcome the #WeToo era where women no longer have to do this all this in quiet, look the other way kinds of ways. Instead, this #WeToo era is about being fully and visibly embracing, celebrating and living what Ms. Kidman said to Ms. Witherspoon at the Golden Globes – our creative unions, our love, support and commitment to each other – as women. For survival, yes, but, even more, for all we can accomplish together.
As we come up on the one-year anniversary of the Women’s March and plan for the multitude of marches that will happen this weekend, we have the feeling #WeToo is here to stay.
Betsy & Maggie
Author: Maggie Ellis Chotas
NextNext post:Committing to Raw Writing
How Great Things Happen…
The time is now for women to lead together
Reciprocity, leadership and the art of conversation
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Breaking: 5.5 Earthquake Strikes Bhutan
A 5.5 earthquake has struck eastern Bhutan, with the epicenter approximately 180 km from Thimphu.
Zangdokpalri Consecration Completes
Today, December 31, 2009, is the final day of the consecration of the Zangdokpalri Temple that Kyabje Terton Kunzang Dechen Lingpa first dreamed of over a decade ago. In that dream, Padmasambhava specifically showed him all the particulars of the temple's architecture and location.
There is still a need for your assistance, and further particulars may be had by clicking here:
http://zangdokpalri.org/help_temple09.html
Kagyu Monlam Live Broadcast Continues
As this is being written, we are watching a live broadcast of XVIIth Karmapa conducting Offering to the Gurus, which is an extraordinarily beautiful ceremony. This is coming direct from the 27th Annual Kagyu Monlam (in eight different languages). You can catch the live feed at:
http://www.kagyumonlam.tv/
A "blue moon" is the second full moon in a single month. A blue moon occurs once every 2½ years, but to have a blue moon fall on New Year's Eve is quite rare. The last time was in 1990 and the next one won't happen until 2028.
I don't pretend to know what this all "means," if in fact it may be said to "mean" anything at all. This has whatever meaning we choose to give -- just like everything else.
However, if we wish to experiment, we can say that this is an opportunity to do something we very rarely do -- something meaningful to others --- because this is a relatively rare day, impacted by an eclipse, no less, that magnifies everything by a factor of 1,000.
Whatever this means to you... well, I wish you every success.
Happy New Year from Digital Tibetan Buddhist Altar.
Where Mahadeva and Umadeva play, there is no time and place; nothing to hold, nothing to relinquish; nothing whatsoever upon which to depend.
Daily Tibetan Astrology: December 31, 2009
Chinese 15th, M-T-K 15th. Dragon, Dwa, Red 9. I cannot emphasize enough what a dicey day it is today. On the one hand, we have a lunar eclipse, so everything is magnified by a factor of 1,000. On the other hand, we have New Year's Eve. So, that means tomorrow's hangover is going to be a beauty. This is also the anniversay of Jigme Phuntsok, who was a very popular lama in Kham, so in his honor, maybe we want to tame it down some, eh? Today is also the Full Moon, so expect all sorts of excitement on the roadways -- and this being a Dragon day, that means roadblocks and drunk checkpoints. Getting the idea? A great day to stay home with the family and count your blessings. Today is wind-wind, so troublesome travel somewhat mitigated, but that wind better "blow" clean. Seriously -- stay home and practice. Live to see the New Year. One more thing -- this is the proverbial "blue moon," as in "once in a blue moon," i.e. the second full moon this month, and the first blue moon on New Year's Eve in 20 years. So -- what the heck -- do something dramatic and original.
Published every day at 00:01 香港時間 but written in advance and auto-posted. See our Introduction to Daily Tibetan Astrology for background information. If you know the symbolic animal of your birth year, you can get information about your positive and negative days by clicking here. If you don't know the symbolic animal of your birth year, you can obtain that information by clicking here. For specific information about the astrology of 2009, inclusive of elements, earth spirits, and so forth, please consult our extended discussion by clicking here. The Ox Year baden senpo (bad days to raise prayer flags) are (in 2010) January 1, 12, 16, 28; February 8. Click here for Hong Kong Observatory conversion tables. Daily Tibetan Astrology copyright (c) 2009. All rights reserved.
Compassion Comes to Cleveland
Get those white belts and polyester knits out of the closet. The ever-recondite Jigme Khyentse Rinpoche will be appearing in Cleveland, Ohio on New Years' Day.
In what can only be described as a gesture of infinite compassion, the man recognized by the 16th Karmapa, Kyabje Dilgo Khyentse Rinpoche, and Kyabje Dudjom Rinpoche as an incarnation of Jamyang Khyentse Chokyi Lodro will be appearing at the West Shore Unitarian Church, 20401 Hilliard Boulevard, Rocky River, Ohio 44116, from 6 to 8 p.m. on January 1, 2010.
For the benefit of our international readers, this Rocky River place is somewhere between New York and L.A.
We wonder if the people in that place know just how lucky they truly are.
Chinese 14th, M-T-K 14th. Rabbit, Khon, White 8. This is the anniversary of Sakya Pandita Kunga Gyaltsen. This is also listed as a naga day, but it is by no means the best naga day left in this (lunar) month -- that honor falls to the lunar 21st. Tomorrow, on the other hand, is NOT a good naga day. This brings us to the whole New Year's Eve question. Speaking personally, I would stay home and avoid the sauce. However, what you do is your business. If you absolutely, positively have to drink something bubbly, they make an elegant carbonated jasmine tea at around USD $10. per bottle that for some reason reminds one of bad champagne -- you know -- the kind they serve at cheap weddings. And speaking of weddings: avoid them like the plague today and tomorrow.
Chinese 13th, M-T-K 13th. Tiger, Li, Red 7. This is a day to avoid provocations and over-reactions. According to the Kalachakra system, today is fire-water transitioning to fire-wind. That is an extremely negative augury transitioning to a relatively favorable augury; in the former case death, in the latter case, gathering vitality. Hence, don't get sucked into negativity, and gather your forces for the coming eclipse (and New Year's Eve).
Yak Tail Soup
Well, I couldn't think of a clever title for this year-end wrap, so I settled for Yak Tail Soup -- because we're at the tail end of the Muddy Bovine, heading for the fearsome Metal Feline.
We have some guests coming in late January, to help us with the "out with the old, in with the new" business, and then we are off in different directions.
I spent most of 2009 laying the groundwork for a long wished-for retreat, visiting various spots where I felt that might usefully take place. You may recall that we visited one special place, and I must say that we were very fortunate to contact old friends, and make some new friends, in a region that is historically well-suited for retreat.
So, as 2010 dawns, I will be winding down DTBA, and packing up for a year or two where the sky and the grasslands are always dancing.
And, of course, that rather more singular placelessness, where the bone meets the stone, and there is no longer any fictional freedom.
While we're off somewhere, do please make an effort to remember high impact opportunities to try out your new-found perfection of generosity: Nubri Monastery needs your help, as does the Tibetan Aid Project; Zangdokpalri could sure use your help, as could the Nyingma Trust; Surmang has some ambitions regarding the 12th Trungpa Tulku, and a little closer to home, Kagyu Droden Kunchab in San Francisco, founded by Kalu Rinpoche, always welcomes a helping hand. I don't think you could possibly go wrong by squeezing the mongoose for any of these worthy causes, and maybe, if you crank his tail a little, that mongoose will sick up enough for all of them.
By the way... people frequently ask, "Unh... why a mongoose? They lucky or something?" Depends on your point of view. A mongoose has nasty, sharp, little teeth that razor you on the way in, so to speak. In the old days... and that would be the old, old, old days... people used to make a purse out of a mongoose to discourage pickpockets. If you tried to stick your finger in its mouth, you'd get a nasty gash, so the only way to get out the coins or valuable jewels was to give the mongoose purse a squeeze. The image of a regurgitating mongoose thus became symbolic of riches. This is not to be confused with the Regurgitating Mongoose, a short-lived bar and bordello in Calcutta, where the drinks were as generous as the denizens -- or so I have heard.
Not just anybody can segue so gracefully from a yak's posterior through philosophy and philantrophy to a vomiting mongoose, so it is only natural that you already miss this blog, even we are not quite gone yet. I know how you feel, and am dabbing the tears from my eyes even as we wave hankies from the train, and the music swells.
I gave some thought to how I might wind up affairs here, and finally decided to leave things as they are.
When we're gone, believe me... you won't need no ghost come from the grave to tell them Christmases apart.
Chinese 12th, M-T-K 12th. Ox, Zon, White 6. This is the last Ox day of 2009, but not the last Ox day of the Ox Year. Nevertheless, this is a day to bring things to completion, whatever they may be.
Karmapa Announces New Environmental Effort: Khoryug
Following the conclusion of the teachings on Nagarjuna's Letter to a Friend, at the 27th Annual Kagyu Monlam, His Holiness the 17th Karmapa, Ogyen Trinley Dorje, convened a special meeting in the afternoon, principally for monks and nuns from Kagyu monasteries and nunneries. His purpose was to present Khoryug: a newly-formed association of Kagyu Buddhist monasteries carrying out environmental projects under his leadership, and its new website www.khoryug.com.
The Karmapa prefaces his vision by stating:
"Whatever it is that I do, I want it to have a long term visible impact and for it to be practical. If I have the opportunity, I would most like to restore the natural environment in the Himalayas and Tibet, and to especially protect the forests, the water and wildlife of this region."
The work will not be easy. If you want the deep background on environmental issues in the region, you need to begin following the Tibetan Plateau Blog, which is produced by some deeply inspired folks who believe in getting their facts straight.
Karmapa's new project is in the right place at the right time, and we hope everyone will take a moment to click the link and find out more about Khoryug.
Chinese 11th, M-T-K 11th. Mouse, Zin, Yellow 5. This is one of those days when you are better off doing absolutely nothing. Catch your breath, actually, because the final week of 2009 is now upon us, and it behooves us to put it to good use. Everybody I know is glued to the screen, watching the 27th Annual Kagyu Monlam -- well, them that aren't actually there. We have an eclipse coming up on Thursday (New Year's Eve), and a week from today we have the anniversary of Dudjom Rinpoche.
27th Annual Kagyu Monlam Broadcasting Live
As this is being written, we are watching HH 17th Karmapa, live, from the 27th Annual Kagyu Monlam. The video and audio are flawless, and translations are also available. This will be going on through 1/1/2010, so try to watch the whole program. Program schedules are on-line, as well as prayer books for free download, so you can follow along.
Simply fantastic. Start your journey here.
Chinese 10th, M-T-K 10th. Pig, Gin, Green 4. Guru Rinpoche Day. This day is particularly meaningful to Bhutan because it commemorates Guru Rinpoche taking his wrathful form as Dorje Drolo, in Paro Taktsang. Today is also zin phung, so I ponder the earthquake situation yet again. In the Kalachakra system, this is an earth fire day, so what... a volcano? Actually, earth fire is unfavorable, and points to obstructions. In the tsurluk system today is earth water, i.e. "engaging in joyful activities on this day will bring great good fortune and happiness." Well, today is tsok, right? That is joyful.
You know, this whole earthquake thing is no joke. On the 19th, we had a 6.4 in Hualien and a 6.0 in Malawi; on the 23rd a 6.0 in Indonesia; on the 24th a 6.3 in Russia, and today, a 6.0 in the Banda Sea. I have a theory that earth years go down fighting, so I am watching the rest of this year very carefully.
Marme Monlam
May the bowl of this lamp become equal to the outer ring of this world realm of the great Thre Thousands. May its stem be the size of the King of Mountains, Mt. Meru. May its oil fill the surrounding oceans. In number, may a hundred million appear before each and every buddha. May its light dispel all the darkness of ignorance from the Peak of Existence to the Incessant Hell and illumine all the pure realms of the buddhas and bodhisattvas of the ten directions so they are clearly seen. OM VAJRA ALOKE AH HUM
E MA HO!
I offer this amazing, wonderful, bright lamp
To the one thousand buddhas of this fortunate aeon
The lamas, yidams, dakinis, dharma protectors,
And gatherings of deities in the mandalas
Of all pure realms of the infinite ten directions,
My parents in the fore, may every sentient being
In this lifetime and all the places they take birth
See the pure realms of the perfect Buddhas directly
And then become inseparable from Amitabha.
Out of the power of the truth of the Three Jewels
And the deities of the Three Roots I've made this prayer.
Please grant your blessings that it be quickly accomplished.
TADYATHA PANCHANDRIYA AVA BODHANAYE SVAHA
The glorious Lord Atisha with just seventeen of his students recited this prayer in a roar in the temples of U Tsang, it is heard.
--from the 2009 Kagyu Monlam Prayer Book. Try to catch the live broadcasts by clicking here.
Wonderfully Hopeless
"Whether we are attacked or praised,
We do not follow the conventional pattern of hope and fear..."
Someone who truly knows my heart gave me such lovely gifts today -- the Collected Works of Chogyam Trungpa, and a marvelous, framed photograph of him.
"[A]s far as we know, nobody in America has a complete understanding of even the hinayana level of Buddhism. People have hardly any understanding at all. They have a completely schizophrenic attitude: they conceive of a divine, enlightened personality that is opposed to their confused version of themselves. As a result, people regard themselves as abandoned people, completely bad people. Or else they might have some hope, but that again is based on some kind of spiritual pride that does not leave any leeway for confusion at all. So we're hopeless. I'm afraid we're hopeless."
--vol. 5, p. 159
While it might be dangerous to take anything a mahasiddha says out of context, one could argue that because it is said by a mahasiddha, context becomes universal. The next time you are struggling with attitudes of "I got this right," or, "I got this wrong," or what is much, much worse... listening to some equally befuddled jackass bray about right and wrong... you might take some small comfort from the idea of wonderful hopelessness -- and press on.
Now that 2009 is wonderfully hopeless, there is nothing whatsoever standing in the way of your enlightenment save your own deconstruction of deconstruction.
Don't let Christmas stand in your way, or New Year either, for that matter.
Press on.
Chinese 9th, M-T-K 9th. Dog, Kham, Blue 3. Merry Christmas. If you live in one of the Retail Nations, there is no getting away from it. Today is a particularly good day for naga offerings. Note that we are still on vacation and still auto-posting.
Self-Arising Guru Rinpoche Image?
This image is being circulated around the world. It was sent by iPhone from Kham (yes, they do have iPhones in Kham, and yes, people know how to use 'em). The image of Guru Rinpoche reportedly appeared in the 800 year-old wall of a monastery, about a month after Bardor Tulku performed a Guru Rinpoche puja there.
The monastery in question -- which is not being named for fear of unwanted attention -- is near Raktrul Monastery, and was a place Bardor Tulku practiced in previous lives.
Chinese 8th, M-T-K 8th. Bird, Khen, Black 2. Today is Medicine Buddha day and also Tara day. Today is also highly favorable for making requests of persons in authority. And, of course, this is also Christmas Eve -- so how about a few prayers for all the military, medical, and public safety personnel who are on duty tonight, instead of home with their families.
Congratulations to Google and Tzu Chi Foundation
Congratulations to Tzu Chi Foundation, for being one of the recipients of Google's USD $20 Million gift to nonprofit organizations. Also, congratulations to Google for recognizing the immense benefit this Buddhist charitable organization brings to all sentient beings.
We can all rejoice in this.
Chinese 7th, M-T-K 7th. Monkey, Dwa, White 1. Today is the famous Zangpo Chu Dzom or ten auspicious omens occurring together. People always write in to ask, "What should we do?" The best advice I can give is to do nothing. Tibetans usually make a picnic out of it. See yesterday.
By the way -- in case you haven't noticed, we are on vacation for the holidays. These are auto-posts.
Chinese 6th, M-T-K 6th. Sheep, Khon, Red 9. Today is the infamous Nganpa Gu Dzom, or nine bad omens occurring together. People always write in to ask, "What should we do?" The best advice I can give is to do nothing. Tibetans usually make a picnic out of it. Tomorrow is ten auspicious omens together, so who cares?
Chinese 5th, M-T-K 5th. Horse, Li, White 8. Get out and about, and enjoy your friendships. Good day for sang. Today is the Winter Solstice. Today is also Water-Wind, so beware of small arguments. Note that the Kalachakra system has this as Water-Fire moving to Water-Water, which is auspicious, as Water-Water is entirely harmonious with the energy of a Horse day. Sun moves into Capricorn today. Don't burn your mouth on hot tea.
Chinese 4th, M-T-K 4th. Snake, Zon, Red 7. Today is baden, so no prayer flags. Today is zin phung. Take a rest. Starting with tomorrow's solstice, you're in for a roller-coaster ride all week long. Look at the line up: Monday, Solstice; Tuesday, Nganpa Gu Dzom; Wednesday, Zangpo Chu Dzom; Thursday, Christmas; Friday, Everybody out crazy wearing aftershave and hitting up after-Christmas sales; Saturday, Guru Rinpoche Day, and Lhuntse Tshechu in Bhutan (also Boxing Day in Oz and that place north of here where the beavers live). By the way -- today is Fire-Earth, so activities are obstructed, unfavorable for journeys toward the West but not the South, so if you must travel West, bow to the Buddha of the West before making your journey.
And one more thing -- some people have written in to ask about zin phung days. This refers to the sa bdag, Zin 'phung nag po, usually expressed as a black scorpion-headed figure with a sword and snare, riding an ox. Apart from helpfully noting the zin phung day in order to orient the other sa bdag days, the zin phung days are also associated with particular earth energies.
Published every day at 00:01 香港時間 but written in advance and auto-posted. See our Introduction to Daily Tibetan Astrology for background information. If you know the symbolic animal of your birth year, you can get information about your positive and negative days by clicking here. If you don't know the symbolic animal of your birth year, you can obtain that information by clicking here. For specific information about the astrology of 2009, inclusive of elements, earth spirits, and so forth, please consult our extended discussion by clicking here. The Ox Year baden senpo (bad days to raise prayer flags) this year (2009) are: December 20, and next year (2010) are: January 1, 12, 16, 28; February 8. Click here for Hong Kong Observatory conversion tables. Daily Tibetan Astrology copyright (c) 2009. All rights reserved.
Exiting the Vehicle
Along with millions of other loyal Americans, I recently watched, enthralled, as the immaculate reincarnation of Terton Chungdrag Dorje enforced the criminal code of the great State of Louisiana on his wildly successful reality television series, Lawman.
In one memorable scene, Rinpoche rushed to the open door of a stopped automobile, violently pulled out a recalcitrant black man by the scruff of his neck, and dashed him to the ground, screaming, "When we tell you to get out of the f**king car, get out of the f**king car!" This was of course done to the highest possible standard of police professionalism, arising from a wellspring of bodhicitta.
I want to emphasize that Rinpoche was not acting. This was filmed while he was carrying out his duties, under color of authority, as a duly sworn and credentialed peace officer in Jefferson Parish, Louisiana.
One cannot render opinion on the sublime play of the three bodies, or six cops and one suspect, as the case may be. Rinpoche understands this quite naturally, so he works with whatever testosterone arises at the time.
Isn't it wonderful....
Tibetan Vexillology Again
This pitiable photograph of men and horses going to their death in 1950s Tibet is nonetheless interesting for the presence, at right, of a heretofore unremarked, Western style, Tibetan flag.
It would seem this is simply a crossed dorje. The colors would appear to be yellow and blue, although if we have any readers from Turner Entertainment, maybe they have a better appraisal.
If anyone has further information, I would be pleased to hear from you.
Chinese 3rd, M-T-K 3rd. Dragon, Zin, White 6. Lets face the facts. Today is the last Saturday before Christmas. What does that tell you? Get up early, get everything done, come home and do practice. Watch out for moving violations in between. Today is the day. I hope you downloaded and pasted those earthquake charms over the windows, as I suggested recently.
Buddhist Performance Art
Zhang Huan is a Buddhist performance artist who takes as his practice his performances. This is unusual, but then again, some people thought Virupa was unusual.
The piece above is a statue of Buddha, made entirely of the ash of consumed incense. He opened by revealing the face, which caused the statue to begin to crumble. Ultimately, the statue became nothing but a pile of ash on the floor, and then the wind began to blow it away.
In addition to what I regard as the work's useful message, this was also intended to evoke the desecration of Buddhist images by Red Guards, during the so-called Cultural Revolution -- quite possibly the most disgraceful episode in human history, 1966-1976.
Mano-pubbaṅgamā dhammā
Mano-seṭṭhā mano-mayā,
Phenomena are preceded by the heart,
Ruled by the heart,
Made of the heart.
Manasā ce paduṭṭhena
Bhāsati vā karoti vā,
Tato naṃ dukkham-anveti
Cakkaṃ va vahato padaṃ.
If one speaks or acts with a corrupted heart,
Suffering follows one,
As the wheel of the cart,
the foot of the ox that draws it.
Manasā ce pasannena
Tato naṃ sukham-anveti
Chāyā va anapāyinīti.
If one speaks or acts with a bright heart,
Happiness follows one,
Like a shadow that never leaves.
Chinese 2nd, M-T-K 2nd. Rabbit, Gin, Yellow 5. Believe it or not, today is a good day to take off and rest. Of course, not many people may be able to do that -- or, to the point, many people may have convinced themselves as such -- but, you are actually always able to do whatever it is you truly wish to do. So, if you want to take the day off, just take the day off. The holidays are crazy enough as it is.
The Heart of the Perfection of Wisdom
In Sanskrit: Bhagavati prajnaparamitahrdaya
In Tibetan: Bcom Idan 'das ma shes rab kyi pha rol tu phyin pa'I snying po
In English: The Heart of the Perfection of Wisdom, the Bhagavati
Thus have I once heard:
The Blessed One was staying in Rajagrha at Vulture Peak along with a great community of monks and great community of bodhisattvas, and at that time, the Blessed One fully entered the meditative concentration on the varieties of phenomena called the Appearance of the Profound. At that very time as well, holy Avalokitesvara, the bodhisattva, the great being, beheld the practice itself of the profound perfection of wisdom, and he even saw the five aggregates as empty of inherent nature. Thereupon, through the Buddha's inspiration, the venerable Sariputra spoke to holy Avalokitesvara, the bodhisattva, the great being, and said, "Any noble son who wishes to engage in the practice of the profound perfection of wisdom should train in what way?"
When this had been said, holy Avalokitesvara, the bodhisattva, the great being, spoke to venerable Sariputra and said, "Sariputra, any noble sons or daughters who wish to practice the perfection of wisdom should see this way: they should see insightfully, correctly, and repeatedly that even the five aggregates are empty of inherent nature. Form is empty, emptiness is form, Emptiness is not other than form, form is also not other than emptiness. Likewise, sensation, discrimination, conditioning, and awareness are empty. In this way, Sariputra, all things are emptiness; they are without defining characteristics; they are not born, they do not cease, they are not defiled, they are not undefiled. They have no increase, they have no decrease.
"Therefore, Sariputra, in emptiness there is no form, no sensation, no discrimination, no conditioning, and no awareness. There is no eye, no ear, no nose, no tongue, no body, no mind. There is no form, no sound, no smell, no taste, no texture, no phenomenon. There is no eye-element and so on up to no mind-element and also up to no element of mental awareness. There is no ignorance and no elimination of ignorance and so on up to no aging and death and no elimination of aging and death. Likewise, there is no suffering, origin, cessation, or path; there is no wisdom, no attainment, and even no non-attainment.
"Therefore, Sariputra, since the bodhisattvas have no obtainments, they abide relying on the perfection of wisdom. Having no defilements in their minds, they have no fear, and passing completely beyond error, they reach nirvana. Likewise, all the Buddhas abiding in the three times clearly and completely awaken to unexcelled, authentic, and complete awakening in dependence upon the perfection of wisdom.
"Therefore, one should know that the mantra of the perfection of wisdom - the mantra of great knowledge, the precious mantra, the unexcelled mantra, the mantra equal to the unequalled, the mantra that quells all suffering - is true because it is not deceptive. The mantra of the perfection of wisdom is proclaimed:
tadyatha - gate gate paragate parasamgate bodhi svaha!
Sariputra, a bodhisattva, a great being, should train in the profound perfection of wisdom in that way."
Thereupon, the Blessed One arose for that meditative concentration, and he commended holy Avalokitesvara, the bodhisattva, the great being. "Excellent!" he said. "Excellent! Excellent! Noble child, it is just so. Noble child, it is just so. One should practice the profound perfection of wisdom in the manner that you have revealed - the Tathagatas rejoice!" This is what the Blessed One said.
Thereupon, the venerable Sariputra, the holy Avalokitesvara, the bodhisattva, the great being, and that entire assembly along with the world of gods, humans, asuras, and gandharvas, all rejoiced and highly praised what the Blessed One had said.
Told You So
Several years ago, I owned what is sometimes euphemistically referred to as a "high technology" firm. We engaged in research related to network security, data clouds, data oceans, data mining, prediction algorithms, making supercomputers out of lashed up pc's (Beowulf), and fun things like that.
Well, somebody had to go out and get the prayer flag money, and getting paid to study interdependence seemed like a natural fit.
Our most interesting project had to do with light to matter communications and networking. We were examining a concept we called the "temperature of knowledge," turning color into a data storage device. I wrote up a few research papers on the subject, and spent many hours playing with data over lasers, until one fine day, some people who shall here go nameless walked into my office with an offer I couldn't refuse.
Those of you who are observant will notice the
Cabletron in the upper right hand corner of
the right rack: Grrrrr! Can you "Spel" interrogation?
After that, it was a fun time. I got to spend all day, every single day, with my youngest daughter for the first three years of her life, and then I got to go be infamous.
Anyway -- please try to imagine how I felt when I saw this item today:
"Lene Hau has already shaken scientists' beliefs about the nature of things... in 1998, Hau, for the first time in history, slowed light to 38 miles an hour, about the speed of rush-hour traffic... Two years later, she brought light to a complete halt in a cloud of ultracold atoms... In the experiment, a light pulse was slowed to bicycle speed by beaming it into a cold cloud of atoms. The light made a "fingerprint" of itself in the atoms before the experimenters turned it off. Then Hau and her assistants guided that fingerprint into a second clump of cold atoms. And get this - the clumps were not touching and no light passed between them. "The two atom clouds were separated and had never seen each other before," Hau notes. They were eight-thousandths of an inch apart, a relatively huge distance on the scale of atoms. The experimenters then nudged the second cloud of atoms with a laser beam, and the atomic imprint was revived as a light pulse. The revived light had all the characteristics present when it entered the first cloud of atomic matter, the same shape and wavelength. The restored light exited the cloud slowly then quickly sped up to its normal 186,000 miles a second...She is coolly confident that light-to-matter communication networks, codes, clocks, and guidance systems can be made part of daily life. If you doubt her, remember she is the person who stopped light, converted it to matter, carried it around, and transformed it back to light."
So it seems they were able to prove our theory, about three years down the road, and here some fifteen years down the road they are finally getting around to understanding light-to-matter networks. They also did some things at Stanford that we would have liked, using nine lasers to create matter -- such as it was.
Never heard of this Lene Hau until today -- she was after my time. But, I sure do like her work.
Remember that scene in Star Wars, where somebody plays chess with holograms? It is like that, but on a much grander scale. Color, although finite, can be made close to infinite, and the means for "calling" color, while finite, is still very, very large as well. Each element of color can hold an element of information. These iconic color/information elements can then be projected and selected. Because of the nature of color, they can also be organized in various ways.
The eye is an ocean.
The kicker was always the issue of signal acquisition, i.e. slowing things down long enough to handle them. We knew it was theoretically possible, but the physics hadn't caught up with us yet. I mean to say, if you read Time, Space, and Knowledge, there is no longer any "impossible," but just try to tell that to scientists. Anyway, looks like this Dr. Hau has brought the physics up (or down) to speed. In 2001, they gave her one of those MacArther "genius" grants.
I celebrate this.
Chinese 1st of the 11th (doubled), M-T-K 1st of the 11th month. Tiger, Kham, Green 4. Today is a doubled day in Chinese practice, and the 1st of the 11th lunar month in Tibetan practice. You can take it as you find it, but I would put up prayer flags today if at all possible. Of interest, this is also a good day to replenish one's stocks of incense for the year to come. Lunar New Year isn't all that far off, you know? Anyway, the nagas are well rested after their long sleep last month. I don't know about you, but when I wake up after sleeping for thirty days, I am always a little hungry. The best days for naga offerings this month are today (Yay!), the 9th lunar and the 21st lunar. You can also do something on the 7th, 11th, 12th, 14th, 29th, and 30th, but it isn't quite so optimal. The days to avoid at all costs are the 4th, 5th, 8th, 10th, 15th, 16th, 19th, and 28th. The offerings you make this month are an important preliminary to the offerings of next month, so try to be observant. The 11th month is extremely important to Bhutan, so there will be a host of occasions all month long. This month's lunar 10th of course celebrates when Guru Rinpoche in the form of Guru Dorje Drollo manifested at Paro Taktsang. We also have a partial lunar eclipse this month (New Year's Eve), the anniversary of Kyabje Dudjom RInpoche on January 3rd, and a annular solar eclipse on January 15th, among other events. As previously reported, Ngapa Gu Dzom is on the lunar 6th, and Zangpo Chu Dzom on the lunar 7th. The solstice falls on lunar 5th. Christmas is lunar 9th, so when everybody else is doing that, you can be feeding the nagas. Don't hold back, because you know how they get if all they see is socks and underwear.
The Beauty of Xiaohe
She is 3,800 years old, but she still turns heads. The mummified remains of a Caucasian woman, found along the Silk Road in western China, will be part of an exhibit "Secrets of the Silk Road: Mystery Mummies of China," commencing 27 March 2010, at Santa Ana, California's Bowers Museum. That is a high resolution photo of her, above, and I invite you to download and examine it in detail. Quite simply remarkable, in every respect.
I have been endlessly fascinated by this story, which really originates a few years back with Jeannine Davis-Kimball (actually, it goes back to around 1895, to Sven Hedin, and Aurel Stein, but it is Davis-Kimball's popularization efforts we are discussing). It is one of the most significant stories of the twentieth century, but because it raises such a sensitive issue in Han China, we don't hear about it as much as we should. The sensitivity arises because the Tarim Basin mummies are indisputable evidence of Caucasian presence in northwestern China before that of the Chinese themselves.
What attracts me is the evidence that seems to indicate these people were shamans -- possibly a tribe or clan of magicians. According to one commentator:
"Some of the mummies were buried in woven plaids which I understand are remarkably similar to the clan plaids worn by the people who eventually settled in northern Scotland. Some of the mummies (female and male), possibly shamans, tentatively identified as such because of the grave goods with which they were buried, were uncovered wearing tall pointed hats made of felt - similar to how we depict "witches" in the west today (think of the hat worn by the Wicked Witch of the West in the 1939 movie classic "The Wizard of Oz") - in addition to small woven cloth or felt bags filled with medicinal herbs (including cannabis) and herbs prized for their magical qualities, as well as other talismans. If my memory serves, a few of the 'shamans' were buried with colored throwing sticks -- perhaps for use in divination?"
Indeed it is the hats that first attracted me to these mummies. I vividly recall seeing one of the Tarim Basin mummies wearing a black "witch" hat almost exactly like the one from Wizard of Oz. -- the so-called "Witch of Subeshi." When I saw her, my heart skipped a beat. It seemed so familiar. I like witches very much, you know? In the photo above, you see another sort found in the graves that is most interesting when compared to the common "lama's hat" we all recognize. I also note the presence of peaked caps or hats that have an uncanny resemblance to the seppelhut one always sees at Oktoberfest.
The seppelhut, in turn, bear some resemblance to that hats sometimes worn by Tibetan black magicians. Even the colors are the same: grey, with blue and white trim, although they are configured differently.
Jeannine Davis-Kimball is not without controversy, but I enjoy her work immensely. If you spend a little time with Google, on her name, you will not be disappointed. Also, I want to recommend a book by Elizabeth Wayland Barber, Mummies of Urumchi, which goes into all of this with more science than speculation.
I just know in advance I'm going to hear from Don Croner on this one.
I also found the following to be of considerable interest, particularly when one contrasts the genetic archaeology with the conventional, physical archaeology. This is from Taiwan Today:
Present-day India is the major geographical source of Asian populations, according to a paper published Dec. 11 in the international scientific journal “Science.”
The paper, the result of a five-year study involving 90 scientists from 10 nations, directly challenges the prevailing scientific view that human migration into Asia proceeded along two main routes, one located up north and the other down south.
According to the paper, after moving out of India human populations moved first in an eastward and then in a northward direction.
The conclusions were based on blood samples drawn from 1,928 participants belonging to 73 ethnic groups in Asia. From Taiwan, blood samples were taken from 48 people of Southern Min ancestry and 32 of Hakka ancestry.
The results show that the haplotype of the Southern Min population in Taiwan and that of the Southern Min population in Singapore are almost identical, according to Chen Chien-hsiun, an assistant research scientist at the Institute of Biomedical Sciences at the Academia Sinica.
Based on these findings, it is certain that the Southern Min Taiwanese and the Southern Min Singaporeans both emigrated out of the southern parts of China, Chen added.
The haplotype of the Hakka population in Taiwan is also extremely similar to the haplotype of certain tribes in southern China, said Chen. This shows that the Taiwanese Hakka population emigrated from southern China, he said.
Genetic variations among different groups show that after human beings reached Asia, they used India as a new starting point and from there moved eastward along the sea coasts and northward up the Asian continent, the scientist said.
Some things are not recorded in history, but they are recorded in genetics. When one studies history through genetics one is engaged in “genetic archaeology,” he said.
I added emphasis to the above quote, to highlight some interesting aspects of the study. Obviously, the genetic evidence can reach back farther than our 3,800 year old beauty. I do know they have done genetic studies using these mummies, but I haven't seen the precise results.
UPDATED: See our latest post, Visit With the Beauty of Xiaohe, reporting on the Bowers Museum exhibition.
Karmapa Announces New Environmental Effort: Khoryu...
Astrology for Tibetan New Year 2010 (Extended)
Buddhist Flag-Polemics
Ten Good Omens: Zangpo Chu Dzom
Nine Bad Omens: Nganpa Gu Dzom
Happiness Is A Warm Prayer Flag
Where to Get Tibetan Astrology Done
Buddhist Medicine in Hualien
Beyond Question
Basking In Reflected Glory
How Sweet, Not Always
Daily Tibetan Astrology: December 9, 2009
Service Interruptions Possible
Army of Emanations
Beyond Deception
Melody of the Quick Path of the Vidyādharas
Zangdokpalri Temple Consecration
No Matter Where You Stay
eSangha Bites the Dust
Yogis of Tibet
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Chakrasamvara Empowerment
This one is going to be huge. The Ninth Khenchen Thrangu Rinpoche will be giving the Great Chakrasamvara Empowerment on 29th and 30th August, in Richmond, British Columbia (Vancouver). This is not a particularly common empowerment in the West. If you feel you have a connection to this practice, which is of particular importance in the Kagyu tradition, you can get full details and a registration form by clicking here.
Glimpse of Another World
The remarkable memoirs and photographs of F. Bailey Vanderhoef, Jr., are the subject of a site sponsored by the University of California. This documents his 1938 trek to Western Tibet, and gives glimpses of a world now long dissolved.
In 1969, I had the extreme pleasure of meeting Mr. Vanderhoef, in St. Francis Wood, in the single most bewildering and surreal encounter of my entire life -- which is saying something, for I am not bereft of bewildering and surreal encounters.
Quite unexpectedly, he gave me some items from his tremendous personal collection of Tibetan art and artifacts -- two of which I gave to Tarthang Rinpoche, two of which were subsequently stolen by a Berkeley plumber, and one which remains with me to the present day.
Daily Tibetan Astrology: July 31, 2009
Chinese 11th, M-T-K 10th. Horse, Li, White 8. Guru Rinpoche's Birthday. According to the Lama Gongdu tradition, this is the 10th day of the 6th month, and the day to celebrate Padmasambhava's miraculous birth at Lake Danakhosha. So, all things being equal, don't hold back on the Shower of Blessings tsok at 6:00 p.m. your local time. This is the first of a duplicated Chinese 11th lunar day. We go back in synch tomorrow.
Published every day at 00:01 香港時間 but written in advance and auto-posted. See our Introduction to Daily Tibetan Astrology for background information. If you know the symbolic animal of your birth year, you can get information about your positive and negative days by clicking here. For specific information about the astrology of 2009, inclusive of elements, earth spirits, and so forth, please consult our extended discussion by clicking here. The baden senpo (bad days to raise prayer flags) this year are: July 2, 14, 28; August 10, 24; September 5, 19; October 1, 2, 13, 28; November 23; December 5, 20.
Buddhist Rodent Relocation Strategy: Updated
This one really works.
In principle, I don't mind mice all that much; in fact, they can be amusing. However, in practice, I would prefer that they be amusing elsewhere.
Lately, we have been experiencing the annual mouse infestation. They run around, annoying the rabbits, and then the rabbits start thumping to demonstrate their displeasure. It is the middle of a hot summer night, you have scurrying mice, thumping rabbits, and alcohol on the altar. In Detroit, that would be enough to start a riot.
Mice on the altar are particularly troublesome. There are usually grain offerings, the aforementioned alcohol, and butter lamps. Suppose the mouse knocks over a burning butter lamp, or topples the alcohol into the flame? There is also the issue of hantavirus to consider -- it is not unknown hereabouts -- and the fact that mice attract rattlesnakes.
We tried the "humane" mousetraps, but they don't work. We caught two or three, and then they figured out how to free themselves.
What does work is illustrated above. Caught two little stinkers last night, in short order.
You get a toilet paper roll, or paper towel roll, and dab some peanut butter in the very end. You balance this precariously on the edge of the altar, as shown. Beneath this, you place a very tall vase, and then you put some padding in the bottom of the vase. You can also put a cookie or something down there as well.
The mice run through the roll to get the peanut butter, the roll tips into the vase, the mouse lands on the padding, and there he sits, pondering fate, until you pick up the vase and relocate him elsewhere.
The experts say this should be two to five miles away. I laughed -- nay, I scoffed -- when I heard this, but it turns out to be true. I set a mouse free about a quarter mile away and he got home before I did.
Now, you can pray over the little wretches while all this is happening, and I applaud you, but I gave them a strong lecture about urban scavenging in contrast to the virtues of rural life. That, and the mani mantra six times... then it is off to Rodent Re-education and Rehabilitation Camp No. 6, to learn new ways of being.
While We're At It
Ants = cinnamon
Flies = basil, or clear plastic baggies filled with water, tacked over the door
Mosquitos = lemon eucalyptus, or geranium
Hungry Buddha-pests (with no sense of humor) =
Model 1928 Browning water-cooled .30 caliber machinegun
UPDATED: To the legion of readers who wrote in -- each doubtlessly hoping to be the first -- yes, this is only with reference to Buddhist rodents. I cannot speak to the issue of Hindu rodents, Muslim rodents, Christian rodents, Wiccan rodents, or what have you.
More Fun With Stupas
Quite possibly, the most fun with stupas comes from filling them. As the above photo from France's Lerab Ling illustrates, stupas and statues can take a whole lot of filling.
Everybody likes to make tsa-tsa. Nowadays, they use plaster or hydrocast, but in the old days, they used the dirt dug from the site where the stupa was to be placed. You know, it is a funny thing, but you can go down to the Buddha Market in Bangkok, and occasionally find tsa-tsa that are hundreds of years old -- all encased in gold lockets -- but, you know, they only came from one place.
There is now a fascinating, English-language book about all of this, and since I enjoy the subject, I purchased one. This is Benefits and Practices Related to Statues and Stupas: Part 3, Essential Advice for Filling Statues and Stupas. Another interesting, and little-known, collateral reference is a paper by Chandra Reedy, entitled "The Opening of Consecrated Tibetan Bronzes With Interior Contents." What Reedy proves, as least as far as the bronzes in question are concerned, is that practice doesn't always follow text, i.e. the contents of the statues Reedy desecrated don't match the recommendations in the various texts.
The book mentioned is part of a series published by the Foundation for the Preservation of the Mahayana Tradition (which, like the Supreme Court, has a published opinion about almost everything) and the whole series is a useful investment if you want to quickly familiarize yourself with the subject matter.
Chinese 10th, M-T-K 9th. Snake, Zon, Red 7. Not a bad day to travel to the south. Good day to work at anything which needs work, but avoid conflicts. Try to get important matters handled today, or finish construction projects. Tomorrow is a big day.
Zuni Mountain Stupa
Bhakha Tulku's Zuni Mountain Stupa will be consecrated the weekend of September 5-6, in Grants, New Mexico. If you would like to attend, you have to get your reservations in before August 10th, which isn't all that far away.
I think Bhakha Tulku is colonizing New Mexico. He has barley fields at Tularosa, the stupa at Grants, and a number of supporting operations elsewhere. He sure has some interesting stories to tell about the places he has been, and the people he has met, both in the West and back East.
With the exception of California (which has over 300 stupas, and still counting), New Mexico leads the states in number of significant stupas. It is a beautiful place, and we need not wonder when Tibetans find it attractive.
Heck... they're just good ole' boys... and they got the stockman's hat and obligatory beater pickup to prove it.
By the way: apropos of my post yesterday on Buddhism in the arid lands, somebody sent me this photograph of an outpost somewhere in -- as luck would have it -- New Mexico (don't think this one is related to Bhakha Tulku).
Yep... that's Desert Buddhism all right.
Child of the Sixties
This is one from the heart, for certain expat readers of this blog -- and you know who you are:
Apart from the occasional "whatever became of" flurries, that seem to die out as quickly as they begin, it seems that few people remember Ossian Kennard Maclise -- the little Anglo-American boy recognized by His Holiness the Sixteenth Karmapa as an incarnation of Sangye Nyenpa Rinpoche (no, not this one, but another one).
Few people except his Mum, that is: she is the celebrated 'Sixties cultural figure Hetty Maclise, who has now taken to blogging, as have virtually all other surviving celebrated 'Sixties cultural figures (his Dad, Angus Maclise, of the Velvet Underground, passed away in 1979). For those of you who remember the time and the place -- and I am certain that you do -- Hetty was deeply responsible for content in San Francisco's Oracle, which was the first of a breed, founded by Allen Cohen and Michael Bowen. Angus was also a terrific fellow -- in New York, I once swapped him some silver Tibetan coins for something or other -- and I think he was the one who motivated the whole "lets go to Kathmandu" thing that was popular around then.
It is all flooding back.
Hatty and Angus were also great friends with Ira Cohen -- who I once traded for a mattress (was trying to furnish an apartment in the Village) by giving him a copy of Oracles and Demons of Tibet -- he refused to take money, saying he had to have the book. Ira, in turn, was also friends with Nazli Pema -- from her chalk drawing on the sidewalk in Paris days, before she married Tarthang Rinpoche.
We wound up getting kicked out of the Village apartment, only to move into Allen Ginsberg's Lower East Side apartment, which at the time was being kept by Rick Fields. Allen was in California, visiting lamas. Rick was supporting himself writing neo-Japanese pornography -- in English, mind you: rather elegant phrases like "the rain that falls inside" were his pride and joy -- and I had just landed an advance from Random House to write book on Buddhism in America that I never wrote. We used to have long discussions with Rick about this, to the point where he decided to pack his bags and leave in search of a lama -- and later, in 1981, wrote the book that I didn't.
This man predicted YouTube 40 years before it happened.
Meanwhile, Ira had introduced us to a memorable and visionary fellow named Stuart Leeder. The reason why I remember him is because (1) he was a remarkably kind human being, and (2) he had this crazy idea that someday, everybody would have a television camera -- except he called them "portable video cameras." He said that someday, people would send videos back and forth in place of letters. Did you ever hear of such a thing?
We had left Allen's apartment by then, and flush with the book advance had moved to East 92nd and Madison -- to a two bedroom garden apartment -- where the household consisted of Shirabin and me, my friend Aman Baher, a lapis-lazuli dealer from Kabul, and Stuart Leeder. Shirabin got me a Rolls-Royce for my birthday that year, so you know, there were also a number of hangers-on who wanted to ride in that car.
Shirabin was famous for more than 15 minutes
That is how it was in those days. There was a genuine spirit of camaraderie. I try to explain it to young people sometimes, but they just don't get it. Everybody knew everybody else, everybody wrote poetry or invented something, and sure enough, everybody got to be famous for fifteen minutes.
If you click this link, you will be transported to one of the Tibetan Buddhist world's most singularly remarkable historical records: "Namtar of the Wee Lama Boy." It is singular not only for recounting the story of Ossian, but for the unusual sidelight it throws on the whole Karmapa-made-it-rain-for-the-Hopis incident, and the whole Hopi Tibetan prophecy nexus.
Did I tell you -- this is about the 'Sixties?
Might want to download it and save it, before it disappears.
Love and Peace, and all the best to those who write in -- although I have this theory that if you remember enough about the 'Sixties to write about the 'Sixties, you weren't really participating in the 'Sixties -- but that is just one more thing the lamas did that was beneficial: they kept some of us away from the damn dope.
Recognize Freda Bedi's handwriting?
Afterthought: You know, it was all so easy in those days. If you wanted to see the Dalai Lama, you just went to see the Dalai Lama, and he would serve you tea. If you wanted to hang out with the Karmapa? No problem: more tea. If you wanted to meet Dudjom Rinpoche, the door was always open. You could make friends rather easily.
I think this is the main thing that has changed. You didn't have a lot of idiots jealously guarding the door, jockeying for position close to the throne, and basking in reflected glory.
Cool hat, Dude.
Chinese 9th, M-T-K 8th. Dragon, Zin, White 6. This is not a good day to start mischief with anybody. Best to steer clear of conflict and argument. This is lunar 8th in Tibetan practice, so this is the day for Tara and the Medicine Buddha. Not a bad day to lay out foundations for religious buildings or monuments. Today is a zin phung day.
Desert Buddhists
A thought wandered through, grazing like a rabbit, and like a fool, I followed.
I was exercizing my avocation, which is studying the arid lands, and it came to me that the majority of Buddhists in the United States live in the Sonoran Desert Region.
I got attached to the idea.
Then, it seemed to me that the majority of Vajrayana Buddhists in the world (along with 300 million other people) live in arid regions -- Tibet, Ladahk, Mongolia.
Well, if not the majority, then a comfortably sizable number, at the very least.
Deserts are the way of the future. As years go by, we will have more and more of them. Someday, this planet will be one big desert. Whether that happens later, rather than sooner, depends on a good deal more than you buying corkscrew lightbulbs. Whether that happens at all is, I think, rather beyond debate.
Deserts are interesting places. Everyone assumes they are "dead" and "monotonous," but that simply isn't true. I have been to most of the world's great deserts, and I found each one to have its own, endlessly fascinating characteristics. Deserts are literally teeming. I have spent most of the past decade living in the desert, helping it teem, and every day I learn something new. Once, I even wrote a little book about the desert, just to amuse myself.
Examining nolina parryi: teeming.
I spend a lot of time drifting around my favorite desert, the Mojave. This is highly subjective, but I seem to see more and more Buddhists taking up residence. It is surprising what one finds. There is a 60 ton white marble statue of Kuan Yin out in the middle of nowhere. There are ubiquitous retreats and hermitages littered about like creosote bushes. Some days you can't swing a cat without hitting a shaved head.
So, in addition to occasionally writing about rabbits -- did I ever mention that I am rather fond of rabbits? -- I decided that I will occasionally write about deserts, sharing tidbits with all the other Desert Buddhists who I know read this blog on a regular basis.
Tidbit Number One: Swamp coolers, like brown shoes, don't make it. Neither does central air conditioning. I have three words for you: ductless air conditioning. Specifically, Fujitsu Halcyon. I have tried everything, and that one really, really works. You can rig the thing to run off solar power.
Tidbit Number Two: Regardless of whether you are in California, Nevada, Arizona, New Mexico, or Texas, get a copy of Bruce M. Pavlik's The California Deserts: An Ecological Rediscovery (Berkeley: University of California Press, 2008). This is an example of what a desert book should be like, written in such fashion that even if you have no interest in deserts whatsoever, you will still enjoy reading the book. Most desert writing is turgid. This book is not.
Tidbit Number Three: The biggest challenge we face comes from the notion that (1) golf courses are necessary, (2) non-native things like green lawns are necessary, and by extension (3) urban planning disasters like Las Vegas and Phoenix are necessary. First things first. Give up golf, and stop watering the miserable lawn! Next, move out of Las Vegas. It is scheduled for cosmic destruction on the New Orleans model anyway. Move out of Phoenix while you're at it. Life is way too short to keep ignoring (and sacrificing) the beauty that surrounds these places. How will you live? Forget the black card. You'll just live.
Tidbit Number Four: None of us are Buddhists. We are slowly becoming Buddhists. In the desert, that seems to happen a little quicker.
Chinese 8th, M-T-K 7th. Rabbit, Gin, Yellow 5. No prayer flags today! This is a good day to repair things (relationships? lawnmowers?), and a good day to present petitions, but otherwise, a day that demands caution. A rabbit day, so think: a cautious rabbit.
Healing Chod Tour 2009: Maryland and Mexico
The very successful Zangdokpalri Healing Chod Tour, under the direction of Rigdzin Dorje Rinpoche -- an educated, authentic, stable and accomplished Nyingma School lineage holder -- continues with two dates in Maryland: August 8-9 at Hollywood, Maryland, and September 5-6 at Adelphi Maryland. The Maryland dates are interrupted by a jump to Mexico (who booked this?), with appearances in San Miguel De Allende, Valle De Bravo, and Cholula Puebla. You can find more information by clicking here.
I know that there are quite a number of people in Maryland -- in particular -- who really need exposure to the living lineage of healing chod. I sincerely hope they will avail themselves of the opportunity to make contact with this authentic presence, from which benefit can actually arise.
National Library of Bhutan
The Tarthang Tulku edition of the Kagyur on display in Bhutan
One of the finest libraries in Asia, and quite possibly the finest Buddhist library is the world is to be found in Bhutan. Now, they have launched a web site which allows you to tour the National Library, and provides links to the National Archives, and the new National Digital Library of Bhutan. Highly recommended.
Chinese 7th, M-T-K 6th. Tiger, Kham, Green 4. Artistic and literary endeavors are favored today. Maybe we should start the week on an aesthetic note, with a trip to the gallery, the bookstore, or formal garden. Grand day for poetry.
Dhammacakkappavattana Sutta
I have heard that on one occasion the Blessed One was staying at Varanasi in the Game Refuge at Isipatana. There he addressed the group of five monks:
"There are these two extremes that are not to be indulged in by one who has gone forth. Which two? That which is devoted to sensual pleasure with reference to sensual objects: base, vulgar, common, ignoble, unprofitable; and that which is devoted to self-affliction: painful, ignoble, unprofitable. Avoiding both of these extremes, the middle way realized by the Tathagata — producing vision, producing knowledge — leads to calm, to direct knowledge, to self-awakening, to Unbinding.
"And what is the middle way realized by the Tathagata that — producing vision, producing knowledge — leads to calm, to direct knowledge, to self-awakening, to Unbinding? Precisely this Noble Eightfold Path: right view, right resolve, right speech, right action, right livelihood, right effort, right mindfulness, right concentration. This is the middle way realized by the Tathagata that — producing vision, producing knowledge — leads to calm, to direct knowledge, to self-awakening, to Unbinding.
"Now this, monks, is the noble truth of stress:(1) Birth is stressful, aging is stressful, death is stressful; sorrow, lamentation, pain, distress, & despair are stressful; association with the unbeloved is stressful, separation from the loved is stressful, not getting what is wanted is stressful. In short, the five clinging-aggregates are stressful.
"And this, monks, is the noble truth of the origination of stress: the craving that makes for further becoming — accompanied by passion & delight, relishing now here & now there — i.e., craving for sensual pleasure, craving for becoming, craving for non-becoming.
"And this, monks, is the noble truth of the cessation of stress: the remainderless fading & cessation, renunciation, relinquishment, release, & letting go of that very craving.
"And this, monks, is the noble truth of the way of practice leading to the cessation of stress: precisely this Noble Eightfold Path — right view, right resolve, right speech, right action, right livelihood, right effort, right mindfulness, right concentration.
"Vision arose, insight arose, discernment arose, knowledge arose, illumination arose within me with regard to things never heard before: 'This is the noble truth of stress'... 'This noble truth of stress is to be comprehended'... 'This noble truth of stress has been comprehended.'
"Vision arose, insight arose, discernment arose, knowledge arose, illumination arose within me with regard to things never heard before: 'This is the noble truth of the origination of stress'... 'This noble truth of the origination of stress is to be abandoned'(2) ... 'This noble truth of the origination of stress has been abandoned.'
"Vision arose, insight arose, discernment arose, knowledge arose, illumination arose within me with regard to things never heard before: 'This is the noble truth of the cessation of stress'... 'This noble truth of the cessation of stress is to be directly experienced'... 'This noble truth of the cessation of stress has been directly experienced.'
"Vision arose, insight arose, discernment arose, knowledge arose, illumination arose within me with regard to things never heard before: 'This is the noble truth of the way of practice leading to the cessation of stress'... 'This noble truth of the way of practice leading to the cessation of stress is to be developed'... 'This noble truth of the way of practice leading to the cessation of stress has been developed.' (3)
"And, monks, as long as this — my three-round, twelve-permutation knowledge & vision concerning these four noble truths as they have come to be was — not pure, I did not claim to have directly awakened to the right self-awakening unexcelled in the cosmos with its deities, Maras, & Brahmas, with its contemplatives & priests, its royalty & commonfolk. But as soon as this — my three-round, twelve-permutation knowledge & vision concerning these four noble truths as they have come to be — was truly pure, then I did claim to have directly awakened to the right self-awakening unexcelled in the cosmos with its deities, Maras & Brahmas, with its contemplatives & priests, its royalty & commonfolk. Knowledge & vision arose in me: 'Unprovoked is my release. This is the last birth. There is now no further becoming.'"
That is what the Blessed One said. Gratified, the group of five monks delighted at his words. And while this explanation was being given, there arose to Ven. Kondañña the dustless, stainless Dhamma eye: Whatever is subject to origination is all subject to cessation.
And when the Blessed One had set the Wheel of Dhamma in motion, the earth devas cried out: "At Varanasi, in the Game Refuge at Isipatana, the Blessed One has set in motion the unexcelled Wheel of Dhamma that cannot be stopped by priest or contemplative, deva, Mara or God or anyone in the cosmos." On hearing the earth devas' cry, the devas of the Four Kings' Heaven took up the cry... the devas of the Thirty-three... the Yama devas... the Tusita devas... the Nimmanarati devas... the Paranimmita-vasavatti devas... the devas of Brahma's retinue took up the cry: "At Varanasi, in the Game Refuge at Isipatana, the Blessed One has set in motion the unexcelled Wheel of Dhamma that cannot be stopped by priest or contemplative, deva, Mara, or God or anyone at all in the cosmos."
So in that moment, that instant, the cry shot right up to the Brahma worlds. And this ten-thousand fold cosmos shivered & quivered & quaked, while a great, measureless radiance appeared in the cosmos, surpassing the effulgence of the devas.
Then the Blessed One exclaimed: "So you really know, Kondañña? So you really know?" And that is how Ven. Kondañña acquired the name Añña-Kondañña — Kondañña who knows.
The Pali phrases for the four noble truths are grammatical anomalies. From these anomalies, some scholars have argued that the expression "noble truth" is a later addition to the texts. Others have argued even further that the content of the four truths is also a later addition. Both of these arguments are based on the unproven assumption that the language the Buddha spoke was grammatically regular, and that any irregularities were later corruptions of the language. This assumption forgets that the languages of the Buddha's time were oral dialects, and that the nature of such dialects is to contain many grammatical irregularities. Languages tend to become regular only when being used to govern a large nation state or to produce a large body of literature: events that happened in India only after the Buddha's time. (A European example: Italian was a group of irregular oral dialects until Dante fashioned it into a regular language for the sake of his poetry.) Thus the irregularity of the Pali here is no proof either for the earliness or lateness of this particular teaching.
Another argument for the lateness of the expression "noble truth" is that a truth — meaning an accurate statement about a body of facts — is not something that should be abandoned. In this case, only the craving is to be abandoned, not the truth about craving. However, in Vedic Sanskrit — as in modern English — a "truth" can mean both a fact and an accurate statement about a fact. Thus in this case, the "truth" is the fact, not the statement about the fact, and the argument for the lateness of the expression does not hold.
The discussion in the four paragraphs beginning with the phrase, "Vision arose...," takes two sets of variables — the four noble truths and the three levels of knowledge appropriate to each — and lists their twelve permutations. In ancient Indian philosophical and legal traditions, this sort of discussion is called a wheel. Thus, this passage is the Wheel of Dhamma from which the discourse takes its name.
"Dhammacakkappavattana Sutta: Setting the Wheel of Dhamma in Motion" (SN 56.11), translated from the Pali by Thanissaro Bhikkhu. Access to Insight, June 7, 2009, http://www.accesstoinsight.org/tipitaka/sn/sn56/sn56.011.than.html.
100 Syllable Mantra of Vajrasattva: Of Prayer and Language
Om vajra sattva samaya manupalaya vajrasattva tvenopatishtha dridho me
bhava sutosyo me bhava suposyo me bhava anurakto me bhava sarva siddhim
me prayaccha sarva karma suca me cittam shriye kuru hum ha ha ha ha ho
bhagavan sarva tathagatha vajra ma me munca vajri bhava
mahasamayasattva ah
One of our readers sent me an email last night that I found amusing. He was commenting on the horrors of "Tibetskrit," and wrote:
Just think - if Tibetans attained using horrendously bad Sanskrit, what
marvels can English speaking practitioners achieve pronouncing it correctly?
He does have a valid point, and it goes way beyond the old "benzra" versus "vajra" thing to the very heart of a most interesting matter: if you are sawing away in somebody else's language, is it doing you any good whatsoever?
When the various liturgies and prayers were initially published, both Tibetan language and cultural identity were in danger of extinction -- well, they still are in a sense, but it seemed rather moreso in those days.
Most of the lamas considered it a useful preservation method to perform the liturgies as originally written, but of course, nobody could speak Tibetan. Consequently, what we had were not transliterations, but idiosyncratic pronunciation guides for performance purposes.
I can tell you, we really struggled with these things. We struggled to put meaning to unfamiliar words. Now, times have changed. Over the past forty years, a worldwide effort to preserve Tibetan language and culture has achieved notable success. Of course, much more need be done, but it does raise a question. If the ostensible reason for performing the liturgies in Tibetan no long applies, is it permissible to employ English or other languages instead?
Tradition has something to say about this. In the 104th Canto of the Padma bKa'i Thang, Guru Padmasambhava engages in a dialogue with Pekar, the guardian king of Samye Monastery's treasures. Pekar warns:
"When I break the chanting of the Charms and the propitiatory Formulas, at the time of reciting the Formulas, they will come only in fragments. Not knowing the language has changed, the reciters will no longer understand, and when they recite the Formulas, they will not know how to reflect on the ideas."
This is a clear indication, that in order for the recitation to be effective, one must be able to experientially contact the meaning of that which one recites. Indeed, one is reminded of Jigme Lingpa's admonition, "if tears do not flow from the eyes, the puja should not count." Emotional fervor is difficult to muster if one is mindlessly chanting sounds one does not understand.
For many of us, in the beginning, prayer is an intensely personal activity. Later, we recognize that prayer is constant, universal, spontaneous, enduring, and timeless -- we are joining something already in progress. In fact, prayer is an activity without boundary, specificity, or individuation. Yet, in the beginning, we consider prayer to be something intimate, and unique. We seem to be arousing deep feelings of faith and altruism, and communicating these to divinity. Indeed, Guru Vajrasattva is in front of us, and we are in direct communication with him.
Certainly, we need to express mantras in proper Sanskrit-- mantras are not words -- and proper names remain proper names.
However, one's native tongue seems best for prayers and invocations. Were it not so, Tibetans would not have invested so much blood and treasure to translate the vast rituals of Buddhism from Sanskrit into their own language.
Of Stupas and Appleseeds
If you sit down and read the variety of texts that, as an ecclesiastical matter, appear to govern the building of stupas, after you wade through all the "thou shalt nots," you would never build one.
Take the issue of siting, for example. The texts all say that the stupa should be oriented to the east. Trouble is, "east" is a highly flexible issue. Just to begin with, is that magnetic east, or geographic east?
If you take my summer camp as an illustration, the magnetic declination is 12 deg. 37' E, changing by 0 deg. 5' W every year. So, you would set the baseplate orienting arrow on your compass 12 degrees west, to compensate for the plus 12 degrees declination. That would give you geographic east. However, one hundred years ago, those numbers were 15 deg 21' E, changing by 0 deg. 3' W every year -- so you can see, this too is impermanent. If you like to play around with such things, there is a handy online tool, here.
Why east?
I think we've touched on this before, but in general, there is a long-standing prejudice arriving from classical Indian spiritual engineering (not Chinese feng shui, no matter how much anybody argues). Chinese feng shui may be the reason why temples are oriented as they are in Tibet -- and for that we need thank the Chinese princess -- but we are not talking about temples. We are talking about stupas. Stupas do not originate in Tibet, nor do they originate in China. Stupas originate in India, and in India, they are oriented to the east.
Reputedly, this is where the Shakya clan
put their share of the Buddha's relics.
The best English-language resource I have yet to see on the subject is Pema Dorjee's Stupa and Its Technology: A Tibeto-Buddhist Perspective (Delhi, 1996). You can still find this from time to time. If nothing else, it is a powerful demonstration that even the authorities can't agree on the best way to build stupas.
By the way: when I say "oriented east," I mean that the gawo is oriented east. Also, when the tree for the tsokshing is cut, the eastern quadrant of the tree is marked, and this orientation is kept when the tsokshing is carved, painted, inscribed, and then placed inside the stupa, i.e. the eastern face of the tsokshing is oriented to match the east-facing gawo.
These are teeny-tiny little details, excerpted from a catalog of hundreds (if not thousands) of other teeny-tiny little details -- hence, leading to the development of "stupa specialists," or lamas who are spiritual compradores, brokering sandalwood trees, tsa-tsa molds, precious substances, and engineering challenges that discourage the weak-willed.
There are also some entrepreneurs out there, interested in the finer things of life, who are devoted to making complicated that which ought to be a simple act of faith. Well, why not... if it makes them happy.
Actually, building stupas is like making millions of dollars. It is easy after the first million.
When I was a child, I was quite taken with the story of Johnny Appleseed. You remember that story? He went from place to place, planting apple trees? I have been thinking about that story for years.
Stupas should be like that.
Still got built, didn't they?
Record Prices for Stolen Property at Auction
USD $48,800 was the hammer price realized for this 11-3/4 inch, 18th century gilt bronze image of Vaishravana at last month's auction of Tibetan property, held by Bonhams in San Bruno, California. If you want a broken heart, click this link.
Anybody who wants to know what became of Tibet's treasures will find at least some of them in the world's auction houses, and nobody really cares that they are literally drenched in blood. Where will these orphans go? Will they be hoarded by selfish collectors? Will they die in museums? Will they ever go back upon a shrine? Long experience in such matters tells me that these things carry a certain "luck" with them -- woe be unto the unwary.
What will it take to end the worldwide trade in stolen Buddhist supports? Common sense should tell you, that as long as you have people in America (and elsewhere) willing to pop USD $48,800 for a single statue, and you have corrupt regimes in Buddhist lands, then you are going to have looted shrines. It happens not only in Tibet, but elsewhere, and it shows no signs of slowing down.
Anybody have any bright ideas?
Chinese 6th, M-T-K 5th. Ox, Khen, Blue 3. Note that we have gone back out of synch. So, here we have an ox day in an ox year -- pretty stubborn, huh? Bad day to get married. Also, don't disturb the water element today. All in all, this is not a particularly upbeat day. I'd stick to cleaning up around the house, and be done with it.
White Mahakala, Part 5 of 5
Brief Daily Practice of the Rapidly Acting Lord of Pristine Awareness,
The Jewel, King of Power
1.Preliminaries
Thought of Refuge (repeat three times)
From this moment on: until attaining complete enlightenment solely for the benefit of others, I, together with all sentient beings of the Six Realms, continuously take refuge in the Buddha, Dharma, and Sangha; the Lama, Yidam, and Dakini.
Shaping of Motive (repeat three times)
Through the practice of generosity and other virtues, may I attain buddhahood in order to help others.
The Four Immeasurables (repeat three times)
May all sentient beings have happiness and the causes of happiness; may all sentient beings be free from suffering and the causes of suffering; may all sentient beings never be separate from the genuine happiness that is free from suffering; may all sentient beings abide in equanimity that is free from passion, aggression, and prejudice.
om shunyata jnana bedzra sobhawa atmako nya ham
all things and I are the nature of that indestructible wisdom that is emptiness.
[With this mantra, all appearances are refined to emptiness.]
From empty space, a circle of protection comes from HUM. In its center a lotus appears from PAM, above it a sun from RAM, and from GAM, two Ganesh, white, with elephant heads, each holding a radish and mongoose, lying face down.
Above them, one’s mind appears as two vital drops of pure being, both white and red together, the size of a pea.
In the center is HUM, the color of quicksilver. From them, light shines, clearing away the suffering of all sentient beings that poverty causes.
The light is drawn in again and absorbed and the drops change to become the undifferentiated front and self generation, the forms of the Fast-acting Lord of Pristine Awareness, the Jewel, King of Power.
He is white in color and shines brilliantly. His face is wrathful with a smiling expression, full of humor. He has three eyes. His eyebrows, beard, and hair are orange and flaring.
His forehead is marked with a cinnabar triangle. Above his head, King Akshyoba seals him.
His first right hand brandishes a chopper in the sky. The middle hand holds the precious wish-fulfilling gem to his heart. The last right hand rattles an acacia wood hand-drum.
The first left hand holds by his left thigh a skull-cup filled with nectar in which there is a vase filled with jewels, in the second hand there is a trident, and the last left hand holds a noose.
He stands on the seat of the lotus, sun, and two Ganesh with his feet in the position of preparing to move.
He wears flowing silks of different patterns, a tiger-hide loincloth, and on his back, a freshly flayed elephant-hide mantel. He is adorned by a crown of five skulls, each surmounted by a precious jewel set in gold; a garland of fifty freshly severed heads, dripping with blood; ornaments of jewels; jingling bells, and garlands of flowers.
Surrounded by throngs of hundreds of millions of power-gathering dakinis as attendants, he stands in the center of a mass of flames.
At his forehead, there is a white OM, at his throat a red AH and in his heart a red power-gathering dakini holding an elephant goad and a skull-cup filled with blood. At her heart is a vital drop of pure being and at its center a white HUM.
From one’s own heart, light shines out inviting the Fast-acting Lord of Pristine Awareness, the Wish-Fulfilling Jewel, and all his throngs of dakinis from the Cool Grove Cemetery in the Southeast. (bell)
3. Accomplishment of the deity
pema kamala ya sa tam
dza hung bam ho
om bedzra argham ah hung
om bedzra padyam ah hung
om bedzra pukpe ah hung
om bedzra dhupe ah hung
om bedzra aloke ah hung
om bedzra gendhe ah hung
om bedzra newidye ah hung
om bedzra shabda ah hung (*)
Lord of pristine awareness, compassionate one: your body is white, radiant with light, like a snow-covered mountain. You completely pacify the poverty of beings. I pay homage and praise you. Grant me the attainment of numerous desires.
4. root mantra
GURU MAHAKALA HARI NI SA SIDDHI DZA
(repeat 1,008 times, or as many times as possible)
5. torma offering
(cleansing mantra of Trowo Dutsi Kyilwa)
om bedzra amrita kundrali hana hana hung pe
(purification mantra)
om sobhawa shudha sarwa dharma sobhawa shudho ham
Out of empty space, wind appears from YAM, fire from RAM and above that, a skull-cup from AH. It is completely filled with the five meats and the five elixirs all marked by the syllables HUM, BHRUM, OM, JRIM, and KHAM. (**)
The wind blows, the fire blazes, and the ten substances and letters melt.
Elixir is drawn from the hearts of all Buddhas, and is absorbed into the contents, which become an ocean of elixir of pristine wisdom.
om ah hum ha ho hri (repeat three times)
The assembly of wisdom deities drinks the torma, drawing it in with their tongues in the form of Vajra straws. (***)
guru mahakala ha ri ni sa siddhi dza idam baling ta kaka kahi kahi
Eat, eat, please eat, please eat this torma. (repeat seven times)
om shri mahakala ya sha sa nam|
u pa kari nam|
e ko pash chi ma ka lo yam idam ratna trayaya|
a pa kari nri ya di pratijaña|
samara sita da|
idam duktram kaka kahi kahi|
mara mara|
grihana grihana|
bandha bandha|
hana hana|
daha daha|
patsa patsa|
di na me kena|
maraya hung phat|
idam baling ta kaka kahi kahi|
(repeat above three times)
om bedzra mahakala sapari wara|
argham|padyam|pukpe| dhupe|aloke|gendhe|newidye| shabda|tra tyi tsa hung so ha|
(drum & bell)
Lord of pristine awareness, compassionate one: your body is white, radiant with light, like a snow-covered mountain. You completely pacify the poverty of beings. I pay homage and praise you. Grant me the attainment of numerous desires. Accept this offering and torma. (bell)
To we practitioners and our companions grant good health, life, power, glory, fame, and good fortune.
Grant me attainment in enlightened activity, pacifying, enriching, and the others.
Through your commitment, protect me. Through all attainments, be my companion.
Eliminate premature death and sudden illness, demons and obstacles.
Eliminate nightmares and bad omens, evil activities, and plans.
Make the world happy with good harvests, make crops flourish, and make the Dharma flourish. Grant the best in happiness, and fortune, and everything the mind desires. (bell)
6. hundred syllable mantra of vajrasattva
om vajra-sato samaya manupalaya
vajra-sato day-nopa day-ta dri-do mebawa
suto-kayo mebawa supo-kayo mebawa
anu-rakto mebawa sarwa siddam mepar-ya-tsa
sarwa karma sutsamay
chi-tum shereyang kuru hum
haha haha ho
bagawan sarwa tata-gato vajra mame mun-tsa
vajra bawa maha-samaya-sato ah
In the guru and the lord undifferentiated, I take refuge with devotion. Clear away all emotional confusion in me and all sentient beings.
7. Placing in Support
By staying in this very place, united to this representation, spare us illness and grant us long life and power. Grant us the Sublime Accomplishment in the most excellent way.
May the goodness prevail of the Lama and Yidam, the fulfillment of all fine qualities. May the goodness prevail of the dakinis and dharma protectors, who effect all enlightened activity.
ge way tsok nam sak pa kun
dak gir yong su zung me par
sem chen ma lu kun dun du
che ying la na me par ngo
8. Dedication of Merit
Through this merit may beings, having won omniscient perception, defeat all harmful enemies. May all beings be liberated from the ocean of existence and its surging waves of birth, old age, sickness, and death.
This is Part 5 of a 5 part series:
Part 1: http://tibetanaltar.blogspot.com/2009/07/white-mahakala-part-1.html
Part 2: http://tibetanaltar.blogspot.com/2009/07/white-mahakala-part-2-of-5.html
(*) With the above, we offer a lotus throne to the deity (pema kamala ya sa tam), the deity and the visualization become inseparable (dza hung bam ho), and we present eight offerings: drinking water (argham), bathing water (padyam), flowers (pukpe), incense (dhupe), light (aloke), perfumed water (gendhe), food (newidye), and music (shabda). These may be accompanied by the appropriate mudras if one wishes.
(**) The five meats and five elixirs comprise what is known as the inner offering. The five meats are flesh of a cow, dog, horse, elephant, and human. The five elixirs are feces, marrow, semen, blood, and urine.
(***) That is, each deity’s tongue takes the form of a five-pronged Vajra. The central prong is hollow, like a straw.
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One of 11 resident organizations, Lincoln Center (Lincoln Center for the Performing Arts) presents some 3,000 programs, events, and initiatives each year. Its performance series include American Songbook; Great Performers; the Lincoln Center Out of Doors, Midsummer Night Swing, Mostly Mozart, and White Light Festivals; and Live From Lincoln Center.
American Songbook website
Celebrating composers and performers of American popular song, American Songbook gives today's brightest vocal talents the chance to shine in styles ranging from country to rock, from bluegrass to jazz, and from cabaret to Broadway.
Avery Fisher, a lifelong benefactor of classical music, shared with Lincoln Center for the Performing Arts a great commitment to nurturing performers. His philosophy was to give back to the world what music had given to him.
Great Performers website
Since 1965, Great Performers has presented world-class artists in compelling performances of classical and bold, cutting-edge repertoire. Programs include modern and period instrument orchestra concerts, virtuoso vocal and instrumental recitals, and special film series.
The Martin E. Segal Awards were established by Lincoln Center’s Board when Mr. Segal retired as Chairman in 1986. Marking the commitment of the late Mr. Segal to support rising artists, Lincoln Center’s 11 resident organizations nominate an artist annually for the distinguished prize, which gives financial assistance and recognition to young artists of exceptional accomplishment.
Lincoln Center Out of Doors website
Out of Doors
Acclaimed music, dance, spoken word, and family events‚ including annual programs like La Casita and Roots of American Music‚ make up the country's longest-running free outdoor festival, filling the plazas of Lincoln Center every August for 43 seasons.
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Lincoln Center houses an outstanding public art collection of modern masterworks. Its celebrated Vera List Art Project commissions primarily limited-edition prints as well as posters for sale to the public. A selection of prints is on view in the art gallery on David Geffen Hall’s lower lobby.
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The Emmy Award-winning LFLC brings memorable performances from Lincoln Center stages to millions of people each year.
David Rubenstein Atrium
Immerse yourself in New York’s vibrant performing arts scene by attending one of the weekly free performances offered in Lincoln Center’s David Rubenstein Atrium.
Midsummer Night Swing website
For 25 summers, New York's hottest outdoor dance party has attracted audiences to swing under the stars to the electrifying sounds of the best local, national, and international artists.
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Since 1966, Lincoln Center's Mostly Mozart Festival has been a summer tradition. Led by Renée and Robert Belfer Music Director Louis Langrée, the Festival presents music by Salzburg's favorite son, his contemporaries, composers who influenced and were influenced by him, and features an annual artist-in-residence.
White Light Festival website
The White Light Festival is a multidisciplinary fall festival focusing on music's capacity to illuminate the many dimensions of our interior lives. Initiated in 2010, the Festival explores music's spiritual power as revealed in different cultural traditions.
Curated specially for Holland America Line, our concert series will thrill audiences of all ages. Learn more »
A commitment to local and global community outreach and education continues to be a central component of our mission. Nearly three quarters of a million lives were enriched by our community programming and educational initiatives.
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Enjoy Lincoln Center for less. When available, discount tickets to performances at Lincoln Center, New York City Center, 92nd Street Y, Merkin Concert Hall, and Miller Theatre can be purchased at the Donald and Barbara Zucker Box Office in the David Rubenstein Atrium. Stop by Tuesday through Saturday to peruse offered performances.
Lincoln Center Education’s mission is to enrich the lives of students, educators, and lifelong learners by providing opportunities for engagement with the arts onstage, in the classroom, digitally, and in the community. Our programs and initiatives reach hundreds of thousands of students, educators, teens, and seniors locally and around the world each year.
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Providing arts and education programs to some 80 New York area public schools, Lincoln Center Education works with students and educators nationally and internationally by helping to stimulate imagination, encourage critical thinking, and support learning in other subjects.
Meet The Artist School Series
Meet the Artist has a 30+ year tradition of presenting vibrant one-hour programs in an informal, interactive format. Showcasing a wide range of world-class performing artists from a broad spectrum of disciplines, programs are enjoyable for all ages. Each is personal and unique, and includes a Q&A with the artists.
Experience the world’s leading performing arts center and all that it has to offer in your local area! In partnership with Queens Library and Brooklyn Public Library, Lincoln Center will pack its bags and ride the rails this summer with live performances at select branches of community libraries!
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Contributions from generous individuals, foundations, corporations and government entities directly support all of Lincoln Center’s artistic programs and special initiatives and affirm our mission—to present the very best in the performing arts to the widest possible audience.
The Bravo Lincoln Center Campaign raises funds from both the private and public sectors to support the long-term objectives of Lincoln Center, including transforming its legendary 16-acre campus and building a larger institutional endowment that will strengthen its long-term financial position.
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Through one annual gift to the Lincoln Center Corporate Fund, your company, employees, and clients can enjoy all that Lincoln Center has to offer while proudly supporting the world’s leading performing arts center.
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Lincoln Center relies on the annual support of a large and loyal cadre of individual benefactors who participate in one or more of the following membership programs: the Friends of Lincoln Center, the Chairman’s Council, the Great Performers Circle, the Young Patrons of Lincoln Center, LC Kids. In grateful acknowledgment of their generosity, Lincoln Center offers a variety of exclusive benefits to enrich each member's performing arts experience.
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An estate or other planned gift is an investment in the future of Lincoln Center. When you offer a planned gift to Lincoln Center, you become a member of the Bravo Society, which affords you special benefits including invitations to our annual Bravo Society Luncheon; invitations to tours, rehearsals and previews; exclusive access to the Mostly Mozart patrons lounge; and acknowledgment in Lincoln Center Playbill programs and our annual report.
Lincoln Center for the Performing Arts, Inc. is deeply grateful to the many contributors whose generous gifts provide vital resources for its cultural, educational, and outreach programs and services.
The generous contributions from members of the Lincoln Center Council for U.S. Veterans directly support the Lincoln Center Veterans Initiative, a program offering attendance opportunities, events and employment opportunities for U.S. Veterans and their families.
Contact: Ed WalshI[email protected]I212.875.5427
The Lincoln Center Business Advisory Council (BAC) is a group of leading executives who are willing to devote one morning each year to advising Lincoln Center on its most pressing challenges and most promising opportunities.
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In addition to being a major cultural destination for more 5 million visitors annually, Lincoln Center is also the setting for high-profile corporate and media events, and film premieres. Its transformed campus offers expanded public/green spaces, discount tickets, free WiFi, and varied dining options.
Lincoln Center is the world’s leading performing arts center, uniting 11 key arts organizations on one campus. Following five decades of artistic excellence and service, Lincoln Center completed an award-winning major transformation in October 2012 to fully modernize its concert halls and public spaces, renew its 16-acre campus, and reinforce its vitality for decades to come.
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Lincoln Center (Lincoln Center for the Performing Arts) serves three primary roles: world’s leading presenter of superb artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012.
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Lincoln Center’s Boro-Linc Series Launches Events and Artist Residency in the Bronx April–June 2017
Amanda Angel
LINCOLN CENTER’S BORO-LINC SERIES LAUNCHES EVENTS AND ARTIST RESIDENCY IN THE BRONX,
APRIL–JUNE 2017
Series Announces Partnership with Hostos Center for the Arts & Culture and Casita Maria Center for Arts & Education to Hold Free Performances, Workshops, and Programs with Lincoln Center Education for Children and Families in
New York City Communities
Jadele McPherson is named Bronx Community Artist-in-Residence
NEW YORK, NY (March 23, 2017) — Lincoln Center’s Boro-Linc series, which hosts free performing arts programs in neighborhoods around New York City, returns to the Bronx this spring, presenting three engaging programs at Hostos Center for the Arts & Culture in April and another three with Casita Maria Center for Arts & Education in June. In addition, Boro-Linc has named Jadele McPherson as artist-in-residence in the borough, and as such, she will conduct free public workshops and embark upon a community performance art project.
Consisting of hour-long community artist workshops, followed by hour-long performances, Boro-Linc programs ensure that families and arts lovers of all ages have access to world-class cultural experiences that reflect the diversity of New York City and its neighborhoods close to their homes.
At the Hostos Center, the Malian-born singer Abdoulaye Diabaté will perform songs of his native West Africa (April 8); The Dream Unfinished: An Activist Orchestra will present the life and music of African-American composer William Grant Still and Latina pianist Teresa Carreño (April 15); and Jazz at Lincoln Center bassist Carlos Henriquez and his ensemble delve into the musical legacy of the great Tito Puente, the King of Latin Music (April 22).
The first event presented in collaboration with Casita Maria on June 11 features Spirit Ensemble, which uses music as a medium to survey the vast African Diaspora; Afro Yaqui Music Collective combines jazz, funk, hip-hop, and indigenous music to explore traditions around the globe (June 18); Gino Sitson, a French-American singer originally from Cameroon, will present a multicultural performance reflective of his background (June 25). The locations for these programs will be announced at a later date.
Each of the performances will follow a workshop led by McPherson, an interdisciplinary artist who will be conducting a cross-genre project about gentrification in the South Bronx during her residency based at the Hostos Center. Using performance and visual arts, she will work to create a venue that incorporates voices of the community.
“While the South Bronx is a birthplace of hip-hop, Black, and Latinx music, as well as political activism in New York, there is a great need for spaces that foster new artistic voices from the community,” McPherson said. “Having roots in the Mott Haven neighborhood in the Bronx, I’m excited to embark upon a project that will demonstrate the power of womanhood and Afro-Latinidad to create a more socially just city."
Boro-Linc, a community engagement program, breaks down geographic barriers. It creates greater access to Lincoln Center’s diverse arts and cultural offerings for all audiences and ages. Throughout the year, Boro-Linc brings programs to all of New York City’s boroughs.
In addition to its Bronx programming, Boro-Linc continues to offer programs throughout New York City this spring, including at Brooklyn’s Center for Family Life in Sunset Park, Educational Alliance’s Manny Cantor Center in Manhattan, Staten Island’s Snug Harbor Cultural Center & Botanical Garden, and the Jamaica Center for Arts & Learning in Queens. To RSVP for individual programs and to see a full schedule of events and locations, visit LincolnCenter.org/BoroLinc.
BRONX BORO-LINC PROGRAMS
Abdoulaye Diabaté
10:30–11:30 am Community Artist Workshop
11:30 am–12:30 pm Performance
Lauded Malian-born singer Abdoulaye Diabaté, dubbed the “African Troubadour,” is steeped in the jali (griot) tradition. With his passionate voice and overflowing energy, he sings traditional West African tales that recount histories, giving voice and remembering the culture in which he was raised.
The Dream Unfinished: An Activist Orchestra
Join musicians and actors from The Dream Unfinished: An Activist Orchestra for a family-friendly exploration of the works and biographies of virtuoso Latina pianist Teresa Carreño and trail-blazing African-American composer William Grant Still. Through their musical and personal lives, both composers developed deep connections to other countries and cultures. Featuring works for solo piano and chamber orchestra, along with youth performers and live dramatic monologue.
Carlos Henriquez Ensemble
Bronx native and Jazz at Lincoln Center bassist/composer/arranger Carlos Henriquez introduces and explores the musical legacy of Tito Puente, the King of Latin Music.
Casita Maria Center for Arts & Education
Spirit Ensemble
2:00–3:00 pm Community Artist Workshop
3:00–4:00 pm Performance
With a long and dynamic history, the Spirit Ensemble has established itself as the primary source for music that traverses the African Diaspora. The enchanting sounds of the mbira, kora, bala, steel pan, and bamboo flute comprise the essence of Spirit’s sound and provide the foundation for rhythmic travels.
Afro Yaqui Music Collective
Bringing jazz, funk, and hip-hop into dialogue with indigenous music of the 21st century, the Afro Yaqui Music Collective (AYMC) is a nine-piece outfit that descends from West African, global Indigenous, and East Asian musical traditions. Co-led by Gizelxanath Rodriguez, a Mexican operatic vocalist of Yaqui descent and an internationally performing soprano and activist, and saxophonist and Fred Ho protégé Ben Barson, the band creates a new rhythm that liberates spirit and soul.
Gino Sitson
New York–based vocal virtuoso Gino Sitson is a French-American originally from the Bamileke region of Cameroon, Central Africa. The award-winning singer is a pioneer of a new generation of multiculturally influenced African musicians who are integrating their own unique experiences into their musical styles. Sitson’s daring musical project innovatively combines jazz, gospel, blues, and traditional African polyphonies, polyrhythms, and melodies.
All performances are free and open to the public. Visit LincolnCenter.org/BoroLinc to RSVP. Seating is available on a first-come first-served basis.
The mission of the Hostos Center for the Arts & Culture is to serve the cultural needs of residents of the South Bronx who cannot easily attend arts events in midtown Manhattan. In so doing, the Hostos Center strives to create forums that affirm and nurture the cultural heritages of its audiences—especially Latinos and African Americans. Its patrons, however, come from all over the metropolitan area, making the center an arts institution of regional importance, enjoyed by diverse and discerning audiences. In its state-of-the-art facilities (a museum-grade art gallery and two theaters of 900 and 367 seats each) on the CUNY Hostos Community College campus, the Hostos Center presents visual and performing artists of renown, as well as local professional artists. More information is available at HostosCenter.org.
Casita Maria Center for Arts & Education is an 80-year-old South Bronx–based community arts and educational organization that presents diverse, contemporary, visual, and performing arts and education programming for all ages. Its mission is to empower youth and their families by creating a culture of learning through high quality social, cultural, and educational opportunities. More information is available at CasitaMaria.org.
Lincoln Center Education (LCE) is a global leader in arts education and advocacy and the education cornerstone of Lincoln Center, the world’s largest performing arts complex. LCE is committed to enriching the lives of students, educators, and lifelong learners by providing opportunities for engagement with the highest-quality arts on the stage, in the classroom, via digital platforms, and within the community. Founded in 1975 as the Lincoln Center Institute for Arts in Education, LCE has four decades of unparalleled school and community partnerships, professional development workshops, consulting services, and its very own repertory. LCE has reached more than 20 million students, teachers, school administrators, parents, community members, teaching artists, pre-service teachers, university professors, and artists in New York City, across the nation, and around the world. For more information, visit LincolnCenterEducation.org.
Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community engagement, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 16 series, festivals, and programs, including American Songbook, Avery Fisher Career Grants and Artist program, David Rubenstein Atrium programming, Great Performers, Lincoln Center at the Movies, Lincoln Center Emerging Artist Awards, Lincoln Center Festival, Lincoln Center Out of Doors, Lincoln Center Vera List Art Project, Midsummer Night Swing, Mostly Mozart Festival, White Light Festival, the Emmy Award–winning Live From Lincoln Center, which airs nationally on PBS, and Lincoln Center Education, which is celebrating 40 years enriching the lives of students, educators, and lifelong learners. As manager of the Lincoln Center campus, LCPA provides campus wide services and fundraising support for the 11 resident organizations: The Chamber Music Society of Lincoln Center, Film Society of Lincoln Center, Jazz at Lincoln Center, The Juilliard School, Lincoln Center Theater, The Metropolitan Opera, New York City Ballet, New York Philharmonic, The New York Public Library for the Performing Arts, School of American Ballet, and Lincoln Center for the Performing Arts.
Lincoln Center has become a leading force in using new media and technology to reach and inspire a wider and global audience. Reaching audiences where they are—physically and digitally—has become a cornerstone of making the performing arts more accessible to New Yorkers and beyond. The reimagination of David Geffen Hall will play an important part in these efforts.
For more information, visit LincolnCenter.org.
Lincoln Center is committed to providing and improving accessibility for people with disabilities. For information, call Accessibility at 212.875.5375.
Major support for Boro-Linc is made possible by The Andrew W. Mellon Foundation
Generous support facilitated by The Honorable City Council Members James Van Bramer and I. Daneek Miller
Lead Corporate Support is provided by Time Warner
Additional corporate support is provided by DISNEY
American Airlines is the Official Airline of Lincoln Center
Nespresso is the Official Coffee of Lincoln Center
NewYork-Presbyterian is the Official Hospital of Lincoln Center
Additional information, as well as photos and videos of the artists can be found at Lincoln Center’s Press Room:
AboutLincolnCenter.org/Press-Room
Log in or register to access
Boro-Linc Announces Programs in the Bronx [PDF]
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Searching for "possessio": 5 records
Pumunta ka sa amin. (Go to our place.)
(pron) first person plural number pronoun (exclusive) meaning "our", "ours", "us"; shows possession or location when preceded by SA.
maghubad
hubarin
1) Huwag kang maghubad ng kamiseta dahil malamig sa labas. (You should not take off your shirt because it is cold outside.) 2) Hubarin mo ang kamiseta mo. (Take off your shirt.)
(adj) naked, undressed from the waist up, not in possession of (verb) to undress, to have nothing on from the waist up
kay (pron) singular SA proper noun marker; also marks possession; the plural form is KINA, to, from, for
na3 (part) with SA/KAY, marks nouns indicating position, location, possession of something
third person plural number, non-focus pronoun; shows possession, as BAHAY NILA, their house; acts as non-focused actor in goal-focused sentences, as KINUHA NILA ANG LIBRO, they got the book.
(pron) they; their
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architecture and philosophy … writings by Hélène Julia Frichot
about hélène julia frichot
art+encountering
atmosphere+affecting
feminist+becoming
fiction+constructing
architecture+diagramming
philosophy+essaying
creative+resisting
refuge+deconstructing
Critical Feminist+Real-Estate
On Finding Oneself Spinozist: Refuge, Beatitude and the Any-Space-Whatever
A practical philosophy requires that one install oneself in the midst of things such that abstract propositions can lead toward the concrete manner in which one pursues a life. By living out propositions, and, we could add, by creating concepts, Gilles Deleuze suggests that one finds oneself to be Spinozist without having understood why. The question of a way of life concerns affects, the capacity to be affected, and to affect others. This present investigation, or activity of becoming Spinozist, begins with a fascination in a concept taken up toward the voluntary conclusion of Deleuze’s life; the concept of a life. And in the midst of this concept we discover a further perplexing term, that of beatitude. Beatitude is the mode of being in which one achieves the maximum of active power or force of existing, and the minimum of reactive passions; the mind becomes a cause of its own ideas, and the body that of its actions, in relation to an infinite milieu. Following Deleuze’s Spinozist account, the question of a life, which attains to absolute potential and absolute beatitude, installs one in the midst of a plane of immanence, which implies a mode of living, a way of life, an affirmative and ethico-aesthetic pursuit. We are in the midst of things, as Deleuze and Guattari are fond of telling us, and in being so unsteadily placed we discover ourselves in the context of certain contemporary political and ethical problems through which we must grope in an experimental manner. The structure of beatitude promises a refuge of sorts from such striving, like the limited place or shelter from which we make all our necessary departures and returns.
“On Finding Oneself Spinozist: Refuge, Beatitude and the Any-Space-Whatever”, in Charles J. Stivale, Eugene W. Holland, Daniel W. Smith eds., Gilles Deleuze: Image and Text (Continuum Press, 2009), pp. 247-263. Book Chapter
This book chapter was developed from two invited conferences papers.
“Refuge, Beatitude and the Any-Space-Whatever”, Gilles Deleuze: Text and Images, Comparative Literature Dept., University of South Carolina (April 5–8, 2007). Invited Conference Paper.
“On Finding Oneself Spinozist”, Plenary Panel. Wandering with Spinoza Symposium, convened by Elizabeth Presa and Dimitris Vardoulakis, VCA, Melbourne (September 2006). Invited Plenary Paper.
But if one truly installs oneself in the midst of these propositions, if one lives them, things are much more complicated and one finds that one is Spinozist before having understood why.
Gilles Deleuze, Spinoza: Practical Philosophy
Now we are at home. But home does not preexist: it was necessary to draw a circle around that uncertain and fragile centre, to organise a limited place.
Gilles Deleuze and Félix Guattari, A Thousand Plateaus
23. April 2012 by helenefrichot
Bullfighting, Sex, and Sensation 2001
A Feminist Critical Theory of Real-Estate
Feminist Design Power Tool
The bio-politics of refuge and bare life
biographical statement
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Prayer, Food and Defiance: How Pittsburgh's Jewish Community Is Coping 1 Week After Anti
"The community will be stronger as a result of this atrocity"
Is Steve King too toxic for Trump?
Disavowed by the National Republican Congressional Committee and abandoned by several of his corporate donors for racist rhetoric and ties to far right extremists, embattled Iowa Rep. Steve King seemed to be grasping for support last week as he struggled to get his re-election campaign on track ahead of Tuesday’s election. On Twitter Wednesday, King shared tweets of support from Texas Rep. Louie Gohmert and Ralph Norman, a Republican candidate for the House of Representatives from South Carolina. In an interview with Bloomberg News, King said he’d also received a supportive call from Sen. Ted Cruz (R-Tx.).
Moon Direct: Mars maverick lays out his low
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Why autumn and winter babies are far more likely to be elected to parliament
Honesty, integrity and the desire to make the world a better place should be the qualities which make politicians more electable. But a new study suggests that the month they were born is a major factor in success at the polls for male MPs. Children born at the beginning of the school year, who are the oldest in their class (September babies in Britain) have nearly double the chance of being elected to parliament, according to research that looked at polling results in Finland between 1996 and 2012. The research, carried out by the London School of Economics (LSE), found that being the oldest child in a school year increased the probability of a candidate getting elected to the parliament from 9.9 per cent to to 16.8 per cent. It is known as the ‘relative age effect’ and has been noticed in other walks of life, such as professional sports where the majority of top level athletes were the oldest in their year. It is thought to occur because the oldest children are bigger and do better in sport so are more likely to be coached and picked for teams. In school, older children in the year are often allocated more responsibilities and psychologically being better and stronger than peers raises self confidence and self esteem. Liam Fox MP was a September baby Credit: AFP Teachers also often place more confidence in older children which triggers a phenomenon known as ‘the Pygmalion effect’ where youngsters achieve more simply because they are expected to. In the current cabinet, 61 per cent of the males were born between September and February and 44 per cent were born between September and November. Dr Janne Tukiainen, Visiting Professor in the Department of Government at LSE, said: “The finding that the relative age effect is present only for males in competitive political environments suggests that the effect may be driven by males benefiting from being able to successfully compete with their peers from early on in life. “Given our results, it would be important that schools, and for example sports clubs, pay more attention to mental and physical maturity, rather than age when dividing cohorts, to create the conditions where all individuals can reach their full potential.” The British system of beginning school in September after a long summer holiday was originally brought in to allow children to help with the harvest. The researchers say they are also able to rule out that environmental or climatic factors might be an issue, such as children exposed to more sunlight at critical developmental phases may do better overall. "Our design solves the problem," added Dr Tukiainen. "So we can rule that out, because we compare candidates in a very narrow band around the cutoff, thus those are exposed to same environmental and climatic factors. "So at least our results are not explained by those factors. When they play additional role we do not know." But the also warne that ‘artificial rules imposed by society may create persistent inequality’ and could result in the ‘irreversible loss of potential talent among the relatively young in many areas of human life.’ The research was published in the European Journal of Political Economy.
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Turbulent video shows the moment a Russian rocket failed, sending two astronauts back to Earth
The Russian space agency Roscosmos released footage of the nearly-disastrous rocket launch that imperiled the lives of NASA astronaut Nick Hague and Russian cosmonaut Alexey Ovchinin on October 11. While the video is dramatic, it also proved the effectiveness of the Soyuz rocket's emergency abort system — which blasted the crew capsule away from the damaged launcher — ultimately allowing the two-person crew to parachute back down to Earth. The footage, captured by a camera attached to the side of the Soyuz, shows the rocket blasting off the brown Kazakhstan ground and passing through the clouds. But just after the 1:22 mark, things go awry. Specifically, there are four rocket boosters that are intended to simultaneously separate from the rocket, and then plummet down to Earth. That didn't happen in this case. "What is clear is that one of the boosters did not separate like the others," Brad King, director of the Space Systems Research Group at Michigan Technological University and CEO of Orbion Space Systems, said in an interview. "Once that failure occurred, all bets are off," said King. "I think I can say, I’m glad I wasn’t aboard." Though the booster separation glitch is apparent, what happens next is difficult to see amid the chaos. In a statement Roscosmos published Thursday, the agency said the booster involved in the "abnormal separation" then hit the rocket's fuel tank. SEE ALSO: 3 small moon rocks are coming up for auction. Here's why. "It resulted in its decompression and, as consequence, the space rocket lost its attitude control," the agency wrote. Once the separation failed, matters clearly deteriorated. Yet, the rocket automatically sensed a catastrophic failure and rapidly aborted the launch, sending the crew capsule away from the failing rocket. "I’m most impressed with how well the automatic abort system worked," said King. "That could be the first demonstration on an automatic abort in a crew launch." A Soyuz rocket under construction in Jan. 2018. The four strapped-on boosters are at bottom.Image: roscosmos"I think Russia is justified in their pride of that [abort] system," added King. Roscosmos stated that a slightly bent pin — bent just over 6 degrees — ultimately caused the abnormal separation from the rocket. Though, questions still remain about how certain Roscosmos is in their identification of the nearly-deadly problem. This is profoundly important, as the Soyuz rockets are the only space launch systems currently capable of sending astronauts and cosmonauts to the International Space Station — though both SpaceX and Boeing have plans for crewed flights of their systems as soon as 2019. "That really is the most important question: Were they [Roscosmos] successful in determining the cause?" asked King. For now, Roscosmos has only shown footage of what went wrong — not why. "I’d love to know how they found the pin was bent," said King. "It would be nice to see the evidence supporting that claim visually and through some documentation." "The next step is to show their work." WATCH: Ever wonder how the universe might end?
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Sen. Ted Cruz of Texas and Beto O'Rourke battle on the border, while former President Barack Obama joins the fray in Florida.
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In Character Special Edition: Erland Josephson
This past Sunday, minutes before the Oscar telecast was set to begin, news broke that Erland Josephson, a Swedish actor of incomparable skill, had passed away from Parkinson’s at the age of 88.
When I heard the news, I was utterly devastated. For fans of Ingmar Bergman (a group I most certainly belong to), Josephson’s work as one of Bergman’s troupe of actors was necessary to the success of every Bergman film he was in. And while I may find myself more enticed by Gunnar Björnstrand’s intensity and Max von Sydow’s innocence, there really was no other actor quite like Josephson.
So, for this very special edition of In Character, I’m going to change the format up a bit. Instead of examining Josephson’s entire body of work, I’m highlighting his best roles in Bergman films only. Josephson did incredible work outside of Bergman’s imagination, but it is here that I wish to stay.
Five Essential Roles
Baron von Merkens
Josephson made a career out of playing subtle creeps – quiet, stoic men who carry a single facial expression of inviting warmth and ultimate dread.
One of his earliest, and creepiest characters that fit this bill was Baron von Merkens, who, as the rich owner of an island, was privy to many exciting things, including hosting intimate dinners with neighbors, initiating psychosexual fantasies and (possibly) partaking in a little playful murder.
Not too many actors can scare the ever-living shit out of you by simply smiling amicably in a dark corner. But as soon as you see the Baron, you know to be afraid. Very very afraid.
The Passion of Anna (1969)
Elis Vergerus
Again playing the creepy, educated friend to Max von Sydow and Liv Ullmann’s characters, Elis Vergerus is one cold, odd ball. Already a successful architect when we met him, Elis fancies himself an amateur photographer, taking pictures of very specific, very random acts of everyday life, like people eating or committing acts of violence.
He’s the type of man who has no hesitation in staring a person down beyond comfort, or who is completely unfazed (if not oddly overjoyed) that his wife cheated on him for roughly a year. Yet another morose, wildly engaging character from a man who often appeared to be doing a lot less than he actually was.
Scenes from a Marriage (1973)
There’s no point in mincing words here: Josephson’s role as Johan, one half of the marriage chronicled in Bergman’s epic masterpiece, is by far the best character the actor ever played.
Johan is a despicable man who holds little repute for his life partner, Marianne (Liv Ullman). He lies, cheats, fights, you name it. A fiercely proud intellectual who has no real idea how arrogant he is (or, possibly, exactly how arrogant he is). But that’s just one side to this deeply complicated man, and because Bergman spends nearly five hours fleshing Johan and Marianne out (five essential hours, mind you), we get to know Johan as well as we know any Bergman character.
I can’t dare continue to go into the trials and tribulations that are presented in the six scenes of this marriage. But know that the film is as honest a depiction of marital life as I’ve ever seen. It’s the (often) good, the (endless) bad, and the (heartbreaking) ugly. It’s the role of a lifetime, and Josephson nails it.
Face to Face (1976)
Dr. Tomas Jacobi
As the kind, loyal doctor who befriends Liv Ullmann’s renowned psychiatrist, Dr. Jenny Isaksson, Josephson does a good job at keeping Face to Face grounded, even when it goes off the rails. Oh hell, who am I kidding: Face to Face is a batshit ass crazy movie with a madass crazy lead character – a woman who’s as completely fucked up as her very disturbed patients. And while Jacobi uses empathy to keep Jenny from going over the edge, she still manages to do just that a few times over.
To be clear: Face to Face is primarily Ullmann’s show (all due respect to Faye Dunaway’s Oscar-winning Network performance, but to even put her and Ullmann in the same category is a grand miscarriage of awards justice), but Josephson, as always, manages to leave his indelible stamp.
Isak Jacobi
Oh how I love Isak Jacobi, the moral center of Bergman’s operatic masterpiece, Fanny and Alexander. Josephson, as mentioned, was known for playing cold, domineering men with little regard to the people in his life, which makes his Isak such a welcome revelation.
As Isak, the nothing-but-kind Jewish art dealer who is a great friend to the expansive Ekdahl family, Josephson is affable, persistent and wholly essential. Without him, Fanny and Alexander would be void of its best, most magical scene, which involves Josephson kneeling in front of a large trunk, screaming at the ceiling, inexplicably making the impossible happen.
Fanny and Alexander is a remarkable film, full of more brilliantly grandiose sequences than any five films combined. And everytime I watch it, I find myself more drawn to Isak’s sympathetic sentiment than ever before. It’s no coincidence that once the film shifts primarily to the Jacobi residence, we’re witness to the film’s most magical moments. With Josephson at the helm, you see, there’s very little that can’t happen.
Saraband (2003)
I avoided Saraband the same way I avoid reading the final chapter of a flawless book. Not only was it Bergman’s final film, but it was the last “well known” film of his (i.e., post-Smiles of a Summer Night) that I had left to see. I avoided it to the point that I had virtually no idea what was it about. A few months ago, I finally relented and, much to my surprise, came to find out that Saraband was a sequel to Scenes from a Marriage. It did not come as a surprise, however, that not only was the film remarkable, but that its two leads hadn’t lost an ounce of their edge.
Thirty years after we last left them, Johan and Marianne have been long divorced, leading very separate lives with very separate life philosophies. Marianne has grown into a kind, nostalgic woman, while Johan has evolved into a bitter, remorseless man who is loathed by his grown son, Henrik. And while the reemergence of Marianne into Johan’s life doesn’t hinder the tumultuous relationship Johan has with Henrik, it doesn’t help Johan become any more likable, either.
When I first drafted this edition of In Character, I instinctively placed Scenes from a Marriage in this slot. But then I sat and reflected. I remembered Josephson’s pained, weathered face in Saraband. The grumpy old man who sees no point in carrying on, but does so anyway with pointless bile. I remembered the scene in which Johan, after receiving a shocking bit of tragic news, furiously strips down naked in front of Marianne, only to climb into bed with her, resting gently into a fetal position, silently begging to be consoled. It’s as moving an image as anything found in Josephson’s impeccable career; one hell of a swan song from one of cinema’s finest actors.
Other Notable Roles (Bergman or otherwise)
In The Magician
The Magician (1958)
Beyond Good and Evil (1977)
Autumn Sonata (1978)
The Sacrifice (1986)
The Unbearable Lightness of Being (1988)
Faithless (2000)
Previous installments of In Character include:
Tyler February 29, 2012 at 8:56 PM
Josephson was undeniably one of the most talented actors of all time. While I have yet to see SCENES FROM A MARRIAGE or SARABAND (I know!) it is his performance in FANNY AND ALEXANDER that really emphasises, for me, his power and brilliance as an actor. I also thought he was stunning in the two Tarkovsky films, NOSTALGHIA and particularly THE SACRIFICE, which is not in itself a great film, but soars due to Josephson's remarkable role.
thevoid99 February 29, 2012 at 11:54 PM
Having seen some Bergman films. Erland Josephson is an actor I'm not entirely familiar with other than his association with Bergman having only seen Cries & Whispers and Fanny & Alexander that he's been in. Next weekend, I'm going to watch the theatrical cut of Scenes from a Marriage while the only other film I've seen that Josephson is in is The Unbearable Lightness of Being. I heard about the news last night. I'm kind of sad though I'm more bummed out about the death of Davy Jones of the Monkees. 2 cool dudes. They will be missed.
Alex Withrow March 1, 2012 at 8:17 AM
@Tyler I've never seen Nostalghia, but yes, he is remarkable in The Sacrifice. You'll love his performance as Johan in both SCENES and SARABAND. So heartbreaking.
@thevoid99 Man, if you can get ahold of the 281 minute TV version of SCENES, I'd highly recommend that over the shorter cinema version, but either way, something is better than nothing. Ah, and Davy Jones... real bummer too.
Mark Woollon July 20, 2015 at 6:47 PM
I cannot get enough of that scene in Cries & Whispers where he exposes the flaws of her character through the traits of her face. Fucking love it man.
I was going to ask if you had got around to seeing Nostalghia, but then I remembered the under-praised long takes post :p
Alex Withrow July 22, 2015 at 3:15 PM
Oh man, that scene in Cries and Whispers... wow.
Love Crime
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My Oscar Weekend Films
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In Appreciation: Ben Gazzara
7 Movies with Great Football Scenes
Why I Hate The Help
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Board index ‹ General Discussion ‹ Fun and Games
POLL: APHELION FLASH FICTION CONTEST:July 2015
Writing challenges, flash fiction, interesting anecdotes, amusements, and general miscellanea.
EddieSullivan
Joined: March 01, 2014, 05:11:50 PM
Location: Just look under your bed
August 02, 2015, 11:26:52 PM by EddieSullivan
APHELION FLASH FICTION CONTEST: July 2015
The 3 Random Things Challenge
THE PREMISE: The challenge this time is to write a flash story with three completely random things. I went online and hit up a random noun generator.
Here is what I got: Crime, Jar, and Calendar
Michelle gulped at the charred pulverizer with its casing splayed open and the mangled mess in blue overalls ten feet away. It was the first time in her twenty-three years of life that she had seen someone almost drained of it.
She glanced out the window where asteroids, rusting vessels and other junk drifted. "Shouldn't we… err… send him to the hospital? Isn't there one right outside the perimeter?"
No one answered. Just wide eyes.
"Not taking him to Orion's Mercy," a voice boomed, "too many sociopaths and losers."
All spun around to see a sixty-year-old hulk with a crewcut donning a black trench coat, flanked by younger muscle, and all shrunk back.
"Sorry sir, didn't know Orion's Mercy was a psychiatric facility," said Michelle.
Jerry the Boss knitted his brow. "It's not. Was referring to them orderlies and doctors."
He squinted at his injured employee, then glowered at his busted machinery and huffed. "Get him to St Jude's now. Any jars this time?"
Babyface Danny slowly put his hand up.
"Jars?" whispered Michelle to the one next to her.
Michelle placed a blackened control chip on the wide rosewood desk. Jerry grabbed the component, held it up and leaned back in his chair.
"Sir, it's M-type but it's supposed to be N-type for that particular pulveriser," said Michelle.
As the boss inspected the chip, her eyes wandered around the office: photos of a young Jerry in an exo-suit; holo-captures of adolescents with one quaint lady prominently displayed, presumably his grandchildren; bottles of moonshine and two empty jars.
Jerry put the chip down, picked up a black marker and put a cross in today's cell on his calendar. There were two red asterisks in the same cell.
"According to maintenance logs," said Michelle, "it was changed last week, before I started, but…"
"…no name was entered," mumbled Jerry as he poured moonshine into his tumbler.
The waft of engine cleaner opened Michelle's sinuses. "Sir, I know I'm so new that Sheila hasn't even put my name into payroll yet but I need to know what's going on. I am the Process Engineer. How are jars connected to this… sabotage?"
Jerry narrowed his gaze and sipped his drink. "Young lady, Orion's Mercy Hospital have regular supply runs. Now, listen carefully since pirates do operate in this sector."
Michelle pulled the joystick. The ship broke left around a rock and a derelict cruise liner. The blinking red dot continued streaking toward the green dot on the HUD. Damn pirate missile.
She stole a glance over her shoulder—"You okay back there?"—Babyface Danny clinging onto the cases of… stuff.
He nodded. "Deploy c-countermeasures."
Her thumb brushed the selector, then hit the button right next to it. There was a clank as something was released but it didn't buy them time.
Still, Orion's Mercy was close. Michelle floored both thrust pedals and headed straight for the hangar, the missile still closing. She activated the transponder and hoped Jerry's fabricated codes would pass.
"Medical Transport One-Niner-Two to Orion Conn: under attack, require assis—"
Two streams of tracers blazed. The red dot disappeared. The defences seemed a bit excessive compared to other deep-space hospitals, not that Michelle was ungrateful.
The medical transport gleamed. Michelle tried not to smile but she was proud of her work. Hard to believe that the thing was scheduled for recycling just yesterday.
As Babyface Danny rolled the cases down the ramp, Michelle noted the reinforced hangar doors… then smoothed her paramedic's uniform and headed for the lobby with data-pad in hand.
At the entrance, green rays swept her head to toe. Orderlies glared at her but she kept her eyes forward and kept walking.
The corridors bustled and, like all caring environments, everyone ignored her. Having an ex-military boss obviously helped with resources, her outfit and key-card working so far. She turned right, marched toward Archives and entered.
Michelle gawked. Archives was certainly archives. Banks of files on the left and rows of organs on the right. In cryo-jars. She strode up to a terminal and plugged in the data-pad.
She smirked. Security did check her but found only her academic transcripts and pilot's license.
Then she executed the hack and an encrypted transfer link. Records flashed onto the data-pad screen: personal files, financials, layouts… the sabotage and the heavy defences now made more sense. Damn mob must have taken over the hospital recently. Jerry's business was successful and the mob, who obviously also ran organ black markets, wanted their slice. No way Jerry would have agreed so—
Oh dear… a file of a familiar young lady. Michelle had assumed the jars were a general threat to Jerry and his staff in the form of a personal taunt since he was an ex-Marine, a so-called jarhead. Well, it was personal: his granddaughter was poisoned a month ago and, during her brief hospitalization, had a kidney stolen.
Babyface Danny appeared on screen. "I'm d-done here. If I s-stay longer—"
"Wait in the ship as planned."
Then Michelle initiated a call. Jerry appeared and his eyes glinted. "Good work, now I know specifically who these maggots are. Get to your rendezvous."
Michelle was walking up the ramp when the orderlies shouted and bolted towards her. She elbowed the red button as one of them hurled himself at the ship, clinging onto the raising ramp. She kicked him in the face. She felt good whilst he fell off.
The ramp sealed shut and then she tapped [EMP] on her data-pad. Blue waves rippled from their cases. Lights out.
Danny pattered the comms panel.
"Hang on," the boss grunted in response.
A boom followed as the hangar doors flared inward. Thankfully, the hospital didn't detect Michelle's "countermeasures" as modified mines.
"Not leaving till we waste everyone on the list!" roared Jerry through comms as fifty exo-suits with full-assault load-out poured in.
He was obviously an old-fashioned guy, the type who got satisfaction crossing off dates and people he really didn't like.
The Beast, Within
Rednae looked at the blurry wall calendar through the interface. July 31st was circled in red--an infamous date, considering it was today, the day of burning.
The gooey, lifeless walls were thick. No one was getting through them, and the doors wouldn't dilate any more. The inmates were trapped. A lone light source sputtered over Rednae's head, above a nearly opaque patch of the ceiling, the dim flicker making this prison even more hellish.
He knew the Beast had to be getting close to the inferno that would turn them all to ash, but there was little he could do to take them to safety. If he could relight the great engine, the Beast's defenses would spring to life. It would be spared the flame yet again. He jabbed his key into the lock once more, but it would not respond. It couldn't.
It was dead, like everything else.
Some Keeper I turned out to be. Rednae feared his tenure would be the shortest on record, that was, if anyone still existed to keep records. Keepers tended the Beasthome since generations past, but he was stuck in a cell, and now everything was headed straight for perdition's flame. Because I trusted her.
I must have been addle-minded. What did I expect, trusting a prisoner? She had been so unique: a tantalizingly red, bristle-haired visitor from beyond, from a mostly-water world teeming with intelligent life. All intelligent, scheming life, apparently. He had never seen the like of Melissa. Such a strange name. Her body was so different: so... swelled... in spots. Rednae had a hard time keeping the vision from his mind. Plus, everything she described was so different, like how she traveled across the vast space in a hard-metal tube--just to explore. No one explored. Life just was, and you lived as you could. Every prisoner had a story--millions of them--but none like hers. Melissa said she just wanted to get back to her metal tube, to be free of the Beast, but the Beast was made for holding criminals just like her. It was its function, as was his, too.
What if her words were true? Even then, Rednae dared to think it. I could go with her. She promised.
He entered. "We will speak again, now."
She was pacing. "Why do you keep coming here?"
"Your story is unbelievable, yet I keep wanting to hear it."
"I tell you I am an explorer," Melissa insisted. "We'd never been inside 'The Beast', as you call it, before, so I volunteered to go through the conversion process. I needed to discover what it was really like, from inside here."
Rednae's vision blinked. "That is madness. The Beast is a prison."
"We didn’t know that."
Rednae paused. "What did you know?"
"Not enough." She sighed, something prisoners didn't do. "I... I know about freedom. The place I came from, everyone moves about, freely. You can't even go from one room to another here, but there... you can go anywhere, room to room, building to building, city to city, even country to country, anywhere in the world."
Rednae boggled. "Surely not. Chaos!"
She looked at him, tears in the corner of her eyes. "I know about love, too, and about missing someone you love."
He seemed unsure.
She paused. "Haven't you ever loved someone?"
He was silent for a long time. "There was one."
Her hand reached out to touch his side. No prisoner had ever dared--his body would consume them. Instead of bringing her death, her touch was soft, tantalizing. It was unlike anything he had experienced. His body burned from it and yearned for it at the same moment. In his own way, he gasped. The sensation was overwhelming.
"Haven't you been touched before?"
"I have not touched another except to lock prisoners into their cells since the one... That was whom I loved. The one I was created from."
Melissa continued to caress his side. "The one who created you, is she still alive?"
"Rednae," she asked, "if you could see her, touch her, one more time, would you not do it, even if your laws forbid it?"
He was uncomfortable in the silence. Eventually, he said, "Yes."
"That is how I feel about going back to my people, every moment I am here."
He watched her face. "Truly, you feel like this, all the time?"
What do I do? Slowly, he moved toward the door. Extending his key, it opened. "Then go. I cannot stand to know I'm causing you such pain, because then I feel it, too."
She jumped toward the door, but stopped. "Come with me."
He declined. "If this cell is not occupied, the Beast will react. The searchers will find you."
She looked through the interface at the calendar and set her jaw. "After I escape, I will get you out of here. I promise I will."
She was gone. Rednae could not weep the sorrow and loneliness that filled him. He was not built for it.
He sat alone in silence in the cell, waiting until she would be past the searchers, and would be free... waiting too long for the Beast to live.
"Where is it?" the scientist asked.
Her lab assistant extended a jar. "Nicked it off the cart, love, as requested. I know you know this one inside and out, but why did I have swipe it from the incinerator line? You know what horrible things we've put in there. It was a miracle it lasted through so many tests, but it's not living. The Director won't be happy you're doing this."
She ignored him and scanned the specimen trapped inside the container, then inserted a needle into the dead rabbit's eye. Extracting fluid into the same metal, tube syringe that carried her during her own experiment, she chuckled.
"I'll get you out of there, Rednae. I promised I would."
A Fairy Familiar Tale
Alison Stranglelove checked her calendar again, then walked to the kitchen. Then she walked back and checked it again. She repeated several times. Her excitement creating obsession. Tonight was the summer solstice . She would be able to do that which she had prepared . She was going to sneak onto the Childhome estate and catch a fairy. It was trespassing, but if they didn’t want that to happen they shouldn’t have bought the forest ripe with ley lines and fairy rings and hogged it all.
She looked through the window and saw the sundown . Soon the box trap she had placed on the estate would need checking. The trap was baited with a honey cake, and sugarplums , according to her research fairies couldn’t resist that. She had found an obscure treatise on fairies that declared they loved human sweetmeats. Alison expected that she would be able to use her specially prepared jar this evening to collect a new little familiar.
The walk down to the estate was uneventful. She had found the perfect spot for entering the property and absconding with her new treasure. She placed the jar in her knapsack and climbed the fence. The trap was conveniently placed just a hundred feet inside the estate. As she drew close she observed with glee that it was sprung and moving as something bumped around. She kneeled next to it and put her hand on the box feeling the vibrations coming from the inside. She wanted to savor this moment, it was the culmination of such planning. The pinnacle of her career as a practitioner would be having a fairy as her familiar. She unscrewed the cap on her warded mason jar and held it up to the sliding door on the side of the box. She would waited for the fairy to fly into the jar in an attempt to escape through the opening and then close the lid behind it. Easy-peasy.
It took a moment after the jar was in place but then something shot out of the trap and into the jar like a bottle rocket. Alison slammed the lid on. She held it up to look at her prize. Inside was a perfect replica of a little nude woman with gossamer wings. She stared back at Alison through the glass curiously. A slight tinkling came from the little air holes in the cover of the jar.
“Well now my little miniature missus, it seems I have caught you and you will be spending some time with me.”
A glassy little voice came from the jar, “Why did you do this? I don’t know you. You should let me go.”
“No, I don’t think so little doll. You are coming home with me.”
The little figure put her hands on her hips and let her upper lip curl in a sneer. “I suppose I don’t have a choice then. Let’s get on with it.”
Alison was quite pleased with the fairy’s understanding that her service was a forgone conclusion. She expected a little more resistance to her servitude. She put the jar in her bag and scaled the fence. That damn Childhome family and their cockamamie claims that fairies were dangerous and that they needed to be contained to the estate. Those pompous witches and warlocks didn’t even bother using them as familiars themselves. It did briefly occur to her that the security seemed lax for something they proclaimed to the heavens was there divine mission on Earth.
When she arrived home she was brought to an abrupt halt in the doorway as her knapsack refused to go through the threshold with her. Backing out of the house she removed it and took out the jar.
“What is going on Sparkles?”
The little fey stretched and yawned. “Who is Sparkles?”
“You are. That is your new name.”
“I have a name, it is over three millennia I have used it. I don’t think I like to change now.”
Alison scowled at her new pet. “Tough you are mine and your name is Sparkles. Now why is it that I can’t get into the house?”
A twinkly little laugh came from the jar. “I can’t step foot in your home without being invited, those are the rules.”
“Isn’t that vampires?”
“Fey too I’m afraid.”
Alison’s breathed huffed. “Fine then you are invited into my home.” She picked up the jar and the bag and stormed through the door ; Sparkles shrieked with glee.
Alison put the jar on the table and stared at the fairy.
“Now it is late, and I am tired. So you behave yourself while I catch a little shut eye and I will feed you some cake when I wake up, ok?”
“Oh yes Mistress, that would be delightful!” Sparkles hopped up and down in her jar.
Alison Strangelove smile down at her new familiar and nodded. Then she turned to go to bed. She lay down and as she drifted off to sleep she thought ‘ Now who is a second rate witch?’ The stupid council declaring she wasn’t advanced enough for a familiar would be sorry now. She would show them all tomorrow.
Alison wasn’t a very good witch. Her worst trait was research by far. She brought a quite high member of the Unseelie Court into her home invited. Sparkles real name loosely translated was “Destroyer of Life, Crusher of Souls”. It was also evident she was unaware that a warded mason jar wasn’t sufficient to hold said entity, nor that her translation of fairy culinary practice was flawed. They didn’t like human sweetmeats (cakes and sugar pastries). They loved human sweetbreads though, which is for the most part is the thymus and pancreas. Once you were trapped in the woods or through unfortunate luck found one had somehow gotten into your home things usually became tragic. Those little devils would climb in any orifice they could and chew their way to the sweetbreads.
The program facilitator scanned the faces of the six people sitting in front of him. All six would now have the chance to unravel a real mystery from two centuries before – by going back in time to the location of the offense.
“Greetings to all of you,” began the facilitator. “As you know, crime has been eradicated from our world by the webnet that protects us. But in the far past, killers ran wild through the streets like uncontrolled predators, hiding in large cities.” He was pleased that most of the participants gasped at his statement. These time tourists had paid to be entertained afterall. “We’ve selected a crime from the year 1963 involving the deaths of 3 women. A suspect was arrested, but later released, due to lack of a motive and physical evidence.”
Magalie Stenger began to ask a question but was stopped. “Each of you will be supplied with an era appropriate C-241 robot, who will answer only 20 questions when you get to the time location. The tourist who solves the crime with the least number of questions wins bragging rights. Well, if there are no further questions, Pittsburg 1963 is awaiting your detection skills. The travel booths are in the next room. Happy hunting!”
As Magalie looked around, she thought that stepping through the time portal into Old Earth 1963 was well worth the cost of the trip. She enjoyed seeing the sky and the city built on rolling hills. A robot followed her through the portal, having been modified to look like a girl of eight.
“I am here to assist you, mother,” said the C-241’s soft voice. “What would you like to know?”
“What happened to the three women, in general terms?”
“Helen B, Mary F, and Jane C were abducted, sexually assaulted, and murdered – their remains were found floating in the Allegheny River. One of the bodies was discovered in those bushes over there.”
“What was the suspect’s name?” asked Magalie.
“Lowell Roppo,” came the answer.
“Is the suspect’s job location within walking distance?”
“Every location on Earth is within walking distance for me,” said the robot child, not understanding the question clearly.
“How about for me, C-241 – is it within walking distance for me?”
“Is that a countable question?” asked the C-241.
“How many have I asked so far?” asked Magalie.
“Five, including this one.”
“Could be worse,” she whispered to herself. “Yes, that is a countable question.”
“Yes!” said the small robot, leading the way into the heart of downtown Pittsburg on a lovely Autumn afternoon.
“Did Lowell work in this neighborhood?” asked Magalie, walking past the brick buildings.
“Yes,” said the girl. “All his life.”
This was harder than Magalie thought it was going to be. “Will you take me to the place where Lowell worked?” insisted Magalie.
“Yes,” said the C-241.
After several twists and turns through the streets, the pair came to a row of six buildings, all of which were in need of repair. “I’m going to assume that Lowell left town after being released and his shop is the one with the windows covered with brown paper.”
The C-241 did not respond, as the woman’s sentence was a statement, not a question.
“Silence gives consent,” said Magalie, walking up to the entrance to the closed store. “As she peeked through the cracks between the papers, she could see what appeared to be women’s heads. “Can you get me inside?” asked Magalie.
“Yes,” said the robot.
“Will you get me inside now?”
“Yes,” said the girl, tearing off the dead-bolt lock with one swipe of her hand.
Magalie looked around before going into the building.
The room was musty and opening the door had stirred up the dust, making the human wheeze. “Why are those heads there?”
“Those are ceramic heads used to hold wigs which were worn by women for fashion or because they had lost their hair due to age or disease.”
“How long had Mr. Roppo owned this store?”
“Both of their lives.”
“You mean there were two Mr. Roppos?” she asked.
“Yes, according to records, Lowell’s father owned the wig store before him.”
Magalie went further back, seeing a calendar hanging on the wall. She noticed 3 days which had circles drawn around them. “C-241, what did the three murdered women do on these 3 days that were similar?”
“They all had appointments at a cancer clinic nearby.”
“Cancer? – could that disease have caused their hair to fall out?
“Yes. The cure for cancer at this time was chemotherapy.”
Suddenly the woman saw her refection in a jar on a counter. As she looked inside, she saw a blonde wig. She took it out, turning it over in her hands.
“I’m ready to go back to tell Rodgers my findings,” she told the robot, and the pair disappeared.
The other five travelers were also in the room.
“I’m ready to hear your theory, Ms. Stenger,” said the administrator.
Magalie Stenger smiled to herself. “I propose that as Lowell Roppo grew to become a man in his father’s wig store, he came to fantasize about the women in the display windows. But since all of those ceramic heads were hairless he looked for women who were hairless – women undergoing chemotherapy for cancer, like the women who came and went from his father’s shop.”
From behind her back she held up the wig from the jar. “I believe that you’ll find the DNA of all three murdered women on this wig – the wig that Lowell Roppo put on each of the women after he had killed them, thus satisfying his fetish.”
“And she developed this provable theory in how many questions?” Mr. Rodgers asked the C-241.
“14 questions.”
“Can anyone beat it?” he asked looking around the room. The others shook their heads no. “Well then you win bragging rights and one free trip on another murder vacation. I hope everyone will travel with us again soon.”
The Case of the Calendar Jar Crimes...
It was that time of year again, and Harry Hutchison was very worried. The 62-year-old detective already knew what would follow - or better what was probably going to happen… - and the events of the day didn’t disappoint him. At midnight, precisely, a holo-call announced that another body part would be found in an obscure alley in town. As the graying man looked at the calendar he regretfully told his younger colleague, “I knew this would happen: it’s the same day, the same hour, only one year after the last one…”
News websites and blogs had already let their fancy run wild, and they had named that strange sequence of unexplainable bloody events the ‘calendar jar crimes’. The reason was simple: at the beginning of the crime spree, on the given date, a transparent jar was left in an alley with a body part inside. Well, it was not from a human body, as it came from an alien species called Hujkn, one of the many alien groups that had been allowed to settle on Earth since the day the first Trade Agreements had been signed and the world had been admitted into the Great Union of Free Planets. This inclusion had proven to be very profitable for humans due to improvements in technology, science, industry and medicine, undoubtedly. So far, there were about 300 new intergalactic species that were living alongside Earthlings, and their numbers were steadily increasing every year.
The main mystery was that the body parts found weren’t all taken from the same alien body, as every single time the investigations revealed that they had come from different victims – whose complete remains had never been found so far. So, why was a damn killer cutting pieces of tissues from an alien’s body, putting them into a jar and leaving it somewhere? Of all the madmen the detective had ever encountered in his life, this murderer was obviously the most bloodthirsty!
For the first three years, though the policemen hadn’t discovered anything about the person responsible, a jar would be found in town on the same date, after the usual holo-call. Then, things worsened. Once the media found out that all these body parts came from the same alien species - the Hujkn - it became clear the act was a hate crime. They surmised it must have been done by some racist who detested the Hujkn and wanted to show the whole world that he had decided to deal with those new citizens of Earth in this bloody way. The question was: should they be looking for a human who hated the Hujkn - or an alien? In fact, that species had many enemies - including other alien groups who had been admitted to Earth. The same could be said about humans who hated all other alien peoples, anyway…
Even though the policemen involved, including Harry, had no clues about the real killer, someone new decided to send a clear response - and so another jar with a body part from a different alien species had shown up. The remains were from the Ltmra, who had always been at odds with the Hujkn over some commercial agreements which had been infringed upon in the past, almost causing a war in space. So, there were now two of them: a person who killed, or cut, parts off poor Hujkn bodies and left them in an alley, and another one who did the same on the aliens known as Ltmra…
But, it didn’t stop there, as things left to themselves, usually go from bad to worse. Probably because of the game of intertwined hatred among the different species with past scores to settle, new jars with new alien body parts were announced and picked up in several parts of town, each find having its significance. These actions were obviously meant to strike fear in their enemy’s species. The fact was that each year had only 365 days, and the policemen had been hoping that no other alien killer would perpetrate the same acts, as those insane individuals seemed to have already selected a different date to showcase their crimes.
And then it happened: another jar - but with human organs - was found in a park on February 29th. For the first time, some unknown killer had started practicing the same crime on Earthlings - and it had occurred on a day that only repeated every four years. Humans had finally become the target of that madness! But there was something else that made the detective upset this year: a message attached to the jar with human body part that said: “You stupid humans! Do something and stop this senseless chain of violence, or we’ll fill every day of the year with jars holding the remains of Earthlings. You have four years to solve this crime or else, starting with the next 29th February, we’ll put our threat into practice!”
Harry silently looked at the message again and smirked. The detective knew he would not be working four years from now, as next March he would finally be retired, and so he could simply walk away from all those terrible crimes that had made his job unbearable for a decade. Someone else would be forced to solve the problem after he was gone!/b]
We’ll never know for certain, but Harry was probably very surprised when he stumbled upon an alien from a species he didn’t even recognize one night while coming back from the pub, and unbearable was the former detective’s suffering as that stranger started cutting out his internal organs and putting them into another jar to be left somewhere in town. Attached to that new jar was a message: “We’re already tired of waiting, so we’re not holding off until leap year: hurry up and solve those damn’ crimes on your damn’ planet now – or else!”
FLASH SUPRESSOR
He states, “I’m an Adjudicator.”
“See the circle on the calendar. I have to go out and do it again. I can never complain. Let me explain, but first I must take some refreshment.”
He took a gumdrop out of the Everfilled Jar.
“This jar knows my thoughts, my wishes. I desired to throw the whole thing out the window but then it would be filled up again, just like that. And here they are, lemon gum drops, my favorite. And littering is a major ecological crime, as is farting. Methane, a major green-house gas, is strictly regulated. There are meters on everyone’s body from the day we’re born. Good credits are given to those who fart less. The truth of the matter is 40% of human populations are walking methane factories. It is a great form of taxation. Every body agreed those who polluted should pay.”
“I am not DNA prone to produce methane, but cows are. Large herds of cows were eliminated generations ago. Now only small numbers of the animals are allowed to breed and then again in especially environmentally controlled enclosed fields. Methane being a very potent gas is harvested for those activities that required natural methane for the sports population, specifically the indoor environmentally controlled go-kart racing crowd.
“I am one of the Hunters. All Hunters are licensed by the National Revenge Assembly, a bureaucratic subdivision within the Justice Department, an august group of citizens whose only desire is to see that the laws of the land are respected. Since all citizens are given all we desire and are free from want, and no one should have any want in our society. Want is The Capital Crime. Some of us desire to hunt. We don’t want to hunt. We simply desire to help maintain the balance in our Most Free From Want World.
“Every one has all they desire. Those who are found to want, and adjudicated as capital criminals, are allowed to go through a final form of trial. Our society gives every one what they desire. The final argument is conducted under the Human Hunting Laws. And the one found guilty could desire trial-by-combat.
In order to achieve a balance in the hunt revenge game that is required by our natural psychological make up, the NRA decrees hunting as the following, as I will explain, and we are given the opportunity to hunt, only the game is a condemned human. However, if he or she succeeds in break-freaking through the barrier of hunters or manages to kill one of us in the hunt, the criminal is deemed worthy and reformed of want by dint of God’s grace and set free. It’s a wonderful game. So far I’ve managed to adjudicate ten criminals. I’m called The Top Adjudicator.”
Today the hunt is in the break-freaking game preserve. The planets rotation is about to cut the natural light from the preserve. This is the best time. This is when the hunted ones get careless thinking they are about to cross the border. The Adjudicator studied her profile and figured she would try to use the river exit; so unoriginal.
I pop another gumdrop into my mouth. It is sour and my cheeks pucker. That was a good one and it brings a tight smile to my face. My rifle is resting on the sandbag as I chamber a .308. The specially made kill-bullet glides in silently. The bolt locks like jeweled clockwork. I turn on my infrared scope. The cross hairs align for 500 yards. There is no wind.
Number eleven.
She was condemned for expressing too much undesire and wanted too much to have diversity, to allow change. She had something to do with cyborg designs. Silly girl. She should have kept her mouth shut. She knew better. I don’t care too much about personal data for this game. Too much gets in the way and I over analyze. They all panic out here.
They said if she had her way, then we’d all be just a mess like the old days of total chaos and confusion. We are so free from want. Everyone is happy and those that aren’t, soon learn one way, or another.
Between the breaths: I see her face, I squeeze the trigger. All I hear is phhhht. The suppressor keeps the noise down to a respectable level. I don’t even need earplugs. That would allow her to possibly sneak up on me. Well not this one. That only occurred once and I was almost willing to let him escape. He was good. He could have been one of US.
He called me a stooge and tool for the National Revenge Assembly, corrupters of the old constitution. He should have just terminated me, no talk. I couldn’t let that slide. That’s what a side arm is for.
She’s down. My job is done, and such pleasure. My sensors are surely reporting my happiness to the National Revenge Assembly. I will be rewarded. Strange, there is no confirmation…but it happens.
I have a great desire for steak and potatoes tonight. And then, who knows.
I make the call again, nothing. I walk to where my RPV is just landing. I walk slowly. Before boarding I stop, turn, and look back at the killing field. I can’t believe I see her face in my memory. She was cute, too bad.
Something is burning inside me. I look down. I‘m bleeding, what the… My hand covers the blood. Then I hear her voice.
“You think I was stupid enough to do like the others? I’m allowed a review of the Hunters just as you are of your intended victims. I know you like to lay and wait by the river. You shot my cyborg. I saw you look at your communicator. Of course you didn’t get a confirmation. I will take your machine and leave you here as you would have left me.
Oh, one last thing.”
My brain registered the muzzle flash.
To vote, rate these stories using the form below with scores of 0-10 (in whole numbers) and send it to me via PM:
1) What overall score would you give the story?
2) How good was the Characterization?
3) How effective (or original) was the plot?
4) How clear was the setting to you?
5) How good was the use of dialog?
6) How well did the story meet or address the challenge as it was given?
NOTE: you must have posted at least one message before you can send a PM. Join in a discussion or just say hi in a thread before voting via PM. If I suspect a voter of being a false identity (i.e. a troll), I won't count their vote.
Author scores for their own entry will not be counted.
Like so for each entry please:
1) Overall:
2) Characterization:
3) Plot:
4) Setting:
5) Dialog:
6) Challenge:
Voting will close on Friday August 14th, 2015 at approximately 8 p.m., East Coast Time.
Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong. – Neil Gaiman
ente per ente
Joined: September 18, 2009, 05:02:54 AM
August 03, 2015, 08:07:27 AM by ente per ente
Re: POLL: APHELION FLASH FICTION CONTEST:July 2015
My votes are already in...
August 04, 2015, 01:05:30 PM by TaoPhoenix
Here is a voting shell that might help people!
Aphelion Flash July 2015
Flash Suppressor
I'm glad I stayed silent on voting in other challenges, "no votes means no bad votes". It's so tough to really be balanced at this level of detail! And you can't vote properly if you're emotional about something else!
Mine will be in soon.
What do we do if a story blows out the word count? To me it's disqualified ... so I am holding my votes (and Ente you may be forced to change yours!)
I recommend people "leave a few words slack" to avoid stuff like this! And if you think you have a heavy story, use a program with a word count!
I saw the big paragraphs in Flash Suppressor and had a bad feeling! Now the only problem is if there are dangerous differences in word counts! I am getting "about" 1058 words in Kingsoft Writer. Now I know that's a "2nd rate" alternative to "the standard" MS Word, but plus or minus weird effects of random spaces, that's over the limit!
I need people to post some data!
So for now I am holding my votes!
I do not count the words before or during the contest, I am just happy to have participation. If a story is obviously too large it will draw attention on it's own. I was forced this time by the thread to put each story less "The End" and title onto my pages program and peek at counts. I have 3 stories over. I am going to allow this as it is my contest. If you want this to be a factor you may score a story which went over lower in the challenge category.
That is how it will go please. I think that is the best solution.
It is about fun and creativity and this is a non-prize contest on an amateur forum. Deduct points if you must but the stories stand.
EddieSullivan wrote: I do not count the words before or during the contest, I am just happy to have participation. If a story is obviously too large it will draw attention on it's own. I was forced this time by the thread to put each story less "The End" and title onto my pages program and peek at counts. I have 3 stories over. I am going to allow this as it is my contest. If you want this to be a factor you may score a story which went over lower in the challenge category.
Well, I don't *want* people to lose out! But see also Rick Tornello's comment that feels to be on the conservative side of the word count rule. I'm growing torn about word counts in my voting, because I don't want to get ruthless in every month of voting. (Though imagine an alternate ruthless dystopian world!) It just feels like a bit of the "rawness" of Flash, if authors check their stories and then have to decide "which important part do I cut to get under the line". (And I'm poor at the form, for these reasons, because then my stories get lopsided!)
Participation is definitely essential! So I will leave it alone in my voting - but I don't think it's fair either to say "ho hum, it blew out the word limit, well that's a second class rule so we don't care".
So I'm happy that stories won't get kicked for it, and voters can decide themselves what it means to them. And it "might as well be me" getting this into "open space", because "someone would have". And "if a story is too large it will draw attention" ... and that's *exactly what happened* ! I didn't go into this nitpicking. I just took one look before reading and said to myself "uh oh, that's a *lot* of large paragraphs, that *can't* be under the limit". It happened in under a minute. Because that's exactly where a few of my pre-submit drafts keep ending up.
Yup, and I won't deny it may effect the score. But this time I will allow it. The nice thing about being the guy running it is I can do that. I didn't think you were rabble rousing, it was a good catch and certainly needs to be discussed. It just won't be a disqualifying factor this time.
Okay, with that solved, my votes are in, unless tell Eddie tells me I went a wee bit too fast and missed something!
Joined: April 03, 2015, 11:32:04 PM
August 04, 2015, 10:37:40 PM by jto
Just to add my 2 cents worth...
Obviously, whether a piece is included in the shortlist is the editor's prerogative.
It's up to each individual judge to take into account the word count. Personally, I would since the rules state it and it's unfair to not take it into consideration.
There are differences in software packages and, in my experience at least, MS Word seems to be the most consistently accurate.
Using MS Word and counting main text only as the rules dictate, I get the following:
Waste Management 999
The Beast, Within 991
A Fairy Familiar Tale 996
Twenty Questions 994
The Case of the Calendar Jar Crimes... 980
Flash Suppressor 1001 (including the "II" sub-heading, 1000 if excluded)
In these cases, not an issue for me.
Honestly if I was ever rejected from anything because of word count that would be the last they see of me. If you want flash I give you flash give or take. If I give you 1500 or 2000 words we both know I didn't do a flash piece. If you tell me I have 1005 words and I need to cut it or face rejection, the hell with you. If you recommend five words to take out and I see your point, well that would be different, I can take editorial advice.
Thing is I don't edit contest pieces, I just post them.
bottomdweller
August 05, 2015, 12:37:22 PM by bottomdweller
REQUIREMENTS: (1) Your story must a speculative (sci fi, fantasy, dark fantasy, bizarro, etc.) story; (2) Your story must involve a crime, a jar, and a calendar; (3) 1,000 words or less, not [u]counting title, byline, "The End," or punctuation such as #### used to separate sections;
Taking out just The End, Stories are: The Beast Within 996; Waste Management 1004 (less without the title and ***** punctuation); Calendar Jar Crimes 989; Twenty Questions 999; Fairy Famiiar Tale 1000; Flash Suppressor (939). And??
Since the house is on fire - at least let us warm ourselves.
Well all that is interesting, because it's useful to know that my Kingsoft Writer is off by some 50 words!
And I also hope this didn't spark the resignation announcement!
Yes it is all your fault!!!!!!!
I just have too much on my plate and it is someone else's turn. My replacement is great!
rick tornello
Joined: October 06, 2008, 06:53:45 AM
Location: Chantilly VA
August 05, 2015, 08:04:21 PM by rick tornello
*** or ### or II (as in chapter 2) or The End and title are not supposed to be counted as the word count.
FLASH is 1000 words or less unless indicated.
If I exceeded I'm DQ'd- plain, pain and simple. Just let me know. I'll get over it. I used the MS word counter, subtracted out the THE END stuff and my numbers worked for me. HOWEVER my math skills are not the best. I accept the verdict of the editor.
When I raced, if the top finishers were just one pound under was under the minimum weight for the class, TFB DQ'd.
August 06, 2015, 08:05:19 AM by bottomdweller
This all just shows how tough it is to write a complete story in 1000 words or less. It's a good challenge for all of us - it forces us to chose our words carefully - like Tweeting maybe.
A lot of good stories this time, a lot of variety in the subject matter
August 06, 2015, 08:34:32 AM by rick tornello
I have one question, no matter, DO WE OR DO WE NOT have word overages?
If yes please let me know which stories.
I totally agree with TAO on this .
And if I screwed up on my word count , take me out . However, I just went in again and checked my word count. I subtracted the extraneous things and hit 1000 words of text. I'm using MS WORD 2004 because it's simple and easy to use, and it still works. I have no idea how anyone came up with the different numbers they did, but I'm glad you're not programming the next space shot.
When it comes to this I may push a little, and 5 more words can make a difference in an okay story or a very good one.
kailhofer
Location: Kaukauna, Wisconsin (USA)
August 06, 2015, 10:12:02 AM by kailhofer
Sounds to me like everybody was good on word count. Even if there was an issue, Ed's running this contest, and he allowed it, so there is still no issue. A final ruling is just that, final.
BTW, even when I ran the contest, I gave everybody one story where they could break the rule a little in a "first one's free" sort of way. There is precedent for this, so relax, everybody. We're ok here.
Hardcover, paperback, pdf, eBook, iBook, Nook, and now Kindle & Kobo!
A cooperative effort between 17 Aphelion authors. No part of any sales go to Aphelion.
August 06, 2015, 10:12:25 AM by TaoPhoenix
Well, I had a long piece in tap.
I'll hold onto it to see what becomes of Nate's "let's relax comment".
August 06, 2015, 10:55:49 AM by EddieSullivan
No one is disqualified. The only one who can remove someone is me, and no one is out. That pretty much settled it before. I prefer to be lenient in this case because I am feeling good about the level of participation so if there were slight overages then I have issued absolution. Like I said you are free to vote with your feelings that is were you get a say!
August 14, 2015, 08:11:45 PM by Lester Curtis
My votes are in ... I almost didn't make it.
Waste Management- Joey T 299
The Beast Within- Nate K. 305.2
A Fairy Familiar Tale- Ed S. 322.2
Twenty Questions - Michele D. 321
The Case of the Calendar Jar Crimes- Sergio P. 306.8
Flash Suppressor - Rick T. 312.6
Honestly I have a hard timing believing this myself as this is a tough scoring crowd and it has never happened previously. The score sheet is available in it's entirety to anyone who asks. I am really not ok with this as someone completely omitted scoring one of the stories I believe by accident. So there should be another winner and if that person' story was at all liked by the person even remotely they would have won. I would like to award it to that person unless I here any objections in the next few days. Please comment here.
Yeah, that was me. Sorry; I've sent the missing score by PM if it'll help.
The winner is Joey T. in my book. There was almost no way Lester's mistake once corrected could not have resulted in his win in my book. Hope everyone else is ok with this as I am. He had 299 without one whole set of scores, I think it is clear he would have won.
Congrats Joey!
Congratulations to the winner, well done, indeed!!!
My preferred entries this month were, with the same score, A Fairy Familiar Tale and Twenty Questions, I gave them both 7 in each category anyway...eh,eh
Congrats, Joey!
Eddie, you did well too, placing second. My top vote went to Michele this time. Here's how I marked 'em up:
1) Overall: 7
2) Characterization: 5
3) Plot: 5
4) Setting: 7
5) Dialog: 9
6) Challenge: 10
comments: Difficult to follow; felt like pieces were missing. I'm guessing that indicates cuts to make the word count; I've turned out a few myself that felt that way for that reason.
3) Plot: 10
comments: Heavy info-dump via dialog—and the narrator is dead.
Sorry I didn't take the time to come up with more (and better) comments; I've been busy with a personal obsession for a while and it's cut into all sorts of stuff.
1st off - who is your replacement? How can you stop now when we've just begun to have fun? Maybe we should up your pay, double your pay, no triple it!
Boy, this little contest is a pip with the scoring. Congrats Joey! We'll get you next time
The 3 objects scenario left the door open for a lot of variety in the stories - which I love. I liked Richard's story about being on safari and Joey's story. Heck, I thought mine was pretty fun with people going back in time to solve average crimes for fun (NOT Jack the ripper PLEASE!)
Sergio is always right on target with his story - he knows how to exploit the contest guidelines to the max.
Good job, my virtual peeps!
Dionisio "Don" Traverso who uses Mekano46 here on the boards will be taking over and on his own after October. He has been approved by the board and will help me prep the flash section the next two times. He has appeared here several times and is a regular contributor to my outside project. His work is well self edited and he knows what to look for to make a story tight and well told. I endorsed him fully for the position. He will do great.
Michele, I don't know if I could stay if they offered me ten times my pay plus a 2 year bonus!
Return to Fun and Games
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Leaves today are, in almost all instances, an adaptation to increase the amount of sunlight that can be captured for photosynthesis. Leaves certainly evolved more than once, and probably originated as spiny outgrowths to protect early plants from herbivory. Leaves are the primary photosynthetic organs of a plant. Based on their structure, they are classified into two types: microphylls, which lack complex venation patterns, and megaphylls, which are large and have complex venation. It has been proposed that these structures arose independently.[36] Megaphylls, according to the Telome hypothesis, have evolved from plants that showed a three dimensional branching architecture, through three transformations—plantation, which involved formation of a planar architecture, webbing, or formation of the outgrowths between the planar branches and fusion, where these webbed outgrowths fused to form a proper leaf lamina. All three steps happened multiple times in the evolution of today's leaves.[37] It has been proposed that before the evolution of leaves, plants had the photosynthetic apparatus on the stems. Today's megaphyll leaves probably became commonplace some 360mya, about 40my after the simple leafless plants had colonized the land in the early Devonian period. This spread has been linked to the fall in the atmospheric carbon dioxide concentrations in the Late Paleozoic era associated with a rise in density of stomata on leaf surface. This must have allowed for better transpiration rates and gas exchange. Large leaves with less stomata would have gotten heated up in the sun's heat, but an increased stomata
density allowed for a better-cooled leaf, thus making its spread feasible.[38][39] The rhyniophytes of the Rhynie chert comprised nothing more than slender, unornamented axes. The early to middle Devonian trimerophytes, therefore, are the first evidence of anything that could be considered leafy. This group of vascular plants are recognisable by their masses of terminal sporangia, which adorn the ends of axes which may bifurcate or trifurcate.[32] Some organisms, such as Psilophyton, bore ‹See Tfd›enations. These are small, spiny outgrowths of the stem, lacking their own vascular supply. Around the same time, the zosterophyllophytes were becoming important. This group is recognisable by their kidney-shaped sporangia, which grew on short lateral branches close to the main axes. They sometimes branched in a distinctive H-shape.[32] The majority of this group bore pronounced spines on their axes. However, none of these had a vascular trace, and the first evidence of vascularised enations occurs in the Rhynie genus Asteroxylon. The spines of Asteroxylon had a primitive vasuclar supply – at the very least, leaf traces could be seen departing from the central protostele towards each individual "leaf". A fossil known as Baragwanathia appears in the fossil record slightly earlier, in the late Silurian.[40] In this organism, these leaf traces continue into the leaf to form their mid-vein.[41] One theory, the "enation theory", holds that the leaves developed by outgrowths of the protostele connecting with existing enations, but it is also possible that microphylls evolved by a branching axis forming "webbing".
Biological dispersal
Animal dispersal mechanisms
Dispersal range
Types of dispersal
Evolutionary history of plants
Asteroxylon and Baragwanathia
Colonization of land
Evolution of life cycles
Evolution of morphology]'
Evolution of photosynthetic pathways
Evolution of plants
Evolution of secondary metabolism
Evolution of the MADS-box family
Factors influencing floral diversity
Factors influencing leaf architectures
Mechanisms and players in evolution of plant form
Origins of the flower
Tree form
Attraction methods
Flower specialization and pollination
Flower-pollinator relationships
Flowering transition
Organ development
Parthenocarpy
Plant sexuality
Plant stem
Pollination mechanism
Pollination syndrome
Bat pollination
Bee pollination (melittophily)
Beetle pollination
Bird pollination
Criticisms of the syndromes
Fly pollination
Moth pollination
Water pollination (hydrophily)
Wind pollination (anemophily)
Fashion is a part of your life
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Accessories and Jewellery
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Buro 24/7 Worldwide
Culture & Lifestyle | Buro Loves
Liberté, egalité, fraternité: how the world shows its love for Paris and Beirut
Site: Anna McClelland
Image: Mirror.co.uk
After the atrocities that occurred in both France and Lebanon, during which at least 129 lost their lives in Paris and 43 in Beirut, the global outpouring of solidarity is being displayed in beautiful ways
As the world comes to grips with the series of coordinated terrorist attacks on Paris and the double suicide bombing in Beirut, the predominant emotions are those of shock, grief and sadness. The news has saturated our TV screens and social media channels all weekend - and while it's essential to be informed, at times the constant barrage of blood-soaked images and bad news can feel overwhelming.
Which is why it's important not to ignore the positives - for in every horrific image of an injured civilian, you'll also see people stepping in to help - the police, the firemen and paramedics; the taxi drivers who drove people in affected areas home, the people on the street who risked their lives to save others. Over the weekend we've seen the worst that humanity is capable of, but also some of the best.
In our gallery above we've compiled some of the most beautiful displays of sympathy and support from around the world. Take the musician who drove from Germany to set up his grand piano outside the Bataclan and play John Lennon's 'Imagine' for the mourners there (watch the video below), or the iconic landmarks lit up in the French tricolour all over the world, from our own Opera House and National Gallery of Victoria to the London Eye, Jerusalem's Old City Wall and Rio de Janeiro's Christ the Redeemer statue.
Related story: Sass & Bide designs for charity foundation Make-A-Wish
Candlelit vigils have been held as far as Damascus and Melbourne, Londoners gathered in Trafalgar Square with their faces painted in red, white and blue and we've all adopted the French flag filter on Facebook to show our support. Celebrities have been quick to harness their huge reach to spread messages of peace and tolerance - Angelina Jolie urged her followers to remember the Beirut attack as well as Paris, posting: "Whilst everyone talks about #Paris no one mentions the #ISIS attack in #Lebanon yesterday... I pray for both countries."
Madonna and Florence Welch both acknowledged the disasters in their concerts over the weekend - Madonna in Stockholm and Welch in Sydney, who held a minute's silence in tribute. A U2 concert scheduled for Paris this weekend was cancelled due to the city's emergency curfews, with Bono, who was in Paris on Friday night, telling Rolling Stone, "I can't wait till we get back to Paris and play... these people will not set our agenda." Scroll the gallery above to see more.
An Australian in Paris: Lindy Klim's French moment
Heart of gold: how Mecca's helping to stop world hunger
Do something: Alexander Wang's epic A-list charity campaign
Entertainment | News
Dissecting Meghan Markle and Prince Harry’s first public appearance post-wedding
Guess who’s heading to Netflix?
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Inside the Lancôme x Proenza Schouler make-up collection
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The Vanderbilt Women
[Reading] ➽ The Vanderbilt Women By Clarice Stasz – Chainnews.us
Lucius Beebe Said That The Nearest Thing To A Royal Family That Has Ever Appeared On The American Scene Was The Vanderbilts Their Vendettas, Their Armies Of Servitors, Partisans And Sycophants, Their Love Affairs, Scandals, And Shortcomings, All Were The Stuff Of An Imperial Routine Stasz Reveals New Facts And Insights Into The Fascinating Lives Of Three Generations Of Vanderbilt Women Who Dominated New York Society From The Middle Of The Eighteenth Century Through The Twentieth Of Special Interest Are The Discovery Of Unpublished Letters And A Pseudonymous Lesbian Novel That Shed Light On The Complex Character Of The Most Currently Famous Vanderbilt Woman, Gloria Vanderbilt.
Clarice Stasz
ByClarice Stasz
Is a well-known author, some of his books are a fascination for readers like in the The Vanderbilt Women book, this is one of the most wanted Clarice Stasz author readers around the world.
10 thoughts on “The Vanderbilt Women ”
An interesting multiple biography of some of theinteresting and colorful women members of the Vanderbilt family Includes information on Gertude Vanderbilt Whitney who was a noted sculptor and who established the Whitney Museum of American Art, Alva Smith Vanderbilt who played a significant role in the women s suffrage movement in the United States, and numerous others A family tree would have helped to keep the relationships in perspective especially since many of the women shared the s An interesting multiple biography of some of theinteresting and colorful women members of the Vanderbilt family Includes information on Gertude Vanderbilt Whitney who was a noted sculptor and who established the Whitney Museum of American Art, Alva Smith Vanderbilt wh...
Paula Paula says:
interesting book about a group of women that have been under the radar
Laurel Laurel says:
Fascinated about the Vanderbilt s family after viewing George Vanderbilt s Bilt in Asheville, NC, On July 13 and 14, 2017, I began reading everything about them In this book the two most fascinating characters the were Alva Erskine Smith Vanderbilt 1853 1933 and Gloria Laura Vanderbilt 1924 Alva Erskine Smith Vanderbilt was the wife of Wm Kissam Vanderbilt I 1849 1920 , the grandson of Vanderbilt Patriarch, Cornelius Vanderbilt 1794 1877 and the grandson of Cornelius s favorite so Fascinated about the Vanderbilt s family after viewing George Vanderbilt s Bi...
The author did a nice job making the Vanderbilt women come to life It was interesting learning about the powerful impacts they had on society, as well as most of their sad marriages I only ended up reading up until the 1920s though because that was what I was most interested in...
Jill Hutchinson Jill Hutchinson says:
The Vanderbilt dynasty makes for an interesting saga and this book pretty much covers the women of that family who were influential in their own realm It does, however, get bogged down in two areas withdetail than the reader needs to know.the decor of the mansions and the woman s movement at the turn of the century It slows down the narrative and the readers might find themselves skipping through those sections.That weakness aside, it is a fascinating look at American royalty and The Vanderbilt dynasty makes for an interesting saga and this book pretty much covers the women of that family who were influential in their own realm It does, however, get bogged down in two areas withdetail than the reader needs to know.the decor of the mansions and the woman s movement at the turn of the century It slows down the narrative and the readers might find themselves skipping through those sections.That weakness aside, it is a fascinating look at American royalty and how wealth of...
Simon Simon says:
Interesting for the most part especially when dealing with Gertrude Vanderbilt Whitney , but the narrative falls apart when Stasz discusses Gloria Vanderbilt Cooper in the final chapters Ms Cooper sensibly declined to turn over her memories to Ms Stasz, preferring to write them out herself.Stasz spends a lot of time in psyc...
Great book I m a bit slanted in my opinion as I m a real lover of biographies especially well written biographies This is a well written book and keeps your interest Not enough biographers know how to keep you...
Lisa Michele Lisa Michele says:
I am still blazing through all my Vanderbilt books I like this one because it focused on the women who are compelling, but not necessarily Vanderbilts by blood Did you know Anderson Cooper is a Vanderbilt I didn t.
Dawn Dawn says:
This book was the most detailed book I have read to date I liked this because it included a lot of the current history with each chapter and that made itinteresting for me.
Rebecca Rebecca says:
This book was interesting but overall too slow moving It also would have benefited from a family tree in the beginning, given that everyone had the same names.
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Big cities small on happiness
By Zhao Chunzhe (chinadaily.com.cn)
Large Medium Small
Chengdu is the "happiest" city in China in a survey of the top ten cities in the country, the ifeng.com reported Wednesday.
The capital of Sichuan province topped the list for its fine scenery, cheap goods and easy lifestyle. Tourist city Hangzhou came second, with seaside city Qingdao ranking third. Most top ranking cities are garden cities where people enjoy the good environment and less pressure.
Beijing, Shanghai, Shenzhen and Guangzhou, the four biggest cities in China, didn’t make the list due to bad air quality, high housing prices, heavy urban traffic, along with high work and living pressure, the report said.
Qinghai Earthquake
Organ Trafficking
Barely coming of age and lacking money, 19-year-old Yang Nian sold almost two thirds of his liver, for which a Beijing patient paid 150,000 yuan.
Property Policy Watch
China has taken a series of measures in recent months to curb prices in the residential property market, which soared 11.7 percent in March.
Celebrities arrive at the Metropolitan Museum of Art Costume Institute Benefit celebrating the opening of "American Woman: Fashioning a National Identity" in New York May 3, 2010.
Most Beautiful People
Julia Roberts tops the list of People magazine's "World's Most Beautiful People".
Money Concern
Do you worry over money? If you do, share with us your concerns.
Zhu Yuan
Capitalism: The evil that's vital to economy
Chen Weihua
Shanghai a world-class city? Please.
HK Edition
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Strategic Deals
China Money TV
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After Three Years In China: What Are Tesla’s Hits And Misses?
Nina Xiang
December 9, 2016 — 14:22
After opening its first showroom in Beijing in November 2013, Tesla has been expanding in the Chinese market for three years. Its Model S and Model X are regularly seen on the streets of Beijing and Shanghai, and Tesla Supercharger stations have dotted major cities in the country.
Despite falling way short of company chief Elon Musk’s initial hopes, Tesla’s sales in China have been improving lately.
Musk originally estimated that Model S shipments to China could match U.S. sales by 2015 if all goes well. He revised that ambitious target after a tough year in 2015, when the company sold 3,025 vehicles during the first 9 months, despite a target for the year of 10,000.
During the first 11 months in 2016, Tesla saw China sales almost double that of last year, with the whole year estimated to record around 6,000 vehicles sales in the world’s largest auto market.
So three years later, what has Tesla accomplished in China, and what did it miss? Here is a list.
What Tesla Accomplished in China:
1. Building supercharger stations
Tesla has constructed over 100 supercharger stations all over China with 502 charging poles, in addition to 1,400 charging poles in hotels, office buildings and shopping malls in major cities.
In addition, Tesla has constructed charging facilities for long distance travel routes, including from Sanya to Harbin, Chengdu to Lhasa, and Qinghai to Lhasa.
2. Opening Tesla showrooms
In three years, Tesla has opened 24 showrooms and after-sales service centers in China. It has also partnered with numerous sheet-metal spray paint centers in order to satisfy Tesla owners’ needs.
What Tesla Missed in China:
1. Battery swap
Considering that Tesla admitted that the battery swap program is on the back-burner, it is understandable that the technology has not arrived in China and other parts of the world.
2. PowerWall
Tesla owners in China have shown interests in PowerWall, a bettery and energy storage system that can power an average two-bedroom home for a full day. It’s unclear if, and when, Tesla can or plan to bring it to China.
3. A China factory
The rumor of a Tesla factory in China has been around for over a year, with company founder Elon Musk repeatedly stating that he is looking for a local Chinese partner.
So far, nothing is confirmed yet, but an announcement about a local factory is highly likely in 2017.
new energy cars
© 2019 China Money Network Limited. All Rights Reserved. Disclaimer: The views, opinions, forecasts, and statements made by our hosts and guests are the personal views of those respective individuals and may or may not be either endorsed or accepted by China Money Network Limited or the companies with which these individuals are employed.
Former TPG Partner Wang Sing Joins China Minsheng Financial As CEO
Nina Xiang - February 17, 2016 — 09:46
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Daily Gossip
New Rumors About iPhone 6
Lucienne Molnar March 6, 2013 4:29 pm January 1, 2017 0 738
Much attention has been given to Apple’s iPhone 5 ever since the smartphone was first launched in October 2012, so analysts thought it was time to start new suppositions about the potential options that may be included on iPhone 6. Several tech websites have already suggested that the new model will most likely feature a larger display together with other improved functions.
The first concept was proposed by the Russian version of the Apple Insider website, which tried to determine the shape and form of the future iPhone. According to the pictures and videos provided by the website, iPhone 6 could sport a bigger display of 4.2 inches, but the same pixel resolution of 1136 x 640 as we’ve seen on iPhone 5.
The dimensions of Apple’s new phone are 108.5 mm x 55.7 mm x 7.1 mm, which means the smartphone will not be as tall as the previous model. The weight of iPhone 6 will be 104 grams, that is, considerably bigger than iPhone 5. The screen of iPhone 6 is said to feature the same characteristics as iPad Mini; therefore, the quality of the images will be much better than the one provided by iPad 5.
There are several design aspects that have suffered modifications and Apple believes customers will be satisfied with the new changes. The home button, for instance, will no longer be used on iPhone 6 because the manufacturer wanted to create a more appealing design.
The concept that other editors have suggested imply that the new iPhone 6 could be a lot bigger even than the version put forward by the Russian website. According to Deepak Ahuja, Apple’s new smartphone could feature a massive 4.8-inch display. In fact, this screen could be bigger than any other display created by the Cupertino manufacturer.
If the above mentioned concept coming from Deepak Ahuja turns out to be true, iPhone 6 could sport many other advanced features. A 12-megapixel rear camera and a 2.1 MP front one are the first characteristics that were mentioned by analysts, but the device could be endowed with a LED flash, a quad core 1.6 GHz processor and a Li-Ion 2800 mAh battery. Similar to other smartphones and tablets produced by Apple, iPhone 6 will be available in three versions, depending on their storage capacity. Customers will, thus, be able to purchase the 16, the 32 or the 64 GB models, depending on their preferences. The memory capacity of the future Apple phone will be of 2 GB RAM.
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Lucienne Molnar
Lucienne Molnar is our editor in charge with managing the celebrity and fashion sections of DailyGossip. She currently lives in Seattle and has a lot of experience in the fashion industry, most of it accumulated while working as a part time model for a few popular internet clothing stores.Lucienne is a passionate writer dreaming to create her own fashion line someday.You can get in touch with her at Lucienne.Molnar@dailygossip.org
Paris Hilton Has Lost Her Engagement Ring
By John Colston0 10161
Are Brad Pitt and Jennifer Aniston Getting Back Together?
By John Colston0 8198
Chris Evans and Jenny Slate Have Separated
Jennifer Aniston and Justin Theroux not on Speaking Terms
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Kendall Jenner Says She is not Gay
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Lunsford and Ede’s “On Distinctions Between Classical and Modern Rhetoric”
“We believe that focusing primarily on distinctions between the ‘old’ and the ‘new’ rhetoric has led to unfortunate oversimplifications and distortions. Consequently, our purpose in this essay is to survey the distinctions typically drawn between classical and modern rhetoric, to suggest why these distinctions are inaccurate and, most importantly, to note the compelling similarities between classical and modern rhetoric. These similarities, we believe, can helpo clarify the features essential to any dynamic theory of rhetoric.”
–Andrea A. Lunsford and Lisa Ede
Key Terms: Ethos, pathos, logos, enthymeme, paradeigma, krisis
In “On Distinctions Between Classical and Modern Rhetoric,” first published in Essays on Classical Rhetoric and Modern Discourse in 1984 and later included as a chapter in Writing Together: Collaboration in Theory and Practice, Andrea A. Lunsford and Lisa Ede set out an argument that the distinctions typically drawn between classical and modern rhetoric are inaccurate. It should be noted here that the now-dated term “classical rhetoric” seems to refer, as was then typical, to the Greco-Roman rhetorics of antiquity.
Presumed Differences
To begin, Lunsford and Ede set out the then-popularly cited distinctions between modern and “classical” rhetoric. These are the distinctions they cite.
Quoted here, classical rhetoric asserts that (Lunsford and Ede 263):
Man is a rational animal living in a society marked by social cohesion and agreed-upon values.
Emphasis is on logical (rational) proofs.
Rhetor-audience relationship is antagonistic, characterized by manipulative, one-way communication.
Goal is persuasion.
Quoted here, modern rhetoric asserts that (Lunsford and Ede 263):
Man is a symbol-using animal living in a fragmented society.
Emphasis is on emotional (or psychological) proofs.
Rhetor-audience,relationship is cooperative, characterized by empathetic, two-way communication.
Goal is communication.
However, the authors point out a contradiction in the model of “classical” rhetoric:
“The first two distinctions, which view the classical image of man as rational being and the logical proofs as supreme, discount classical rhetoric as too rationalistic. The latter two, which present the rhetor-audience relationship in classical rhetoric as antagonistic and unidirectional and its goal as persuasion (in the narrowest, most limited sense), discount classic rhetoric as too dependent upon emotional manipulation and coercion.” (Lunsford and Ede 263)
Misreading Aristotle
Lunsford and Ede attribute this contradiction in large part to misreadings of Aristotle’s Rhetoric. For one, they claim, such readings fail to consider Aristotle’s rhetoric within the context of his broader philosophy. This failing hinges on misreadings such as a passage from Rhetoric in which Aristotle discusses influencing the thinking of a judge to be a “right frame of mind,” which has been interpreted to mean emotional manipulation. However, the authors cite other philosophical writings in which Aristotle uses the same turn of phrase to represent moral rightness rather than what is convenient to his argument. This example, they assert, represents the kind of misreadings typical of Aristotelian rhetoric (264).
This initial failing is complicated by “serious, persistent misunderstandings about the nature and function of the pisteis and of the enthymeme in Aristotelian rhetoric”(264). The authors cite the work of William M. A. Grimaldi, who argues that Aristotle’s rhetoric utilizes a much more united combination of ethos, pathos, and logos than is often assumed. Lunsford and Ede write: “Rather, they interact in the enthymeme and paradeigma, the two central methods of rhetorical demonstration–the former deductive, the latter inductive. Thus Grimaldi clarifies our understanding of the enthymeme, broadening its generally accepted definition as the limited of logos to one of the two modes of inference through which rhetor and audience together move toward krisis” (265-266).
Similarities Between “Classical” and Modern Rhetoric
The authors note a similarity between the two models of rhetoric: “their shared concept of man as a language-using animal who unites reason and emotion in discourse with another” (267). A key concept here, they argue, is that language plays a key role in idea creation and holds a connection to the mind itself (267).
Quoted here are the “Similarities and Qualifying Distinctions Between Classical and Modern Rhetoric” (Lunsford and Ede 268):
Both classical and modern rhetoric view man as a language-using animal who unites reason and emotion in discourse with another.Qualifying distinction:
Aristotle addresses himself primarily to the oral use of language; ours is primarily an age of print.
In both periods rhetoric provides a dynamic methodology whereby rhetor and audience may jointly have access to knowledge.Qualifying distinction:
According to Aristotle, rhetor and audience come into a state of knowing which places them in a clearly defined relationship with the world and with each other, mediated by their language. The prevailing modernist world view compels rhetoric to operate without any such clearly articulated theory of the knower and the known.
In both periods rhetoric has the potential to clarify and inform activities in numerous related fields.Qualifying distinction:
Aristotle’s theory establishes rhetoric as an art and relates it clearly to all fields of knowledge. Despite the efforts of modern rhetoricians, we lack any systematic, generally accepted theory to inform current practice.
Indeed, Lunsford and Ede claim, any attempt at creating a “theoretical framework that would relate language, action, and belief” must look past the false dichotomy between “classic” and modern rhetoric, instead building on the strengths they hold in common (271).
Lunsford, Andrea A. and Lisa Ede. “On Distinctions Between Classical and Modern Rhetoric.” Writing Together: Collaboration in Theory and Practice. New York: Bedford/St. Martin’s, 2012. Print.
This entry was posted in Rhetoric and Composition and tagged Composition, Teaching, Theory. Bookmark the permalink.
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How Can Mayor De Blasio End the War on Drugs in NYC?
Saturday: “Talking Transition” Event Brings Together Treatment Providers, Drug Users, Civil Rights Activists, Academics, and Elected Officials to Map New City Drug Policy
Future Drug Policy to be Based in Equity, Health and Safety rather than Racism, Criminalization and Violence
<p>Contact: gabriel sayegh 646-335-2264 or Tony Newman 646-335-5384</p>
NEW YORK—This Saturday, New Yorkers will gather to map the future of our city’s drug policies for progressive champion Mayor-Elect Bill de Blasio and a new, increasingly progressive City Council. As part of the innovative Talking Transition series, New Yorkers have a unique opportunity to envision new drug polices based in equity, health and safety, rather than drug policies rooted in racism, criminalization and violence.
Hundreds of New Yorkers -- students, cultural workers, academics, advocates, community organizers, young people, treatment providers, civil rights activists and others will break into small groups, to come up with solutions to a range of issues such as: racially biased marijuana arrests, lack of effective treatment, legal access to medical marijuana and overdose prevention strategies. The recommendations emerging from the Ending the New Jim Crow forum will be delivered to the new de Blasio Administration for consideration.
Ending the New Jim Crow: Mapping the Future of Drug Policy in NYC
Time: 2:00 -- 3:30pm
Where: Talking Transition Tent at the corner of Canal St. and 6th Avenue, Manhattan
For years, New York’s drug policies have failed to improve health and safety in our communities, and have led to serious problems, such as mass incarceration, criminalization of health issues, fiscal waste, violations of civil rights and civil liberties, and appalling racial disparities. Even after the recent reforms to the failed Rockefeller Drug Laws, drug policies in New York City and state remain guided primarily by the criminal justice system, even while those interventions often cause more harm than good. For instance, accidental overdose deaths continue to rise in NYC, but most of these deaths are preventable. Research shows that most people who witness an overdose don’t call 911 for help because they’re afraid of arrest -- getting a ride in the back of a police car instead of an ambulance. In the state that created the Rockefeller Drug Laws and is known as the marijuana arrest capital of the world, this is a reasonable fear.
There is growing consensus that the criminalization-focused war on drugs has failed and is destructive. Yesterday New York State Attorney General Eric T. Schneiderman released a report analyzing NYPD’s stop-and-frisk program. The analysis shows that low-level drug possession – including marijuana possession – are among the top the list of arrests that result from stop and frisk. The AG highlights the collateral consequences resulting from the stops and arrests -- including threat of loss of employment, housing, student loans, and immigration status.
The appalling racial disparities associated with these practices have caused particular alarm. Today, New York Times columnist Jim Dwyer published an unflinching article about our broken, racially biased marijuana policies. In the article, Dwyer describes how he purchased and delivered marijuana for seriously ill patients, noting that because he’s white, he had little reason to be concerned about being stopped, searched and arrested.
"Plenty of white New Yorkers walk around with a small bag of marijuana in their pockets - or a backpack, in Mr. Dwyer's experiment - and never think twice about being stopped by the police and illegally searched," said Alfredo Carrasquillo, VOCAL's Civil Rights Organizer. "But for Black and Latino youth, who are no more likely to use marijuana than whites, the constant threat of stop and frisk means that they can all too easily end up with an arrest record for marijuana and all the problems that can bring. This is just one example of our failed drug policies in New York City and state. There are better ways to prevent and deter drug use. Mayor-elect de Blasio has promised a new approach – we want to make sure that new approach is informed by everyday New Yorkers, especially those of us who are targets of drug war-related policing and violence.”
By delivering marijuana to sick patients, Dywer joins thousands of other New Yorkers who have procured marijuana for medical use by seriously ill friends or family, highlighting another problem in New York’s drug policies: the lack of a medical marijuana program. While Mayor-elect de Blasio has not committed to support compassion for sick New Yorkers, supports legislation to end the racially biased marijuana arrest crusade in NYC.
Clearly, more needs to be done to address the broader problems with drug policies in NYC. With Albany and Washington, D.C. mired in dysfunction and pettiness, waiting for state or federal action isn’t feasible; NYC must act now to fix the myriad problems caused by lack of a coordinate strategy and effectively address drug related harm, disorder and crime. Cities in Europe and Canada have developed municipal based drug strategies that have become standard good-government practices. As NYC embarks in a new direction under a progressive mayor, this Saturday will be the first of many discussions about developing a municipal based drug strategy focused on enhancing public health and safety.
“New York now has the opportunity to show the nation the exit strategy for the failed war on drugs,” said Kassandra Frederique, policy coordinator at the Drug Policy Alliance. “Our City has all the resources to lead the country in developing a progressive model city for effective, evidence-based drug policies, rooted in health and safety instead of social control and institutional racism. With the right leadership, we can bring coherency to our drug policies and reduce overdose fatalities, increase access to treatment and healthcare, reduce addiction rates, end racially biased policing, stop the criminalization of our youth, and save limited taxpayer dollars. That’s what drug policy looks like after the war on drugs.”
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Sustainable timber construction: Exploring engineered timber as a climate friendly building solution
In recent years there has been a move to construct more sustainable buildings with an emphasis on reducing their environmental impact, write NUI Galway's Dr Conan O’Ceallaigh, Dr David Gil-Moreno and Prof Annette Harte
Figure 1:Carbon storage potential of Engineered Wood Products in construction
In recent years there has been a move to construct more sustainable buildings with an emphasis on reducing their environmental impact, write NUI Galway’s Dr Conan O’Ceallaigh, Dr David Gil-Moreno and Prof Annette Harte.
Construction and buildings are responsible for about 39 per cent of all global carbon emissions with about 28 per cent being attributed to operational costs of the building and 11 per cent attributed to the embodied carbon of the construction materials and processes (IGBC – Irish Green Building Council, 2019).
Reducing the impact of construction is essential if we wish to transition to a carbon neutral economy while also accommodating an extra one million people in Ireland, as projected by Project Ireland 2040.
Recent policy updates will ensure that all new buildings in the EU will have significantly lower operation impacts.
The current significant challenge is to address the embodied carbon emissions of construction products used in our buildings.
Figure 2: Murray Grove, Hackney, London: the none-storey tower was constructed in 2009. Eight storeys constructed entirely from CLT including load-bearing walls, lift shafts, floors and stairs.
This has resulted in significant innovation within the construction industry in areas such as product development, lean construction processes and so on.
Timber is a climate-friendly material that has seen a revival within the construction sector in recent years.
It is one of the oldest building materials in the world but its use in large-scale construction was limited in the last century due to the limited availability of resources and particularly large structural sizes to sustain the demands of modern-day construction.
The recent revival of timber is related to significant research and innovation in the timber engineering sector resulting in advances in the production of highly Engineered Wood Products (EWPs) and connection systems, which have allowed this material to rival steel and concrete in large-scale buildings.
Innovation in timber construction
EWPs such as glulam and cross-laminated timber (CLT), formed from multiple layers of timber bonded together, have allowed larger, more dimensionally stable and homogenous elements to be manufactured and shaped into building components with spans far greater than that of sawn timber elements.
CLT, which comprises multiple layers of orthogonally bonded timber laminations, is largely responsible for the rising number of large-scale timber buildings.
Manufactured offsite, CLT panels are particularly suitable for automated computer numerical control (CNC) routing which utilises CAD or BIM object data to produce building components inclusive of door, window or service openings from a master panel.
Once manufactured, the components are transported and quickly assembled on-site, thereby improving project delivery times and reducing labour costs.
Being increasingly utilised around the world
Such products are being increasingly utilised around the world with more and more engineers and architects developing an appreciation and understanding of the material.
Currently the world’s tallest timber building is the 85m-tall Mjøstårnet building in Norway, which was completed in early 2019.
It is an 18-storey mixed-use building constructed with floors and elevator shafts made entirely of CLT panels and columns made of glulam.
Closer to Ireland, in the borough of Hackney in London, the introduction of a ‘Wood First Policy’ in 2012 has resulted in more than 25 large timber buildings being completed.
The policy, introduced to stimulate timber construction as a climate change mitigation strategy, has resulted in school projects, community centres, offices and residential buildings up to 10 storeys tall being built.
‘Dalston Lane’ in Hackney is currently the largest CLT building in the world with 3,852 m3 of CLT used for external, party, core walls, floors and stairs.
In total, it is 33.8m tall and comprises 121 residential units over 10 storeys. The development also takes advantage of the lightweight characteristics of timber due to weight limits associated with the underground metro system in London.
Using lightweight CLT construction rather than concrete allowed the developer to add an additional 15 units with further capacity to add 20 more units in the future.
A key benefit of using timber in construction is not only the low embodied carbon associated with the manufacture of EWPs but also the carbon sequestration or carbon storage capacity of EWPs.
It has been well publicised that forests have an important role to play in climate change mitigation as forests actively remove carbon dioxide for the atmosphere while converting it to wood and releasing oxygen at the same time.
Harvesting the trees before they die naturally locks the carbon into the wood and this remains in EWPs over an extended lifespan. Replanting new trees then begins the cycle of carbon storage again.
Carbon sequestered in such wood-based products can significantly lower a building’s embodied carbon profile. When constructing ‘Dalston Lane’ in Hackney, the design engineers Ramboll estimated that 2,600 tonnes net CO2 are saved in the timber structure (equivalent to taking 520 cars off the road for one year) compared with the equivalent concrete construction.
This wooden building, among many others, not only required less energy to produce but will also store this carbon for decades.
Increasing the number of buildings manufactured from timber will significantly reduce construction-related carbon emissions through a combination of embodied carbon reduction, carbon sequestration, and offsetting carbon emissions associated with equivalent steel and concrete construction.
Research in Ireland
There is significant potential to utilise Irish grown timber in EWPs. The use of timber in added-value products could have both economic and environmental benefits and there are significant opportunities as the roundwood available for production is forecast to increase from four million m3 in 2016 to close to eight million m3 by 2035.
The Timber Engineering Research Group at NUI Galway have been exploring the possibilities of manufacturing glulam and CLT from Irish grown timber and its potential use in construction.
The recently completed ‘Innovation in Irish Timber Usage (IITU)’ and ‘Commercialisation of Irish Cross Laminated Timber (CICLT)’ projects demonstrated the potential to manufacture EWPs from Irish grown C16 grade timber.
Currently, the Wood Properties for Ireland Programme (WoodProps Programme) is ongoing in NUI Galway. WoodProps is a joint programme between the Timber Engineering Research Group at NUI Galway and the Centre for Wood Science and Technology, Edinburgh Napier University.
It is grant-aided by the Forest Sector Development Division of the Department of Agriculture, Food and the Marine and is focused on characterising Irish-grown timber and the use of timber in construction together with the associated work at national and European levels in standardisation for structural timber quality, production and design.
Recently, the WoodProps team launched the online ‘Timber Information Resource Centre‘ a source of collated scholarly and technical documents to inform architects, developers, engineers, product manufacturers, policy makers and other industry stakeholders on all aspects of timber properties, engineering and design.
The database is free to use and designed to be a living database that is updated frequently to keep up to date with a fast-moving and innovative industry.
Authors: Dr Conan O’Ceallaigh, (conan.oceallaigh@nuigalway.ie) @ConanOCeallaigh; Dr David Gil-Moreno (david.gil-moreno@nuigalway.ie) @GilMorenoTimber; Prof Annette Harte (annette.harte@nuigalway.ie)
http://www.engineersjournal.ie/2019/11/18/sustainable-timber-construction-exploring-engineered-timber-as-a-climate-friendly-building-solution/http://www.engineersjournal.ie/wp-content/uploads/2019/11/a1-22-1024x320.jpghttp://www.engineersjournal.ie/wp-content/uploads/2019/11/a1-22-300x300.jpg 2019-11-18T06:57:19+00:00 David O'RiordanCivilclimate change,construction,structures and construction
In recent years there has been a move to construct more sustainable buildings with an emphasis on reducing their environmental impact, write NUI Galway's Dr Conan O’Ceallaigh, Dr David Gil-Moreno and Prof Annette Harte. Construction and buildings are responsible for about 39 per cent of all global carbon emissions with...
David O'Riordandoriordan@engineersireland.ieAdministratorEngineers Journal
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Enormous Brands bags ShopClues’ creative mandate
The company has earmarked Rs 75 crore for its first-ever brand campaign.
ShopClues.com, the online marketplace founded in 2011, has awarded its creative duties to enormous Brands following a multi-agency pitch. The other agencies that made presentations were ITSA and Ogilvy & Mather. The account will be handled out of agency’s Delhi office. The media planning and buying activities have been assigned to the Rajul Kulshrestha-headed Xposure.
The mandate of the creative agency is to build the ShopClues brand by increasing its penetration and recall in broader geographies and demographics. The company has earmarked Rs 75 crore for its first-ever brand campaign.
Commenting on the win, Ashish Khazanchi, managing partner, enormous Brands says, “Our mandate is to execute the entire communication for the brand and make its positioning stronger in the market.” The platform has over 65,000 merchants powering an extensive selection of 5.3 million products across 3,000 listing categories.
A few months ago, ShopClues got Shweta Jain on board as brand strategy consultant to kickstart the accelerated mode of branding and advertising initiatives. Jain comes with experience in brand and communication strategy and consumer engagement road mapping, having worked across categories earlier with Pernod Ricard, Ogilvy and Gillette.
Differentiating ShopClues from other e-commerce companies who are also advertising heavily, Radhika Ghai Aggarwal, co-founder & CMO, says, “While other e-commerce players are targeting the affluent consumers, we are looking at masses. We wanted a creative partner who understands the Indian heartland and we found it in enormous Brands under the able leadership of Ashish.”
ShopClues.com connects buyers and sellers online and ships to over 15,000 cities across India and has thousands of online stores. Based in Gurgaon, It is funded by institutional investors, and is the Indian subsidiary of Clues Network Inc, a US corporation.
While ShopClues covers a broad range of products, prices, categories, brands, and sellers, it specialises in non-standard categories, unbranded products or less-known brands, smaller merchants, and tier II and tier III cities.
Ref: http://www.afaqs.com/news/story/41533_enormous-Brands-bags-ShopClues-creative-mandate
© Enormous 2014
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Council of American Overseas Research Centers Newsletter. (Journal) [more]
Council of University Classical Departments [CUCD] Bulletin. (Journal) [more]
The Cross Wire Bible Society. (Website) [more]
CSA Newsletter: Computer Technologies for Archaeologists and Architectural Historians. (Journal) [more]
CSA, the Center for the Study of Architecture/Archaeology. (Website) [more]
CSA/AIA Guide to Archaeological Projects. (Website) [more]
Cuadernos de Filología Clásica. Estudios Griegos e Indoeuropeos. (Journal) [more]
Cuadernos de Filología Clásica. Estudios Latinos. (Journal) [more]
Cultural Heritage by AIA-Military Panel (CHAMP). 2011. (Website) [more]
Cultural Heritage Resource. 2008 -. (Website) [more]
Cultural Policy Research Institute. (Website) [more]
Cultural Property Advice. (Website) [more]
Culture Without Context: The Newsletter of the Illicit Antiquities Research Centre. (Journal) [more]
Cultures and Classics. (Journal) [more]
Cuneiform Digital Library Bulletin (CDLB). Cuneiform Digital Library Initiative (CDLI), 2003-. (Journal) [more]
The Cuneiform Digital Library Initiative (CDLI). (Website) [more]
The Cuneiform Digital Library Initiative (CDLI) MediaWiki. 2006. (Website) [more]
The Cuneiform Digital Library Initiative (CDLI): List of standard abbreviations for Assyriology. Cuneiform Digital Library Initiative. (Website) [more]
The Cuneiform Digital Library Initiative (CDLI): Who's Who in Cuneiform Studies. (Website) [more]
Cuneiform Digital Library Journal (CDLJ). Cuneiform Digital Library Initiative (CDLI), 2002-. (Journal) [more]
Cuneiform Digital Library Notes (CDLN). Cuneiform Digital Library Initiative (CDLI), 2003-. (Journal) [more]
Cuneiform Digital Library: free online resources about the Ancient Near East from the dawn of writing to the end of cuneiform. (Website) [more]
The Cuneiform Digital Palaeography Project. 2004. [more]
"Cuneiform Goes Digital: UCLA Scholar Sheds Light on Cultural History of Ancient Iraq". April 28, 2004. (Press Release) [more]
Cuneiform Library at Cornell University. (Website) [more]
Cuneiforme. 2001. (Website) [more]
Current archaeology in Turkey / Türkiye'de Yapılan Arkeolojik Araştırmaları. (Website) [more]
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Three cocktails York County bartenders recommend
Sure, every bar has an assortment of beer and liquor. You can order your old standbys or try out something you've...
Three cocktails York County bartenders recommend Sure, every bar has an assortment of beer and liquor. You can order your old standbys or try out something you've... Check out this story on flipsidepa.com: http://fside.co/1plww0f
FlipSidePA Published 1:14 p.m. ET Aug. 10, 2015 | Updated 9:57 a.m. ET March 15, 2016
The Blackberry Bourbon and Ginger at John Wright Restaurant in Wrightsville.(Photo: Submitted)
Sure, every bar has an assortment of beer and liquor. You can order your old standbys or try out something you've heard about.
But some bars have their own unique twists on old favorites or perhaps something entirely new.
Here are three suggestions the next time you're having an adventurous night out.
Blackberry Bourbon Manhattan
John Wright Restaurant in Wrightsville complements its extensive food menu supported by two kitchens with a full-service bar. But Jim Switzenberg, the executive director of the place, likes to think it as a bit of a "bourbon house."
While Switzenberg said the bar serves "tons of Manhattans," for him the Blackberry Bourbon Manhattan is the best.
"We have a local farmer who's getting those blackberries," he said, adding that in the next two weeks he will be making 20 to 25 gallons of blackberry-infused Ezra Brooks bourbon. He said he chose that brand because of its "neutral" bourbon taste.
"After we do our infusion it takes away all of the bitingness of a strong whiskey and makes it very smooth," he said. "A lot of our customers call it 'deceptively smooth.'"
INGREDIENTS>>
• 2 oz. blackberry bourbon
• 1/2 oz. sweet vermouth
• 2 dashes Woodford Reserve Cherry Bitters
DIRECTIONS>> Shake with ice and strain over rocks or into a chilled Martini glass. Garnish with Maraschino Cherries.
ALSO RECOMMENDED>> Blackberry Bourbon and Ginger
Ginger Jack Julep
Suzi Hendler, the general manager of The Cove in Spring Garden Township, is proud of the whiskey bar there, which she said easily has more than 150 different whiskeys.
"Our whiskey list is beyond high-end but there's a completely unpretentious way to our venue," she said, emphasizing its rare whiskeys. "It's casual, you can ask questions and our bar staff is insanely knowledgeable."
She also talked up the bar's "emphasis on handcrafted" drinks, including the fact the bartenders hand-squeeze any juices in their drinks and that all syrups and sour mixes are house made.
"I always joke around that my juicing arm is strong," she said. "We like to keep our emphasis on fresh and simple."
Her favorite drink is the Ginger Jack Julep
• About five to 10 leaves of mint left on the sprig
• Simple syrup
• Heavy pour of Jack Daniels whiskey (about two shots)
• A "super spicy" ginger beer. Hendler recommends Regatta or Gosling's.
DIRECTIONS>> Muddle the mint and simple syrup "really well," fill the glass with ice, add a "heavy" pour of Jack Daniels (about two shots) and add a splash of the ginger beer.
ALSO RECOMMENDED>> Planter's Punch
120 Old Fashioned
York's The Left Bank Restaurant & Bar bartender Jake Greene recommends the 120 Old Fashioned, named after the restaurant's street address, because it's an "old fashioned with a twist."
The drink wasn't immediately a favorite of his because it includes brandy-soaked cherries and he's "not a fan of brandy." But once he tasted the "unique flavor" presented by the cinnamon also included in the cherries he changed his mind.
"It's got me sold," he said. "It's so sweet and delicious."
• An orange slice
• A lemon slice
• Four or five cherries (soaked in brandy, cinnamon and other spices to taste)
• "A little splash" of club soda
• Jack Daniels whiskey
DIRECTIONS>> Combine and muddle the orange, lemon, cherries and club soda at the bottom of the glass. Then add ice and pour about an ounce and a half of whiskey.
ALSO RECOMMENDED>> Ashley's Manhattan
Bloody Mary: Best versions of the cocktail in southcentral Pa.
Try this jalapeno lemonade cocktail
Read or Share this story: http://fside.co/1plww0f
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General Interest »
Feed Your Head »
Overmedicating children - when?
Author Topic: Overmedicating children - when? (Read 959 times)
Our politicians want to stop doctors from issueing Prozac and other anti-depression medication for minors.
Will stop Prozac for children TV2 (Google translated)
They can still be medicated but now they have to be hospitalized for evaluation before they can get it. One 1/10 of the children compared to the percentage of children on medication in the United States are medicated in Denmark but still our politicians find it too much.
How do you see it? Are too many teenagers on medication? Are other options explored fully before the pills are selected?
Secret Prison for Teens - caseworker - Visit us on Facebook or Myspace
Our Swedish partners Minors in residential placement research
Inculcated
Re: Overmedicating children - when?
IMO, Children and teens are being overmedicated. It’s the easy and cheap solution and it’s costing the kids greatly. These drugs affect the developing brain in ways that are often permanent and many of them have lasting deleterious impact on the ability to self-regulate both mood and sleep...resulting in more meds. :dose:
There are some articles around here about kids in the foster care system being particularly vulnerable to being unnecessarily medicated.
I had linked this http://www.squidoo.com/drugging-foster-children and this http://www.patientsarepowerful.org/pati ... r-children once before on a thread discussing Michael Riley who was found guilty of 1st degree murder for the death of his four year old daughter Rebecca Riley
“A person needs a little madness, or else they never dare cut the rope and be free” Nikos Kazantzakis
Some doctors who seemed to have lobbied the politicians into this new legislation think that 90 percent of the medication is wasted.
First of all it is hard to diagnoze any child before they are 10. The use of Forest Kindergarten eliminates the demand for medication for ADHD and many related illnesses.
For unkwown reasons we have no experiences in Forest School so our problem is the transition between kindergarten and school. I believe that we could explore this area way better before giving up and use pills.
I've always felt that kids were being over-medicated. In the 80's, it seemed a lot of kids were on Ritalin to keep them from being too hyper. Now it seems Adderall is the popular medicine to keep kids calm. Personally, I don't think all of these kids have ADD or ADHD. I think for the most part, they are kids being kids. Kids are supposed to be energetic and excited. I do realize that there are some kids that do need to be medicated and that the medication helps them concentrate in school but I definitely don't think this is the case for every child who is being medicated for ADD or ADHD.
Karen - has anyone ever used http] for home care supplies?
wdtony
Extremely small numbers of children benefit from being medicated with psychiatric drugs. In the general population, these drugs should be outlawed.
Mostly no children should be placed on these poisons. I would say, even most adults do not need them. The benefits are being disproven more and more as more independent studies are conducted. Just recently a study on US soldiers returning home from war taking anti-depressants showed absolutely no benefit when compared to those who took no drugs.
I remember back in 1990 when Depression and Bipolar was making its debut. I remember thinking, "This is great, it's not my fault, and all I have to do is accept this diagnosis and take some drugs". I was diagnosed bipolar after a few questions ( questions aimed at a specific answer) and placed on lithium, a very dangerous drug. The problem was that I was not Bipolar. I was duped and too young and naive to know better.
I think the idea of not blaming ourselves and not dealing with life's issues is such a desirable avenue that we are willing to "overlook" the possible dangers of the drugs themselves.
And now, "It's not my fault...it's not my kid's fault...the problem is a chemical imbalance in the brain.....so all is well, just give the kid drugs and no one has to be held accountable for anything. If the kid is still obstinate, we'll just double the dose".
Parenting becomes obsolete.
These are the dark ages of psychiatric medication and we will one day look back on this time and wonder why we were so socially ignorant. That is, unless we are all on drugs by then.
Pathway Family Center Truth = http://www.pfctruth.com
Froderik
Quote from: "wdtony"
:tup:
Dethgurl
Oral Argument in PsychRights' big Medicaid Fraud case, United States ex rel Law Project for Psychiatric Rights v. Matsutani, et al.,http://http://psychrights.org/States/Alaska/Matsutani/Matsutani.htm before the United States Ninth Circuit Court of Appeals, has been set for 9:30 am October 12, 2011 in Seattle, Washington, at the William K. Nakamura U.S. Courthouse, 1010 Fifth Avenue [7 Floor Courtroom #2].
For background see, PsychRights' Medicaid Fraud Initiative Against Psychiatric Drugging of Children & Youth and PsychRights' Rule 26(f) Conference Memorandum.http://http://psychrights.org/Education/ModelQuiTam/ModelQuiTam.htm
On September 24, 2010, the trial court dismissed the case under what is known as the "Public Disclosure Bar" on the grounds government officials already know about the industry-wide fraud and are allowing it to continue: http://http://psychrights.org/States/Alaska/Matsutani/163-100924Order2DismissMatsutani.pdf
[T]he Government already "has pursued False Claims Act cases and achieved extremely large recoveries against drug companies for causing the presentment of claims to Medicaid for prescriptions of psychotropic drugs that are not for medically accepted indications, including Geodon and Seroquel for use in children and youth." Thus, . . . the Government already knows about the conduct . . . .
Page 21 of Order Granting Defendant's Motion to Dismiss Under Rule 12(b)(1):http://http://psychrights.org/States/Alaska/Matsutani/163-100924Order2DismissMatsutani.pdf
PsychRights believes the judge misinterpreted the law and appealed. :http://http://psychrights.org/States/Alaska/Matsutani/Matsutani.htm#PubDiscBarAppeal
All of the substantive briefs and motions are available at http://psychrights.org/States/Alaska/Ma ... sutani.htm
"The people, when they have been unchecked, have been as unjust, tyrannical, brutal, barbarous and cruel as any king or senate possessed of uncontrollable power.
The majority has eternally, and without one exception, usurped over the rights of the minority." ~John Adams
Child's Ordeal Reveals Risks Of Psychiatric Drugs in Young
By DUFF WILSON
OPELOUSAS, La. -- At 18 months, Kyle Warren started taking a daily antipsychotic drug on the orders of a pediatrician trying to quell the boy's severe temper tantrums.
Thus began a troubled toddler's journey from one doctor to another, from one diagnosis to another, involving even more drugs. Autism, bipolar disorder, hyperactivity, insomnia, oppositional defiant disorder. The boy's daily pill regimen multiplied: the antipsychotic Risperdal, the antidepressant Prozac, two sleeping medicines and one for attention-deficit disorder. All by the time he was 3.
He was sedated, drooling and overweight from the side effects of the antipsychotic medicine. Although his mother, Brandy Warren, had been at her ''wit's end'' when she resorted to the drug treatment, she began to worry about Kyle's altered personality. ''All I had was a medicated little boy,'' Ms. Warren said. ''I didn't have my son. It's like, you'd look into his eyes and you would just see just blankness.''
Today, 6-year-old Kyle is in his fourth week of first grade, scoring high marks on his first tests. He is rambunctious and much thinner. Weaned off the drugs through a program affiliated with Tulane University that is aimed at helping low-income families whose children have mental health problems, Kyle now laughs easily and teases his family.
Ms. Warren and Kyle's new doctors point to his remarkable progress -- and a more common diagnosis for children of attention-deficit hyperactivity disorder -- as proof that he should have never been prescribed such powerful drugs in the first place.
Kyle now takes one drug, Vyvanse, for his attention deficit. His mother shared his medical records to help document a public glimpse into a trend that some psychiatric experts say they are finding increasingly worrisome: ready prescription-writing by doctors of more potent drugs to treat extremely young children, even infants, whose conditions rarely require such measures.
More than 500,000 children and adolescents in America are now taking antipsychotic drugs, according to a September 2009 report by the Food and Drug Administration. Their use is growing not only among older teenagers, when schizophrenia is believed to emerge, but also among tens of thousands of preschoolers.
A Columbia University study recently found a doubling of the rate of prescribing antipsychotic drugs for privately insured 2- to 5-year-olds from 2000 to 2007. Only 40 percent of them had received a proper mental health assessment, violating practice standards from the American Academy of Child and Adolescent Psychiatry.
''There are too many children getting on too many of these drugs too soon,'' Dr. Mark Olfson, professor of clinical psychiatry and lead researcher in the government-financed study, said.
Such radical treatments are indeed needed, some doctors and experts say, to help young children with severe problems stay safe and in school or day care. In 2006, the F.D.A. did approve treating children as young as 5 with Risperdal if they had autistic disorder and aggressive behavior, self-injury tendencies, tantrums or severe mood swings. Two other drugs, Seroquel from AstraZeneca and Abilify from Bristol-Myers Squibb, are permitted for youths 10 or older with bipolar disorder.
But many doctors say prescribing them for younger and younger children may pose grave risks to development of both their fast-growing brains and their bodies. Doctors can legally prescribe them for off-label use, including in preschoolers, even though research has not shown them to be safe or effective for children. Boys are far more likely to be medicated than girls.
Dr. Ben Vitiello, chief of child and adolescent treatment and preventive research at the National Institute of Mental Health, says conditions in young children are extremely difficult to diagnose properly because of their emotional variability. ''This is a recent phenomenon, in large part driven by the misperception that these agents are safe and well tolerated,'' he said.
Even the most reluctant prescribers encounter a marketing juggernaut that has made antipsychotics the nation's top-selling class of drugs by revenue, $14.6 billion last year, with prominent promotions aimed at treating children. In the waiting room of Kyle's original child psychiatrist, children played with Legos stamped with the word Risperdal, made by Johnson & Johnson. It has since lost its patent on the drug and stopped handing out the toys.
Greg Panico, a company spokesman, said the Legos were not intended for children to play with -- only as a promotional item.
Cheaper to Medicate
Dr. Lawrence L. Greenhill, president of the American Academy of Child and Adolescent Psychiatry, concerned about the lack of research, has recommended a national registry to track preschoolers on antipsychotic drugs for the next 10 years. ''Psychotherapy is the key to the treatment of preschool children with severe mental disorders, and antipsychotics are adjunctive therapy -- not the other way around,'' he said.
But it is cheaper to medicate children than to pay for family counseling, a fact highlighted by a Rutgers University study last year that found children from low-income families, like Kyle, were four times as likely as the privately insured to receive antipsychotic medicines.
Texas Medicaid data obtained by The New York Times showed a record $96 million was spent last year on antipsychotic drugs for teenagers and children -- including three unidentified infants who were given the drugs before their first birthdays.
In addition, foster care children seem to be medicated more often, prompting a Senate panel in June to ask the Government Accountability Office to investigate such practices.
In the last few years, doctors' concerns have led some states, like Florida and California, to put in place restrictions on doctors who want to prescribe antipsychotics for young children, requiring a second opinion or prior approval, especially for those on Medicaid. Some states now report prescriptions are declining as a result.
A study released in July by 16 state Medicaid medical directors, which once had the working title ''Too Many, Too Much, Too Young,'' recommended that more states require second opinions, outside consultation or other methods to assure proper prescriptions. The F.D.A. has also strengthened warnings about using some of these drugs in treating children.
No Medical Reason
Kyle was rescued from his medicated state through a therapy program called Early Childhood Supports and Services, established in Louisiana through a confluence of like-minded child psychiatrists at Tulane, Louisiana State University and the state. It surrounds troubled children and their parents with social and mental health support services.
Dr. Mary Margaret Gleason, a professor of pediatrics and child psychiatry at Tulane who treated Kyle from ages 3 to 5 as he was weaned off the heavy medications, said there was no valid medical reason to give antipsychotic drugs to the boy, or virtually any other 2-year-old. ''It's disturbing,'' she said.
Dr. Gleason says Kyle's current status proves he probably never had bipolar disorder, autism or psychosis. His doctors now say Kyle's tantrums arose from family turmoil and language delays, not any of the diagnoses used to justify antipsychotics.
''I will never, ever let my children be put on these drugs again,'' said Ms. Warren, 28, choking back tears. ''I didn't realize what I was doing.''
Dr. Edgardo R. Concepcion, the first child psychiatrist to treat Kyle, said he believed the drugs could help bipolar disorder in little children. ''It's not easy to do this and prescribe this heavy medication,'' he said in an interview. ''But when they come to me, I have no choice. I have to help this family, this mother. I have no choice.''
Ms. Warren conceded that she resorted to medicating Kyle because she was unprepared for parenthood at age 22, living in difficult circumstances, sometimes distracted. ''It was complicated,'' she said. ''Very tense.''
Kyle was a healthy baby physically, but he was afraid of some things. He spent hours lining up toys. When upset, he screamed, threw objects, even hit his head on the wall or floor -- not uncommon for toddlers, but frightening.
''I'd bring him to the doctor and the doctor would say, 'You just need to discipline him,' '' Ms. Warren said. ''How can you discipline a 6-month-old?''
When Kyle's behavior worsened after his brother was born, Ms. Warren turned to a pediatrician, Dr. Martin J. deGravelle.
''Within five minutes of sitting with him, he looked at me and said, 'He has autism, there's no doubt about it,' '' Ms. Warren said.
Dr. deGravelle's clinic notes say Kyle was hyperactive, prone to tantrums, spoke only three words and ''does not interact well with strangers.''
He prescribed Risperdal. At the time, Risperdal was approved by the F.D.A. only for adults with schizophrenia or acute manic episodes. The following year it was approved for certain children, 5 and older, with autism and extremely aggressive behavior. It has never been approved by the F.D.A. for use in children younger than 5, although doctors may legally prescribe it as an off-label use.
''Kyle at the time was very aggressive and easily agitated, so you try to find medication that can make him more easily controlled, because you can't reason with an 18-month-old,'' Dr. deGravelle said in a telephone interview. But Kyle was not autistic -- according to several later evaluations, including one that Dr. deGravelle arranged with a neurologist. Kyle did not have the autistic child's core deficit of social interaction, Dr. Gleason said. Instead, he craved more positive attention from his mother.
''He had trouble communicating,'' Dr. Gleason said. ''He didn't have people to listen to him.''
After the neurologist review, the diagnosis changed to ''oppositional defiant disorder'' and the Risperdal continued.
''Yes, I did ask for it,'' Ms. Warren said. ''But I was at my wit's end, and I didn't know what else to do.''
Dr. deGravelle referred her to Dr. Concepcion, who in turn diagnosed Kyle's condition as bipolar disorder.
''Some children, when they come to me, the parents are really so frustrated,'' Dr. Concepcion said in a phone interview. ''Especially the mothers are so scared or desperate in getting help. Their children are really acting psychotic.''
Dr. Concepcion also spoke with Dr. Charles H. Zeanah, a Tulane medical professor, who disagreed with both the diagnosis and the treatment. ''I have never seen a preschool child with bipolar disorder in 30 years as a child psychiatrist specializing in early childhood mental health,'' Dr. Zeanah said.
More Pills
''It's a controversial diagnosis, I agree with that,'' said Dr. Concepcion. ''But if you will commit yourself in giving these children these medicines, you have to have a diagnosis that supports your treatment plan. You can't just give a nondiagnosis and give them the atypical antipsychotic.''
He also prescribed four more pills.
Kyle's third birthday photo shows a pink-cheeked boy who had ballooned to 49 pounds. Obesity and diabetes are childhood risks of antipsychotics. Kyle smiles at the camera. He is sedated.
''His shell was there, but he wasn't there,'' Ms. Warren said. ''And I didn't like that.''
Dr. Concepcion referred Kyle to the early childhood support program, which has helped about 3,000 preschoolers from low-income families at risk for mental health problems since 2002.
His speech improved. He threw fewer tantrums. ''They started working with us as a family,'' said Ms. Warren, who also received parenting advice. ''That helps.''
Kyle's treatment was directed by Dr. Gleason, a Columbia medical graduate who had led a team that wrote 2007 practice guidelines for psychopharmacological treatment of very young children.
''Families sometimes feel the need for a quick fix,'' Dr. Gleason said. ''That's often the prescription pad. But I'm concerned that when a child sees someone who prescribes but doesn't do therapy, they're closing the door that can make longer-lasting change.''
Off most drugs, Kyle started losing weight and his behavior improved. Ms. Warren's life also improved. She met a man and they moved into their own house five miles out of Opalousas, a town of 25,000. They were married last Saturday.
At their home recently, Kyle and his brother, Jade, ran and played while their baby sister watched from a playpen. Their clothes were neatly folded in a shared bedroom. They often responded ''Yes, ma'am'' or ''Yes, sir.''
''They're respectful, but they're hyper kids,'' Ms. Warren said. ''Once he came off the medication, he's Kyle. He's an intelligent person. He's loud. He's funny. He's smart. He's bouncy. I mean, there's never a dull moment. He has a few little behavior issues. But he's like any other normal 6-year-old.''
Kyle paused to show a reading report card from the end of his kindergarten year, with an A grade.
''Awesome job, Kyle!'' his kindergarten teacher wrote.
PHOTOS: Kyle Warren started a drug treatment at 18 months. (PHOTOGRAPH BY CHRIS BICKFORD FOR THE NEW YORK TIMES) (A1); Kyle Warren at age 3. His weight increased as a side effect of the antipsychotic medicines he was taking.; Kyle Warren, top, at 6 years old. Above, Brandy Warren, left, with Dr. Mary Margaret Gleason. Above right, playing blocks labeled Risperdal. (PHOTOGRAPHS BY CHRIS BICKFORD FOR THE NEW YORK TIMES; DUFF WILSON/THE NEW YORK TIMES) (A22)
-------------- • -------------- • --------------
Yes childrn are being overmedicated. And it's not just by means of adhd and it's not just teens. Children as young as 2 and 3 years old are getting diagnosed with things like depression and bipolar and being put on SSRI's and antipsychotics.
Learn about Jani Schofield. Learn that she was diagnosed schizophrenic at age 5. Learn before that she was abused by her parents (both of whom are mentally ill and medicated themselves) before then. Learn she was first put in the psych ward when her mother was bipolar and in post pardum depression. Learn the full story, not the BS Oprah version that censors the abuse this kid experienced at the hands of her own parents who incidently...
are good pals with Wayne Kernochan who is the author of the book about the abuse at the Elan school. Learn how Wayne donates proceeds of his book to Jani's parents and their fake foundation.
Yes, kids are being overmedicated. They are doing it to perpetuate abuse and shut them up.
Quote from: "cookie"
While I absolutely agree with you that kids are being overmedicated, especially as a means of "managing" their behavior, I also allow that there may be extreme cases where such intervention may, unfortunately, appear to be the only viable option. I can't imagine that that would be a very easy choice for an informed parent to make.
Children who endanger their own physical lives and/or the lives of others by virtue of frequently going into psychotic states ... could understandably be considered to be such "extreme cases."
As to the Schofields' situation specifically, I'm not really in a position to judge. Your assertions above, however, are starkly not in keeping with the overall tenor of Michael Schofield's blog: http://www.janisjourney.org/
Maybe I'm just not seeing it... Perhaps you could spell out in more detail exactly what you consider to be "abuse" and why you consider it abusive?
As to the Janis Foundation, from what little I've read, it seems to have been created within the last year. It is quite possible that there may be some details as to payment processing that have yet to be brought up to commonly accepted practices or standards. I did not check this out to confirm, however; I ran out of time.
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CJ's Top Five: Wrestlers Who Should Be in the WWE ...
Ring of Honor Review 8/23/2014
Peagle's "Shut Up, He's On The Mic" List
WWE Summerslam 2014 Review
Ring of Honor TV Review: 8/16/2014
Should the WWE World Heavyweight Title Be Defended...
CJ's Top 5: Summerslam Matches
SummerSlam 2014 Predictions
All Eyes On: ACH
Ring of Honor TV Review: 8/9/2014
CJ's Top Five: Top Five Undertaker WM Matches
Fantasy Booking: TNA vs WWE
CJ's Top 5: Wrestlemanias
Ring Of Honor Wrestling Review – Airdate: 8/2/14
New Japan G1 Climax Review Part 1 by Medley Mike
WWE Releases Several NXT Talents
Ring Of Honor Wrestling Review - Airdate 8/16/14
By Nathan Neumann @Headliner5 on Twitter
There were only two matches this week which is fine by me. The less amount of matches there are in a one hour episode means each match gets more time. This show was good and it may be better than last week's show. Every company should strive to put on better shows each week, which is exactly what Ring Of Honor has been doing. Let’s get to it shall we?
The show opens up with a pre-taped interview from Kevin Steen, who says that he has personally handpicked Steve Corino to be his last opponent in Ring Of Honor. The choice makes sense as Corino fought for Steen to stay with ROH, when someone who used to be employed by the company wanted to get rid of him along with a few other guys who were solid hands.
Tadarius Thomas vs. ACH
Result: ACH defeats Tadarius Thomas with a top rope 450 splash to pick up the pinfall victory.
Thoughts: When the match started both guys were doing their best to one up the other. They were flipping all over the place, performing all sorts of high flying maneuvers, with neither man gaining a clear advantage. That changed quickly as Tadarius rolled out of the ring after getting knocked down. ACH jumped over the top rope onto the apron and proceeded to run full steam at his former partner to kick him square in the chest. ACH then tries to capitalize by diving through the top and middle ropes at his former friend but Tadarius answers with his own kick this time to ACH’s chest sending ACH cashing down to the floor. I happened to notice that since Thomas has turned heel (a reluctant one at that), he has abandoned his Capoeira style offense, which fans are accustomed to seeing. I’m completely fine with this as the style was just way too flashy for my taste, and it’s good to see him evolve into a more serious wrestler. Thomas also worked a slow more deliberate pace in this one, which again is great if you are a heel. Later on in the match the camera catches a close up on ACH’s face as he has seemingly lost a tooth. Blood is pouring out of his mouth and he spits the dislodged tooth out of his mouth and it lands on the canvas in a pool of blood as the camera gets a nice close up of it to insure us that that’s what happened. Earlier in the match, Tadarius kicked ACH right in the face while ACH was tied up in the ropes, which caused the aforementioned tooth to fall out. The finish would come at about seventeen minutes into the match, as ACH would pick up the win with a top rope 450 splash allowing him to pick up the win, and defeat his former Adrenaline Rush tag team partner. This match was well done, and like I said earlier I’m glad Thomas toned down the Capoeira style, as he seems to overuse it at times.
From there we go straight into the main event.
Main Event – Match 2
Steve Corino vs. Kevin Steen
Result: Kevin Steen defeats Steve Corino with a package piledriver to win his final match in Ring Of Honor.
Thoughts: This match was crazy from the get go, even the introductions of the wrestlers were entertaining. After both wrestlers were in the ring, Bobby Cruz went to introduce them for the pre match introductions. Before the introductions even start there was a loud very audible Mr. Wrestling chant echoing throughout the building. The introduction for Steve Corino was top notch because it was really long but super funny. During Steen’s introduction he got on the second rope and the streamers started flying there were so many of them. So many in fact that they covered the entire ring canvas, Steen laid on the ground and started making streamer angels he then got up to one knee and was covered head to toe in them.
The match starts with the two men shaking hands, which doesn’t surprise me given that they are really good friends outside of the business. Early on in the match, Steen is on the apron while Corino is on the outside of the ring. Corino takes his right arm and does a swiping motion to the back of Steen’s legs which causes Steen to lose his balance and fall on the apron and roll to the outside of the ring. Later on, a fan hands Steen an El Generico mask, which Steen puts on to a huge Ole chant in response. The two men proceed to clothesline each other at the same time and fall to the floor on the outside. Back in the ring Steen downs Corino and hits the top rope senton splash for a near fall. The fans start chanting “You Still Got It’ at Corino. The finish came when Kevin Steen hit Steve Corino with the package piledriver to score the pinfall victory in his final match in Ring Of Honor. This match was excellent, I wish Steen all the best of luck in his future, and I hope that he will make it big in the WWE. I hope that the WWE knows what to do with him and that they don’t screw it up, because he truly is a one of a kind talent.
After the match ended, Jimmy Jacobs ran into the ring and jumped into Kevin Steen’s arms giving him a hug. Corino would join in and they would reunite the SCUM (Suffering Chaos Ugliness Mayhem) Stable. The reunion however was short lived, as Jimmy Jacobs' new stable "The Decade" would rush the ring to attack Steen. Jacobs would get on the microphone and say that Steen is another guy who is leaving the company that he no longer gives a damn about and that’s how the show would go off of the air.
Final Thoughts: This show was solid, the opener was very good, and the main event was excellent. The final segment was very well done, and fit the Jimmy Jacobs character to a T. I’ll be interested to see how Ring Of Honor can go forward after losing one of the best talents they have ever had. It will be a tough void to fill, but it can be done. Whether or not it’s by one guy or multiple guys remains to be seen. Until next week Ring Of Honor fans, I am Nathan saying so long for now and keep your eyes on the ring for some great content from all of us here at eyesonthering.blogspot.com
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Film Atlas (Peru): The Green Wall
Title: The Green Wall / La Muralla Verde (1970)
The Green Wall opens with a collage of images, too disparate to make initial sense. Men burn dried brush. Hands heft and knead a mass of dough. Carved toys stand watch over a water wheel. An urban janitor sweeps a pavilion. A couple (soon we will know them as Mario and Delba) make love under mosquito netting. It will all eventually resolve into a story, but The Green Wall is about immersing you in pure sound and image (my screenshots don't do it proper justice). Even the title, which refers to Mario’s sensation when first entering the jungle, is an indirection; a simple visualization of a deeper concept. The narrative falls into place non-linearly, with certain scenes, postures or compositions linking us into flashbacks, as if they remind the director that he forgot to show you footage shot years earlier.
Mario was a suit-and-tie office worker in Lima who, contrary to the prevailing trend, gave up his job and apartment and built a farm in the jungle. His young pregnant wife Delba, despite her initial trepidation, soon came to enjoy the peace and quiet of their idyllic plot. In the present day Mario leaves for the city to argue over land claims issues (we learn that this is only one visit in a long succession) on the same day that Peru's president is arriving to give a self-congratulatory speech on agriculture and economy. Meanwhile Romulo, Mario and Delba’s highly-introspective son, enjoys the sun, a nearby stream and the rich ringing sound of metal on glass. It does not seem like an unusual day.
I can think of few films which tell a story so well through images. The dialog here is few and far between. Simple sentences. Simple sentiments. Perhaps partly it’s that director Armando Robles Godoy has chosen a story that is so lovely and so, literally, down-to-earth. There is quite a bit of drama towards the end, and one of the most perfectly-crafted and cynicism-free indictments of bureaucracy I’ve ever seen, but I would have liked The Green Wall almost as well even without drama or message. I don’t want to give the impression that the film is boring or austere. It’s not. It’s alive, organic and refreshing; a walk through the forest for those who’ve been cooped up too long indoors. The cinematography and editing are playful, unexpected and mesmerizing; smart without being overly intellectual. Nothing is lazy. It never falls back on genre or art house clichés. The composition of shots (my favorite being a dozen canoes seen drifting down through branches as though they were hanging fruit) and the arrangement of them have been thought through with care and an artist’s eye.
The Green Wall is wide awake to the pleasures, the dangers of the jungle and capable of bringing characters to life with quick invisible strokes. We see Mario’s quixotic determination, his quick-tempered frustration, his surprisingly gentle side. We see Delba’s bravery and vulnerability, her romantic yet rebellious loyalty, her pride in family and their shared competence. We see Romulo’s nebulous daydreaming, his intent yet casual curiosity, and the differences in how he responds to each parent. This is how you show whole lifetimes by depicting a single day.
The Green Wall
The Milk of Sorrow
The City and the Dogs
Mirage (1972)
Major Directors:
Armando Robles Godoy, Claudia Llosa
Labels: 1970s, Film Atlas, Peru, Review, Screenshots and Images
Film Atlas (Slovakia): The Sun in a Net
Film Atlas (Singapore): Ilo Ilo
Film Atlas (Serbia): Underground
Film Atlas (Senegal): Hyenas
Film Atlas (Saudi Arabia): Wadjda
Film Atlas (Samoa): The Orator
Film Atlas (Russia): The Dawns Here Are Quiet
Film Atlas (Romania): Forest of the Hanged
Film Atlas (Portugal): Tabu
Film Atlas (Poland): The Promised Land
Film Atlas (Philippines): Three Godless Years
Film Atlas (Paraguay): Paraguayan Hammock
Film Atlas (Palestine): Paradise Now
Film Atlas (Pakistan): Silent Waters
Film Atlas (Norway): Oslo, August 31st
Film Atlas (North Korea): The Flower Girl
Film Atlas (Nigeria): Sitanda
Film Atlas (Nicaragua): Alsino and the Condor
Film Atlas (New Zealand): Utu
Film Atlas (Netherlands): Turkish Delight
Film Atlas (Nepal): Himalaya
Film Atlas (Mozambique): Sleepwalking Land
Film Atlas (Morocco): Ali Zaoua: Prince of the Str...
Film Atlas (Montenegro): The Man to Destroy
Film Atlas (Mongolia): The Story of the Weeping Ca...
Film Atlas (Moldova): Queen of the Gypsies
Film Atlas (Mexico): Godfather Mendoza
Film Atlas (Mali): Brightness
Film Atlas (Malaysia): My Mother-in-Law
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Jewish Humor 46
Driving Two Float
Mona Lisa Hotel Guest
Jealous Wife Hispanic Jew
Arithmetic Class Crabby People
Kosher Computer If Microsoft Was Jewish
Small Town Justice Interview at a Radio Station
Second Avenue Deli If Walt Disney had a Jewish Mother
Remember...these Jokes are only old if you've heard them before...
Small Town Justice
A Jewish woman in a small town out west sued her husband for divorce. He had left her and refused to pay any kind of support for her, she claimed.
The case was presented to the local judge by a Jewish attorney who concluded his petition in the following way: "Your Honor, this good-for-nothing husband is a most undesirable citizen. He drinks like Lot, sins like Haman, and curses like Balaam."
"The divorce is granted," said the judge, "and as for this man's dangerous associates, if they're ever brought into this cortroom, I will personally see to it that they are punished accordingly."
Jealous Wife
Hava Bromfeld was hanging up her husband's jacket when suddenly she became furious. Hava had spotted a long grey hair on the shoulder.
"I see," she screeched like a hawk on the coup-de-grace, "you were at your mother's to get sympathy again!"
Hispanic Jew
Q: What do you call a Mexican Jew?
A: Oy of Ole'.
Hotel Guest
Going to the front desk of New York's exclusive Pierre Hotel, Mr. Mendelbaum requested some stationery.
The clerk asked, "Are you a guest at the hotel?"
Mr. Mendelbaum snapped indignantly, "No, I am not a guest. I am paying $300 a day!"
If Microsoft Was Jewish...
Instead of getting a "general protection fault" error, your PC would get "verklempt."
"Year 2000" issues are replace by "year 5760-5761" issues.
Hanukkah screen savers will have "flying dreidels."
Your PC shuts down automatically at sundown on Friday evenings.
After your computer dies, you would dispose of it within 48 hours.
Your "start" button would be replaced with a "let's go! I'm not getting any younger!" button.
"Abort, Retry, Ignore" would be replaced with "Stop it already - you're killing me. You vant I should try again? I didn't hear that!"
When disconnecting external devices from the back of the PC, you would be instructed to "remove the cable from the PC's tucas."
Internet Explorer would have a spinning "Star of David" in the upper right corner.
You would hear the tune "Halva Nagila" during startup.
When running "scandisk", you will be prompted with a "You vant I should fix this?" message.
When your PC is working too hard, you would occasionally hear a loud "OY!"
A young boy had just gotten his driving permit. He asked his father, who was a rabbi, if they could discuss his use of the family car. His father took him into his study and said: "I'll make a deal with you. You bring your grades up, study your Talmud a little, get your hair cut and then we'll talk about it."
After about a month, the boy came back and again asked his father if they could discuss his use of the car. They again went into the father's study where the father said: "Son, I've been very proud of you. You have brought your grades up, you've studied the Talmud diligently, but you didn't get your hair cut." The young man waited a moment and then replied:" You know Dad, I've been thinking about that. You know Samson had long hair, Moses had long hair, Rambam had long hair and even Noah had long hair."
The rabbi said: "Yes, and they walked everywhere they went."
Kosher Computer
While in Israel I found a great buy on a computer. It is a kosher computer, called a DELLSHALOM. It was selling at such a good price that...well...
Mine arrived today. If you or a friend are considering a kosher computer, you should know that there were some important upgrades and changes from the typical computer you are used to, such as:
The cursor moves from right to left.
It comes with two hard drives-one for fleyshedik business software and one for milchedik games.
Instead of getting a "General Protection Fault" error, my PC now gets a "Ferklempt" error.
The Chanukah screen savers include "Flying Dreidels". The PC also shuts down automatically at sundown on Friday evenings.
After my computer dies, I have to dispose of it within 24 hours.
The "Start" button has been replaced with a "Let's go! I'm not getting any younger!" button.
When disconnecting external devices from the back of my PC, I am instructed to "Remove the cable from the PC's tuchus."
The multimedia player has been renamed to "Nu, so play my music already!"
Internet Explorer has a spinning "Star of David" in the upper right corner.
I hear "Hava Nagila" during startup.
Microsoft Office now includes "A little byte of this, and a little byte of that."
When running "scandisk," it prompts with a "You want I should fix this?" message.
When my PC is working too hard, I occasionally hear a loud "Oy Gevalt!"
There is a "monitor cleaning solution" from Manischewitz that advertises that it gets rid of the "schmaltz und drek" on your monitor.
After 20 minutes of no activity, my PC goes "Schlaffen."
Computer viruses can now be cured with some matzo ball chicken soup.
The Y2K problem has been replaced by "Year 5760-5761" issues.
If you decide not to shut down the computer in the prescribed manner, the following message appears "You should be ashamed of yourself."
When Spellcheck finds an error it prompts "Is this the best you can do?"
And so it goes...Oy!
If Walt Disney had a Jewish Mother
Just imagine .... what would the world have been like had Walt Disney been raised by a Jewish mother?
Here's what he might have heard a lot of ...
" With the mouse; with the duck; now with dwarfs... Walt, Why don't you become a CPA like your cousin Bernie?"
Second Avenue Deli
Max Greenburg was at his favorite eatery, the Second Avenue Deli, when he called over the waiter.
" Yes?" asked the busy waiter.
" Are you sure you're the waiter I ordered from?" asked Max.
" Why do you ask?" replied the waiter.
Riposted the customer, "Because I was expecting a much older man by now."
Crabby People
Treiff-seeker: "Do you serve crabs here?"
Kosher-Deli-waiter: "We serve anyone, sit down!"
If Mona Lisa's Mother were Jewish, she'd have said: "After all that money your father and I spent on braces, that's the biggest smile you can give us?"
Interview at a Radio Station
Morris Goldstein finished his college education and decided his future was in radio broadcasting. After college he graduated from Yale's famous master's program in Performing Arts. Not satisfied he took further training at the famous New York Academy of Public Speaking.
With all his degrees in hand Morris got his first interview for a radio announcer's job at WKWK Radio in Manhattan. That night Morris sadly admitted to his friend Jerry that he was turned down on his first interview for a radio announcer's job. Friend Jerry said. "But why Morris, you have all the education and degrees?"
Morris said with great sadness, "B-b-bec-c-caus-se t-t-hey-y a-a-ar-re
a-aa-an-n-nt-ti ss-sse-m-m-met-tic aa-at w-k-k-w-w-k-k-k ! "
Arithmetic Class
Mrs. Goldman, the 6th grade teacher, posed the following problem to one of her arithmetic classes:
"A wealthy man dies and leaves ten million dollars. One-third is to go to his wife, one-fifth is to go to his son, one-sixth to his butler, one eighth to his secretary; and the rest to charity. Now, what does each get?" After a very long silence in the classroom, Little Morris raised his hand. The teacher called on Little Morris for his answer.
With complete sincerity in his voice, Morris answered, ... "A good lawyer!"
Two Float
Morty and Saul are out one afternoon on a lake when their boat starts to sink.
Saul the banker says to Morty the entrepreneur, "So listen, Morty, you know I don't swim so well."
Morty remembered how to carry another swimmer from his lifeguard class when he was just a kid. So Morty begins tugging Saul toward shore. After twenty minutes, he begins to tire.
Finally about 50 feet from shore, Morty asks Saul, "So Saul, do you suppose you could float alone?"
Saul replies, "Morty, this is a hell of a time to be asking for money!"
Israeli History in a Nutshell
World Wide Jewish Publications
Home/Principle
All Things Jewish
Jewish Communities of the World
Haruth Communications
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calories in an orange
orange nutrition facts
protein in an orange
carbs in an orange
fat in an orange
sugar in an orange
potassium in an orange
saturated fat in an orange
cholesterol in an orange
magnesium in an orange
iron in an orange
fiber in an orange
calcium in an orange
zinc in an orange
vitamin a in an orange
vitamin c in an orange
vitamin d in an orange
vitamin k in an orange
vitamin b12 in an orange
vitamin b6 in an orange
folic acid in an orange
riboflavin in an orange
phosphorus in an orange
niacin in an orange
thiamine in an orange
Home / Nutrition / Sodium / an orange
Amount of Sodium in An orange
Welcome to the nutritional sodium content in 26 different types of an orange, ranging from 81 mg to 0 mg per 100g. The basic type of an orange is Orange peel, raw, where the amount of sodium in 100g is 3 mg.
3 mg of sodium per 100g, from Orange peel, raw corresponds to 0% of the sodium RDA. For a typical serving size of 1 tbsp (or 6 g) the amount of Sodium is 0.18 mg. This corresponds to an RDA percentage of 0%.
Top twenty an orange products high in sodium
Below is a summary list for the top twenty an orange items ranked by the amount or level of sodium in 100g.
1. Orange-flavor drink, breakfast type, low calorie, powder : 81mg (5%RDA)
2. Orange breakfast drink, ready-to-drink, with added nutrients : 54mg (3%RDA)
3. Orange drink, breakfast type, with juice and pulp, frozen concentrate : 26mg (2%RDA)
4. Orange-flavor drink, breakfast type, with pulp, frozen concentrate : 24mg (2%RDA)
5. Orange-flavor drink, breakfast type, powder : 17mg (1%RDA)
6. Orange-flavor drink, breakfast type, with pulp, frozen concentrate, prepared with water : 10mg (1%RDA)
7. Orange drink, breakfast type, with juice and pulp, frozen concentrate, prepared with water : 10mg (1%RDA)
8. Orange-flavor drink, breakfast type, powder, prepared with water : 5mg (0%RDA)
9. Orange juice, canned, unsweetened : 4mg (0%RDA)
10. Orange Pineapple Juice Blend : 4mg (0%RDA)
11. Orange juice, frozen concentrate, unsweetened, undiluted : 3mg (0%RDA)
12. Orange peel, raw : 3mg (0%RDA)
13. Orange-grapefruit juice, canned, unsweetened : 3mg (0%RDA)
14. Orange drink, canned, with added vitamin C : 3mg (0%RDA)
15. Oranges, raw, with peel : 2mg (0%RDA)
16. Orange juice, chilled, includes from concentrate : 2mg (0%RDA)
17. Orange juice, chilled, includes from concentrate, fortified with calcium and vitamin D : 2mg (0%RDA)
18. Orange juice, chilled, includes from concentrate, fortified with calcium : 2mg (0%RDA)
19. Orange and apricot juice drink, canned : 2mg (0%RDA)
20. Orange juice drink : 2mg (0%RDA)
Following on from the twenty top an orange items or products containing sodium we have a more comprehensive break down of Orange peel, raw, and the highest item containing sodium which is Orange-flavor drink, breakfast type, low calorie, powder. We also give a comparison of average values, median values and lowest values along with a comparison with other food groups and assess the effects of storage and preparation on the 26 types of an orange.
At the bottom of the page is the full list for the 26 different types of an orange based on the content in different servings in grams and oz (and other serving sizes), providing a comprehensive analysis of the sodium content in an orange.
Orange peel, raw - Nutritional Content and Chart
The full nutrition content, RDA percentages and levels for Orange peel, raw should be considered along with the sodium content. This food profile is part of our list of food and drinks under the general group Fruits and Fruit Juices.Other important and sodium related nutrients are Potassium, Calories, Protein, Fat and Carbohydrate. For this 100g serving in your diet, the amount of Potassium is 212 mg (5% RDA), the amount of Calories is 97 kcal (5% RDA), the amount of Protein is 1.5 g (3% RDA), the amount of Fat is 0.2 g and the amount of Carbohydrate is 25 g (19% RDA). The nutritional content and facts for 100g, which includes Potassium, Calories, Protein, Fat and Carbohydrate is shown in the RDA chart below as percentages of the recommended daily allowance along with the sodium levels in an orange.
Our proprietary nutritional density score gives a nutritional value out of 100 based on 9 different vitamins, minerals and macro nutrients. Orange peel, raw has a nutritional value score of 24 out of 100.
100 calories of orange peel, raw is a serving size of 1.03 g, and the amount of Sodium is 3.09 mg (0% RDA). Other important and related nutrients and macronutrients such as Protein, in 100 Calories are as follows; Potassium 218.56 mg (5.15% RDA), Protein 1.55 g (3.09% RDA), Fat 0.21 g (0% RDA), Carbohydrate 25.77 g (19.59% RDA). This is shown in the sodium RDA percentage chart below, based on 100 Calories, along with the other important nutrients and macro nutrients.
Content per Typical Serving Size 1 tbsp (or 6 g)
For the food Orange peel, raw the typical serving size is 1 tbsp (or 6 g) which contains 0.18 mg of Sodium. In terms of the gram weight and total content for this serving the Potassium content is 12.72 mg, the Calories content is 5.82 kcal, the Protein content is 0.09 g, the Fat content is 0.01 g and the Carbohydrate content is 1.5 g. The percentages are shown below in the sodium chart, for the typical serving of sodium and the related and important nutritional values.
Macronutrients in Orange peel, raw
The amount of protein, fat and carbs from this food described above is measured in grams per 100g and grams in a typical serving size (in this case 1 tbsp or 6 g), although it is also useful to give the number of calories from protein, fat and carbohydrate which are the most important macronutrients. For this serving in your diet here are the macronutrient calories. From protein the number of calories is 0.3 (kcal).The number of calories from Fat is 0.1 (kcal).The total calories from carbohydrate is 5.4 (kcal).
Milligrams of sodium in an orange (per 100g)
This list of 26 types of an orange, is brought to you by www.dietandfitnesstoday.com and ranges from Orange-flavor drink, breakfast type, low calorie, powder through to Oranges, raw, Florida where all food items are ranked by the content or amount per 100g. The nutritional sodium content can be scaled by the amount in grams, oz or typical serving sizes. Simply click on a food item or beverage from the list at the bottom of the page to give a full dietary nutritional breakdown to answer the question how much sodium in an orange.
The list below gives the total sodium content in the 26 items from the general description 'an orange' each of which show the sodium amount as well as Potassium, Calories, Protein, Fat and Carbohydrate. Below, is the top 26 food items shown in the sodium chart. This gives a quick and easy dietary comparison for the different items, where each item is listed at the bottom of the page with a nutritional summary.
The corresponding nutritional value for an orange based on our density score out of 100 (ranked by the amount of sodium per 100g) is shown in the below nutritional density chart.
The corresponding Calories for an orange ranked by the amount of sodium per 100g is shown below in the an orange calories chart.
The level of sodium can be affected by the method of storage for example canned or frozen and also by the method of preparation for example either raw, cooked or fried. The total number of frozen food items is 6. The highest amount of sodium from the 6 frozen items is in Orange drink, breakfast type, with juice and pulp, frozen concentrate where the sodium content is 26 mg per 100g. The number of food items classified as canned is 4 items. The highest amount of sodium from the 4 canned items is in Orange juice, canned, unsweetened where the level is 4 mg per 100g.The total food items which are raw is 7 items. The highest amount of sodium from the 7 raw items is in Orange peel, raw where the content is 3 mg per 100g.
Average Content for an orange
The average (or more correctly the arithmetic mean) amount of sodium contained in 100g of an orange, based on the list below of 26 different items under the general description of an orange, is 10.08 mg of sodium. This average value corresponds to 0.63 % of the recommended dietary allowance (or RDA) in your diet. The averages for the different nutrients are as follows; the average amount of Potassium is 305.92 mg, the average amount of Calories is 83.15 kcal, the average amount of Protein is 0.72 g, the average amount of Fat is 0.13 g and the average amount of Carbohydrate is g.
The median value of Sodium is found in Orange-grapefruit juice, canned, unsweetened which in 100g contains 3 mg of Sodium. For this serving the amount of Potassium is 158 mg, the amount of Calories is 43 kcal, the amount of Protein is 0.6 g, the amount of Fat is 0.1 g and the amount of Carbohydrate is 10.28 g.
Using the list below for the 26 different an orange nutrition entries in our database, the highest amount of sodium is found in Orange-flavor drink, breakfast type, low calorie, powder which contains 81 mg of sodium per 100g. The associated percentage of RDA is 5 %. For this 100g serving the Potassium content is 3132 mg, the Calories content is 217 kcal, the Protein content is 3.6 g, the Fat content is 0 g, the Carbohydrate content is 85.9 g.
The lowest amount of sodium in 100g is in Oranges, raw, Florida which contains 0 mg. This gives as percentage of the recommended daily allowance 0 % of the RDA. For this 100g serving the amount of Potassium is 169 mg, the amount of Calories is 46 kcal, the amount of Protein is 0.7 g, the amount of Fat is 0.21 g, the amount of Carbohydrate is 11.54 g.
The difference between the highest and lowest values gives a sodium range of 81 mg per 100g. The range for the other nutrients are as follows; 2963 mg for Potassium, 171 kcal for Calories, 2.9 g for Protein, 0.21 g for Fat, 0 g for Carbohydrate.
Please remember that the above gives an accurate value in 100g for high sodium foods in your diet. For example 100g of Orange peel, raw contains 3 mg of sodium. However, there are other factors to consider when you are assessing your nutritional requirements. You should also take into account portion sizes when you are considering the sodium nutritional content.
The food with the highest sodium content per typical serving is Orange drink, breakfast type, with juice and pulp, frozen concentrate, prepared with water which contains 25 mg in 1 serving 8 fl oz (or 250 g). The percentage of the recommended daily value for this serving is 2 %. For this serving the Potassium content is 417.5 mg, the Calories content is 112.5 kcal, the Protein content is 0.3 g, the Fat content is 0 g and the Carbohydrate content is 28.3 g.
From the list below you can find a full nutrition facts breakdown for all foods containing sodium which can be scaled for different servings and quantities. We have also sorted our complete nutritional information and vitamin database of over 7000 foods, to give a list of foods high in sodium.
An orange List, sodium Content per 100g
1. Orange-flavor drink, breakfast type, low calorie, powder - Sodium
Nutritional Value : 23 / 100 food group - Beverages
81 mg (5%) 3132 mg (67%) 217 kcal (11%) 85.9 g (66%) 0 g (0%) 3.6 g (6%)
Typical Serving size of 1 portion and amount of dry mix to make 8 fl oz prepared (or 2.5g):
2.03 mg (0%) 78.3 mg (2%) 5.43 kcal (0%) 2.15 g (2%) 0 g (0%) 0.09 g (0%)
2. Orange breakfast drink, ready-to-drink, with added nutrients - Sodium
54 mg (3%) 83 mg (2%) 53 kcal (3%) 13.2 g (10%) 0 g (0%) 0 g (0%)
Typical Serving size of 1 fl oz (or 31.6g):
17.06 mg (1%) 26.23 mg (1%) 16.75 kcal (1%) 4.17 g (3%) 0 g (0%) 0 g (0%)
Other serving sizes 1 cup (8 fl oz) (or 253g):
136.62 mg (9%) 209.99 mg (4%) 134.09 kcal (7%) 33.4 g (26%) 0 g (0%) 0 g (0%)
3. Orange drink, breakfast type, with juice and pulp, frozen concentrate - Sodium
26 mg (2%) 465 mg (10%) 153 kcal (8%) 39 g (30%) 0 g (0%) 0.4 g (1%)
9.44 mg (1%) 168.8 mg (4%) 55.54 kcal (3%) 14.16 g (11%) 0 g (0%) 0.15 g (0%)
Other serving sizes 1 can (12 fl oz) (or 436g):
113.36 mg (7%) 2027.4 mg (43%) 667.08 kcal (33%) 170.04 g (131%) 0 g (0%) 1.74 g (3%)
4. Orange-flavor drink, breakfast type, with pulp, frozen concentrate - Sodium
24 mg (2%) 435 mg (9%) 172 kcal (9%) 42.9 g (33%) 0.5 g (1%) 0.1 g (0%)
8.47 mg (1%) 153.56 mg (3%) 60.72 kcal (3%) 15.14 g (12%) 0.18 g (0%) 0.04 g (0%)
101.76 mg (6%) 1844.4 mg (39%) 729.28 kcal (36%) 181.9 g (140%) 2.12 g (3%) 0.42 g (1%)
5. Orange-flavor drink, breakfast type, powder - Sodium
17 mg (1%) 190 mg (4%) 386 kcal (19%) 98.94 g (76%) 0 g (0%) 0 g (0%)
Typical Serving size of 1 serving 2 tbsp (or 26g):
4.42 mg (0%) 49.4 mg (1%) 100.36 kcal (5%) 25.72 g (20%) 0 g (0%) 0 g (0%)
6. Orange-flavor drink, breakfast type, with pulp, frozen concentrate, prepared with water - Sodium
10 mg (1%) 124 mg (3%) 49 kcal (2%) 12.21 g (9%) 0.14 g (0%) 0.03 g (0%)
Typical Serving size of 1 serving 8 fl oz (or 248g):
24.8 mg (2%) 307.52 mg (7%) 121.52 kcal (6%) 30.28 g (23%) 0.35 g (1%) 0.07 g (0%)
Other serving sizes 1 fl oz (or 31g):
3.1 mg (0%) 38.44 mg (1%) 15.19 kcal (1%) 3.79 g (3%) 0.04 g (0%) 0.01 g (0%)
7. Orange drink, breakfast type, with juice and pulp, frozen concentrate, prepared with water - Sodium
10 mg (1%) 167 mg (4%) 45 kcal (2%) 11.32 g (9%) 0 g (0%) 0.12 g (0%)
25 mg (2%) 417.5 mg (9%) 112.5 kcal (6%) 28.3 g (22%) 0 g (0%) 0.3 g (1%)
3.13 mg (0%) 52.27 mg (1%) 14.09 kcal (1%) 3.54 g (3%) 0 g (0%) 0.04 g (0%)
8. Orange-flavor drink, breakfast type, powder, prepared with water - Sodium
5 mg (0%) 25 mg (1%) 49 kcal (2%) 12.65 g (10%) 0 g (0%) 0 g (0%)
10.15 mg (1%) 50.75 mg (1%) 99.47 kcal (5%) 25.68 g (20%) 0 g (0%) 0 g (0%)
1.7 mg (0%) 8.48 mg (0%) 16.61 kcal (1%) 4.29 g (3%) 0 g (0%) 0 g (0%)
9. Orange juice, canned, unsweetened - Sodium
Nutritional Value : 21 / 100 food group - Fruits and Fruit Juices
4 mg (0%) 184 mg (4%) 47 kcal (2%) 11.01 g (8%) 0.15 g (0%) 0.68 g (1%)
9.96 mg (1%) 458.16 mg (10%) 117.03 kcal (6%) 27.41 g (21%) 0.37 g (1%) 1.69 g (3%)
1.24 mg (0%) 57.22 mg (1%) 14.62 kcal (1%) 3.42 g (3%) 0.05 g (0%) 0.21 g (0%)
Other serving sizes 1 drink box (8.45 fl oz) (or 263g):
10.52 mg (1%) 483.92 mg (10%) 123.61 kcal (6%) 28.96 g (22%) 0.39 g (1%) 1.79 g (3%)
10. Orange Pineapple Juice Blend - Sodium
4 mg (0%) 150 mg (3%) 51 kcal (3%) 12.2 g (9%) 0.08 g (0%) 0.41 g (1%)
Typical Serving size of 8 fl oz (or 246g):
9.84 mg (1%) 369 mg (8%) 125.46 kcal (6%) 30.01 g (23%) 0.2 g (0%) 1.01 g (2%)
11. Orange juice, frozen concentrate, unsweetened, undiluted - Sodium
3 mg (0%) 674 mg (14%) 159 kcal (8%) 38.17 g (29%) 0.21 g (0%) 2.39 g (4%)
8.52 mg (1%) 1914.16 mg (41%) 451.56 kcal (23%) 108.4 g (83%) 0.6 g (1%) 6.79 g (12%)
Other serving sizes 1 can (6 fl oz) (or 213g):
6.39 mg (0%) 1435.62 mg (31%) 338.67 kcal (17%) 81.3 g (63%) 0.45 g (1%) 5.09 g (9%)
12. Orange peel, raw - Sodium
3 mg (0%) 212 mg (5%) 97 kcal (5%) 25 g (19%) 0.2 g (0%) 1.5 g (3%)
Typical Serving size of 1 tbsp (or 6g):
0.18 mg (0%) 12.72 mg (0%) 5.82 kcal (0%) 1.5 g (1%) 0.01 g (0%) 0.09 g (0%)
Other serving sizes 1 tsp (or 2g):
0.06 mg (0%) 4.24 mg (0%) 1.94 kcal (0%) 0.5 g (0%) 0 g (0%) 0.03 g (0%)
13. Orange-grapefruit juice, canned, unsweetened - Sodium
3 mg (0%) 158 mg (3%) 43 kcal (2%) 10.28 g (8%) 0.1 g (0%) 0.6 g (1%)
7.41 mg (0%) 390.26 mg (8%) 106.21 kcal (5%) 25.39 g (20%) 0.25 g (0%) 1.48 g (3%)
14. Orange drink, canned, with added vitamin C - Sodium
3 mg (0%) 18 mg (0%) 49 kcal (2%) 12.34 g (9%) 0.07 g (0%) 0 g (0%)
Typical Serving size of 1 cup (8 fl oz) (or 248g):
7.44 mg (0%) 44.64 mg (1%) 121.52 kcal (6%) 30.6 g (24%) 0.17 g (0%) 0 g (0%)
0.93 mg (0%) 5.58 mg (0%) 15.19 kcal (1%) 3.83 g (3%) 0.02 g (0%) 0 g (0%)
15. Oranges, raw, with peel - Sodium
2 mg (0%) 196 mg (4%) 63 kcal (3%) 15.5 g (12%) 0.3 g (0%) 1.3 g (2%)
3.4 mg (0%) 333.2 mg (7%) 107.1 kcal (5%) 26.35 g (20%) 0.51 g (1%) 2.21 g (4%)
Other serving sizes 1 fruit without seeds (or 159g):
16. Orange juice, chilled, includes from concentrate - Sodium
4.98 mg (0%) 443.22 mg (9%) 122.01 kcal (6%) 28.73 g (22%) 0.3 g (0%) 1.69 g (3%)
17. Orange juice, chilled, includes from concentrate, fortified with calcium and vitamin D - Sodium
0.62 mg (0%) 55.36 mg (1%) 14.62 kcal (1%) 3.5 g (3%) 0.04 g (0%) 0.21 g (0%)
18. Orange juice, chilled, includes from concentrate, fortified with calcium - Sodium
19. Orange and apricot juice drink, canned - Sodium
2 mg (0%) 80 mg (2%) 51 kcal (3%) 12.7 g (10%) 0.1 g (0%) 0.3 g (1%)
5 mg (0%) 200 mg (4%) 127.5 kcal (6%) 31.75 g (24%) 0.25 g (0%) 0.75 g (1%)
20. Orange juice drink - Sodium
2 mg (0%) 42 mg (1%) 54 kcal (3%) 13.41 g (10%) 0 g (0%) 0.2 g (0%)
4.98 mg (0%) 104.58 mg (2%) 134.46 kcal (7%) 33.39 g (26%) 0 g (0%) 0.5 g (1%)
5.26 mg (0%) 110.46 mg (2%) 142.02 kcal (7%) 35.27 g (27%) 0 g (0%) 0.53 g (1%)
21. Oranges, raw, navels - Sodium
1 mg (0%) 166 mg (4%) 49 kcal (2%) 12.54 g (10%) 0.15 g (0%) 0.91 g (2%)
Typical Serving size of 1 cup sections and without membranes (or 165g):
1.65 mg (0%) 273.9 mg (6%) 80.85 kcal (4%) 20.69 g (16%) 0.25 g (0%) 1.5 g (3%)
Other serving sizes 1 fruit (2-7/8 dia) (or 140g):
1.4 mg (0%) 232.4 mg (5%) 68.6 kcal (3%) 17.56 g (14%) 0.21 g (0%) 1.27 g (2%)
Other serving sizes 1 NLEA serving (or 154g):
1.54 mg (0%) 255.64 mg (5%) 75.46 kcal (4%) 19.31 g (15%) 0.23 g (0%) 1.4 g (3%)
22. Orange juice, raw - Sodium
1 mg (0%) 200 mg (4%) 45 kcal (2%) 10.4 g (8%) 0.2 g (0%) 0.7 g (1%)
2.48 mg (0%) 496 mg (11%) 111.6 kcal (6%) 25.79 g (20%) 0.5 g (1%) 1.74 g (3%)
0.31 mg (0%) 62 mg (1%) 13.95 kcal (1%) 3.22 g (2%) 0.06 g (0%) 0.22 g (0%)
Other serving sizes 1 fruit yields (or 86g):
0.86 mg (0%) 172 mg (4%) 38.7 kcal (2%) 8.94 g (7%) 0.17 g (0%) 0.6 g (1%)
23. Orange juice, frozen concentrate, unsweetened, diluted with 3 volume water - Sodium
2.49 mg (0%) 473.1 mg (10%) 112.05 kcal (6%) 26.84 g (21%) 0.15 g (0%) 1.69 g (3%)
0.31 mg (0%) 59.09 mg (1%) 14 kcal (1%) 3.35 g (3%) 0.02 g (0%) 0.21 g (0%)
24. Oranges, raw, all commercial varieties - Sodium
Typical Serving size of 1 cup and sections (or 180g):
0 mg (0%) 325.8 mg (7%) 84.6 kcal (4%) 21.15 g (16%) 0.22 g (0%) 1.69 g (3%)
Other serving sizes 1 large (3-1/16 dia) (or 184g):
0 mg (0%) 333.04 mg (7%) 86.48 kcal (4%) 21.62 g (17%) 0.22 g (0%) 1.73 g (3%)
Other serving sizes 1 small (2-3/8 dia) (or 96g):
0 mg (0%) 173.76 mg (4%) 45.12 kcal (2%) 11.28 g (9%) 0.12 g (0%) 0.9 g (2%)
25. Oranges, raw, California, valencias - Sodium
0 mg (0%) 179 mg (4%) 49 kcal (2%) 11.89 g (9%) 0.3 g (0%) 1.04 g (2%)
0 mg (0%) 322.2 mg (7%) 88.2 kcal (4%) 21.4 g (16%) 0.54 g (1%) 1.87 g (3%)
26. Oranges, raw, Florida - Sodium
0 mg (0%) 169 mg (4%) 46 kcal (2%) 11.54 g (9%) 0.21 g (0%) 0.7 g (1%)
0 mg (0%) 312.65 mg (7%) 85.1 kcal (4%) 21.35 g (16%) 0.39 g (1%) 1.3 g (2%)
0 mg (0%) 238.29 mg (5%) 64.86 kcal (3%) 16.27 g (13%) 0.3 g (0%) 0.99 g (2%)
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January 18 meeting
January 18th meeting
We had a huge crowd for the January 18th History of Idaho Broadcasting Meeting at the KATN/KBBK studios on Fairview. After a fabulous free lunch of Old Chicago Pizza, we heard a special taped tribute to legendary KATN program director Paul Ryder. The tribute was sent from Fresno by Paul Ryder's last boss, Paul Wilson, former P.D. of KQFC-FM from 1989-1998.
Paul (Ryder) Bedard died suddenly in the mid 1990s from kidney failure. Paul went into the hospital on Friday and passed away over that same weekend. It was a touching tribute from "Paul to Paul" by Wilson, who is now a Regional Vice President of Programing for Clear Channel, based in Fresno. Wilson is Operations Director in Fresno, Program Director for two Fresno stations, and also oversees programming on Clear Channel stations in Modesto, Stockton, Salinas, Monteray, and Bakersfield, California. In the early 90s Paul Wilson had KQFC up to a 17 share 12+ and Paul Rider was part of that on-air team.
The star of the meeting was 80+ year old Ralph Frazer who started KATN-AM, Idaho's first full time country music station in April 1961, and Boise's 2nd oldest FM station, KBBK-FM which is now KIZN 92.3 FM.
Ralph was thrilled with the turnout and told many stories about selling hamburgers in Africa and starting KATN after being fired by Wes Whillock of KBOI-TV once K-10's CP was actually granted.
Tip Goss, former K-10 announcer (and current KIDO/KFXD AM board op) hosted the audio segements.Tip was also a member of the local 1960s country/rock band "The GTs." The audio clips included an August 1963 aircheck with spots by Paul Ryder. Both "Ring of Fire" and "Abeline" were both current tunes at the time! Who'd have thunk they'd still be playing Johnny Cash in 2008?
Tip Goss was the announcer who was heard next on a 1964 K-10 aircheck that included some great K-10 music, jingles, and spots.We then heard several segments from an April 1968 aircheck of the Bob Salter "Coffee Time" conservative call-in talk show! Former Idaho Supreme Court Justice Byron Johnson supplied the 1968 tape and was at the meeting to provide comments! Hearing Bob Salter was great and generated a lot of discussion among those attending - all positve by the way. Salter had help popularize the song "Only You" by the Platters, and according to Marty Holtman, also discovered the Kingston Trio while working as a D.J. in Seattle. The Joel Whitburn books confirm the Platters story.
The Bob Salter aircheck was made when Byron Johnson was just 30 years old, in early April of 1968. This was a day or two after Martin Luther King Jr. was assasinated, so that was what was on the minds of many KATN listeners who were calling in that week. There also was also a "breaking news" flash that the war in Viet Nam was going to end! President Lyndon Johnson had said the other side was finally ready for "talks."
We then heard a 1972 Byron Johnson for US Senate ad and wrapped up the audio portion of the show with some 1972 KATN-AM (now 5 KW at 950 on the dial) and KBBK-FM sign-ons and sign-offs.
Among those attending Friday were History of Idaho Broadcasting members Ray Littrell, Larry Smith, R.W. Egelston, Jeff Bishop, Gil Rose Jr., Gary Dean Moser, Brent Jones, Jimmy Johntz, Vice President Frank Aden Jr., Webmaster Rockwell Smith, Marty Holtman, Bob Ahmann, and Al Hale.
Guests attending included Larry Chase,Dale Peterson, Shawn Kimmell, Clint Fitch, Mark Campbell, Kitty Delorey Fleischman, Clint Tinsley, Byron Johnson, Sharon Clark, Mrs. Sammy Fisher, Randy Cox, and Steve Davidson.
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A ripple of water against his side and he knew she was in the stone pool with him, her body as sleek and fast as that of a fur seal as she dove under and came up a few feet to his left. Body gleaming wet, she made her way to him, her movements slow and easy—as if she was afraid he’d disappear.
Her caution made him bare his teeth. “I’m not a f**king rabbit.”
“No, you’re a pissed-off male wolf,” Indigo answered, her pulse hammering double time. “Rule of thumb there is to move slowly and try not to get your throat ripped out.”
A low snarl vibrated in the sudden silence around them as the forest creatures froze. “I don’t need my ego stroked, Indigo. You made your decision. It’s done.”
“Why are you here?” Blunt words, with none of the charm she’d come to expect. “Were you worried that one of your chicks was in trouble?”
“You’re not lettin—”
“Well, as you can see, I’m fine. So you can go back to the den with a clear conscience.”
He’d cut through the water and was pulling himself out before she could stop him. Used to giving packmates privacy, she went to close her eyes, then thought, to hell with it, and kept them open. He was built gorgeously, all fluid lines and supple muscle that hid a ferocious power and strength.
He didn’t look at her as he picked up his dirty clothes and left, but she knew he was aware she was watching. As he disappeared into the forest, she blew out a breath and, floating on her back, stared up at the jewel-strewn sky. “Well, that went well.” No one answered her, the forest denizens going about their business once more, uninterested in the fact that the rules she lived her life by were crumbling around her.
She didn’t know how long she remained in the pool, but when shivers began to crawl over her skin, she finally hauled herself out . . . to find a clean T-shirt and towel placed where her dirty clothes had been. Her heart gave a little beat of hope. Toweling herself down as fast as possible in an attempt to rub heat into her skin, she pulled on the T-shirt.
Earthy warmth and sunshine and laughter.
It was Drew’s T-shirt. Nuzzling her face into the shoulder, she inhaled deeply of his scent before wrapping the towel around her hair and making her way back to the campsite. The scent trail Drew had left behind led her up an easier path than the one she’d used to come down, and she reached the warm light of the laz-fire not long afterward.
Drew was lying on his back on top of his sleeping bag when she arrived, his arms folded behind his head, his body clad in faded jeans and nothing else. He’d made no effort to roll out her sleeping bag. In fact, even her dirty clothes had been packed away. The hint was as clear as a billboard sign.
Growling low in her throat, she ripped off the towel and dumped it on his pack. Then, driven by anger and the stubborn will that had created this mess in the first place, she walked over to straddle his fake-sleeping body. His eyes snapped open as her weight came down on his hips, her arms crossed over her chest.
She glimpsed a furious mix of raw hunger and pure rage in the blue of his eyes in the split second before he propped himself up on his elbows and said, “What? Riaz doesn’t know what he’s doing in bed?” in a voice harsh enough to strip paint.
“Is that an offer?” It was a sweet question as she shifted to cradle the powerful jut of his arousal between her thighs. He felt . . . Her stomach went all tight and twisty, her skin shimmering with a sudden, blinding heat that had nothing to do with the fire to her left.
His face was pure scowl when he responded. “I’m not looking to be the f**king booby prize, so no, it’s not an offer.”
Unfolding her arms, Indigo leaned down to brace herself with her palms flat on either side of his head. Drew fell back, his hands coming to close over her hips. “What are you doing?” Gritted out through clenched teeth.
Those hands, those fingers, they felt like brands on her skin, burning through the fabric of the tee to imprint her skin. “Trying to figure out why the hell I came all this way to get abused.”
His fingers tightened. “Yeah, why did you?”
“Maybe because I wanted to do this.” She nipped sharply at his full lower lip. “And this.” Sucking his upper lip into her mouth, she released it with slow pleasure. “And this, too.” Pushing her fingers into his damp hair, she swept her tongue inside his mouth in a brazen kiss that held nothing back.
A growl vibrated in his chest and it made her shiver. “That felt good,” she said, breaking the kiss to gasp in a breath. “Do it again when I’m naked.”
His hands slid down, then back up her thighs to close over her bare bu**ocks. “What are you doing, Indigo?”
But she stole the question with her mouth, raising one hand off the soft cushion of the sleeping bag to stroke against his cheek. The stubble of his unshaven jaw rasped over her palm, and she wanted to feel that same sensation on softer, far more delicate skin. Her thighs clenched around him, and he felt it, if his response was any indication.
Squeezing the flesh he’d palmed, he slid his hands down to her upper thighs, played his fingers along the highly sensitive inner faces just enough to make her gasp . . . then slid his hands right back to where they’d been. “Tease.” She broke the kiss, looked down at him. And saw something that made her bury her face in his neck as she stretched out her legs until she lay on top of him, his hands still on her bare flesh, his erection rigid beneath her thigh, his chest rising and falling in a jagged rhythm.
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Projectile charges
Charge for an explosive projectile characterized in that it comprises a plurality of adjacent, coaxial and annular layers, the peripheral layer having a higher content of heavy powerful explosive than the immediately adjacent layer and so on to the central axial layer which is a solid cylinder and has the lowest content of heavy powerful explosive.
Precoul, Michel (Paris, FR)
Societe d'Etudes, de Realisations et d'Applications Techniques (Paris, FR)
F42B1/00; F42B1/02; (IPC1-7): F42B1/02
102/56SC, 102/56R, 102/24HC, 102/24R
3985077 Ogival lens warhead 1976-10-12 Conger et al. 102/56R
3865035 Multi-use munition 1975-02-11 Munson et al. 102/56R
3796159 EXPLOSIVE FISHEYE LENS WARHEAD 1974-03-12 Conger 102/56R
3796158 EXPLOSIVE LUNEBERG LENS WARHEAD 1974-03-12 Conger 102/56R
3561361 DETONATION SYSTEM FOR SHAPED CHARGES 1971-02-09 Kessenich et al. 102/24HC
3557656 CHARGING EXPLOSIVE PROJECTILES, ESPECIALLY HOLLOW CHARGE PROJECTILES 1971-01-26 Precoul 86/31
3192289 Method of casting solid propellant rocket motors 1965-06-29 Jagiello 86/20
3082689 Detonatable cartridges having insensitive explosive cores 1963-03-26 Griffith et al. 102/24R
2990683 Ignition of solid rocket propellants 1961-07-04 Walden 102/202
2900905 Projectile cavity charges 1959-08-25 MacDougall 102/56SC
2897714 Method of and device for charging explosive projectiles 1959-08-04 Precoul 86/20
1844701 Method and apparatus for centrifugal casting 1932-02-09 Tama 86/20
Jordan, Charles T.
DAVIS. HOXIE, FAITHFULL & HAPGOOD (SUITE 810, 2001 JEFFERSON DAVIS HWY.,, ARLINGTON, VA, 22202, US)
What is claimed as new is:
1. A generally cylindrical hollow shaped charge for an explosive projectile comprising a generally cylindrical jacket, and an explosive charge within the jacket, the charge having a generally conical, hollow depression in the front end of the charge, the charge being in the form of a plurality of coaxial layers, the innermost layer being a solid cylinder of explosive of relatively low power, the layer overlying the innermost layer being an annular layer having an explosive content more powerful than the innermost layer, and further annular layers, each having an explosive content more powerful than that of the adjacent inner layer, the outermost annular layer having the highest explosive content, the jacket further serving to elongate the jet by causing participation of a larger fraction of the generatrix of the conical depression remote from the front end of the charge.
The present invention concerns improvements relating to projectile charges.
The present-day conventional charges (particularly for shaped charge projectiles) are those introduced by pouring and based on tolite containing, in suspension, heavy powerful explosives such as pentrite, hexogene and octogene. By various means such as for example the shape, dimensions and proportions of the projectile, the feed and heat treatment of the charge, the features of which are optimized for each particular case, the composition of the mixture, the viscosity particle-size and particle-size range of the heavy unfused explosive, etc. . . , it has become possible to obtain mixtures which are very uniform and exhibit little porosity, which are disposed symmetrically about the longitudinal axis, and which have a high content of heavy powerful explosive such as hexogene for example. These results and the steps used for achieving them have greatly contributed to improving the performance of modern shaped charges.
Furthermore, the introduction of the priming screen has made it possible to generate detonation waves of concave toroidal shape, (as seen from the nose of the projectile, the wave advancing towards the viewer). This step, combined with those mentioned above, has also contributed to an increase in the power of shaped charges which has now reached 5 calibres or more, with maxima in the order of 6 to 6.5 calibres.
All of these conventional improvements are in particular aimed at two essential classes of parameter of the shaped charge, i.e. length of the jet on the one hand, and symmetry on the other. It has long been known that the penetration power is directly related to the length of the jet which, furthermore, should be straight, continuous and symmetrical. Thus, the head of the jet, created by the nose of the casing, is sustained by the adjoining zone, whereas the tail of the jet and the "core", not participating in penetration are created by the base of the casing.
Thus, to increase the penetration power, it is necessary to lengthen the jet by causing participation of the greater fraction of the generatrix of the casing, remote from the nose, and to try to transfer, from the "core" to the jet, a greater fraction of the base of said casing.
With this end in view, the invention provides a charge characterized in that it comprises juxtaposed, annular and coaxial layers which contain progressively higher contents of heavy powerful explosive (hexogene for example) the further they are away from the axis, the detonation wave then being propagated more rapidly in the peripheral layers, and velocity being lowest at the axis and increasing progressively as the periphery is approached and as a function of the increasing content of powerful explosive, so that the wave thus also has a concave toroidal shape (as seen from the front of the casing, irrespective of whether or not a screen is present, both possibilities being covered by the invention).
In these conditions and according to the invention, the faster arrival of the detonation wave in the peripheral layers permits earlier attack on the base fractions of the casing, the particles of which join, at an earlier stage and often at an earlier stage and more intimately, the jet normally created by the tip of said casing and the neighbouring zone. Consequently, according to the invention, a lengthening of the effective jet, good continuity of the jet and a consequent increase in penetrating power are achieved.
To achieve this result and in accordance with the invention, the charge is formed by adjacent, annular, coaxial, cylindrical layers, the peripheral layer having a content of powerful heavy explosive that is greater than that of the inwardly adjacent layer as seen on the same transverse plane at right-angles to the longitudinal axis of the projectile. According to the invention, at least two coaxial layers are provided, i.e. a central layer (solid cylinder) surrounded by an annular peripheral layer.
The various features and advantages of the invention will be seen from the examples described below. These examples are however quoted simply by way of illustration, and any other forms of construction, shapes, sizes and dispositions can also be used within the framework of the invention.
The example dealt with below relates to a charge comprising two annular outer layers which surround a solid cylindrical central layer. The invention also covers any number of annular outer layers other than two.
The example dealt with below concerns a disc-shaped priming means not having a screen. However, the invention also relates to priming means of any shape, with or without a screen.
Finally, the example dealt with below concerns a projectile having a shaped charge with a conical casing. However, the invention also covers any form of casing for a shaped charge and, in addition, explosive projectile not having a shaped charge.
The following description refers to the attached drawings in which:
FIG. 1 is a longitudinal section through a projectile in accordance with the invention;
FIG. 2 illustrates diagrammatically the features of the charge for the projectile shown in FIG. 1; and
FIG. 3 is a longitudinal section showing the essential arrangement of the parts forming the charge in accordance with the invention.
The projectile shown in FIG. 1 consists of a shell 1, a casing 2 for the shaped charge, an explosive charge designated as a whole by the reference number 3, and a priming means 4 (which, in the present non-limiting example, takes the form of a disc). The longitudinal axis of the projectile extends along the line X-X'.
In this embodiment of the invention, the charge 3 consists of three coaxial layers, namely:
a central cylindrical layer III having a powerful explosive content of H,
an annular layer II adjacent to and coaxial with III and having a powerful explosive content of H'>H, and
an annular layer I (adjacent to and coaxial with the layer II), having a powerful explosive content of H">H'>H.
Still within the framework of the invention, the relative contents H, H' and H" of powerful explosive may be constant in the same layer (this being the case with a compressed explosive containing an addition such as wax, or a composite explosive comprising a plastics binding agent).
Within the same layers the relative contents H, H' and H" may vary (the conventional case of a poured charge having a tolite base wherein the powerful explosive content is greater at the front-zone X than at the rear end--zone X'--when charging is carried out by gravity and through the rear end).
In the first case and in accordance with the invention, H">H'>H, so that the peripheral layers (I) have a lower binding agent content than the central layers (III).
In the second case and in accordance with the invention, charging is carried out in such a way that in one and the same plane N perpendicular to the longitudinal axis X-X', the contents of the various layers is in accordance with the formula H">H'>H. In another plane N' located nearer the front end, the formula is H"1 >H'1 >H1, though if N' is nearer the front than N, then H"1 >H"(H"1, H'1 and H1 being the respective contents of heavy powerful explosive in the layers I, II and III in the plane N').
FIG. 2 illustrates the distribution of the contents in heavy powerful explosive as proposed by the invention and in the projectile shown in FIG. 1 in the case of a poured charge based on tolite.
The X-Y axis shows the percentage in heavy powerful explosive H; the X-X' axis shows the various planes N along the projectile.
According to the invention, the distribution of the percentage contents H in zone I is outside the curve for the zone II, and the latter is in turn outside the curve for the zone III (each outside position indicating an increasing percentage content H).
The detonation velocities in each layer follow similar curves. The detonation wave of the charge in accordance with the invention is thus concave and toroidal as seen by a viewer positioned in front of the projectile and observing this wave advancing towards him, so that a larger fraction of the casing participates in the continuous jet as aimed at by the invention.
In the case of a compressed explosive, the charge in accordance with the invention is made up of annular or cylindrical blocks of a suitable shape and diameter which are positioned and bonded to each other to obtain the arrangement shown in FIG. 1 for example. After optimization, care is taken to distribute the explosive content so that it corresponds to the condition H">H'>H in accordance with the invention.
According to the invention, the same conditions apply in the case where a composite explosive having a plastics binding agent is used.
In the conventional charge introduced by pouring and consisting of a mixture based on tolite, the improvements in accordance with the invention are achieved for example in the manner described below by reference to FIG. 3. The projectile comprises a shell 5 and a casing 6 (which is conical and has a cone angle of α for example). A charging funnel 7 is fitted in a manner not illustrated.
According to the invention, the peripheral annular layer 8 of explosive (having a maximum content H") is formed by fitting in position a cylindrical tool 9, (made of metal or plastics material) having an outside diameter D corresponding to the inside diameter D of the annular peripheral layer I (FIG. 1), this tool being centered on the axis X-X' in the funnel 7 with the aid of three or more vanes 10 and by fitting the front end 9' of said tool 9 on the casing 6 so that the zone of contact between the tool and the casing constitutes a frusto-conical portion having an angle α.
After the charge has been made up, poured in and heat treated in the usual manner, the tool 9 is lifted, and using a similar tool the second annular layer in accordance with the invention is poured into the interior. (If, for example, a charge as in FIG. 1 is used, the second tool 9 is similar but has a diameter D' instead of D). Then, in accordance with the invention, the mixture is made up to give H'<H".
This procedure is repeated in stages, and the final solid, cylindrical and central layer having an explosive content of H<H' (FIG. 1 for example) is poured directly into the cylindrical axial space left by the penultimate operation in accordance with the invention.
However, to obtain the charge comprising cylindrical, annular and coaxial layers in accordance with the invention, cooling in each operation is not continued to approximately 20° C. as is usual with conventional charges, but, according to the invention, is arrested within a range of approximately 50° C. to 80° C. so as to obtain the distribution and the required percentage content H in the layer on the one hand, and to maintain a solid inside channel which is left open for the purpose of accomodating the following layer, on the other. Within the framework of the invention, the best temperature is selected within the above-mentioned range to suit the particular case.
Finally, the concave wave required for the charge comprising adjacent annular layers in accordance with the invention can also be achieved by the use of explosives of different kinds such that the detonation velocity in one layer is greater than that in the immediately adjacent inner layer and so ontowards the centre. In this case, the above-mentioned formula H">H'>H is, according to the invention, replaced by the formula W">W'>W, wherein W", W' and W are the detonation velocities in the zones I, II and III respectively of FIG. 1.
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1 9043452 Network control apparatus and method for port isolation
Some embodiments provide a method for managing a logical switching element that includes several logical ports. The logical switching element receives and sends data packets through the logical...
2 9037775 Network filtering in a virtualized environment
A physical host executes a hypervisor or virtual machine monitor (VMM) that instantiates at least one virtual machine (VM) and a virtual input/output server (VIOS). The VIOS determines by...
3 9037621 Efficient reconstruction of virtual disk hierarchies across storage domains
A method and software is described for recreating on a target datastore a set of hierarchical files that are present on a source datastore. A content identifier (ID) is maintained for each...
4 9037744 Information processing apparatus, information processing system, message control method, and program product, storage medium
An apparatus, method, system, computer program and product, which are capable of controlling an operating system message. The operating system message, generated by an operating system, is...
5 9037823 Protecting IAT/EAT hooks from rootkit attacks using new CPU assists
The present disclosure provides systems and methods for hardware-enforced protection from malicious software. A device may include at least a security validator module and a security initiator...
6 9032398 Online classification of memory pages based on activity level represented by one or more bits
Activity level of memory pages is classified in virtual machine environment, so that processes such as live VM migration and checkpointing, among others, can be carried out more efficiently. The...
7 9032397 Virtual machine migration with direct physical access control
A data processing system facilitates virtual machine migration with direct physical access control. The illustrative data processing system comprises a software-programmable trap control...
8 9032133 High availability virtual machine cluster
One embodiment of the present invention is a system including: (a) plural virtualization systems configured in a cluster; (b) storage accessible to each virtualization system of the cluster,...
9 9032122 Function transfer using virtualized mapping
The present disclosure includes a method for migration of a first virtual function of a first device located on a PCI bus and accessible by a device driver using a virtual address. A second...
10 9021472 Virtualizing baseboard management controller operation
A method, apparatus, and computer program product for virtualizing baseboard management controller (‘BMC’) operation in a host computer comprising a base BMC is provided. Example embodiments...
11 9015400 Methods and systems for reducing the amount of time and computing resources that are required to perform a hardware table walk (HWTW)
A computer system and a method are provided that reduce the amount of time and computing resources that are required to perform a hardware table walk (HWTW) in the event that a translation...
12 9015418 Self-sizing dynamic cache for virtualized environments
A method and system for self-sizing dynamic cache for virtualized environments is disclosed. The preferred embodiment self sizes unequal portions of the total amount of cache and allocates to a...
13 9009384 Virtual machine memory management in systems with asymmetric memory
A system is described herein that includes a predictor component that predicts accesses to portions of asymmetric memory pools in a computing system by a virtual machine, wherein the asymmetric...
14 9009385 Co-residency detection in a cloud-based system
At least one virtual machine implemented on a given physical machine in an information processing system is able to detect the presence of one or more other virtual machines that are also...
15 9009446 Using broadcast-based TLB sharing to reduce address-translation latency in a shared-memory system with electrical interconnect
The disclosed embodiments provide a system that uses broadcast-based TLB-sharing techniques to reduce address-translation latency in a shared-memory multiprocessor system with two or more nodes...
16 9009386 Systems and methods for managing read-only memory
A system includes a memory device including a real memory and a tracking mechanism configured to track relationships between multiple virtual memory addresses and real memory. The system further...
A first virtual memory address is mapped to a real memory in a memory device, and a second virtual memory address is mapped to the real memory. Here, the first virtual memory address is authorized...
18 8996644 Encapsulated accelerator
A data processing system comprising a host computer system and a network interface device for connection to a network, the host computer system and network interface device being coupled together...
19 8996783 Managing nodes in a storage system
Each node in a clustered array is the owner of a set of zero logical disks (LDs). Thinly-provisioned VVs (TPVVs) are partitioned so each is mapped to a group of zero LDs from different sets of...
20 8996800 Deduplication of virtual machine files in a virtualized desktop environment
Techniques for deduplication of virtual machine files in a virtualized desktop environment are described, including receiving data into a page cache, the data being received from a virtual machine...
21 8990475 NAND flash memory system architecture
A data storage device includes a NAND flash memory, an executable interface and a controller for receiving, from a host, via the executable interface, an instruction to access the NAND flash...
22 8990531 Multiple time granularity support for online classification of memory pages based on activity level
Activity level of memory pages is classified in virtual machine environment, so that processes such as live VM migration and checkpointing, among others, can be carried out more efficiently....
23 8990522 Digital signal processing data transfer
A technique for transferring data in a digital signal processing system is described. In one example, the digital signal processing system comprises a number of fixed function accelerators, each...
24 8984244 Concurrent virtual machine snapshots and restore
Various mechanisms are disclosed herein for the saving and restoring of virtual machine environment state. For example, virtual machine state can be either be saved or (multiple) snapshots can be...
25 8977735 Providing a database as a service in a multi-tenant environment
In one embodiment, the present invention is directed to a system with multiple computing hosts each having a hypervisor to provide a virtual environment for the host and one or more containers...
26 8972670 Use of test protection instruction in computing environments that support pageable guests
Management of storage used by pageable guests of a computing environment is facilitated. A query instruction is provided that details information regarding the storage location indicated in the...
27 8972648 Kernal memory locking for systems that allow over-commitment memory
Provided are techniques for allocating logical memory corresponding to a logical partition in a computing system; generating, a S/W PFT data structure corresponding to a first page of the logical...
28 8972991 Systems and methods for exposing processor topology for virtual machines
The present invention is directed to making a guest operating system aware of the topology of the subset of host resources currently assigned to it. At virtual machine boot time a Static Resource...
29 8972647 Kernel memory locking for systems that allow over-commitment memory
Provided are techniques for allocating logical memory corresponding to a logical partition in a computing system; generating a S/W PFT data structure corresponding to a first page of the logical...
30 8966188 RAM utilization in a virtual environment
Various systems and methods for sharing data in a virtual environment are disclosed. For example, one method involves receiving a request to access data. The request can be received from a first...
31 8959277 Facilitating gated stores without data bypass
One embodiment of the present invention provides a system that facilitates precise exception semantics for a virtual machine. During operation, the system executes a program in the virtual machine...
32 8954620 Techniques for using an assigned switch identification at an input/output device
Examples are disclosed for assigning a switch identification to data received at an input/output device coupled to a host device. In some examples, the data may be associated with a virtual...
33 8954645 Storage writes in a mirrored virtual machine system
Performing storage writes in a mirrored virtual machine system by receiving a state of a primary virtual machine during execution of an application, wherein the primary virtual machine runs on a...
34 8949929 Method and apparatus for providing a secure virtual environment on a mobile device
Methods and devices provide a secure virtual environment within a mobile device for processing documents and conducting secure activities. The methods and devices create a secure application...
35 8949505 Techniques for dynamic disk personalization
Techniques for dynamic disk personalization are provided. A virtual image that is used to create an instance of a virtual machine (VM) is altered so that disk access operations are intercepted...
36 8943260 Dynamic memory management in a virtualized computing environment
A memory management method in a virtualized computing environment is provided, in which a hypervisor implements at least a virtual machine (VM) over a host machine, wherein a guest operating...
37 8943296 Virtual address mapping using rule based aliasing to achieve fine grained page translation
One or more unused bits of a virtual address range are allocated for aliasing so that multiple virtually addressed sub-pages can be mapped to a common memory page. When one bit is allocated for...
38 8943259 Relieving memory pressure in a host using database memory management
Memory of a database management system (DBMS) that is running in a virtual machine is managed using techniques that integrate DBMS memory management with virtual machine memory management. Because...
39 8938539 Communication system applicable to communications between client terminals and a server
A communication system is applicable to communications between client terminals and a server via the Internet, and includes a communication service unit creating a communication interface and a...
40 8938571 Managing I/O operations in a virtualized environment
A set of techniques is described for performing input/output (I/O) between a guest domain and a host domain in a virtualized environment. A pool of memory buffers is reserved for performing...
41 8938572 Virtual machine memory page sharing system
Various embodiments disclosed herein including systems and methods for improving allocation of computing resources in a virtual machine (VM) environment. Embodiments maintain data relating to how...
42 8935456 Method and system for integrating database memory management in virtual machines
43 8935504 Execution of a perform frame management function instruction
Optimizations are provided for frame management operations, including a clear operation and/or a set storage key operation, requested by pageable guests. The operations are performed, absent host...
44 8935693 Host-to-guest channel for guest device identification
A method and system for providing a descriptive name of a device in a virtual machine system. A computer system hosts a hypervisor, a management component and a guest. The hypervisor receives from...
45 8935457 Network filtering in a virtualized environment
46 8930968 Method and driver for processing data in a virtualized environment
A data processing method and driver capable of reducing transactions between operating systems (OS) in a virtualization environment that supports a plurality of operating systems are provided. The...
47 8931054 Secure access to shared storage resources
A method may comprise storing first storage information in a storage device of a computer storage system on a first network. The computer storage system may transform the first storage information...
48 8924624 Information processing device
An information processing device includes: a data transferring unit configured to directly transfer data to a first memory area allocated to a virtual machine from an input/output device for...
49 8924639 Independently controllable and reconfigurable virtual memory devices in memory modules that are pin-compatible with standard memory modules
Various embodiments of the present invention are directed multi-core memory modules. In one embodiment, a memory module (500) includes memory chips, and a demultiplexer register (502)...
50 8924359 Cooperative tiering
Various systems and methods for cooperative tiering between an application and a storage device. One method can include receiving information from the application where the information identifies...
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Cellular Automata Music Generator
The Cellular Automata Music Generator (CAMG) is a software platform, application and engine that generates and modifies musical compositions in real-time using a system of networked modules that utilize the 1-dimensional cellular automata (CA) mathematical model. The music compositions are non-looping (i.e. the same few bars of music do not repeat over and over), can be any length, can have low memory and processing requirements compared to looping WAV or MP3 files, and follow psychoacoustic principles. The music generated is ever evolving and can be globally altered based on one-parameter change. The music engine can be utilized in computer games or to generate unique ringtones or any musical composition for cell phones or other mobile devices based on ten-digit inputs, such as telephone numbers. The ringtones or musical pieces can be generated automatically based on the telephone number of the in-coming telephone call, or manually by the user, who inputs a selected numerical sequence. It can also be used as an audio caller identification system.
Bourgeois, Gary (Vancouver, CA)
CONDITION30, INC. (DELTA, CA)
G10H7/00; H04M1/26; H04M19/02; H04M19/04
20060185501 Tempo analysis device and tempo analysis method August, 2006 Shiraishi et al.
20020066355 Flexible mouthpiece for a brass musical instrument June, 2002 Parkos
20080022841 Learning device January, 2008 Braun et al.
20040051021 Adjustable drum stand March, 2004 Micheel
20030131713 Electronic musical apparatus for blocking duplication of copyrighted music piece data July, 2003 Haruyama et al.
20090188375 DEVICE FOR MOUTHPIECE EXERCISES FOR A WOODWIND INSTRUMENT July, 2009 Jancic
20070056430 Musical instrument suspension system March, 2007 Lee
20080134861 Student Musical Instrument Compatibility Test June, 2008 Pearson
20090308229 DECODING SOUND PARAMETERS December, 2009 Szczerba et al.
20060137512 Musical notation system for piano, organ and keyboard June, 2006 Lassar
20090178537 PAN MUSICAL INSTRUMENTS AND METHODS FOR MAKING SAME July, 2009 Kerns et al.
DONELS, JEFFREY
Schwabe Williamson & Wyatt (PACWEST CENTER, SUITE 1900 1211 SW FIFTH AVENUE, PORTLAND, OR, 97204, US)
1. A music generator comprising a plurality of networked 1-dimensional cellular automata initialized based on an input; wherein at least one of said cellular automata organized to act as a virtual musician, and said networked cellular automata generate a MIDI note for a composition.
2. The music generator of claim 1 wherein a first 1-dimensional cellular automata determines the arrangement of said composition by selectively updating said plurality of 1-dimensional cellular automata.
3. The music generator of claim 2 wherein said plurality of 1-dimensional cellular automata determine musical parameters for said composition, including a pitch, a rhythm, a velocity, a duration, a MIDI controller value, and an arrangement.
4. The music generator of claim 3 wherein said rhythm is generated by a second cellular automata wherein each active bit in said second cellular automata corresponds to a single beat within a musical phrase.
5. The music generator of claim 4 wherein said pitch is generated by a third cellular automata wherein the decimal value of said third cellular automata is used to pick a particular note from a lookup table.
6. The music generator of claim 5 wherein said the bit position of said second cellular automata is used to select a note.
7. The music generator of claim 6 wherein said velocity is generated by a fourth cellular automata generating a decimal value between 0 and 127 for said velocity of said note.
8. The music generator of claim 7 wherein said MIDI controller value is generated by a fifth cellular automata generating a range a values associated with said MIDI controller value.
9. The music generator of claim 8 wherein a timing fluctuation is generated by a sixth cellular automata generating a decimal value between −X, 0, X number of milliseconds to offset the timing fluctuation of said note.
10. The music generator of claim 9 wherein said duration is generated using a seventh cellular automata generating a decimal value between 0 and X for determining the duration value of said note.
11. A method of generating a musical composition based upon a phone number digit sequence, by using a 1-dimensional cellular automata music generator to create said musical composition determined by a sequence of digits contained in said phone number utilized as initial parameters.
12. The method of claim 11 wherein said music composition is a telephone ring tone and said phone number digit sequence is an incoming phone number digit sequence.
The present invention relates to software for creating, defining, generating and modifying complex patterns and behaviors in computer-generated music content.
Music composition and generation has been largely an artistic endeavor involving composers, musicians, recording engineers and the like to create melodies for pleasure or commercial use. Computer-generated music has been pursued in recent years for two reasons: academic curiosity and commercial demand for inexpensive, textural music for a variety of media applications including film, video, web sites, games and wireless applications. It is the latter reason that has economic implications, for a number of companies and consumers are looking for textural or ambient music that is inexpensive, easy to produce, as rights-free as possible and that follows essential psychoacoustic principles in composition. Computer music generation systems typically use MIDI (Musical Instrument Digital Interface) to control the electronic musical instruments.
Computer-generated music in real time has used a variety of systems or methodologies in an attempt to achieve these goals. Current systems, such as Sseyo's Koan system or the method as described in U.S. Patent Application Publication No. 20010025561 to Milburn use stochastic methods or metrics. Using the stochastic method, music is generated using random numbers to determine a variety of musical parameters within user specified constraints. The Koan system is an embodiment of this approach. The issues with the stochastic method are that the music may not be complex enough to adhere to the psychoacoustic principles that make the music sound as if it was composed and played by humans. In addition, this system can be difficult to use for those not conversant in music.
Milburn's approach to automatic music generation relies on pre-specified musical phrases, which are then analyzed using a metrics technique which allows the composer to morph between two different phrases. This technique requires a higher level of specification than the Cellular Automata Music Generator (CAMG) system described herein, in that the musical phrases must be pre-composed.
Another system used in music generation is the mathematical model cellular automata (CA). CA methodology lends itself to music generation because of the nature of this mathematical model. The CA theory stems from the notion that simple systems can generate complex behavior or patterns. This makes it ideal for music generation that requires complex output using simple and lightweight systems. In addition, CA systems are easy to modify on a global basis. Under a CA model, one parameter change can result in global dynamic behavior that is either predictable, complex, periodic or random. The system is also deterministic; therefore given the same parameters, the same musical piece will be generated and evolve in the same way each time, giving the user an element of necessary control.
There has also been work in music generation using CA, but it has been either using 2-dimensional models or applying simple 1-dimensional CA to a specific musical content, such as rhythm, to create simply a general beat or a series of notes. The issues with 2-dimensional models is that the systems are complex to use and have memory and processing requirements that are too high for average personal computer, wireless device or console systems. A number of authors have published related techniques to CAMG on the Internet (for example, Reiners, Millen, and Miranda). Reiner's system, named Automatous Monk, relies upon elementary 1D CA to generate musical parameters, however his currently published work is far more primitive in its application. For example, 1D CA are only used to generate pitch values for the composition, resulting in a far less complex final output.
Miranda's CAMUS is a generative music system in that it is based upon CA technology, but relies on complex 2D CA implementations. Milburn's approach to generative music employs a technique which creates a metric between two pre-composed musical phrases and allows the user to morph between them.
Sseyo's Koan uses purely random or stochastic techniques with constraints provided by the composer in areas such as which scale to use, and the range of note choices. Koan has a steep learning curve and requires the user to have musical knowledge. Koan is concentrated on the mobile and web site market.
Leach (U.S. Patent Application Publication No. 20030183065) employs a strictly rule based networking approach that does not use any CA based techniques Georges (U.S. Patent Application Publication No. 20030131715) employs a rule-based approach that does rely on stochastic variables. This approach is more closely related to Koan.
The CAMG is a software engine that allows users to create and modify an entire musical composition in real-time based on a selection of parameters. These compositions are non-looping (i.e. the same few bars of music do not repeat over and over), can be any length, can have low memory and processing requirements compared to looping WAV or MP3 files, and follow psychoacoustic principles. The innovative and unique aspect of this invention is the use of 1-dimensional CAs modules that are networked together to form an overall unifying framework to produce complex musical compositions. Once an initialization string is selected and implemented, the system does not require further human intervention to create a complex, fully developed piece of ever-evolving music. The initialization string can be any digital input including, but not restricted to, number sequences, game play sequences, real time MIDI input or previously composed MIDI files. CAMG uses MIDI to control the digital musical instruments for the compositions.
CAMG is built such that a single parameter change can have a global effect upon the entire composition. Unlike random systems, these changes can be controlled to produce the complex output required. In the case of CAMG, because of the CA methodology, a single parameter change, or just one byte of data, can have an effect on the flow of the entire piece of music. For example, this parameter change could be used to quickly or gradually change the density of the notes in the composition. A piece which is very ‘chaotic and busy’ would then evolve into a much more “repetitive and sparse” musical texture, or vice versa.
Due to the nature of CAs and the use of networked modules to control various aspects of the composition, such as scale selection, tempo, velocity, orchestration, timbre modification, rhythmic patterns, accompaniment and melody creation, CAMG has the following characteristics:
Fully interactive—Because the CAMG engine is generating music in real time, rather than playing back pre-composed music loops, the programmer can easily change the musical output in an interactive environment based upon user input.
Real time music generation—One key benefit of the CAMG engine is that the music it generates is composed in real-time, dispensing with the need to pre-arrange a number of different pre- composed MIDI or audio files, saving programmers for games or wireless applications from having to interface with numerous music cues.
Generates textural music—The primary content of the first version of CAMG is well suited toward creating music that serves a textural, ambient, background function often referred to incidental music.
Composer creates a process—The entire approach toward using CAMG is fundamentally different than the traditional model of music composition, where a composer relies on a number of different systems, such as MIDI sequencers, audio looping tools or digital audio workstations to provide a finished piece of music which the programmer must then integrate into a game or wireless application. In the CAMG model, the composer creates a process, which is then employed within the game or wireless application to generate the musical layer at runtime.
CAMG does the actual composition, saving valuable production time—In a traditional approach to music composition, where a composer has to pre-specify all aspects of the piece such as rhythm, melody and dynamics. CAMG allows composers to concentrate on the high level aspects of the musical content without having to specify the lower level details, such as choice of note value, rhythmic motif or dynamics. This shortens the composition cycle, saving production time.
Modifications simple and quick—CAMG uses algorithms which, based upon a single parameter, generate a variety of dynamic behaviors, including repetition, randomness and true complexity. This means modifications are simply parameter changes that require only a few keystrokes instead of recoding and re-recording audio files.
API is easy to use—Another inherent benefit of the CAMG engine is that the API layer is very easy to use. In many cases, all that the programmer has to specify is a bit string which determines the initial state of the CAMG. The CAMG itself then generates the music in real time based upon the initial bit string and subsequent modifications of the string to change the music in an interactive fashion.
Psychoacoustic principles embedded in algorithms, making music sound more realistic—Due to the nature of the algorithms that CAMG uses, human beings can inherently identify that the music being generated by the engine is not entirely random or overly predictable, depending upon the constraints that the composer chooses. Of course, CAMG does have the ability to produce music that is random or predictable if necessary.
Completely deterministic—CAMG generates musical output which is completely deterministic, unlike other more random music generation systems which typically derive their initial input using a random seed value, such as the current system time. This means that the music generated by CAMG will play exactly the same way every time given the same parameter inputs and initialization string.
Easily interfaced to other generative systems—Although CAMG is primarily designed to generate real time MIDI data, it can be easily adapted to interface with another generative music engine, such as Microsoft's Direct Music.
Can be used by non-musicians—Because CAMG does not use a traditional approach to music generation, non-musicians can quickly learn how to interact with the user interface to produce high level compositions, which can then be interactively guided or modified by the user in real time. A number of musically naive beta testers have reported that they found the experience of working with CAMG to be “very engaging” and “highly addictive” primarily because they get immediate feedback as they change the parameters of the composition.
Easily scalable to different levels of music generation—The CAMG engine can be employed to address any layer of music generation, such as parameter modification of the sound itself (using CAMG to determine the amount of vibrato in a note for example), direct generation of the music at the note level, re-arranging musical themes at the phrase level and finally re-arranging and re- orchestrating at the section (verse, chorus) level. CAMG can also be used as a real time mixer, to mute or solo individual instruments within the piece.
Generates arbitrary lengths of music—CAMG can be used to create essentially to create ever- evolving compositions, which can be synchronized with other digital content. For example, the music can change if a game player commits a series of moves or if a user performs a different task or function in a wireless application. In a wireless application example, the ringtone automatically changes with each telephone number received.
The underlying CAMG model could be extended to create more thematic, foreground musical content by allowing the composer to access the ‘building blocks’ which make up the engine itself, rather than relying on the user-interface to the pre-assembled initial CAMG engine. In other words, it is possible to broaden the CAMG's scope to produce a software development kit (SDK) for programmers to build their own engines for music.
A version of CAMG is also used to generate ringtones for mobile devices, such as cellular telephones. These musical compositions can be used as an audio caller identification system, a musical game or simply as a ringtone.
A method of real-time generation of music using networked 1-dimensional cellular automata and a number of other timing, selection and processing components is provided, including networking multiple cellular automata to generate various musical parameters to create and modify complex musical compositions. At the highest level, the CAMG uses a network of interconnected CA to generate all aspects of a musical composition. At the top of the hierarchical structure, a single 1-dimensional CA is used to determine the on-going arrangement of the composition by selectively updating a network of multiple 1-dimensional CA structures, or “virtual musicians”, which determine the low level musical parameters for the composition, such as pitch, rhythm, velocity, duration, MIDI controller values, and arrangement. CAMG is scalable to include any arbitrary number of virtual musicians based upon the composer's input. The midlevel of the hierarchy is referred to as a “virtual musician” and consists of the individual self contained CA network which is responsible for actually creating the musical phrasing.
A method of generating rhythmic values using CA is provided, including a 1-dimensional CA is used to provide the rhythmic pattern for the real time creation of a musical phrase. Each active bit (value=1) in the CA corresponds to a single beat within a musical phrase. Each active bit also triggers other CA in the network to produce their associated parameter value, such as pitch, velocity and other controller parameters like volume or modulation. The generated pattern can be modified in a variety of ways by altering the delay values for the parallel delay line which provides the actual timing values of the rhythm. Each bit within the CA is associated with a variable length timing delay. If each delay is set to a time of 0 milliseconds, the rhythm output will consist of a chord that consists of as many notes as there are active bits in the CA (i.e. if the CA has 4 active bits then a 4 note chord will be generated). In a similar vein, a rhythm of single notes can be generated by assigning each timing delay to a fractional, cumulative value of the overall rhythm CA based upon the master rhythm update clock, which controls the rhythm CAs update status, divided by the lattice size of the CA (i.e. if the rhythm CA is being updated every 4000 milliseconds and its lattice size is set to 16 bits then each delay associated with each bit in the CA will have incremental values, starting at 0 milliseconds for the most significant bit (the first note in the musical phrase) and setting subsequent delays to incremental values of 250 milliseconds. (4000/16=250, delay values would increase in 250 millisecond increments from left to right: 0, 250, 500, 750 etc.)
A method of generating pitch values using CA is provided including using the decimal value of the CA to pick a particular note from a lookup table. In this instance the CA generates a note value between 0 and 127, which is then mapped to a lookup table which can constrain the note value into a particular scale or mode. A parameter associated with this function allows the CA generated value to be further constrained by introducing a ‘slew’ control which prevents the CA output from instantaneously generating its latest value. For example, assume the CA has generated a series of values; 23, 66, 44 based upon its transition rule and current state. Normally these values would be used to directly select the corresponding note value from the scale lookup table. The slew function limits the speed and step size for making the transition between the values. Using 23 as the staring value, and assuming the CA is being updated every 100 milliseconds; if the slew rate was set to 200 milliseconds and the step size to 1, the resulting CA value would be approximately 44 on the second update (halfway between 23 and 66). Essentially this function provides a continually varying output as opposed to the discrete value output that characterize CA. The bit position is used to select a note from a list of corresponding notes in a musical phrase. In this instance the CA which generates the rhythm pattern is also used to select a note value from a list of values which correspond to a single predetermined phrase of music. This approach associates each bit in the CA to a particular note value from the phrase. Using this approach allows the composer to specify an exact sequence of pre-determined notes to be used for the generation of a musical phrase.
A method of generating velocity values using CA is provided including using a CA to generate a decimal value between 0 and 127 for the MIDI velocity of the associated note. The value generated by the CA is further constrained with a specified high and low value. A slew function is also provided to enable a continually varying-value rather than the discrete values generated by the CA.
A method of generating generic MIDI controller data using CA is provided, including using a CA to generate a range a values which can be associated with an arbitrary 8 bit or 16 bit MIDI controller value, such as volume, modulation, and pitch bend. The value generated by the CA is further constrained with a specified high and low value. A slew function is also provided to enable a continually varying value rather than the discrete values generated by the CA.
A method of generating timing fluctuations using CA is provided, including using a CA to generate a decimal value between −X, 0, X number of milliseconds to offset the final timing value of the associated note. This function causes the note to be “behind or ahead” of the beat by a varying value. The value generated by the CA is further constrained within a specified high and low value. A slew function is also provided to enable a continually varying value rather than the discrete values generated by the CA.
A method of generating multiple musical parameters using bit fluctuations within the current CA state is provided, including relying upon the sequence of bits within the current CA state to generate a time varying continuous range of values which can be applied to most of the other low level parameters within the virtual musician. The CA generates a serial stream of bits which serve to alter the direction of a continuously changing value in a similar manner to the slew function mentioned above. The difference is that this technique employs the active bit to change the current direction of the values vector (i.e. a vector of values starting at a low value of 25 and incrementing to a high value of 66 at a rate of 20 milliseconds per step (25, 26, 27 . . . 66) would change the direction of the vector upon receiving an active bit from the serial bit stream being generated by the CA). Upon the occurrence of this active bit event, the continuous value would now start decrementing toward the low value of 25 and would continue decrementing until another active bit event causes the direction to change again.
A method of generating note duration values using CA is provided, including using a CA to generate a decimal value between 0 and X for determining the duration value of the associated note. The value generated by the CA is further constrained with a specified high and low value. A slew function is also provided to enable a continually varying value rather than the discrete values generated by the CA. A specialized “legato” module is provided to assist in generating duration values which are determined by the rhythm pattern generated by the rhythm CA. This function calculates the appropriate duration values associated with the active bits within the current CA state by examining the distance between the active bits. For example, in the case that the rhythm CA has generated a bit string “1000100010001000”, with an update clock of 4000 milliseconds, this function would assign each active bit a value of 1000 milliseconds. In another case, a CA state of “1111111111111111” would assign each active bit a value of 250 milliseconds (4000/16). This value also has a constraint which allows the duration value to be shortened or lengthened (i.e. above examples could be 90 (staccato) or 1100 (legato with overlap) milliseconds). Note that the virtual musician must be capable of polyphonic output in the event of duration overlapping.
A method of generating phrase level musical arrangement using CA is provided, including using CA to determine the high level musical arrangement of the composition. This function uses 1-dimensional CA to control whether a particular virtual musician will play during the current phrase or not. At its simplest level, this function employs a CA to mute or unmute an individual virtual musician. More complex aspects of the arrangement can be determined by building a CA hierarchical structure which uses multiple, parallel CA to provide low level parameter initialization values, such as pitch and velocity to the virtual musicians structure. In this implementation, each virtual musician has an associated “master” CA, which is itself controlled by a “global CA”.
A method of generating CA which have related evolutionary properties, including allowing for the automatic generation of related CA transition rules based upon the nature of the seed CA rule's evolutionary behavior. This function calculates related rules by simple manipulation of the binary expression of the transition rules unique number. For example, rule 255 (11111111) would become rule 0 (00000000) if each active bit in the rule table was inverted. Both rules exhibit class 1 behavior. As a further example rule 30 (00111110) would become rule 86 (11100001).
A method of generating a unique musical composition based upon a user input phone number digit sequence is provided, including using CAMG to create a musical composition that is determined by the sequence of digits contained in a 10 digit phone number utilized as initial parameters for a subset of CAMG referred to as the “ring tone application”. This embodiment of CAMG is intended to enable the user to generate a musical composition of indeterminate length based upon the input phone number. Each phone number will create a different piece resulting in a total of 10 billion different compositions.
A method of generating a real time telephone ring tone using the incoming phone number digit sequence is provided, including intercepting the incoming 10 digit phone number on a typical polyphonic ringtone enabled cellphone and to replace the default ringtones with a new musical composition that is unique for every possible phone number and is generated in real time. The resulting ring composition will play until the user's answering service feature is invoked, typically in the neighborhood of 10 to 20 seconds. Because each possible phone number input will have a different composition associated with it, the user will ultimately be able to distinguish the incoming caller by recognizing the composition that is generated
FIG. 1 is a block diagram of a CAMG according to the invention;
FIG. 2 is an example of a representation of a cellular automata generator module according to the invention;
FIG. 3 is an example of a representation of a serial/parallel delay module according to the invention;
FIG. 4 is an example of a serial/parallel delay module with 16 event output triggers;
FIG. 5 is an example of the inputs thereof;
FIG. 6 is an example of a representation of a range module according to the invention;
FIG. 7 is an example of a representation of a MIDI generator module according to the invention;
FIG. 8 is an example of a representation of a MIDI generator module for a drum/single note according to the invention;
FIG. 9 is an example of a representation of the values of a field generator module according to the invention;
FIG. 10 is an example of a representation of a lag generator module according to the invention;
FIG. 11 is an example of a representation of a serial lookup table module according to the invention;
FIG. 12 is an example of a representation of a threshold/counter module according to the invention;
FIG. 13 is an example of a representation of a clock module according to the invention;
FIG. 14 is an example of a representation of a history module according to the invention;
FIG. 15 is an example of a representation of a MIDI controller module according to the invention;
FIG. 16 is an example of a representation of a phrase event duration module according to the invention;
FIG. 17 is an example of a representation of a complex rules module according to the invention;
FIG. 18 is an example of a representation of a rule matrix module according to the invention;
FIG. 19 is an example of a representation of a global initialization module according to the invention;
FIG. 20 is an example of a representation of phrase generator module according to the invention;
FIG. 21 is an example of a representation of a 1 bit controller module according to the invention;
FIG. 22 is an example of a representation of a parameter matrix module according to the invention;
FIG. 23 is a representation of the CAMG module interconnections according to the invention;
FIG. 24 is a representation of the CAMG module interconnections for a ringtone application according to the invention;
FIG. 25 is a representation of the initialization and master arrangement components thereof;
FIG. 26 is a representation of the rhythm repeat function thereof;
FIG. 27 is a representation of an actual instrument thereof;
FIG. 28 is a representation of a 1 bit shifter module according to the invention;
FIG. 29 is a block diagram of the activation process of the ringtone application according to the invention;
FIG. 30 is a block diagram of an alternative activation process of the ringtone application according to the invention;
FIG. 31 is a block diagram of the composer mode and the number selection process in the ringtone application according to the invention;
FIG. 32 is a block diagram showing the composer mode and the tempo selection process in the ringtone application according to the invention; and
FIG. 33 is a block diagram showing the composer mode and the save process in the ringtone application according to the invention.
In this document, the following terms will have the following meanings:
C-Ionian, Dorian mode: Ionian mode refers to a type of musical scale consisting of eight notes. The white keys on a piano: C,D,E,F,G,A,B,C are the pitches used in this mode. The mode itself is based upon the intervals between each note in the following sequence, with a whole tone representing 2 steps and a semi tone, 1 step: 2,2,2,1,2,2,2,1. C Ionian means that the note sequence begins on the note C, D Ionian would begin on the note D and have the following pitch sequence: D,E,F#,G,A,B,C#,D.
Cellular Automata (CA): A mathematical model that employs computationally simple systems that can evolve into a series of patterns, some of which are inherently random or complex. Cellular automata are a simple model of parallel computation. The model comprises a matrix of cells, which can be turned on or off (e.g. black or white) and a transition rule. Based on the transition rule and the state of its neighboring cells, a cell will update its state (on/off) over time. It is the turning on and off of these cells that generate patterns over time.
Chromatic mode: A mode based on the chromatic scale. The chromatic scale divides an octave into twelve equal steps equivalent to the 12 keys within one octave of a piano keyboard.
Delay line: The delay line is used to delay an event trigger by a specified number of milliseconds. The delay line is central to the CAMG system for generating rhythm values.
Event Triggers: In CAMG, an event trigger refers to a signal which is usually generated by a clock or delay line that is used to update the CA receiving the event trigger to its next CA state. An event trigger can be though of as equivalent to the pulse of a timing source, such as a clock tick.
Fletcher-Munson curves: A series of curves that present the sensitivity of humans to various sound frequencies.
Legato: The smooth movement of one note to the next with no audible space or break between notes.
Melodic Range: This determines the lowest and highest note values for a particular instrument.
Metronomic Clock: A means of generating the exact tempo of a musical piece. MIDI (Music Instrument Digital Interface): A standard method of interfacing computers and synthesizers developed in the early 1980's. MIDI is widely used throughout the audio and music production industry.
MS Offset: This component adds a continuously varying value expressed in milliseconds to the duration parameter. Used to provide a more organic, human feel to the rhythmic phrase.
Orchestration: Arranging a piece of music for an orchestra or band and the assignment of musical parts to different instruments.
One-dimensional Elementary (ID) Cellular Automata: This is the simplest network or matrix of cells. In this configuration, each cell has one of two possible states, on or off, and only two neighboring cells to affect its updates over time. The cells are arranged in a linear one- dimensional array.
Phrase Generator: The phrase generator associates a pre-determined sequence of notes (a melody) with a particular index value, much like the serial lookup table but able to store multiple values with a single index.
Pitch: The property of a tone determined by its frequency or number of vibrations.
Psychoacoustic: Refers to the subjective way in which humans perceive sound, including music.
Serial Lookup Table: A serial lookup table associates a unique address location, or index with a particular numeric value. The size of the table determines how many addresses are contained within the table. The serial lookup table is used to constrain pitch values into particular musical scales.
Staccato: The opposite of legato, the notes are short in duration, regardless of the notes that follow in the rhythmic phrase.
Stochastic: Exhibiting varying degree of randomness.
Tempo: The speed at which a musical composition is played, measured in beats per minute.
Timbre: The sonic quality of a musical note. Different instruments and voices have distinctive qualities or timbres.
Transition Rule: The unique rule that defines how the cells will update over time. Each rule specifies how every cell in the CA will be updated based upon the current state of the cell in question and the state of it's left and right neighbors. There are 256 possible transition rules in the ID elementary CA employed in CAMG. Some rules, like rule 30 generate random patterns, whereas others, like rule 110, generate complex patterns.
Two-dimensional (2D) Cellular Automata: This is a more complex matrix of cells. In this configuration, each cell has eight neighboring cells in two dimensions to affect its updates over time.
Velocity (in reference to music): The loudness or softness of a note's volume.
VM Control: A Virtual Musician Controller, this component determines a variety of initialization parameters for the virtual musician section of CAMG.
WAV files: Utilizing a sound format developed by Microsoft, WAV files have CD sound quality.
Wolfram Classes: Stephen Wolfram, in the 1980's, discovered that 1 dimensional elementary CAs could be categorized into four classes that based on the types of patterns each transition rule generated. These categories include homogenous or constant state (Wolfram Class I), periodic limit cycles or repeating (Wolfram Class II), chaotic or random (Wolfram Class III) and finally true complexity (a mix of periodic and chaotic behavior—Wolfram Class IV).
ZenRings: Brand name for the ringtone or audio caller identification application.
Cellular Automata Music Generator Software—Component Modules
The following describes the various component modules of a CAMG according to a preferred embodiment of the invention. The end result of the modules is shown in FIG. 1 as the CAMG takes a global initialization and from that generates output of MIDI notes for a plurality of virtual musicians. The modules are preferably implemented by a computer having a memory, input and output means and a processor. In alternative embodiments of the invention not all of the modules need to be present.
Cellular Automata Generator (CAG or CA) Module
The CAG module is the central signal generation component of the CAMG. The core algorithm is a one dimensional elementary K=2, R=1 cellular automata with periodic boundary conditions. A preferred implementation has a variable lattice size of between 3 to 16 cells. The transition rule determines the future evolution of the CA based upon its current state. The 256 possible transition rules exhibit a variety of dynamic behaviors such as convergence to a homogenous state (Wolfram Class I), periodic limit cycles (Wolfram Class II), chaotic (Wolfram Class III) and finally true complexity (a mix of periodic and chaotic behavior—Wolfram Class IV). Wolfram classified the various CA behaviors as outlined in his book “Cellular Automata and Complexity”.
The inputs to this module allow the user to set the lattice size, transition rule and initial state value. The initial state value must be less than or equal to 2 ̂ Lattice size—1, (i.e. a size 3 lattice can only accept an initial state value in the range 0 . . . 7).
The Update Input causes the CA to advance to its next state based upon the current state value and transition rule.
The Output of the CAG module is a decimal number within the current lattice size range that corresponds to the binary value of the CA lattice.
Size: Lattice size of ID CA (3-16)
Rule: Transition Rule (0-255)
Init: Initial state (0-65535 based upon lattice size)
Update: Update CA to next state
State: Current CA state (0-65535)
Live Cells: Number of current cells equal to “1”
A representation of a CAG module is shown in FIG. 2.
Serial/Parallel Delay (DLY) Module
The DLY module is the primary timing and rhythmic component of the CAMG. The primary function of the DLY module is to accept a decimal CA state value as input and transform that value into a series of delayed event triggers based upon an internal lookup table. The process involves converting the decimal value into a binary value and using each bit to generate an event trigger that is subsequently passed through a series of parallel delay lines. Each bit in the binary value has a dedicated delay line. The user can input the global delay time, which is divided by the current size value to determine the delay time of each individual delay line. This value can be overridden by a Delay Lookup Table, which consists of different multiplicand values for the delay times. FIG. 3 shows a representation of a DLY module.
As seen in FIG. 4, the serial/parallel delay (DLY) module converts the CA state on input into a rhythmic phrase of a number of beats equal to the “size” parameter.
A Serial/Parallel Delay with 16 event output triggers is shown in FIG. 5. Note the left most event trigger (darker) represents the serial output.
Delay: Total delay time in Msec (divided by Size to determine cell delay time
Size: Range of input values (2 ̂ N power) determines number of delay cells
Delay LookUp: Set current delay values to Delay Lookup Table values
Serial Trigger: (red)
Parallel Trigger #1
Parallel Trigger #N (Size)
Range (RNG) Module
The RNG module is used to constrain the input state to a new user specified range of values. Example, an 8 bit CA will generate a value between 0-255. If the input state is 128, range “lo” value is set to 60 and range “hi” is set to 85, the new output value is 72. It is important that the size value is greater than the highest value for the input state (i.e. input of 235 would create an error if size was set to 7 bits, which has a maximum value of 127).
The RNG module is designed to restrict the range of notes that the CA can generate. For example, the parameters can be set to limit the CA to a range of a single octave to ensure that a bass line stays within a lower set of note values. The RNG module is also used to restrict the range of MIDI velocities or the loudness of a particular note. FIG. 6 shows a representation of a RNG module.
Range Lo: Minimum value for scaled range
Range Hi: Maximum value for scaled range
Size: Range of input values (2 ̂ N power)
State: Current CA state scaled to RangeLo<=State<=RangeHi
MIDI Generator (MIDI) Module
The MIDI module is the primary MIDI playback engine in the CAMG. All input parameters can be replaced with CA generated values.
Note In: MIDI Note # (0-127)(pitch value)
Trig In: Trigger a note (play the note)
Velocity: MIDI velocity value (0-127) (loudness)
MIDI Ch: MIDI channel (0-16) (which instrument)
Duration: Duration in Msec (duration of note)
Pg Chg: MIDI Program change (0-127) (change instrument)
MIDI Note to MIDI port (sends Note On MIDI message to synthesizer)
FIG. 7 shows a representation of a MIDI module. A drum/single note version of the MIDI module is shown in FIG. 8.
Field Generator (FG) Module
The FG module is a simple binary to decimal converter that accepts event triggers as input bit values. One common application is to use multiple field generators to derive a number of different decimal values from a single CA binary state output.
Example: CA state input value is 29 (binary value is 11101) a 3 bit field generator attached to bits 1-3 would output 5 (101), a 2 bit field generator attached to bits 4, 5 would output 3 (11) and a 5 bit field generator would output 29. The Most Significant Bit (MSB) is the leftmost bit within the binary value. The Least Significant Bit (LSB) is the rightmost value. The FG module can be used to generate initialization values for multiple modules from a single CA output. For example the output of a 16 bit CA could be divided into 4 equal sections of 4 bits each, which could then be used to provide an initial state value, between 0 and 16 for 4 other CA's that are used to generate pitch values.
Bit #12: MSB of a 12 bit number (bit 12)
Bit #N: Bits 11 through 2
Bit #1: LSB of a 12 bit number (bit 1)
Reset: reset all bits to 0
DecValue: Decimal value of 12 bit input state
FIG. 9 shows a sample representation of a FG module.
Lag Generator (LAG) Module
The LAG module provides a ramp function between successive input values. Lag time determines how much delta time will elapse between new input state and previous input state. Lag resolution determines how fine each lag increment will be. Once the new value has been reached the Reflected value output will begin counting in the reverse direction until reaching the previous value and then reversing again. The Limited output option will remain at the new value until a newer value is received.
Example: state value on previous input was 200, new value is 300. If lag time is set to 1000 Msec, the output value will ramp from 200 to 300 over a period of 1 Sec. If lag resolution is set to 1, lag sequence will be 200,201,202 . . . 300. If lag resolution is set to 20, lag sequence will be 200,220,240 . . . 300. Lag Value Reflected output will cause lag value to begin counting in opposite direction once new value is achieved, 220,240,260 . . . 300, 280, 260, . . .200, 220
Limited output will cause lag value to remain at new value once new value is achieved, 220,240,260 . . . 300, 300,300 . . .
The LAG module can be used to generate more “lyrical” melodies by preventing large jumps between notes. Most typical humanly composed melodies exhibit this characteristic.
State: Current CA state
Lag Time: Ramp value for lag time in Msec
Lag Resolution: Number of interpolation points between lag Values
Lag Value—Reflected: Current lag value. If boundary value is Reached, lag reverses direction and continues.
Lag Value—Limited: Current lag value. If boundary value is Reached, lag remains at boundary value until a new input state occurs
FIG. 10 shows a sample representation of a LAG module.
Serial Lookup Table (SLT) Module
The SLT module is used to provide a lookup table for constraining pitch values into particular scales. The input value is a decimal number between 0-127. The output value will be the lookup table value at the input value's address.
Example: input values 60, 61, 62 would output 60, 62, 62 if table was set to C-Ionian mode. Chromatic mode is a one to one mapping of input value to output value, 1-1, 2-2, 3-3 etc.
The SLT module is important for generating melodies which conform to a particular musical key. If the CA output was not constrained using the SLT module, the resulting melodies would sound much more random.
CA State: current CA state (must be scaled to 0-127)
Lookup Table: read lookup table
CA State: New CA state conformed to current lookup table
FIG. 11 shows a sample representation of a SLT module.
Threshold/Counter (TCT) Module
The TCT module is used as a general purpose threshold trigger and counter. The module inputs can be either an event trigger or a CA state value. The event trigger input is used in counter mode to count the number of times an event trigger has been received as input. When the count has been reached the module generates an event trigger output. In threshold mode, the module uses the CA state value as input to determine whether it satisfies one of several logical evaluations, <,=or > and generates an event trigger based upon if the condition is satisfied. The inhibit/excite parameter determines whether the event trigger will only occur the first time the condition is true (inhibit) or every time (excite).
CA State: Current CA state
T/C Value: Threshold or Counter Maximum Value
Trig In: Trigger input (advance counter)
>, =, <: Comparison state (less than, equal, greater than)
Inhibit/Excite: Excite—Trigger every time threshold is exceeded
Inhibit—Trigger only the first time threshold is exceeded
Reset: Reset counter to 0
Trigger:
Count: Current counter value
FIG. 12 shows a sample representation of a TCT module.
Clock (CLK) Module
The CLIK module provides a metronomic clock that outputs event triggers at a particular clock speed, set in Msec.
Start/Stop: Start or stop current clock (toggle)
MSec: Clock value in Msec
Trig: Clock trigger (event trigger)
MSec: Current clock value in Msec
FIG. 13 shows a sample representation of a CLK module.
History (HIST) Module
The HIST module provides a history of previous CA states. Each time a new state is received, each state shifts to the right by one position and replaces the previous state in that position.
Current CA State
Previous CA State (Time—1) (Bucket brigade)
Previous CA State (Time—2)
FIG. 14 shows a sample representation of a HIST module.
MIDI Controller (CTRL) Module
The CTRL module provides a general purpose MIDI controller generator. Each of the 4 controller values can be set to a different MIDI controller # (i.e. CTL #7 is MIDI volume). The CA State value for each input is translated into the appropriate MIDI controller data on the MIDI channel set by the user. MIDI controllers are used to generate a variety of continuously varying values, such as instrument volume or pitch bend. This is useful for creating musical phrases which sound more organic and human.
CA State1: CA State (must be scaled to 0-127)
CA State2
CTL1: Midi Controller # (0-127)
MIDI CH: MIDI channel for controllers
CAState1 mapped to MIDI Controller # N value
FIG. 15 shows a sample representation of a CTRL module.
Phrase Event Duration (PED) Module
The PED module is used to calculate MIDI event duration times based upon the CA state used as input, combined with the current master clock value. The master clock value is used to calculate the overall duration of one ‘bar’ of 16 beats (equivalent to one CA state output of 16 cells). Internally this module divides the master clock value by 16 and multiplies each individual cell's value by an integer based upon the number of cells to the right of the current cell which have a state of 0 plus the current non zero cell value of 1.
Example: Assume CA input state is 65535: (1111111111111111) and current master clock value is 10000 Msec. Duration value for left most cell will be 10000/16=625 Msec . Because there are no cells with a value of 0, all durations for each of the 16 beats in the bar will be 625
Msec (1*625).
Now assume input state is 34952 (1000100010001000). The leftmost cell will now have a duration value of 625*4=2500 Msec (i.e. current cell=1+3 “0” cells to the right=4). Note that all other non-zero cells will have the same value.
As a final example of a more complex input state, assume CA inputs state is 37090 (1001 0000 1110 0010), duration value for each non zero cell starting from the left will be: 1875 Msec (3*625), 3125 Msec (5*625), 625 Msec (1*625), 625 Msec, 2500 Msec (625*4) and 1250 Msec (625*2).
In musical terms, this module is responsible for determining the rhythmic value of each note in a phrase base upon the rhythmic position of the notes that follow. By varying this parameter, the articulation of the notes can be varied between legato to staccato.
Event Trigger #1: usually associated with Module 2-Serial Parallel
Delay; Parallel Delay Trigger #1
Event Trigger #N: usually associated with Module 2-Serial Parallel
Delay; Parallel Delay Trigger #N
Msec: Legato duration value associated with Event trigger position from Serial/Parallel Delay trigger
FIG. 16 shows a sample representation of a PED module.
Complex Rules (CR) Module
The CR module uses a simple lookup table to constrain the possible CA transition rules to a subset of rules which exhibit complex, chaotic or periodic behaviors. Rules which tend to evolve into homogenous states are replaced by rules that exhibit more complex evolutions. (i.e. Rule 0 will always arrive at a homogenous state of “0000000” after one CA update, Rule 255 will always arrive at a homogenous state of “11111111” after one update). This module will output a new CA transition rule based upon the input rule's associated value in the lookup table (i.e. if input is Rule 0, output for new rule becomes Rule 30). The assignment of associated values is based upon a manually constructed look up table which has no underlying algorithm for generating the appropriate values.
Rule: Constrained Transition Rule (subset of 0-255)
FIG. 17 shows a sample representation of a CR module.
Rule Matrix (RM) Module
The RM module calculates various transformations of the original transition rule used as input. The transformations consist of 3 variations of the input rule based upon the methods outlined in “The Global Dynamics of Cellular Automata”, A. Wuensche ISBN 0-201-55740-1, pg 18-20, which is hereby incorporated by reference. The purpose of this module is to generate a group of related transition rules which have similar global behaviors.
A—Complemented Transition Rule: The complemented rule is the binary complement of the original (i.e. Rule 0 becomes Rule 255, Rule 193 (11000001) becomes Rule 110 (00111110).
B—Negated Transition Rule: The negated rule will generate a negative space time pattern (i.e. Rule 193 (11000001) becomes Rule 124(01111100)).
C—Reflected Transition Rule: The reflected rule will generate a reflected (mirror image) space time pattern (i.e., Rule 193 (11000001) becomes Rule 137 (10001001)).
Rule: Original Transition Rule (0-255)
Rule: Complemented Transition Rule (0-255)
Rule: Negated Transition Rule (0-255)
Rule: Reflected Transition Rule (0-255))
FIG. 18 shows a sample representation of a RM module.
Global Initialization (GI) Module
The GI module performs the global initialization of the CAMG system. Every module contained within CAMG has associated initialization parameters such as CA transition rule, Serial/Parallel Delay time and Serial Lookup Table scale selection. The GI module effectively determines the entire initial state of the CAMG environment. The current global state of CAMG can be saved in order to perfectly replicate the musical composition being generated at that point in time. This module allows the user to create a specific “song” and recall that song at a later time. For example, CAMG may be initially configured to generate an “ambient techno piece” that the user wishes to save. The current song can be saved in the global initialization table and a different song such as a “chromatic fantasy” can be recalled.
Table of global initialization strings
All initial state parameters for every module within CAMG, such as Pitch CA size, transition rule and initial state.
FIG. 19 shows a sample representation of a GI module.
Phone Initialization (Ringtone Application) (PINIT) Module
The PINIT module is a special purpose module that is not part of the general CAMG toolkit. It is specifically used to provide the global initial parameters for a ringtone application. Different digits within the phone number input are used to provide the initial values for every component within the ring tone application. For example the last digit of the phone number could provide the CA melody module #1 with an initial state setting of 7, the area code could provide the initial state for the CA rhythm module #2.
10 digit phone number: e.g. (604-555-5555)
Outputs: (all integer values except where noted)
CA Melody initialization: 4 digit value divided by 40 (0 to 250)
CA Duration init: 1 digit value (1 to 10)
CA Velocity init: 1 digit value (1 to 10)
CA Rhythm init: 4 digit value (0000 to 9999)
MIDI Program select: 2 digit value (00-99)
Scale select: 1 digit value (0-9)
Legato select: 2 digit floating point value (0.00-0.99)
Global Rule: 3 digit value (0-255)
Global Clock init: 4 digit value (6000-20000)
Melodic Range select: 1 digit value (0-9) See Appendix A
Phrase Generator (PHGEN) Module
This module is designed to generate pitch values based upon a look up table that associates a particular pitch with a corresponding active bit output by the Serial/Parallel Delay Module. Unlike the Serial Lookup Table, which constrains the CA state output of the CA used to generate pitch values, this module uses the parallel bit outputs from the delay module as its input. For example assume that the CA used as input has generated a CA state value of 65535 (1111111111111111), the Phrase Generator has been initialized with a phrase table consisting of the sequential series of pitch values: C3, D3, E3, F3, G3, A3, B3, C4, D4, E4, F4, G4, A4, B4, C5, D5. Because each bit in the input CA is active, the Phrase Generator would play an ascending C major scale of 16 notes beginning on C3. If the CA state value was 34952 (1000100010001000), the Phrase Generator would play a 4 note sequence consisting of the pitch values: C3, G3, D4, A4.
Select phrase table—choose which note values are associated with each bit
MIDI pitch value (0-127)—Pitch value associated with a specific bit in
Serial/Parallel Delay Module
FIG. 20 shows a sample representation of a PHGEN module.
1 Bit Controller (IBIT) Module
The 1BIT module is used to generate a continuously varying value which can be applied to a variety of other module's inputs such as velocity, duration or MIDI continuous controller value. This module is related to the Lag Generator module in that its output continuously varies over time. The 1BIT module generates a serial stream of bits which serve to alter the direction of a continuously changing value in a similar manner to the Lag Generator Module described above. The difference is that this technique employs the active bit to change the current direction of the values vector (i.e. a vector of values starting at a low value 25 and incrementing to a high value of 66 at a rate of 20 milliseconds per step (25, 26, 27 . . . 66) would change the direction of the vector upon receiving an active bit from the serial bit stream being generated by the CA). Upon the occurrence of this active bit event, the continuous value would now start decrementing toward the low value of 25 and would continue decrementing until another active bit event causes the direction to change again
Lag Value—Reflected: Current lag value. If boundary value is reached, lag reverses direction and continues
FIG. 21 shows a sample representation of a 1 BIT module.
Parameter Matrix (PM) Module
The PM module provides an alternative method of globally reconfiguring CAMG to create a network of CA and other modules that can be specified by the user. In this mode the user is able to select any combination of module inputs and outputs via a matrix which lists all possible input parameters on the X axis of the matrix and all possible output assignments on the Y axis. Using this module allows the composer to create customized configurations of CAMG for specific purposes other than the default CAMG structure.
CA1 State input
CA1 Size
CA1 Transition rule
DLY2 Delay time
Lag Generator lag time
(inputs for every module)
CA1 state output
(outputs of every module)
FIG. 22 shows a sample representation of a PM module.
Bit Shifter Module
This module is uses 2 CAG modules and 2 CLK modules to generate a random walk function. CA1 is used to implement the final output state of this module which generally consists of a binary number containing only one significant bit, such as 1, 2, 4 up to the lattice size as a power of 2. The module also outputs the bit number as a value based upon the bits position, i.e. binary 1 is position 1, binary 4 is position 3 and so forth. CA2 provides the rate of change control, which determines which of the transition rules is applied to CA1. The rules that are used by CA1, 170, 240 and 204 are specifically selected to provide a left shift, right shift and identity function. The number of live cells contained in CA2 state provide the input value which determines which transition rule will be applied to CA1. The input threshold value determines when to apply each individual change of transition rule to CA1.
CA1 Shift Size: Lattice size of 1D CA (3-16)
CA1 Shift Init: Initial state (0-65535 based upon lattice size)
CA2 Change Size: Lattice size of 1D CA (3-16)
CA2 Change RuleRule: Transition Rule (0-255)
CA2 Change Init: Initial state (0-65535 based upon lattice size)
Clock value for Shift CA: controls rate at which output bit is generated
Clock value for Change CA: controls how often Shift CA will change
Start/Stop Clocks: Start or Stop the internal clocks
Threshold Value: Determines when CA1 will change transition rule
Bit Number (0-16)
FIG. 28 shows a representation of a bit shifter module.
Module Interconnections
The above described modules can be arranged to create a single virtual musician as shown in FIG. 23.
CAMG—Module Interconnections (Ringtone Application)
As shown in FIGS. 24, 25, 26 and 27, an application of CAMG may be designed to generate unique cell phone ring tones in real time, based upon the incoming phone number. When using this “ring mode”, the length of the ring tone composition is determined by the cell phone's internal setting that determines the number of “rings” to generate before answering the call, or branching to the “leave message” feature. One variant of the application, “play mode”, would allow the user to input the phone number manually and have the cell phone play the resulting composition for a more extended period, as determined by the listener.
Cellular automata are used extensively to provide the primary parameter generation within the “ringtone” composition. The initial input for the application consists of a 10 digit phone number (999-999-9999), which is used to determine all of the initial CA parameter settings for the music composition.
Unlike stochastic approaches to generative music, such as Sseyo's Koan, the CAMG methodology is completely deterministic, meaning that the composition based upon the unique phone number input will always “sound the same” and develop in exactly the same way over time.
CA Module Components:
CA1 (Master Arranger—section 1) is used to provide the “master instrument arrangement” function. CA1 determines the input state for a delay module, DLY1. Each cell (bit) in CA1 is used to update the current state of CA4x, the “rhythm generator”. Bit 16 is used to update CA4a, the lead instrument. Bits 15 and 14 update CA4b and CA4c, the harmony instruments and Bit 13 updates CA4d, the bass instrument.
CA1 is updated by CLK1 (the master clock module) at a rate determined by the input phone number.
The initial parameter settings for CA1 are size=16, rule=30 and init=1.
CA2 (Rhythm Repeat—section 2) is used to implement a “rhythm repeat” function, which provides a degree of redundancy to the rhythms that each of the “instruments” used.
CA2 essentially acts a linear position counter based upon very specific initial CA parameter settings of size=4, rule=170 and init=8. Each update causes the current state to shift 1 cell to the right. By using an initial state setting of “8” (1000) with a lattice size of 4 bits, this CA causes a second delay module, DLY2 to trigger successive events that shift from right to left, starting at bit 13 output from DLY2, then shifting to bit 14, 15, 16, 13 . . . on each update clock.
The update clock is provided by clock module CLY2, which runs synchronously with master clock CLK1, but updates 4 times as often. (i.e. if master clock CLK1 is set to 320OMsec, CLK2 will update every 800 Msec). Bit 13 of DLY2 is used to update CA7, which provides the “melody range setting”. Bits 14-16 are used to provide the “drum repeat” function, which causes DLY3x (another delay module) to retrigger its current rhythm using the current state stored in DLY3x. Note that Bits 14-16 retrigger all DLY3x modules simultaneously, i.e. “drum repeat” is a global retrigger for ALL instruments. CA3x (Melody Initialize—section 3) is used to provide an initial state value for CA5x, which provides the melodic values for MIDI Module MID1x. CA3x is initialized by a portion of the input phone number only at the start of the composition. CA3x is updated by the CA1/DLY1 modules. CA3a is updated by Bit 16 of DLY1. CA3b is updated by Bit 15 etc.
The initial parameter settings for CA3x are size=8 , rule=30 and init is based upon phone number.
CA4x (Rhytlm Generator—section 3) is used to provide the rhythm pattern for one “bar” of music consisting of 16 beats. CA4x provides the input for DLY3x which is further processed by Legato Module to provide the rhythmic sequencing and duration values for MID1x. DLY3 also provides the update trigger for CA5x (melody) and CA6x (velocity).
The initial parameter settings for CA4x are size=16, rule and init are based upon phone number.
CA5x (Melody Generator—section 3) is used to provide raw pitch values to RNG1x (a range module), which constrains the value to a range determined by CA7 (Melodic Range Setting). RNG1x is then filtered through Serial Lookup Table module to further constraint the final pitch value to a particular musical mode, such as Ionian or Dorian modes. The final pitch value is used to provide the “note” input for MID1x.
The initial parameter settings for CA5x are size=8, rule is based upon phone number and init is determined by the current output state of CA3x.
The phone number input for initialization is constrained by Complex Rules module to ensure that the transition rule used for melody generation is not a member of Wolfram's Class1 CA (Limit Points such as Rule 0, 255, 204 etc.).
NOTE: The phone number only determines the actual transition rule used by CA5a, the “Lead” instrument. The other instruments have transition rules which are determined by the Rule Matrix module as follows:
Harmony instrument 1 (CA5b) is the complement of the original rule, used by CA5a;
Harmony instrument 2 (CA5c) is the reflection of the original rule; and
Bass instrument (CA5d) is the negation of the original rule.
For example, if phone# selects Rule 193 for CA5a, CA5b uses rule 110, CA5c uses rule 137 and CA5d uses rule 124.
CA6x (Velocity Generator—section 3) is used to provide raw velocity values to RNG2x (a range module) which constrains the velocity to a new value based upon the Hi & Lo parameter settings of RNG2x. These RNG2x settings are not based upon the phone number, but instead are fixed for all possible compositions to a range of values which are loosely based upon psycho-acoustic principles pertaining to the human ear's frequency response pattern, i.e. the Fletcher Munson curves
The initial parameter settings for CA6x are size=8 , rule and init are based upon phone number.
CA7 (Melodic Range Setting—section 4) is used to provide a list of parameters which select the Hi and Lo range values for RNG1a-RNG1d. Each RNG1x will receive a different range that determines the note values that a particular instrument will be able to use. For example, Instrument 4-“Bass” (RNG1d) has a range value of note #36 for LO and note #55 for HI (1.5 octaves) when melodic range is set to “C Ionian”.
CA7 generates a value between 0 and 7 (000-111). The value generated by CA7 is then converted to a 3 bit binary value (via DLY4) and reconverted to decimal (via FG1). The output of FG1 is used to pick one of 8 “lists” which provide input for RNG1a-d
CA7 is updated by bit 13 of CA2 (Rhythm Repeat)
NOTE: initial parameter is preset to be between the values of 1 through 6, a 0 or 7 input would cause 3 bit CA7 to enter a static state (always 000, 111 or alternating between these two states).
Rule 82 was chosen because any value between 1 and 6 will cycle through all states (other than 0 and 7). The cycle is a period 6. Increasing the size of CA7 would allow a greater number of possible values for the RNG1x parameter lists, beyond 6.
DLY4 and FG1 could be removed from this section and the output of CA7 could be directly input into the code that implements the actual list selection
Ringtone Application Functions and User Interface
Sequencing using Standard User Interface (UI) Components
The examples below illustrate the sequencing to perform tasks for ZenRings in a ringtone application, such as audio caller ID. It uses standard UI components, however to make the UI more concrete. These use cases are based on the Series 60 phones: Symbian OS 7.0s although the CAMG can be adapted for use with other phone models.
Sequence 1: ZenRings,Activation
As shown in FIGS. 29 and 30, the ringtone application (referred to as ZenRings) may be started using the following process:
Trigger Task Sequence Comments
Launch Find ZenRings 1. Activates “Menu” 1. Activation may be
Program application on cell from default screen. pressing preset
phone 2. Uses arrows or button or require
joystick to cycle menu another mode
until “Applications” depending on phone.
folder is highlighted. 3. “Select” label
3. Activates “Select” to may be “Open”
open “Applications” depending on phone.
folder. 4. The 4th step may
4. Uses arrows to cycle be skipped on some
menu until “Select phones.
Application” is
highlighted.
5. Activates “Select” to
get applications listing.
6. Uses arrows or
joystick to cycle through
available applications
until “ZenRings” is
Decides to Get back to 1. Activates “Back” item 2. This process may
abort plans to default Phone available on the screen. be avoided on some
launch Screen. 2. Repeats activating phones by holding
ZenRings* “Back” until default down “Disconnect”
screen is reestablished. button on the cell
Chooses to Enter ZenRings 7. Activates “Options” to 7. “Options” may not
continue with Interface. open list of application be universal for all
Launching info: Open, Delete, Web phones.
Program. Access, Check Version.
until “Open” is
start ZenRings Interface.
Status of Zen Rings
Application is provided.
It reads “ZenRings
Status: Off”.
Decides to Get back to 1. Activates “Exit” 1. Pressing
Quit Default Screen available on the screen. “Disconnect”
Application* 2. Activates “Back” button does same
item available on the function.
screen. 3. This process
3. Repeats activating may be avoided on
“Back” until default some phones by
screen is reestablished. holding down
button on the cell
Chooses to Activate 10. Activates “Options” 10. Composer
continue and ZenRings available on the screen. Mode is a
activate program Screen: alternative Label to
Program. Activate ZenRings Play Mode.
Composer Mode Although labels
11. Use Arrows or can change
joystick to toggle throughout
between Start ZenRings development.
and Composer Mode 13. Pressing
until Start ZenRings is “Disconnect”
selected. button does same
12. Activates “Select” function.
item available on the 14. This process
screen. may be avoided on
Screen pops up to the some phones by
one displayed in step 8. holding down
It now displays: “Disconnect”
“ZenRings Status: On”. button on the cell
13. Activates “Exit” phone.
available on the screen.
14. Activates “Back”
item available on the
15. Repeats activating
“Back” until default
screen is reestablished.
*These triggers indicate possible aborting of the primary task, and do not represent a step in the required sequence to achieve the primary task. After a sequence is aborted, the user will need to begin a step one of the sequence.
Sequence 2: Composer Mode (See FIGS. 29, 30 and 31)
FIGS. 31, 32 and 33 show how the user can use the CAMG in a “composer mode” to save selected music and associate that music with a particular phone number, using the steps below:
Activate Find ZenRings Same as Sequence 1-9 Sequence 1-9 may
Composer and enter The status of the be set at the OS
Mode interface. ZenRings application level.
may be ON or OFF
Activate/Enter 10. Activates
Composer “Options” available on
Mode the screen.
Activate ZenRings
Composer Mode
11. Use Arrows or
joystick to toggle
between Start
ZenRings and
Composer Mode until
Composer Mode is
12. Activates “Select”
Composer Mode UI is
presented:
From Phone Book
Chooses 13. Use Arrows or
Number From joystick to toggle
Phone Book between “From Phone
Book” and “New
Phone Number” until
is selected.
Phone Book UI on
15. Searches or
Browses for stored
phone number using
default UI
mechanisms.
16. Activates “Select” 16. Details and
available on screen. Back are the
mechanisms in the
Phone book UI. It
is preferable to use
an instance of the
phone book in
order to have our
own functionality
within the familiar
phone book UI.
Plays Music 17. New Menu
Displayed:
Save as Ringtone
18. Uses Use arrows
or joystick to cycle
through menu until
“Play” is highlighted.
19. Activates “Select” It may be useful to
available on screen. have a time
ZenRings Music indicator on
Plays. screen, when the
Menus Changes on music is playing.
Screen to now display:
Restart Music 20. User uses Arrows Screen does not
from or joystick to cycle change. Music
Beginning through until “Restart” restarts and Time
is highlighted. Counter resets
Changes 21. User uses Arrows
Tempo or joystick to cycle
through until “Tempo”
is highlighted.
22. Screen Changes to Music will begin
provide a meter. With or restart once
present indicator being Tempo is selected
at midpoint. User uses depending on
arrows or joystick to play/pause status.
adjust tempo. Tempo changes in
“Up” (or suitable icon) real-time as per
to Increase Tempo user input.
“Down” (or suitable
icon) to decrease
Chooses 23. Activates “Select” Music remains
Tempo Available on Screen. Playing at new
Screen is back to: Tempo.
Saves 24. User uses arrows
Ringtone or joystick to cycle
“Save as Ringtone” is
Available on Screen.
Screen displays:
Save As: <Data Field>
26. User inputs name
27. Activates “Save” New Ringtone for
available on screen. phone is set, and a
Screen goes back to: copy of the
604-555-1212 Ringtone is sent to
Pause Ringtone folder
Tempo with the saved.
Restart name.
User Exits 28. Activates “Back”
Application available on the
Screen back to:
“ZenRings Status:
30. Activates “Exit”
Screen Back to
Applications Folder
Alternatively, it may be possible to provide restart function in the tempo window. Also it could be possible to adjust tempo, by using Left/Right arrows, keeping the Up/Down arrows reserved for menu navigation.
The above system is designed for use on a 176×208 display screen with 16 bit colour, although it could be adapted for use on other displays. It is also designed for use with the following inputs: two soft keys, five-way navigator, and several dedicated keys dependent on phone; although it could be easily adapted for other inputs.
Preferably the application is comfortably manageable in one hand using the user's thumb. This has important implications since it is convenient for users on the move. Since single applications fill the available screen, an application switcher is available via a long press of the menu button, which greatly enhances productivity on the device. Any user with mobile phone experience will grasp the workings of this intuitive UI very quickly.
Although the particular preferred embodiments of the invention have been disclosed in detail for illustrative purposes, it will be recognized that variations or modifications of the disclosed apparatus lie within the scope of the present invention. As an example the CAMG is useful in video games wherein actions by the game player provide the inputs to initialize the CAMG.
Previous Patent: Keyboard device for electronic musical instrument
Next Patent: Method and apparatus for storing music file in mobile communication terminal
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METHOD TO VISUALIZE CUTPLANES FOR CURVED ELONGATED STRUCTURES
A method for visualization and inspection of elongated curved structures is disclosed. According to an embodiment improved inspection of elongated three dimensional (3D) curved structures such as blood vessels in a 3D medical image is disclosed. Rendering is performed such that it results in the visualization of a (3D) curved cutplane of said curved elongated structure. The advantages of this method are for instance that the cutplane information is interpreted easily in relation to the three-dimensional shape and surroundings of the elongated object, without distortions, and that cutplanes along more than one structure can be visualized and examined together at the same time, without interpretation problems for diagnosis and therapy of anomalies in e.g. the blood vessels.
Lobregt, Steven (Eindhoven, NL)
De Bliek, Hubrecht Lambertus Tjalling (Eindhoven, NL)
KONINKLIJKE PHILIPS ELECTRONICS, N.V. (EINDHOVEN, NL)
G06T15/08
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BROOME, SAID A
PHILIPS INTELLECTUAL PROPERTY & STANDARDS (465 Columbus Avenue Suite 340, Valhalla, NY, 10595, US)
1. 1-18. (canceled)
19. A method of visualizing a curved elongated three dimensional (3D) structure comprised in a 3D data set, such as a medical 3D image, said method comprising: providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane in a three-dimensional context, wherein said three-dimensional context comprises said at least one rendered curved cutplane and at least a part of said curved elongated structure with a rendered surface thereof.
20. The method according to claim 19, wherein said three-dimensional context comprises further structures comprised in said 3D data set.
21. The method according to claim 19, wherein said 3D data set is a medical 3D image and said curved elongated structure is a curved elongated organ of a mammal or animal.
22. The method according to claim 21, wherein said curved elongated organ is comprised in the group comprising a blood vessel, including a coronary vessel; a respiratory pathway; a gastrointestinal tract; and/or a part of the nervous, urologic or lymphatic system; of said mammal or animal.
23. The method according to claim 21, comprising visualizing an anomaly in said curved cutplane through said curved elongated organ, including stenosis in blood vessels, including coronaries or carotids, or vessels in the extremities; aortic aneurisms; or pulmonary anomalies including bronchial restrictions.
24. The method according to claim 19, comprising orienting said curved cutplane perpendicular to a viewing direction of said image, when rendering said image.
25. The method according to claim 19, comprising orienting said curved cutplane independent of a viewing direction of said image, when rendering said image.
26. The method according to claim 19, said curved cutplane having a curved cutplane surface, and said rendering comprising showing a local orientation of the curved cutplane varying over the cutplane surface with respect to a centerline of said curved elongated 3D structure.
27. The method according to claim 19, said curved cutplane having a curved cutplane surface, and orienting said curved cutplane surface substantially along a centerline of said curved elongated 3D structure.
28. The method according to claim 19, said curved cutplane having a curved cutplane surface, and orienting said curved cutplane surface so that it follows an arbitrary path at least through said rendered curved elongated 3D structure and/or at least partly outside said rendered curved elongated 3D structure, wherein said arbitrary path along its length preferably has a non-constant distance to said centerline of said curved elongated 3D structure.
29. A medical workstation (51) configured for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D medical image, comprising: means for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and means (52) for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
30. A computer-readable medium (61) having embodied thereon a computer program for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D data set, preferably a medical 3D image, for processing by a computer (63), the computer program comprising: a code segment for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and a code segment (62) for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
31. A computer-readable medium (61) having embodied thereon a computer program for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D data set, preferably a medical 3D image, for processing by a computer (63), the computer program comprising: a code segment for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and a code segment (62) for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane enabling carrying out of a method according to claim 19 by means of a workstation, such as a medical workstation (51) configured for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D medical image, comprising: means for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and means (52) for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
32. A medical image comprising a visualization of a curved cutplane rendered according to claim 19.
33. Use of the method according to claim 19 for computer assisted detection, inspection, and quantification of abnormalities, planning and preparation of subsequent interventions, such as for inspecting and/or detecting stenosis, aortic aneurisms or bronchial anomalies for subsequent treatment.
This invention pertains in general to the field of visualization and inspection of elongated curved three dimensional (3D) structures. More particularly the invention relates to a method for such visualization, preferably from three-dimensional (3D) medical images, enabling improved inspection of the elongated curved structures.
It is known to isolate anatomical structures in three-dimensional data sets from surrounding structures by using segmentation methods. After isolating the volume that belongs to the anatomical structure, which is under inspection, it can be visualized, e.g. on a display or a printout, using a rendering technique.
Cutplanes through the volume can be interpolated to show the distribution of measured values at the cross-section where the cutplane cuts through the structure of interest. When the structure is segmented, a centerline can be determined and cutplanes can be positioned perpendicular to this centerline. Another option is to interpolate a cutplane that follows the centerline of such a structure, wherein that cutplane is visualized in a flattened plane. See for instance “Armin Kanitsar, CPR—Curved Planar Reformation, IEEE Visualization 2002”.
Visualization of tubular structures such as blood vessels is an important topic in medical imaging disclosing a way to display tubular structures for diagnostic purposes by generating longitudinal cross-sections in order to show their lumen, wall, and surrounding tissue in a curved plane.
Tubular elements to be inspected are for instance blood vessels, e.g. coronaries or carotids, or the large vessels in the extremities, suffering from stenosis to be detected for subsequent treatment. Other examples are the inspection of aortic aneurisms or pulmonary diseases, e.g. due to bronchial anomalies. For these applications, it is not sufficient to visualize and inspect cross-sections through the structure in a direction perpendicular to the centerline because an adequate impression of the location and nature of any existing problems of the tubular structure is not readily available. It is required to interpret the measured properties in relation to the position along the centerline.
A cutplane following a centerline is usually represented as a flattened plane, which results in a disadvantageous deformation. The cutplane may be further distorted by ‘straightening’ the elongated structure so that it runs for instance vertically through the displayed cutplane. This will only increase the described interpretation problems. Interpretation problems will also increase when a movie is shown of such a cutplane while rotating it around the centerline of the structure of interest, which is often done to inspect cross-sections in different directions through the structure. Distortion of the cutplane will in this case be variable as a function of the viewing direction. The plane, as shown in FIG. 1, is curved in one direction and flat in the other. FIG. 1 shows, on the left side, the principle of putting a cutplane, which is curved in one direction and flat in the other, through the centerline of a vessel. On the right side FIG. 1 shows the flattened representation of such a cutplane through vessels in a real clinical situation. The distortion of the visible anatomy in this flattened image is obvious. An additional shortcoming of this is that such a plane cannot follow more than one curved structure at the same time. When longitudinal cross-sections through two or more curved structures need to be visualized together, it is possible to curve the plane in such a way that it follows both centerlines. This can be done, however, in many different ways, and the result is extremely difficult to interpret. An illustrative example is given in FIG. 2, showing a curved cutplane through multiple vessel centerlines, which is shown as a flattened plane.
Hence, current visualization techniques show cross-sections through elongated curved structures, like blood vessels, as flattened structures in images. Furthermore, the images are often also straightened out, so that the central axis of the elongated curved structure becomes a straight line in such an image. This means that the geometry in the shown flat/straightened image is greatly distorted, which makes interpretation of the visible anatomical structures in such an image extremely difficult. Hence, an improved solution for visualizing cross-sections through elongated curved structures, without the drawback of strongly decreased interpretability because of geometric distortion of the presented information, would be advantageous. It would also be advantageous to even improve the interpretability by improved visualization of elongated curved structures and showing the three-dimensional context of the curved elongated structures.
Accordingly, the present invention preferably seeks to mitigate, alleviate or eliminate one or more of the above-identified deficiencies in the art and disadvantages singly or in any combination and solves at least the above mentioned problems by providing a method, a medical workstation, a computer-readable medium comprising a computer program, a medical image and a use of said method, according to the appended patent claims. According to a first aspect of the invention, a method of visualizing a curved elongated three dimensional (3D) structure comprised in a 3D data set, such as a medical 3D image, is provided. The method comprises providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
According to another aspect of the invention, a medical workstation is provided. The workstation is configured for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D medical image, and comprises means for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and means for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
According to a further aspect of the invention, a computer-readable medium having embodied thereon a computer program for visualizing a curved elongated three dimensional (3D) structure comprised in a 3D data set, such as a medical 3D image, for processing by a computer, e.g. comprised in the above mentioned workstation. The computer program comprises a code segment for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and a code segment for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane. According to yet another further aspect of the invention, a medical image is provided, that comprises a visualization of a curved cutplane rendered according to the method according to said first aspect of the invention.
The method according to an aspect of the invention may be used for computer assisted detection, inspection, and quantification of abnormalities, planning and preparation of subsequent interventions, such as for inspecting and/or detecting stenosis, aortic aneurisms or bronchial anomalies for subsequent treatment.
For a more thorough understanding of the present invention, the term “rendering” is explained in more detail hereinafter.
According to a commonly used definition, rendering is defined as the conversion of a high-level object-based description into a graphical image for display. This definition of rendering applies to rendering of objects, which may be synthesized/computer generated or measured from the real world, and which are characterized by a geometrical description, for instance a triangulated surface describing the shape of an object. This kind of object is also used in medical imaging, where such an object description may be derived from the measured patient data. This data is for instance obtained with a CT or MRI scanner and consists of a three-dimensional array of measurements related to spatial positions on a regular grid of measurements. These measurements are called voxels and the three-dimensional volume covered by a voxel array maps to a particular volume in the real world space, containing part of a patients body.
Instead of first extracting object shapes from the measured volume and describing these shapes with geometrical descriptions (triangulated surfaces), the contents of the measured volume may also be visualized directly from the voxel values. The first approach is called surface rendering and the second is called volume rendering. Both techniques are commonly used in many variations and have their own advantages and disadvantages. However, the result of both approaches is a rendering of at least part of the contents of a measured volume in the form of an image, generally two-dimensional, giving an impression of a projected three-dimensional scene, or a window through which one views the three-dimensional scene inside the measured volume. An alternative way of displaying a rendered image is for instance the use of a 3D display. In this case the rendered image creates the impression of a 3D image, e.g. by overlaying several two dimensional images that are arranged to give the three dimensional impression. To experience such a 3D effect, generally a special hardware is needed, such as 3D glasses (e.g. red/green or red/cyan) or a 3D display to view the 3D images properly.
The advantages of the present invention are for instance that the cutplane information is interpreted easily in relation to the three-dimensional shape and surroundings of the elongated object, without distortions.
A further advantage is that cutplanes along more than one structure can be visualized and examined together at the same time, without interpretation problems.
Yet another advantages of the present invention is that no interpretation problems are caused by the visualization, because the cutplanes are not geometrically distorted.
Furthermore additional information about the three-dimensional shape of the structure and its environment may be shown.
The present invention is in particular applicable in situations where the inside of an elongated structure needs to be inspected.
These and other aspects, features and advantages of which the invention is capable of will be apparent and elucidated from the following description of embodiments of the present invention, reference being made to the accompanying drawings, in which
FIG. 1 is a schematic illustration of the positioning of a curved cutplane (left) and resulting visualization of the curved cross-section (right) according to the prior art;
FIG. 2 is a medical image showing a curved cutplane through multiple vessel centerlines, which is shown as a flattened plane;
FIG. 3A shows an original 3D visualization of a vessel. 3B) and 3C) show—in a 3D context—curved cutplanes that have different orientations and follow the centerline. 3D) shows the vessel with a section cut out and two corresponding cutplanes in the same image;
FIG. 4 is a schematic flowchart illustrating the steps of the method according to an embodiment of the present invention;
FIG. 5 is a schematic illustration of a medical workstation according to an embodiment of the invention; and
FIG. 6 is a schematic illustration of a computer program according to an embodiment of the invention.
The following description focuses on an illustrative embodiment of the present invention. However, it will be appreciated that the invention is not limited to this application but may be applied to many other elongated 3D elements, for instance tubular elements other than blood vessels, including for example the pulmonary tree.
The solution according to the present embodiments is to define and calculate local cutplanes substantially following the centerlines of elongated 3D structures and to visualize these cutplanes in a 3-dimensional context, even together with other structures of interest if that is required. However, the curved cutplane does not necessarily have to follow the centerline of an elongated 3D structure. It may follow any path through the structure, and even partly outside the structure. The purpose is most often to visualize an optimal cut through the imaged anatomy. Therefore, for elongated structures it makes often sense to cut along their centerline, but other options are not excluded in the context of certain embodiments of the invention. The orientation of the cutplane may for instance be defined as always perpendicular to the viewing direction, or may be independent of this viewing direction. The method is illustrated in FIG. 3 showing exemplary resulting images of visualizations achieved by an embodiment of the present invention.
FIG. 3A shows a schematic blood vessel as it may be visualized by common rendering methods, without a cutplane, showing only the three-dimensional shape of the vessel. There are many more or less different implementations of surface or volume rendering in use, as already has been elucidated above. However, the interior of the vessel is not visible which means that an inspection is not possible. For illustrative purposes, the vessel shown in FIG. 3 does not show a representation of a ‘real’ blood vessel. Moreover, it is intended to give an impression of what the application of the present invention is capable of producing, when suitably implemented. FIGS. 3B and 3C show the same vessel but now cut along the centerline of the vessel by a curved cutplane. This cutplane is displayed in a three-dimensional context on the blood vessel. The orientation of the cutplane is different for FIGS. 3B and 3C, as indicated by the arrows in these Figs., and may for instance be directed according to a viewing position. As shown in FIG. 3D, the cutplane does not have to be flat in one direction. In this FIG. 3D, the cutplane shape relates to the situation that a quarter section is cut out of the vessel, resulting in two surfaces of the cutplane.
With reference to FIG. 3, it becomes evident that the present invention provides an advantageous way of visualizing information on cutplanes through elongated curved structures without distortion and within a three-dimensional anatomical shape context. The cutplane shown in the rendered image remains a curved “plane”, so that the orientation of the cutplane may show local orientation varying over the cutplane surface. Thus a more advantageous interpretation than previously is provided by the invention. The word plane usually suggest a flat or two-dimensional element. However, the term curved plane, referring to a curved cutplane is a three dimensional “plane” cutting through a three dimensional object. A curved cutplane may be considered as a part of a three dimensional surface, which even justifies the term three-dimensional cutplane for a curved cutplane.
The volumetric data used as input data for the present invention may be acquired in many different suitable ways, for instance by using a CT or MR scanner, an Ultrasound system, a rotational X-ray system, a PET or a SPECT scanner. The result of such an acquisition and the following processing, which is relevant for this invention is that a volume of measurements is provided.
According to an embodiment of the method of the present invention, illustrated in FIG. 4, subvolumes are extracted from these data, which represent certain objects like organs or bone structures, in step 41. The skilled person is aware of suitable extraction techniques to be used for this step. Subsequently, the boundaries of these subvolumes are described, in step 42, by means of a surface description, for instance a geometrical description with a triangulated surface. A curved cutplane is then defined, cutting at least partly through said object, such as curved elongated three dimensional structures, and following a path substantially along said object. Finally, a ‘3D’ image comprising the curved cutplanes is rendered from that subvolume description, in step 43, by projecting the surface elements to a projection plane, which for instance may be the view area on a computer screen or a print out. The view area is in most cases flat. Optionally for instance 3D screens may be used for presenting the rendered visualization. In this case for instance a special screen, such as an LCD screen, is used that may switch between a standard two-dimensional mode and a stereoscopic 3D mode in which a three-dimensional perspective is created on the screen. One solution to show such 3D images shows in that 3D mode two overlapping images, one showing the right-eye perspective and one showing the left-eye perspective. At the same time, the monitor switches on a filter that restricts the angle of light beams illuminating the screen. As a result, the light passing through pixels displaying the right-side perspective is projected toward the viewer's right eye, and the light hitting pixels displaying the left-side perspective is projected to the left eye. Alternatively, holographic projection methods may provide real 3D images.
Hence, the image that is rendered from a 3D data set for visualizing a curved elongated three dimensional structure. The image is rendered so that it comprises a visualization of the curved cutplane.
Alternatively, optical properties like color and opacity are assigned to each of the elements (voxels, measurements) in the data volume. Then imaginary rays are cast from the pixels of the projection plane into the data volume. The color of the pixels in the projection plane may then be related to the optical properties that the corresponding ray encounters when penetrating the data volume. User Interface options may be provided for defining simulated object properties like colors and opacities, viewing geometry, like direction from which the data volume is observed, as well as zoom and perspective, environment properties like simulated lightsources to enhance the perception of the object shapes, higher level object manipulations like switching objects on and off, merging geometrically described surfaces, placing the curved cutplanes in desired orientations, etc.
FIG. 5 discloses a schematic illustration of a medical workstation according to an embodiment of the invention, namely, a medical workstation 51. The workstation is configured for visualizing a curved elongated 3D structure comprised in a three-dimensional (3D) medical image, and comprises means 52 for rendering a two dimensional image comprising at least one three-dimensional curved cutplane of said curved elongated structure, wherein said three-dimensional cutplane is curved. More precisely, the medical workstation 51 is configured for visualizing a curved elongated three dimensional (3D) structure comprised in the 3D medical image, and means 52 is configured for rendering an image from said 3D medical image, for visualizing said curved elongated three dimensional structure, wherein said rendered image comprises at least one rendered curved cutplane cutting at least partly through said visualized curved elongated three dimensional structure.
More precisely, the medical workstation 51 comprises means for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and means 52 for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
FIG. 6 is a schematic illustration of a computer program according to a further embodiment of the invention. A computer-readable medium 61 has embodied thereon a computer program for visualizing a curved elongated structure comprised in a three-dimensional (3D) data set, such as a medical 3D image, for processing by a computer 63, e.g. comprised in workstation 51. The computer program comprises a code segment 62 for rendering a two dimensional image comprising at least one three-dimensional cutplane of said curved elongated structure, wherein said three-dimensional cutplane is curved. More precisely, the code segment 62 is configured for rendering an image from said 3D data set, for visualizing said curved elongated three dimensional structure, wherein said rendered image comprises at least one rendered curved cutplane cutting at least partly through said visualized curved elongated three dimensional structure. More precisely, the program comprises a code segment for providing a curved cutplane in said 3D data set cutting at least partly through said curved elongated three dimensional structure and following a path substantially along said three dimensional structure, and a code segment 62 for rendering an image from said 3D data set for visualizing said curved elongated three dimensional structure such that said rendered image comprises said curved cutplane.
The generation of these rendered images comprising curved cutplanes may be embedded in larger applications for diagnosis, computer assisted detection and quantification of abnormalities, planning and preparation of interventions, etc., wherein the curved cutplanes facilitate such procedures.
Applications and use of the above described method according to the invention are various and include exemplary fields such as aortic aneurisms or pulmonary diseases. Another example of an application that can benefit from the present invention, is the inspection of stenosis in blood vessels, for instance coronaries or carotids, or the large vessels in the extremities. Other examples are the inspection of aortic aneurisms or pulmonary disease.
Another example of application is the visualization of a complex pipe or tube structure in a mechanical device.
In general the present method being used will result in an image e.g. visible on a screen displaying the rendered visualization of a curved elongated structure in an image, wherein the rendered image comprises a curved cutplane, as detailed described above.
The invention may be implemented in any suitable form including hardware, software, firmware or any combination of these. However, preferably, the invention is implemented as computer software running on one or more data processors and/or digital signal processors. The elements and components of an embodiment of the invention may be physically, functionally and logically implemented in any suitable way. Indeed, the functionality may be implemented in a single unit, in a plurality of units or as part of other functional units. As such, the invention may be implemented in a single unit, or may be physically and functionally distributed between different units and processors.
Although the present invention has been described above with reference to a specific embodiments, it is not intended to be limited to the specific form set forth herein. Rather, the invention is limited only by the accompanying claims and, other embodiments than the specific above are equally possible within the scope of these appended claims, e.g. different rendering methods than those described above.
In the claims, the term “comprises/comprising” does not exclude the presence of other elements or steps. Furthermore, although individually listed, a plurality of means, elements or method steps may be implemented by e.g. a single unit or processor. Additionally, although individual features may be included in different claims, these may possibly advantageously be combined, and the inclusion in different claims does not imply that a combination of features is not feasible and/or advantageous. In addition, singular references do not exclude a plurality. The terms “a”, “an”, “first”, “second” etc do not preclude a plurality. Reference signs in the claims are provided merely as a clarifying example and shall not be construed as limiting the scope of the claims in any way.
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Pentazocine addiction among sickle cell disease patients and perception of its use among health-care workers
Akinsegun Akinbami1, Ola Bola2, Ebele Uche1, Mulikat Badiru1, Olusola Olowoselu3, Aishatu Maude Suleiman4, Benjamin Augustine4
1 Department of Haematology and Blood Transfusion, Lagos State University College of Medicine, Lagos, Nigeria
2 Department of Behavioural Medicine, Lagos State University College of Medicine, Lagos, Nigeria
3 Department of Haematology and Blood Transfusion, College of Medicine, University of Lagos, Lagos, Nigeria
4 Department of Haematology and Blood Transfusion, Ahmadu Bello University, Zaria, Kaduna State, Nigeria
Date of Web Publication 14-Nov-2019
Dr. Ebele Uche
Department of Haematology and Blood Transfusion, Lagos State University College of Medicine, Lagos
DOI: 10.4103/joah.joah_39_19
BACKGROUND: Prolonged use of pentazocine in sickle cell disease (SCD) because of chronic pain may result in mental dependence (addiction) and/or physical dependence leading to withdrawal symptoms on suddenly stopping its use. This study was aimed at determining the prevalence of pentazocine addiction among SCD patients and health-care worker (HCW) perception on its use.
MATERIALS AND METHODS: This was an interviewer-administered, questionnaire-based, cross-sectional study. The study involved clients attending the Lagos State University Teaching Hospital sickle cell clinic and the hospital HCWs. Consenting participants filled a World Health Organization structured questionnaire developed and extracted from ASSIST which is A - Alcohol, S - Smoking and S - Substance, I - Involvement, S - Screening, and T - Test. The HCWs were evaluated using a pretested, validated questionnaire.
RESULTS: A total of 350 participants were recruited consisting of 169 (48.3%) males and 181 (51.7%) females. ASSIST report showed 88% of them had low score of 0–3, 10% had moderate score of 4–26, while 2% (7 of 350) had high score of >27. A total of 61 HCWs were interviewed, and 18% and 8.2% of them believed 40%–60% and more than 60%, respectively, of the SCD patients were addictive to pentazocine.
CONCLUSION: While the issue of drug addiction should not be ignored, the appropriate treatment of SCD patients in Nigeria who are prevented from getting high-quality care should be appropriately addressed. The risk of addiction is overestimated among HCW.
Keywords: Health-care workers' perception, pentazocine addiction, sickle cell disease
Akinbami A, Bola O, Uche E, Badiru M, Olowoselu O, Suleiman AM, Augustine B. Pentazocine addiction among sickle cell disease patients and perception of its use among health-care workers. J Appl Hematol 2019;10:94-8
Akinbami A, Bola O, Uche E, Badiru M, Olowoselu O, Suleiman AM, Augustine B. Pentazocine addiction among sickle cell disease patients and perception of its use among health-care workers. J Appl Hematol [serial online] 2019 [cited 2020 Jan 20];10:94-8. Available from: http://www.jahjournal.org/text.asp?2019/10/3/94/271025
Sickle cell disease (SCD) is a hereditary disorder in which glutamine on the sixth position of the β hemoglobin chain is replaced with valine as a result of a single point mutation resulting from the replacement of adenine with thymine on its deoxyribonucleic acid structure. The implication of the mutation is sickling of the red blood cells (RBC). The sickled RBC impede free fiow of blood of affected vessels causing obstruction, congestion, hypoxia, lactic acidosis, all contributing to the pathophysiology of pain, the telltale sign of sickle cell painful vaso-occlusive crises (VOC).
SCD is common in Nigeria with prevalence values ranging from 2% to 3%.[1] The sickle cell trait (HbAS) individuals are carriers of the disease and have a normal hemoglobin and a sickled hemoglobin; they are usually asymptomatic and the prevalence ranges from 10% to 40% in sub-Saharan Africa.[2] The severe SCD patients are symptomatic and are referred to as HbSS or HbS βo thalassaemia seen in 2% of Nigerians.[3] SCD is referred to as compound or double heterozygote if they are HbSC and HbS β+ thalassaemia or sickle cell anemia. World Health Organization (WHO)[2] recognized SCD as a global public health problem in 2006. It also included SCD in 2010 Global Burden of Diseases, Injuries, and Risk factors.[4]
Painful VOC in SCD mostly affect hands, legs, chest, back, and abdomen. While some SCD patients require hospitalization because of severe painful VOC,[5] Smith et al. reported that most crises are attended to at home by patients and do not result in acute health-care visit[6] by implication, they have a tendency to drug abuse.
Pain, a telltale sign of SCD, often times is treated with pentazocine. The main stay of treatment of VOC pain crises in SCD is pentazocine; it controls pain, improves functional capacity, and reduces hospitalization in most SCD patients.[7]
Pentazocine is an opioid (narcotic) analgesic used for moderate to severe pain. It works in the brain and the nervous system to decrease pain. It is the only opioid analgesic available over the counter in most pharmacies in Nigeria unlike morphine and pethidine whose sales are strictly regulated. It is therefore often used in the management of VOC in SCD.[8] Prolonged use of pentazocine in SCD may result in mental dependence (addiction) and/or physical dependence leading to withdrawal symptoms on suddenly stopping its use.
Through a WHO validated questionnaire, the study assessed the proportion of SCD patients addicted to pentazocine and its severity, thus determining the prevalence of addicted individuals.
This study also evaluated perception of health-care workers (HCWs) on the use of pentazocine so as to identify patients with pseudoaddiction and those with true addiction, thus creating awareness about abuse of pentazocine use in SCD if any.
The study involved clients attending SCD clinic in Lagos State University Teaching Hospital (LASUTH) and the hospital HCWs.
Design and duration of study
This was an interviewer-administered, questionnaire -based, and descriptive, cross-sectional study. The study was conducted from September 2017 to February 2018.
Ethics committee's approval reference number LREC.06/10/867 was obtained from Health Research and Ethics Committee of LASUTH.
Questionnaire used was developed and extracted from ASSIST which is A-Alcohol, S-Smoking and S-Substance, I-Involvement, S-Screening, and T-Test. It is a brief screening questionnaire to find about people's use of psychoactive substances. It was developed by the WHO and an international team of substance use researchers as a simple method of screening for hazardous, harmful, and dependent use of alcohol, tobacco, and other psychoactive substances. It contains demographic information and relevant questions relating to drug addiction.[9]
Perception of HCWs was assessed by another structured questionnaire to determine their views on liberal versus restrictive use of pentazocine vis-a-vis risk of abuse and addiction.
Inclusion criterion
All consenting HCWs listed for participation
All consenting SCD clients attending adult clinic in the hospital.
Nonconsenting HCWs
Nonconsenting clients of SCD clinic.
Sample size determination
Sample size for SCD clients was determined by the formula designed for determination of single proportion non comparative study.[10]
n=n = Z2pq/d2
n = sample size
Z = Z statistic for a level of confidence of 95%, which is conventional, Z value is 1.96
p = expected prevalence
q = 1−p
d = precision
Z = 1.96
p = prevalence of 31% of drug abuse in SCD patients was used[11]
P = 0.31
n = (1.96)2 × 0.31× (1−0.31)/(0.05)2
n = 3.8416 × 0.31 × 0.69/0.0025
n = 0.8217/0.0025
n = 328.68
At level of significant α = 0.06 and estimated prevalence of 0.31 for drug abuse in SCD patients with 95% confidence interval (CI) and standard deviation (SD) ± 2 and marginal error = 5%, the sample size should be at least 350.
A total of 350 clients were enrolled.
Determining sample size for HCW, a prevalence of 25% was used.[12]
n = 28.8
At level of significant α = 0.06 and estimated prevalence of 0.25 for HCW with 95% CI and SD ± 2 and marginal error = 12%, the sample size should be at least 29.
A total of 61 HCW were enrolled.
Calculation of pentazocine involvement score by Alcohol, Smoking and Substance Involvement Screening Test questionnaire
Pentazocine abuse's score
No intervention – 0–3
Relief brief intervention – 4–26
More routine Treatment – 27+.
Alcohol, Smoking and Substance Involvement Screening Test feedback report
Low – 0–3
Moderate – 4–26
High – 27+
Low – Client is at low risk of health and other problems from the current pattern of use
Moderate – Moderate risk of health and other problems from the current pattern of use
High – High risk of experiencing severe problems (health, social, financial, and legal relationship) as a result of the current pattern of use and are likely dependent.
Data analysis and presentations
The data were recorded and analyzed with IBM SPSS Statistics for Windows, Version 20.0 Armonk, New York, USA. The data obtained were expressed as rates and frequencies.
A total of 350 SCD participants were recruited; the age and gender distributions of participants are presented in [Figure 1] and [Figure 2].
Figure 1: Age distribution of sickle cell disease clients
Figure 2: Gender distribution of sickle cell disease clients
A total of 78% of the participants had never used pentazocine while 15.1% had and 6.9% could not confirm its use or otherwise. In the past 3 months, 87.4% had never used pentazocine, only 2.3% had used it weekly, and 1.7% daily.
In response to a question on how often have they had a strong desire or urge to use pentazocine, almost 94.3% never had a strong desire or urge in the past 3 months; only 2% had a daily strong desire to use pentazocine.
Almost all participants (96.9%) confirmed use of pentazocine has not led to health, social, legal, or financial problems, only 1.7% of them have not been affected. Similarly, almost all participants (97.7%) denied being affected when asked how often they failed to do what was normally expected of them in the past 3 months.
The question on whether a friend or relative or anyone expressed concern about use of pentazocine, only 2.9% confirmed they had relative or friend complained about use of pentazocine.
Furthermore, a high percentage of them i.e. 95.7% had no problem about cutting down or stopping pentazocine use. A total of 93.4% had never used any other drug injection for nonmedical use. ASSIST feedback report in SCD is presented in [Table 1].
Table 1: Alcohol, Smoking and Substance Involvement Screening Test feedback report in sickle cell disease
A total of 61 HCW were interviewed [Table 2]. This consisted of 25 (41%) males and 36 (59%) females. Majority of them, i.e., 36 (59%) were between 30 and 40 years, followed by 12 (19.7%) who were <30 years. The least of the participants were 4 (6.6%), who were >50 years.
Table 2: Categories of health-care workers
Participants were recruited from the following departments, Internal Medicine 14 (23%), Haematology 12 (19.7%), Family Medicine 11 (18%), others were General Outpatient Department, Anaesthesia, Nursing and Obstetrics and Gynaecology.
The category of physicians included is presented in [Table 3]. A total of 36.1% of the respondents have 1-5 and 5-10 years of practice each, while 18% of the participants had year of practice between 10 and 20 years. Almost all participants, i.e., 56 of 61 (91.8%) have ever administered pentazocine and 41 (67.2%) considered themselves to be generous with its use. A total of 27.9% believed pentazocine is addictive to majority of patients between 20% and 40%. While 18% of the HCWs believed 40%–60% were addictive, 8.2% of them believed more than 60% of sickle cell anemia were addictive to pentazocine.
Table 3: Categories of physicians
A total of 27 (44.3%) participants will be willing to administer pentazocine while 32 (52.5%) will not be willing.
To the best of our knowledge, this is thefirst study in Nigeria to use WHO's pretested and validated ASSIST questionnaire which categorizes the risk into low, moderate, and severe to evaluate risk of pentazocine addiction in SCD and we also correlated the risk to the perception of HCWs.
Contrary to the HCWs' widely held belief of high prevalence of pentazocine dependence among SCD patients, our study reported only 2% of SCD patients scored 27 and above and are therefore at high risk of experiencing severe problems (health, social, financial, legal relationship) as a result of the current pattern of use and are severely dependent. This could be compared with the perception of 27.9% of HCWs who believed pentazocine is addictive to majority of patients between 20% and 40%. An appreciable percentage of 27.9% HCW reported in this study believed in high addiction rate among SCD patients. This is similar to Shapiro et al.'s study who reported 53% of emergency physicians and 20% hematologists believed in high addiction rate among SCD.[13]
The 2% prevalence of high-risk pentazocine addiction obtained in this study is also similar to a Nigerian value of 2.9% obtained by Madu et al.;[14] they however did not categorize severity of addiction into low, moderate, and severe which could account for the slightly higher prevalence. However, a much higher prevalence of 17.8% of opiate dependency was obtained by Ahmed and Ibrahim in Maiduguri, Nigeria[15] this high prevalence was from a cohort of opiate dependent SCD patients. The use of a low sample size of 73 in the study compared to 350 non-opiate dependent cohort of SCD patients in our study coupled with a cultural and geographical variation between Maiduguri and Lagos could all account for the difference. A possibility of pseudoaddiction on the Maiduguri subjects[16] could also explain the difference.
Our study also reported 10% of the SCD had moderate score of 4–26 and possess moderate risk of health and other problems from the current pattern of use, while 18% of the HCW believed 40%–60% was addictive and 8.2% of HCW believed more than 60% of SCD patients were addictive to pentazocine.
Most HCW routinely overestimate the risks and prevalence of opioid addiction.[17] Pack-Mabien et al. reported that over 60% of nurses believed opioid addiction is prevalent in SCD,[12] while 50% of emergency department physicians and 25% of haematologists believed more than one-fifth of SCD patients are addicted to opioids.[13]
Failure to differentiate between physiologic tolerance and dependence versus addictive behaviors may account for some of the distorted perceptions of HCW.[18]
Pseudoaddiction is an addiction-like behaviors occurring as a result of pain under treatment by physicians.[19] This is consequent upon fear of causing or exacerbating addictions among SCD patients.[8] This may be mislabeled as drug-seeking behavior and inappropriately considered as addiction. On the contrary, tolerance developed as a result of chronic opioid use may amount to a patient with acute pain crisis to ask for higher dose of opioid.[13]
Some physicians cautiously use minimal doses of opioids in SCD patients because of their perceived belief of addiction risk[12] while some believe under treatment of SCD painful crises with opioids may result in pseudoaddiction.[19]
In the middle of these two opinions is the risk of addiction to opioids because several authors have reported increased substance abuse in SCD patients.[20],[21],[22],[23] While Meghani et al. reported that the rate of drug abuse by SCD patients is not different from that of general public.[24]
Limitations of this study are reliability on the information provided by the patients and HCWs to draw conclusions on pentazocine addiction. Some of their responses might not be accurate, thus affecting the quality of data reported. No behavioral medicine specialist participated in this study; they also manage pentazocine addiction in SCD patients and might have different experiences of the issue of addiction.
While the issue of drug addiction should not be ignored, the appropriate treatment of SCD patients in Nigeria who are disadvantaged getting high quality care should be appropriately addressed. The risk of addiction is overestimated among HCW.
The authors are grateful to Mr. Qassim Akinlotan who administered the questionnaires and entered the data in SPSS.
Confiicts of interest
There are no confiicts of interest.
Isaacs WA, Hayhoe FG. Steroid hormones in sickle cell anaemia. Nature 1967;215:1139-42.
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Fleming AF, Storey J, Molineaux L, Iroko EA, Attai ED. Abnormal haemoglobins in the Sudan savanna of Nigeria. I. Prevalence of haemoglobins and relationships between sickle cell trait, malaria and survival. Ann Trop Med Parasitol 1979;73:161-72.
Murray CJ, Ezzati M, Flaxman AD, Lim S, Lozano R, Michaud C, et al. GBD 2010: A multi-investigator collaboration for global comparative descriptive epidemiology. Lancet 2012;380:2055-8.
Platt OS, Thorington BD, Brambilla DJ, Milner PF, Rosse WF, Vichinsky E, et al. Pain in sickle cell disease. Rates and risk factors. N Engl J Med 1991;325:11-6.
Smith WR, Penberthy LT, Bovbjerg VE, McClish DK, Roberts JD, Dahman B, et al. Daily assessment of pain in adults with sickle cell disease. Ann Intern Med 2008;148:94-101.
Brookoff D, Polomano R. Treating sickle cell pain like cancer pain. Ann Intern Med 1992;116:364-8.
Makanjuola AB, Olatunji PO. Pentazocine abuse in sickle cell anemia patients. A report of two cases vignettes. Afr J Drug Alcohol Stud 2009;8:59-64.
Henry-Edwards S, Humeniuk R, Ali R, Poznyak V, Monteiro M. The Alcohol, Smoking and Substance Involvement Screening Test (ASSIST): Guidelines for Use in Primary Care (Draft Version 1.1 for Field Testing). Geneva: World Health Organization; 2003.
Naing L, Winn T, Rusli BN. Practical issues in calculating the sample size for prevalence studies. Arch Orofac Sci 2006;1:9-14.
Elander J, Lusher J, Bevan D, Telfer P. Pain management and symptoms of substance dependence among patients with sickle cell disease. Soc Sci Med 2003;57:1683-96.
Pack-Mabien A, Labbe E, Herbert D, Haynes J Jr. Nurses' attitudes and practices in sickle cell pain management. Appl Nurs Res 2001;14:187-92.
Shapiro BS, Benjamin LJ, Payne R, Heidrich G. Sickle cell-related pain: Perceptions of medical practitioners. J Pain Symptom Manage 1997;14:168-74.
Madu AJ, Korubo K, Okoye H, Ugwu N, Efobi C, Nwogoh B, et al. Survey of pentazocine addiction and opioid use in adult sickle cell anaemia patients: The perspective of healthcare providers. Haematol Int J 2018;2:000133.
Ahmed SG, Ibrahim UA. The prevalence of therapeutic opiate dependence among patients with sickle cell disease in Maiduguri, North-East Nigeria. Niger J Pharm 2001;32:56-9.
Kotila TR, Busari OE, Makanjuola V, Eyelade OR. Addiction or pseudo-addiction in sickle cell disease patients: Time to decade-a case series. Ann Ib Postgrad Med 2015;13:44-7.
Labbé E, Herbert D, Haynes J. Physicians' attitude and practices in sickle cell disease pain management. J Palliat Care 2005;21:246-51.
Elander J, Lusher J, Bevan D, Telfer P, Burton B. Understanding the causes of problematic pain management in sickle cell disease: Evidence that pseudoaddiction plays a more important role than genuine analgesic dependence. J Pain Symptom Manage 2004;27:156-69.
Weissman DE, Haddox JD. Opioid pseudoaddiction – An iatrogenic syndrome. Pain 1989;36:363-6.
Lusher J, Elander J, Bevan D. Analgesic addiction and pseudo-addiction in painful chronic illness. Clin J Pain 2006;222:316-24.
Boulmay B, Lottenberg R. Cocaine abuse complicating acute painful episodes in sickle cell disease. South Med J 2009;102:87-8.
Dohrenwend A, Sehgal R. Lost between the cracks: Pain patients denied inpatient treatment for illicit drug addiction. Psychosom Med 2005;67:677-8.
Alao AO, Westmoreland N, Jindal S. Drug addiction in sickle cell disease: Case report. Int J Psychiatry Med 2003;33:97-101.
Meghani SH, Polomano RC, Tait RC, Vallerand AH, Anderson KO, Gallagher RM, et al. Advancing a national agenda to eliminate disparities in pain care: Directions for health policy, education, practice, and research. Pain Med 2012;13:5-28.
Akinbami A
Bola O
Uche E
Badiru M
Olowoselu O
Suleiman AM
Augustine B
Health-care workers%26#39; perception
pentazocine addiction
© Journal of Applied Hematology | Published by Wolters Kluwer - Medknow
Online since 4th Dec, 2013
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2G may be back in Jammu, broadband in Kashmir from Jan 15
JAMMU: In a significant development, authorities in Jammu and Kashmir Union Territory are mulling to restore the internet services, though partially in the UT from January 15 (Wednesday), as per reliable sources in the J&K administration and telecom industry.
The services, would, however, be restored partially. The sources said that the formal announcement in this regard is likely to be made by by government spokesman Rohit Kansal.
"There is every likelihood that authorities may announce restoration of 2G internet services in Jammu region and partial restoration of broadband in Kashmir region," a source said.
Internet services were suspended across J&K on August 5, when the Centre announced to scrapping of the Constitution''s Article 370 and bifurcation of the erstwhile state into two Union Territories - J&K and Ladakh.
However, in Jammu, broadband services were restored in October last year.
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About Junior Achievement
Junior Achievement was founded in 1919 and has become the world's largest organization dedicated to educating students about workforce readiness, entrepreneurship and financial literacy through experiential, hands-on programs.
Junior Achievement of South Texas main headquarters is in San Antonio, TX with satellite offices in Corpus Christi (Junior Achievement of the Coastal Bend) and Laredo (Junior Achievement of Laredo). We were established in 1979 serving the greater San Antonio area. Through the years, we expanded to serve the communities in Laredo and Corpus Christi. We have 13 full-time staff members.
We reached 91,518 kindergarten through 12th grade students in the 2018-2019 school year with the help of 4,234 volunteers. Our goal for 2018/2019 is to reach 100,000 students with our mission to empower young people to own their economic success.
FINANCIAL LITERACY | WORK READINESS | ENTREPRENEURSHIP
Belief in the boundless potential of young people.
Commitment to the principles of market based economics and entrepreneurship.
Passion for what we do and honesty, integrity and excellence in how we do it.
Respect for the talents, creativity, perspectives and backgrounds of all individuals.
Belief in the power of partnership and collaboration.
Conviction in the educational and motivational impact of relevant, hands-on learning.
To be recognized by businesses, educators and policy makers around the world as the premier organization for educating children K-12 in financial literacy, work readiness and entrepreneurship; and to unite people of all nations around the common goals of creating jobs, building stable economies and providing higher standards of living.
To inspire and prepare young people to succeed in a global economy.
About JA
JA Finance Park
JA Job Shadow
JA Afterschool
Fall Citywide
Junior Bowl
Fiscally Fit 5K Run
Harbor Half Marathon
JA Auction
Midpoint Check-In
Class Verification
Corups Christi
Finance Park Calendar
JA Bowl-A-Thon HQ
LA Fall Citywide
SA Fall
Program Certificates
Program Training Videos
Volunteer Training Videos
Curriculum and Texas Correlation
6th to 8th Grade Programs
9th to 12th Grade Programs
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Vermont Drug Sweep Nets Two North Adams Women
02:48PM / Wednesday February 17, 2016
RUTLAND, Vt. — Local, state and federal law enforcement agencies made a massive drug sweep in southwestern Vermont on Tuesday that has resulted in 20 arrests so far, including two North Adams, Mass., women.
One individual is still being sought and 10 more defendants are facing federal drug charges and will be prosecuted by the U.S. Attorney's Office as a result of arrests that took place during the past several weeks.
Arrested were Cassie Morse, 26, and Shari Perras, 24, both of North Adams, both of whom are facing heroin charges.
All of these arrests were the culmination of enforcement efforts over the past year, specifically targeting those individuals involved in the distribution of illicit drugs. Drug enforcement efforts continue to focus on the heroin/opiate epidemic and distribution networks operating in Vermont communities.
The arrests were announced on Wednesday morning at a press conference in Rutland.
"These arrests involved people coming to Vermont from out of state and bringing heroin, and bringing crack but they also involve the local infrastructure that facilitates the sale of drugs in Vermont," said U.S. Attorney for Vermont Eric Miller at Wednesday's briefing. "Unless we continue to go after both of those groups, we're not going to be effective in combating this crisis."
Dozens of arrests have been made in the past 18 months of Vermonters and out-of-staters, mostly from Brooklyn, N.Y., he said, that have affected a loose organization of drug distribution.
"We think we made a significant dent in the organizations through these joint efforts," Miller said.
The Vermont Drug Task Force has worked collaboratively with the Federal Bureau of Investigation, Drug Enforcement Agency, Alcohol, Tobacco and Firearms, and local and county law enforcement agencies in southwestern Vermont to include state and federal prosecutors.
Arraignments will be held in the Bennington County Superior Court on Feb. 29 at 1 p.m and Rutland County Superior Court on March 7 at 1 p.m.
Chelsea Hill, 24 of Rutland, and Sherrie Fitzgerald, 52 of Rutland, will be arraigned at Rutland County Superior Court, Criminal Division on Feb. 19, at 1 p.m.
Charges listed below are single counts unless otherwise indicated:
State Defendants
Colleen M. Keefe, 43: sale of cocaine
Robert S. Grady, 34: sale of heroin, three counts
Timothy B. Euber, 38: sale of heroin
Casey Clifford, 22: sale of heroin, two counts; sale of fentanyl
Anthony Courcelle, 21: sale of heroin
Daniel Pyne, 30: sale of regulated drug (oxycodone)
Jerry Crandall, 46: sale of cocaine, sale of regulated drug (oxycodone)
Cassie Morse, 26: sale of heroin, two counts
Candi Peters, 36: sale of heroin, two counts
Shari Perras, 24: sale of heroin
Andrew Onorato, 31: sale of heroin, two counts
Chelsea Hill, 24: sale of heroin, two counts; conspiracy
Sheri Fitzgerald, 52: sale of heroin, conspiracy
Spencer Mumford, 23: sale of heroin
Kevin Scully, 25: sale of cocaine
Felicia Ackley, 28: sale of cocaine, two counts
Christopher Nadeau, 26: sale of heroin
William Manfredi, 36: sale of heroin
Carlos Vasquez, 42: heroin trafficking, heroin transportation and conspiracy
John Mason, 33: sale of heroin
Richard Winnie, 42: sale heroin
Federal Arrests
Kevin Williams (aka Cap, Capone), 42: sale of heroin, three counts
Jason Tiraboschi, 27: possession of a firearm
Amanda Gibbons, 31, arrested 12/31/15, Indicted 1/7/16, charged with three counts of distribution of heroin, each count carrying potential maximum sentence of 20 years.
Patrick Lorenzo, 33, arrested 1/12/16, Indicted 1/20/16, charged with one count of possession with intent to distribute heroin, carrying potential maximum sentence of 20 years.
Candace Alberti, 33, arrested 1/19/16, indicted on 2/3/16 charged with conspiracy to distribute heroin, carrying potential maximum sentence of 20 years.
Russell Gaspar, 32, arrested 1/19/16, indicted on 2/3/16 charged with conspiracy to distribute heroin, carrying potential maximum sentence of 20 years.
Mark McGinnis, 37, arrested 1/21/16, indicted, 2/11/16 charged with distribution of heroin, carrying potential maximum sentence of 20 years.
Jaiden Paige, 35, arrested 2/1/16, indicted 2/11/16, charged with distribution of heroin, carrying potential maximum sentence of 20 years.
Jennifer Webster, 26, arrested 2/1/16, indicted 2/11/16, charged with distribution of heroin, carrying potential maximum sentence of 20 years.
Kwasi Asante, 57, arrested 2/1/16, indicted 2/11/16, charged with distribution of heroin, carrying potential maximum sentence of 20 years.
Police Say Peru Man's Death Not Suspicious
03:23PM / Friday February 13, 2015
WINDSOR, Mass. — The body of a Peru man was discovered in Windsor on Friday morning.
Investigators say the body of 62-year-old Thomas Keeley of East Windsor Road was found off River Road in Windsor about 8 a.m. Friday.
Police say the death does not appear to be suspicious at this time. The investigation is being conducted by state police detectives assigned to the district attorney's office.
Multiple Fire Departments Respond to Windsor Blaze
Staff Reports 04:45PM / Wednesday January 22, 2014
Flames could be seen coming from the roof of a home on Cheshire Road.
WINDSOR, Mass. — Five local fire departments were braving frigid temperatures on Wednesday to battle a structure fire at 1061 Cheshire Road.
The blaze was reported at about 3:23 p.m. at the single-family home along the rural road near the town line with Cheshire.
Dalton, Savoy, Worthington and Plainfield volunteer fire departments responded to the scene along with Windsor firefighters.
The home is owned by a James Lewis, according to documents on file at the Registry of Deeds.
Adams Fire Department and Forest Wardens are standing by for Windsor, with a firetruck and a tanker from the Forest Wardens.
Cheshire and Lanesborough departments were also asked to respond at about 5:40 p.m. Peru and Hinsdale, which sent a bus with portable heaters, also responded.
The Red Cross was also going to the scene to provide assistance to the family, two adults and a child.
Red Cross officials say the Lewises are being provided with emergency shelter at a hotel and emergency funds for clothing, food, shoes and winter coats. They were also provided with "comfort kits," which contain toiletries like tooth brushes and razors.
Armed Robbery Crime Watch Accident Structure Fire Motor Vehicle Accident Pedestrians Assaults Shooting Rape Missing Persons Assault Firearms Heroin Vehicle Injuries Homicide Robbery Motorcycles Stabbing Police Investigation Buglaries Mvi Motor Vehicle Hit & Run Veremko Larceny Search & Rescue Murder Drug Charges Break-ins Fire Drugs Search Fraud Fatal
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Nigerian Crime Prompts Hearings But Few Recommended Solutions On September 17, 1986, the Permanent Subcommittee on Investigations of the United States Senate held hearings on the growing phenomenon of Nigerian criminal activity in the United States. Testimony... Raymond Wuslich 2 10 1986-10-01 Nigeria Crimes
Money Laundering Bill Passed as Part of Anti-Drug Law On October 17, 1986, the money laundering provisions which have been the subject of many hearings and debates by Congress were passed as Subtle H of the "Anti-Drug Abuse Act of 1986" (HR 5484). The... Bruce Zagaris 2 10 1986-10-01 United States Money Laundering
U.S. Court Holds U.S. Constitution Not Applicable to Search Abroad In U.S. v. Molina-Chacon, the U.S. District Court held that Fourth and Fifth Amendment requirements do not apply to foreign searches by foreign officials or to foreign arrests. In deciding this case... Leesteffy Jenkins 2 10 1986-10-01 United States Legislation
New U.S. Anti-Drug Law Has Significant International Law Impact The 99th Congress resoundingly shut its doors on October 17th having passed a comprehensive anti-drug bill which President Reagan signed into law on October 27th. The Act contains many significant... Leesteffy Jenkins and Bruce Zagaris 2 10 1986-10-01 United States Drug Enforcement
DEA Can Delegate Enforcement Authority to INS In a final rule of August 27, 1986, 51 F.R. 30485, the Department of Justice delegates to the Administrator of the Drug Enforcement Administration the power to reldelegate his authority to any... Bruce Zagaris 2 10 1986-10-01 United States Adjective Enforcement
Greece and Italy Sign Cooperation Agreement On September 23, 1986, the Governments of Greece and Italy signed a security agreement calling for joint cooperation in combatting terrorism, drug smuggling and organized crime. Greek Public Order... Bruce Zagaris 2 10 1986-10-01 Greece Adjective Enforcement
International Cooperation on Securities and Commodities Frauds With increasing international activity in the securities and futures market, the attention of regulatory authorities has recently focused on ways to cooperate in cracking down on international frauds... Gael M. Kerrign 2 10 1986-10-01 World Securities Trade Enforcement
US-UK MOU on Information Exchange on Securities and Commodities On September 23, 1986 the United States and the United Kingdom entered into a Memorandum of Understanding (MOU) which lays the framework for the confidential exchange of information between... Louis E. Emery 2 10 1986-10-01 United States Information Exchange
Conflicts of U.S. Disclosure and Swiss Secrecy Provisions: The Swiss View, and A Review of a New Swiss Book on This Issue The basic conflict is always the same: A Swiss company or a Swiss Bank either with a subsidiary in the U.S, or acting in its own name on the U.S. market or at an American Stock Exchange is suspected... Bruce Zagaris 2 10 1986-10-01 Switzerland Disclosure
European Ministers Agree on Action Against Drugs and Terrorism On Thursday, October 25, the "Trevi Group", the counterterrorism forum of the twelve EC countries comprising their Interior Ministers and security chiefs, met in London for its first emergency... Bruce Zagaris 2 10 1986-10-01 Europe Drug Enforcement
Immigration Reform Bill Contains New Enforcement Provisions On October 17, 1986, the Senate by a 63-24 vote passed the first major immigration reform legislation in 30 years, sending the measure to the White House where President Reagan has promised to sign... Bruce Zagaris 2 10 1986-10-01 United States Immigration
Immigration Marriage Fraud Bill Is Enacted H.R. 3737, the Immigration Marriage Fraud Amendments of 1986, was enacted into law before the close of the 99th Session. It provides that alien spouses, sons and daughters will be considered to have... Bruce Zagaris 2 10 1986-10-01 United States Immigration
DC AILA Meeting Clarifies Use of Tax Documents for INS Purposes At the September 17, 1986 meeting of the Washington, D.C. Chapter of the American Immigration Lawyers Association, clarification was made of the use of tax documents and requirements as a means to... Bruce Zagaris 2 10 1986-10-01 United States Immigration
Senate Committee Approves Amendment on Extraterritorial Limits on Jurisdiction in Antitrust On October 2, 1986, the Senate Judiciary Committee approved the "Foreign Trade Antitrust Improvement Act of 1986" (S. 397) by a vote of 14-2. It would require U.S. courts to consider challenges to... Bruce Zagaris 2 10 1986-10-01 United States Antitrust Cooperation
Swiss Resolution of Jurisdictional Conflict for Extradition On May 7, 1986, the Swiss Supreme Court decided the issue of whether a pending foreign criminal investigation and a pending extradition request can be request can be precluded by the iniation of a... Clemens Kochinke and Anke Lilienthal 2 10 1986-10-01 Switzerland Extradition
Singapore Imposes Drastic Penalty in Insider Trading Case In the matter of Singapore v. Tan Koon Swan, a prominent Malaysian businessman, the High Court of Singapore imposed a two year sentence and a fine of $500,000 on the defendant on August 26, 1986,... Jörg Streitferdt 2 10 1986-10-01 Singapore Trade Crimes
Cases Pioneer Remedies for Crimes Against Fundamental Human Rights Several cases pending in the United States may have a significant impact on the rights of aliens and American citizens to sue foreign citizens and their governments for torture committed in a foreign... Raymond Wuslich 2 10 1986-10-01 United States Human Rights
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Cooper RG
Viewed 12700
Year : 2007 | Volume : 11 | Issue : 3 | Page : 97-102
Vanadium pentoxide inhalation
Ross G Cooper
Division of Physiology, UCE Birmingham, 701 Baker Building, Franchise Street, Perry Barr, Birmingham B42 2SU, United Kingdom
Division of Physiology, Birmingham City University, 701 Baker Building, Franchise Street, Perry Barr, Birmingham B42 2SU
Context: This mini-review describes the toxic effects of vanadium pentoxide inhalation principally in the workplace and associated complications with breathing and respiration. Although there are some material safety data sheets available detailing the handling, hazards and toxicity of vanadium pentoxide, there are only two reviews listed in PubMed detailing its toxicity. Aim: To collate information on the consequences of occupational inhalation exposure of vanadium pentoxide on physiological function and wellbeing. Materials and Methods: The criteria used in the current mini-review for selecting articles were adopted from proposed criteria in The International Classification of Functioning, Disability and Health. Articles were classified from an acute and chronic exposure and toxicity thrust. Results: The lungs are the principal route through which vanadium pentoxide enters the body. It can injure the lungs and bronchial airways possibly involving acute chemical pneumonotis, pulmonary edema and/or acute tracheobronchitis. It may adversely influence cardiac autonomic function. It stimulates the secretion of cytokines and chemokines by hepatocytes and disrupts mitochondria function. It disrupts the permeability of the epithelium and promotes access of inflammatory mediators to the underlying neuronal tissue causing injury and neuronal death. When renal brush border membrane vesicles are exposed to vanadium pentoxide, there is a time-dependent inhibition of citrate uptake and Na + K + ATPase in the membrane possibly contributing to nephrotoxicity. Exposure results in necrosis of spermatogonium, spermatocytes and Sertoli cells contributing to male infertility. Conclusion: Vanadium pentoxide certainly has adverse effects on the health and the well-being and measures need to be taken to prevent hazardous exposure of the like.
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Robert Glasper Experiment vinyl contest
The good folks at Blue Note have given us 4 copies of the Billboard chart-climbing new Robert Glasper Experiment record Black Radio which features Erykah Badu, Mos Def, Meshell Ndegeocello, Lupe Fiasco, Bilal, and more (and some other good stuff) to give away.
First, we're giving away copies of the LP bundled with limited edition Black Radio slipmats to the first 3 people to correctly answer this Robert Glasper triva question*:
What four Dilla-produced songs is Robert Glasper covering on "J Dillalude" from his 2007 release In My Element?
Email your answers, along with your name and mailing address, subject line "Black Radio contest" to info AT ilovevinyl DOT org. Winners will receive a confirmation email within 12 hours.
We will also be giving away a deluxe prize package consisting of the album on vinyl, a signed cd, slipmats, stickers, bookmarks, and more... at this Saturday's I Love Vinyl: On the B-Side at Littlefield to one lucky winner. Details to be announced at the party.
*you must live in the US and have a non-P.O. Box mailing address to be eligible.
giveaway jazz
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Shashi Tharoor Slammed Over Tweet On US J&K Resolution. He Responds
New Delhi: The Congress never misses an opportunity to politicise India's domestic matters, the BJP said on Sunday, reacting to MP Shashi Tharoor's praise for the introduction of a resolution in the US House of Representatives against the restrictions imposed by the centre in Jammu and Kashmir. In reply, Mr Tharoor accused the BJP of "wilful misreading" of his tweet, adding the party shelters behind national interests when it "conducts indefensible policies".
"Amused by the BJP's wilful misreading of my tweet. What's shameful is how our Parliament has been unable to take up this issue, while a foreign legislature has. What's admirable is that the US Congress can discuss issues our own MPs can't," Mr Tharoor tweeted.
Earlier today, BJP MPs Shobha Karandlaje and Tejasvi Surya had slammed Mr Tharoor for calling the move "admirable".
"Shame on you for admiring US interference on India's internal matters. For the very first time J&K is witnessing very less terror activities and people are feeling safer. But the Congress never missed any opportunity to politicise India's domestic matters and defame the country!" BJP MP Shobha Karandlaje tweeted.
Amused by the BJP's wilful misreading of my tweet: https://t.co/g4Mj1nAAQE What's shameful is how our Parliament has been unable to take up this issue, while a foreign legislature has. What's admirable is that the US Congress can discuss issues our own MPs can't.
— Shashi Tharoor (@ShashiTharoor) December 8, 2019
The resolution, which was moved by Indian-American Democrat lawmaker Pramila Jayapal, along with Republican lawmaker Steve Watkins, asks the Indian government to "lift the remaining restrictions on communication and to restore internet access across all of Jammu and Kashmir as swiftly as possible; swiftly release arbitrarily detained people in Jammu and Kashmir; refrain from conditioning the release of detained people on their willingness to sign bonds prohibiting any political activities and speeches; allow international human rights observers and journalists to access Jammu and Kashmir and operate freely throughout India, without threats, and condemn, at the highest levels, all religiously motivated violence, including that violence which targets against religious minorities."
Mr Tharoor had praised the move by US House of Representatives.
"Restore Internet, End Detentions In Jammu&Kashmir, Says Bipartisan Resolution In US House. Admirable effort by US reps, whereas in our Parliament we have been unable even to have a discussion on the subject of Kashmir in the entire winter session. Shame," he tweeted.
Whenever BJP conducts indefensible policies, it prefers to shelter behind "national interests", as if 37% of the national vote gives it the sole&exclusive right to define what our nation's interests are. Democracy requires discussion that our parliamentary managers seek to avoid.
Several politicians, including three former chief ministers of the state, were either arrested or detained before the centre announced its twin decisions - ending special status to Jammu and Kashmir and the bifurcation of the state- in parliament on August 5. Mobile phone communication was also banned as a precautionary measure. The centre says it has eased several restrictions over the months.
India had called the decisions in Kashmir an internal matter.
There have been two US Congress hearings on Jammu and Kashmir so far.
In October, India said it is regrettable that a few US lawmakers used a Congressional hearing to question measures to protect the lives of people in Jammu and Kashmir. "It is regrettable that a few members of the US Congress used the Congressional hearing on human rights in South Asia to question the measures taken recently to safeguard life, peace and security in Kashmir," Foreign Ministry spokesperson Raveesh Kumar had said.
Labels: America, Army, Article, Border, Hizb, India, ISI, JeM, JuD, LeT, Media, Pakistan, POK, Terrorism
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Hire Dennis
Home › Brandon Dimmel › Windows 8, RT: 'Critical' Fixes Coming This Week
Windows 8, RT: 'Critical' Fixes Coming This Week
by Brandon Dimmel on November, 12 2012 at 08:11AM EST
Windows 8 and Windows RT will get their first security fixes this Patch Tuesday, November 13, 2012. For Windows 8, three of the fixes have been marked "critical," Microsoft's highest security rating.
The fixes address zero-day vulnerabilities reported by security firm Vupen last week. Vupen recently announced it had found "multiple vulnerabilities" in Windows 8 and also in Microsoft's newest web browser, Internet Explorer 10.
Remote Code Flaws Found in Windows 8
The "critical" fixes will address remote code execution vulnerabilities that, theoretically, could allow a hacker to install malware and execute system functions secretly on a victim's computer. (Source: pcworld.com)
These fixes affect both 32- and 64-bit versions of the new Windows 8 operating system and also the slimmed-down version of Windows 8 known as Windows RT.
Scary as these threats may seem, security experts have already expressed their belief that hackers will be unlikely to exploit these particular flaws. For his part, Bitdefender security expert Alex Balan is not alarmed by these early problems.
"As with any software, things are found to be vulnerable at one point or another," Balan said.
"Holes are always going to be found that will allow someone to lower the security barriers. One way or the other, vulnerabilities will be exposed, and they will be exploited," Balan added. (Source: pcworld.com)
Microsoft has not yet commented on either the operating system's vulnerabilities or on Vupen's report exposing them.
Surprisingly, Internet Explorer 10 is not receiving a fix. This indicates that Microsoft was unprepared for Vupen's report, or that the software giant believes hackers won't be able to exploit the flaws. (Source: informationweek.com)
Fixes Also Coming for Windows 7, Office
Security updates for Windows 7, Windows XP, Windows Vista, and Windows Server (versions 2003-2012) will also be made available this Tuesday.
Reports indicate that "important" fixes will also be released for Microsoft's Office software. Versions of Office for both Windows and Mac platforms are due for repair.
So far, Microsoft has not provided any specific information about either the nature of these fixes or the reasons for them.
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A View From The Heights
News and notes about Rowland Heights and Hacienda Heights
Diamond Bar man dies in four-car crash on Route 60
Posted on April 30, 2012 by Richard Irwin
A Diamond Bar man died in a four-car crash on the 60 Freeway. George Deirkarkourian, 23, was pronounced dead at the scene on the eastbound 60 west of Brea Canyon Road in Diamond Bar, the California Highway Patrol said.
Officers said Sheng-Ting Shih, 32, of Walnut, rear-ended Deirkarkourian’s 2001 Ford when traffic slowed for a road closure at 2:06 a.m. The impact propelled the Ford into the back of a 2011 Chevrolet and the side of a 2006 Toyota.
Paramedics took a 30-year-old Chino Hills woman riding in Shih’s 2012 BMW to a hospital as a precautionary measure. There were no other injuries.
Officers arrested Shih on suspicion of driving while under the influence of alcohol.The crash forced the closure of four eastbound lanes for about two hours.
Hsi Lai Temple celebrates Buddha’s birthday in Hacienda Heights
Happy Birthday Buddha!
As part of the Buddha’s birthday education project, the Hsi Lai Temple will offer a special exhibit this weekend and next in Hacienda Heights.
“Through These Doors: Connecting Past and Present, East and West” presents a unique perspective of Buddhism’s journey from India by way of the Silk Road. Visitors will be immersed in medieval China as they peruse the fascinating exhibits.
“Through These Doors” promotes a better understanding of Buddhist history through the free multimedia exhibit focusing on Buddha’s Birthday celebrations in medieval China.
‘Fiddler On the Roof’ opens at Diamond Bar High
If I were a matchmaker, I’d match the performing arts department at Diamond Bar High with “Fiddler On the Roof.” Fortunately, they already have, selecting the perennial favorite for the big spring musical that opens tonight at 7 p.m. in the high school theater.
One would think they’d have a hard time finding someone to play Tevye, a Jewish dairyman trying to raise four daughters in Czarist Russia. Think celebrated Israeli actor Topol or the legendary Zero Mostel, who made the role famous in the Tony Award-winning musical that ran on Broadway for more than 3,000 performances from 1964 to 1972.
Not 17-year-old Charlie Luber. This is the high school student’s first big role. But 15 minutes in the makeup chair transforms the soft-spoken young actor into a very likeable Tevye. Charlie actually ages before your eyes from a young, clean-shaven Brahma to an old bearded peasant.
And while he may answer questions quietly in the dressing room, Charlie becomes a commanding presence on the theater stage. If anything, the sparkle in his eyes burns even brighter.
Read more in Rich Irwin’s story FIDDLER.
Rowland Unified and Mt. SAC administrators join oversight board for Industry’s Redevelopment Agency
Michael Gregoryk, vice president of Mount San Antonio College, and Ruben Frutos, deputy superintendent of the Rowland Unified are serving on the newly formed seven-member oversight board of Industry’s Redevelopment Agency.
The new era in the history of one the most powerful redevelopment agencies in the state began Tuesday with a clash of the titans between county Supervisor Gloria Molina and former redevelopment heads with the city of Industry.
Though Industry’s redevelopment agency was dissolved Feb. 1, as required by a state law passed last year, the divvying up of the agency’s assets and the paying off of its obligations began in earnest when Molina appointed herself to a state-mandated board to oversee the agency’s dissolution.
The newly formed seven-member oversight board met for the first time Tuesday and began discussing the legality of millions of dollars in contracts that it must decide by May 4 whether or not to pay. Some ongoing costs listed by Industry include: $73,000 a month for one law firm; $15,000 a month for a company to write laws and lobby; $2,000 a month for a consultant and $40,000 for a civil engineering company, among other related expenses.
Molina said her job will be to play a kind of county cop, to decide which of the expenses are legal obligations that need to be paid and which ones are not. She said she will make sure Industry follows the law when returning the property tax increment – collected for years by the redevelopment agency – to school districts, college districts, the county coffers and the county fire district.
“I supported redevelopment law but it has been so misused,” said Molina after the meeting. “Like when they put the whole city into a redevelopment zone. I disagreed with that from the day they did it.”
Read more in Steve Scauzillo’s story INDUSTRY.
Twinkle brings high-energy show to Hacienda Heights Library
Children can get up and moving when Twinkle Time comes to the Hacienda Heights Library tonight from 7 to 8 p.m.
Hacienda Heights native Alitzah (like Pizza) Wiener will wow the kids with her high energy, bilingual pop music show.
With a twinkle in her eye, Wiener created a colorful children’s character. The petite Latina turned into Twinkle, a girl with bright orange hair, bright pink tutus and lots of glittery star-shaped jewelry.
“It wasn’t that much of a stretch. My family said I used to dress like Rainbow Brite or Punky Brewster when I was growing up,” she said.
While adults might find the bright colors a little intimidating, little kids seem drawn to the colorful character.
Next, Wiener set out to produce “Twinkle Time” a high-energy family music show. Twinkle gathered a cast of friends to entertain area children.
She also wrote some new songs for the tykes.
“I wanted them to be catchy tunes, but I still wanted to teach valuable lessons through them,” she said.
Families will want to check out the exciting show later in the month. The Hacienda Heights Library is at 16010 La Monde St.
For more, read Rich Irwin’s story TWINKLE.
Law enforcement officials honored for work on Rowland Heights slayings
Deputy District Attorney Stacy Okun-Wiese was honored at the 28th annual Justice for Homicide Victims Memorial at Rose Hills Memorial Park. She, along with her partner, Pak Kouch, and sheriff’s Sgt. Sandra Nava and Detective Don Walls were honored for their work in the conviction of Manling Williams, who murdered her husband, 27-year-old Neal Williams, and their sons Ian, 3, and Devon, 7, in their Rowland Heights home in 2007. A judge sentenced Manling Williams to death in January.
“I wouldn’t have been able to get through this without my team of detectives (and prosecutors),” said Jan Williams, the mother of Neal Williams and grandmother of Devon and Ian.
“The detectives and district attorneys were compassionate. They always took my phone calls, even if they couldn’t answer all my questions. They were always there to look me in the eye and say, `Don’t worry. Everything’s going to be OK.”‘
Read more in Brian Day’s story JUSTICE.
Judges attend candidates’ forum in Hacienda Heights
Want to know who to vote for in the races for Los Angeles County Superior Court judge?
Come here what they have to say about the issues.
The 18 candidates for the contested judicial races have been invited to attend a candidates forum at 10 a.m., Saturday at Steinmetz Park in the Steinmetz Community Center, 1545 S. Stimson Ave.
The judicial candidates forum is free and open to the public. The Honorable Robert Bonner, a former U.S. District Judge, will be the moderator.
Google Academy draws Nogales teacher to London
Ryan Easton ogled Big Ben and googled the top tourist attractions in London.
Which was only appropriate because the Nogales High teacher was in Britain’s capital city for Google’s Teacher Academy the first week of April.
Easton was one of only 50 educators from around the world, including six from California and 13 from the United States, chosen for the innovative academy.
Some of the top teachers from around the globe gathered to share their passion for using innovative tools to improve learning. The Internet giant joined the instructors to show them emerging technologies that will help them in the classroom.
Read more in Rich Irwin’s story EASTON.
Ching edges out Saleeby for Walnut City Council
In a dramatic reversal, the third seat in last week’s close Walnut City Council election went to challenger Eric Ching, who edged out candidate John Saleeby by 32 votes Monday morning after hundreds of provisional and vote-by-mail ballots were tallied.
Incumbent Nancy Tragarz, who came in first place, retained her lead, ending up with nearly 25 percent of the vote. Incumbent Anthony “Tony” Cartagena held on to second place with 20 percent of the vote.
Ching grabbed the third seat despite trailing Saleeby by 51 votes after the initial vote count on election night, April 10. That night, Walnut City Clerk Teresa De Dios said the city had a high number of ballots left at polling places that had yet to be counted, placing Saleeby’s victory in jeopardy.
On Monday, the city counted 622 additional ballots and Ching gained 335 additional votes, creating an 83-vote swing to overtake Saleeby and capture the last seat. That seat was left open by Councilman Joaquin Lim, who decided not to run. Lim had thrown his support to Ching.
“I think this was a roller-coaster from the start to the end,” said a smiling Ching at the council chambers Monday after the final tally was revealed.
Ching was buoyed by the fact that most of the ballots left uncounted until Monday were from permanent absentee voters who dropped their ballots off either at City Hall or at Walnut polling places on the day of the election.
Voting by mail tends to be favored by Chinese-American voters and that benefited Ching, something he predicted last week. Even Saleeby agreed that was part of the reason why he lost.
Read more in Steve Scauzillo’s story ELECTION.
Walnut vote count to decide council election this morning
It ain’t over until it’s over. And this one won’t end until this morning. That sums up the Walnut City Council election, left in limbo Tuesday night by 645 uncounted ballots and a pending claim of polling place incompetence in a race in which at least 2,135 people voted.
“There could be a change,” said City Clerk Teresa De Dios Wednesday afternoon, after dropping off provisional ballots for verification with the Los Angeles County Registrar-Recorder County Clerk’s Office in Norwalk.
She and electoral consultant Linda Gair are working with the county on verifying all untabulated ballots. They say they will reveal new vote totals at 11 a.m. Monday. The count will be open to the public and take place at the City Council Chambers at 21201 La Puente Road.
Although first-place finisher Nancy Tragarz, the current mayor, is well ahead with 2,135 votes, the battles for the second and third spots on the five-member council are much closer, and the outcomes remain uncertain.
Tony Cartagena, a 12-year council veteran, came in second in the unofficial tally with 1,746 votes. Challenger John Saleeby took the third seat with an even 1,700 votes. But once the uncounted ballots are tallied, Saleeby could be overtaken by fourth-place finisher Eric Ching, who with 1,649 is only 51 votes behind.
It would be unlikely for fifth-place finisher Michael West, with 1,333 votes, to leapfrog over Ching and Saleeby into a council seat.
Emergency preparedness fair set Saturday in Schabarum Park in Rowland Heights
Wine Soiree set for Sunday in the Diamond Bar Center
Mount San Antonio College plans to cut water use in half in Walnut
Wine soiree and benefit auction to help Diamond Bar Library on Sunday
Rowland Heights man sentenced to more than 40 years in state prison
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In the Picardie region of France, the Kyriad Beauvais Sud hotel is 6km from the city centre, 4km from the Gare de Beauvais train station, and a mere 4km away from the closest airport. Taxi de Beauvais services the city and the nearest major cities are Beauvais and Paris while there are plenty of main attractions close to the hotel. The Parc St. Paul is a 6km journey while the Cathedrale and Musee Tapisserie can be found 3km from the hotel. Furthermore, Cinespace Cinema, the Theatre and Elispace are all just 3km away. For further leisure spots, there is a golf course 20km away and go-karting facilities are located 15km from the hotel.
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The Kyriad Beauvais Sud hotel also boasts a terrace area. There is a playground area for children, a sauna for unwinding and a minitel in the hall. All rooms come with Canal + and Canal Satellite TV while there is free Wi-Fi for all, making guests' stay as enjoyable as possible. The Kyriad Beauvais Sudrestaurant seats 60 people and has varying timed menus. Buffet breakfasts are served from 6:30 to 9:00, lunch follows from 12:00 until 14:00 and dinner concludes the day between 19:00 and 22:00. The hotel also has a seminar room available, making it an ideal base for those staying here on business. Other nearby leisure activities include a snooker hall and a nightclub, both 2km away, and for those who crave a spot of shopping, a shopping centre can be found just 1km away from the hotel.
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Home » KM » What Is Data Analytics?
What Is Data Analytics?
January 09, 2020 kogonuso 2 KM
Leah Davidson
There has never been a more exciting time to work with data. The data analytics industry is predicted to reach almost $78 billion by 2023, and by 2020, there will be an estimated 2.7 million jobs open for data analysts and data scientists.
But what exactly is data analytics? And how does it differ from the other buzzwords out there?
Data Analytics Defined
One data analytics definition is: “qualitative and quantitative techniques and processes used to enhance productivity and business gain. Data is extracted and categorized to identify and analyze behavioral data and patterns, and techniques vary according to organizational requirements.”
Although some data analysts may look at large and complex data, also known as “big data,” a lot of work also involves smaller data, such as internal data sets and company records.
Data analytics is often confused with data science. Although similar in nature, data analytics is more concerned with solving problems through defined data sets, whereas data science requires the development of new models and algorithms through coding and programming.
Data analytics relates to business intelligence (BI). However, BI looks at the interpretation of past data, whereas analytics can predict the future as well.
When analytics extends beyond BI and covers areas like data/text mining, machine learning, forecasting, semantic analysis, sentiment analysis, neural networks, and pattern matching, it can be referred to as “advanced analytics.” Advanced analytics is autonomous or semi-autonomous and requires less human interaction for interpretation.
History of Data Analysis
Data has always been a part of our daily lives; with technological advances, we have just become more adept at collecting and making sense of it.
For a long time, governments have used censuses to gather data for urban planning and measurement of population growth. This data analysis used to take years to analyze, but it was expedited with the creation of tabulating machines that could read data via punch cards.
Relational databases were invented in the 1970s to retrieve information from databases through structured query language (SQL). Non-relational databases and NoSQL emerged in the 1990s as the internet took off and search engines like Google consolidated data into easy-to-read results from search queries.
Around this time, database and data warehousing gave rise to data mining, which involved procuring information from large, unstructured data sources. In 1997, NASA researchers coined the term “big data” to represent the massive amount of data generated by supercomputers.
In 2005, Google Analytics simplified the extraction of actionable insights from online data, such as time on site, new versus returning customers, audience demographics, and web page views and visits. In 2006, Hadoop was born, which was one of the first tools to process big data at scale.
With the release of Amazon Redshift and Google BigQuery within the last 10 years, data analytics has shifted to the cloud, and all industries, from healthcare to CPG to financial services, have started prioritizing data analytics in their business strategy to stay competitive.
What Is a Data Analyst?
As more industries and companies develop in-house data functions, data analytics is becoming an increasingly sought-after career.
A data analyst may be responsible for:
Data mining and setting up the infrastructure and systems to process, manage, and analyze data. This may include the ETL (extract, transform, and load) data function.
Data warehousing to build databases (storage systems) for easy data retrieval and access.
Running queries to answer specific questions and extract useful insights.
Cleansing data and making the necessary adjustments to ensure quality.
Creating reports to present information to business stakeholders.
Data analysts usually bring strong quantitative and analytical skills, an aptitude for communication and critical thinking, extensive experience with Microsoft Excel, and knowledge of certain statistical languages.
Data analyst salaries start around $54,000, but can pass the $100,000 mark for those with more years of experience and specialization.
(Learn more about the career path to becoming a data analyst and how it differs from that of a business analyst and a data scientist.)
Steps for Data Analysis
Each data analytics assignment is different, but they often follow a multistep process for sourcing, validating, correcting, and presenting data to answer business questions. The procedure may look similar to this:
Step 1: Understand what types of data you need to answer specific questions, and decide on the objectives of the study. When diving into ambiguous and unstructured data, you should come in with hypotheses to validate.
Step 2: Collect data, depending on your requirements. This data can include quantitative and qualitative analysis. Data analysts may collect this data internally through customer relationship management (CRM) and enterprise resource planning (ERP) software and external sources like census bureaus, APIs, Google public data, and third-party websites. Primary qualitative data is less commonly used by data analysts than quantitative data, but can encompass interviews and in-person observations. When collecting data, you will want to ensure consistency in your methodology (e.g., asking all interviewees the same questions).
Step 3: Clean data. With an initial data set, you may find missing, incomplete, or repetitive data, which can bias the results. You will want to check for outliers and ensure metrics, like the mean, median, mode, and range, make sense given the context. Sometimes you also need to convert data into a format that is readable by data analytics tools.
Step 4: Analyze the data through tools selected by your organization and check for the statistical significance of results.
Step 5: Compile the results. Once the data is collected and analyzed, data analysts are often charged with presenting it in an easy-to-understand format. Many companies develop internal dashboards that track key KPIs through graphs and charts.
Types of Data Analysis
There are a few different types of data analysis:
Descriptive analytics: This analysis seeks to explain what happened with variables, such as revenue, sales, cost, demographic data, etc. With descriptive analytics, the organization is looking for patterns and trends. For example, what happened with women’s clothing sales in the month of July?
Diagnostic analytics: Diagnostic analytics explains the “why” and “how” between a particular data set. For example, why did sales go up in some retail outlets and not others?
Predictive analytics: As the name suggests, predictive analytics is about predicting the future and what actions to take based on how variables are likely to behave. For example, will a promotion work at a store in X city based on the city’s characteristics and performance in similar geographic regions? Predictive analytics is the basis of machine learning and artificial intelligence.
Prescriptive analytics: Prescriptive analytics determines which action to take to improve a situation or solve a problem. For example, since the promotion did not work as well as anticipated with families, what can we do to drive growth in the coming weeks?
Techniques for Data Analytics
Depending on objectives and use cases, data analysts can choose from a variety of data analysis methods to validate hypotheses and check for patterns.
Regression analysis: Regression analysis is a statistical method that models relationships and correlations between different variables.
Factor analysis: The goal of factor analysis is to find a defensible structure underlying the data.
Cohort analysis: Cohort analysis requires the grouping of data by specific characteristics.
Cluster analysis: Cluster analysis ensures that the objects in one group are more similar to each other than objects in other groups.
Time series analysis: When data can be organized over time (for example, stock market prices), time series analysis predicts future behavior.
Text analytics: When analyzing emails, open-ended survey responses, or websites, text mining involves searching for patterns and summary information.
Tools for Data Analysis
At the core of data analytics lies rigorous mathematics and statistics. Today, in addition to statistical languages, there are many cloud-based software tools that adapt to different business needs.
Excel: For more basic queries, companies can start with Microsoft Excel, which supports formulas for pulling insights from data and coding languages like VBA.
SQL: Structured query language allows data analysts to extract and manipulate data from databases.
Tableau: Tableau provides an easy-to-use workflow for sourcing and preparing data for analysis. It also offers many data visualization templates (charts, graphs, maps, dashboards, etc.).
Rapidminer: Rapidminer integrates machine learning, text mining, predictive analytics, and other data manipulation functionalities.
R or Python: These languages are useful for statistical programming and are much more efficient and boast faster processing times than Excel.
SAS: SAS is a comprehensive software package for advanced analytics and statistics.
Google AdWords: For marketing-related data, Google Ads provides insights into how effectively advertising is reaching certain audiences and whether it results in desired behaviors (clicks, purchases, etc.). Google Analytics can also show how well your website or social media is performing in terms of traffic, visibility, and usage.
How Can Data Analytics Be Used?
Data analytics serves multiple purposes depending on the industry, but these are some of the most common problems businesses address through data analytics.
Sales forecasting: Based on sales growth, historical performance, and future market trends, companies can predict future sales numbers with greater accuracy.
Price optimization: Data analysis helps companies determine the price elasticity of different customer groups to different products and services.
Fraud prevention: Credit card issuers have historically used rules to identify suspicious transactions. With more advanced big data analytics and machine learning tools, it’s easier to detect and predict criminal behavior. This also applies to insurance, banking, and other industries concerned with high security.
Marketing segmentation, targeting, and positioning: Data analytics can show whether certain marketing techniques, such as a promotional campaign or social media infographic, are leading to the desired response. With CRM systems and demographic data, companies can acquire a 360-degree view of the customer and better understand their purchasing behavior, which can lead to custom recommendations and more personalized outreach.
Operational efficiency: By analyzing the different steps of a protocol, it is possible to identify bottlenecks and enact improvements. For example, adding an extra person at a particular shift could increase the speed of production or changing procurement orders could rebalance inventory supply and demand at retail locations.
The Future of Data Analytics
Data analytics has come a long way, and there are many more advances on the horizon.
With real-time analytics, data can be reported and acted upon in the moment—for example, by adjusting posted wait times at a restaurant or seats available at a concert. Automated analytics removes many of the tedious, manual tasks associated with inputting data. More data and software tools are becoming open source, providing a way for organizations of any size and budget to invest in data capabilities.
Machine learning, deep learning, natural language processing, and artificial intelligence are now enabling machines to learn from data and make decisions autonomously. Large technology companies are working on quantum computers that will revolutionize the speed of processing big data.
A graduate of the Wharton School of Business, Leah is a social entrepreneur and strategist working at fast-growing technology companies. Her work focuses on innovative, technology-driven solutions to climate change, education, and economic development.
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Prawalika January 12, 2020 at 10:01 PM
your article on data science is very interesting thank you so much.
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Komal January 12, 2020 at 10:02 PM
This is a wonderful article, Given so much information in it, These type of articles keeps the user's interest in the website, and keep on sharing more ... good luck.
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Gifford, James. "Critical Materials on Lawrence Durrell: A Bibliographic Checklist" Online. 18 July 2004. http://www.lawrencedurrell.org/bibliog/bibalexandria-a.htm.
James Gifford
gifford@ualberta.ca
Alphabetical by Author-Title | Chronological
Critical Sources on The Alexandria Quartet:
"Bedrooms and Back Alleys." Time 73.30 March (1959): 91.
Notes: Review of Durrell's Mountolive.
"Briefly Noted: Fiction." New Yorker 34.18 October (1958): 205.
Notes: Review of Durrell's Balthazar.
"Cabal and Kaleidoscope." Time 72.25 August (1958): 80.
"Carnal Jigsaw." Time .4 April (1960): 94, 96.
"Devil's Disciples." Times Literary Supplement .18 October (1974): 1155.
Notes: Review of Durrell's Monsieur.
"Eros in Alexandria." Time 70.26 August (1957): 84.
Notes: Review of Durrell's Justine.
"His Excellency." Times Literary Supplement .17 October (1958): 589.
"Lawrence Durrell." Contemporary Literary Criticism 1 (1973): 83-87.
Notes: Collects extracts from criticism on Durrell's works.
"Lawrence Durrell." Contemporary Literary Criticism 4 (1975): 144-48.
"Lawrence Durrell." Contemporary Literary Criticism 13 (1980): 184-89.
"Lawrence Durrell." Contemporary Literary Criticism 27 (1984): 94-102.
"Mirrored in Alexandria." Times Literary Supplement .8 February (1957): 77.
"The Old Firm." Times Literary Supplement .25 April (1968): 413.
Notes: Review of Durrell's Tunc.
"A Tale Retold." Times Literary Supplement .18 April (1958): 205.
"Time Released." Times Literary Supplement .5 February (1960): 80.
Abdel-Al, Nabil. "Spirit of the Place in Lawrence Durrell's Justine Vs. E. M. Forster's Alexandria: A History and a Guide." Gombak Review: A Biannual Publication of Creative Writing and Critical Comment 4.1 (1999): 32-45.
Adam, Peter. "Alexandria and After -- Lawrence Durrell in Egypt." The Listener 100 (1978): 497-500.
Notes: This piece is an interview, an article, and an advertisement for "The Spirit of Place: Lawrence Durrell's Egypt" on BBC2's "The Lively Arts."
Adams, Phoebe. "Lawrence Durrell in 1936." Atlantic 206.October (1960): 120-21.
---. "Reader's Choice." Atlantic 200.September (1957): 86.
Adams, Robert Martin. After Joyce: Studies in Fiction After Ulysses. New York: Oxford University Press, 1977.
Alberes, R. M. "Lawrence Durrell Ou Le Roman Pentagonal." La Revue De Paris 72.June (1965): 102-12.
Alexander, Marguerite. "Desire." Flights From Realism: Themes and Strategies in Postmodernist British and American Fiction. Marguerite Alexander. London: Edward Arnold-Hodder & Stroughton, 1990. 64-82.
Notes: Durrell's Alexandria Quartet is discussed in contrast to Nabokov's Lolita and Lehmann's Echoing Grove.
Alexandre-Garner, Corinne. "Cities of Memory, Writing of Oblivion - A Journey Through the Works of Durrell, Lawrence." Etudes Anglaises 46.3 (1993): 301-12.
Alexandre-Garner, Corinne. "Durrell: La Clôture Impossible?" Etudes Britanniques Contemporaines 10 (1996): 83-98.
---. "En Guise De Conclusion... De La Naissance De L'Écriture â La Bibliotheque Disparue." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 277-86.
---. "From Pregnant Men to Lovers-Philosophers: Durrell’s Representation of Creation and Procreation in the Quartet and the Quintet." In-Between: Essays and Studies in Literary Criticism 11.2 (2002): 197-210.
---, Ed. Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Confluences 15. Nanterre, France: Université Paris-X, 1998.
---, Ed. Lawrence Durrell Revisited : Lawrence Durrell Revisité. Confluences 21. Nanterre, France: Université Paris X, 2002.
---. "'La Main En Gage'; Or, The Occurence of Writing." Deus Loci: The Lawrence Durrell Quarterly 7.3 (1984): 3-24.
---. Le Quatuor D'Alexandrie, Fragmentation Et Écriture : Étude Sur Lámour, La Femme Et L'Écriture Dans Le Roman De Lawrence Durrell . Anglo-Saxon Language and Literature 136. New York: Peter Lang, 1985.
---. "The Triangle of Love, Incest, and Writing." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed Michael H. Begnal. Lewisburg: Bucknell University Press, 1990. 52-62.
---. "Villes De La Mémoire, Écriture De L'Oubli: Voyage a Travers L'Oeuvre De Lawrence Durrell." Études Anglaises 46.3 (1993): 301-12.
Ali, Zahra Ahmed Hussein. "Between Shaharazad and Marcel Proust: Narrative Techniques in The Alexandria Quartet." Diss. Brown University, 1986.
Notes: UMI 8519799
Allen, Walter. "New Novels." New Statesman 55.12 April (1958): 480.
---. "War and Post War: British [6]." The Modern Novel in Britain and the United States. Watler Allen. New York: E.P. Dutton & Co, Inc., 1964. 278-92.
Notes: Also available as Tradition and Dream: The English and American Novel from the Twenties to Our Time. London: 1964.
Anderson, Barbara. "The Cinematic Qualities of Lawrence Durrell's Alexandria Quartet." Deus Loci: The Lawrence Durrell Newsletter 2.2 (1978): 3-16.
Anderson, Roger Kent. "A La Recherche Du Temps Perdu and The Alexandria Quartet." Diss. University of Texas at Austin, 1975.
Notes: DAI 37:291A
Andreini, Laurence. "Genèse Du Projet Sappho De Lawrence Durrell: Créé Par Le Théâtre Amazone Compagnie Laurence Andreini." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 51-57.
Apostolescu, Roxana. "The Alexandria Quartet and The Bed of Procrustes." Romanian Review (Bucharest, Romania) 41.3 (1987): 82-85.
Arban, Dominique. "Lawrence Durrell." Preuves 109 (1960): 86-94.
Arthos, John. "Lawrence Durrell's Gnosticism." The Personalist 43.3 (1962): 360-73.
Ashworth, Ann. "Alexandria and Her Goddesses: '... She Verges on the Goddess'." Journal of Evolutionary Psychology 18.1-2 (1997): 15-19.
---. "Anima and Individuation Issues in The Alexandria Quartet." Journal of Evolutionary Psychology 15.3-4 (1994): 244-48.
---. "Durrell's Hermetic Puer and Senex in The Alexandria Quartet." Critique 26.2 (1985): 67-80.
Awad, Mohamed F. "The House Revisited, The City Remembered." Deus Loci: The Lawrence Durrell Journal NS 7 (1999-2000): 39-44.
Badsha, Abdulla K. "Durrell's Heraldic Universe and the 'Alexandria Quartet': A Subaltern View." Diss. University Of Wisconsin - Madison, 2001.
Notes: DAI: AAT 3012559. ISBN: 0-493-23273-7
Baker, James R. "An Interview With William Golding." Twentieth Century Literature 28.2 (1982): 130-70.
Notes: Durrell is discussed on pages 166-167.
Baldanza, Frank. "Lawrence Durrell's 'Word Continuum'." Critique 4.2 (1961): 3-17.
Barr, Donald. "Intrigue Is the Way of Life." New York Times Book Review .22 March (1959): 4.
Notes: Reviews Durrell's Mountolive.
Barrett, John Walter. "Lawrence Durrell's The Black Book and The Alexandria Quartet: Some Existential and Jungian Correspondences." Diss. University of Northern Colorado, 1978.
Notes: DAI 39:4952-53A
Barrett, William. "Long Journey Inward." Atlantic 209.April (1962): 154-55.
Baumgard, Reinhard. "Rückblickend Von Vorn Gesehen: Lawrence Durrell." Merkur 18.7 (1964): 677-83.
Beard, Pauline Winsome. "The Usufruct of Time in Lawrence Durrell's Alexandria Quartet." Deus Loci: The Lawrence Durrell Journal NS 3 (1994): 75-97.
Notes: Appears in an extended form in Beard's A Riddling Thing. London: International Scholars Press, 1996.
---. "The Usufruct of Time in The Alexandria Quartet." A Riddling Thing: A Study of Time in Five Twentieth Century Novels. Pauline Winsome Beard. London: International Scholars Publications, 1996. 65-109.
Notes: Differs significantly from the earlier publication in Deus Loci NS 3 (1994): 75-97.
Becher, Hubert S. J. "Lawrence Durrell's Tetralogie Und Die Literarische Kritik." Stimmen Der Zeit 168 (1961): 360-69.
Beja, Morris. Epiphany in the Modern Novel. Seattle, WA: University of Washington Press, 1971.
Notes: Durrell is mentioned a number of times throughout the text
Bequette, Michael Kenneth. "The British Novel Sequence: Theory of Structure and the Works of Arnold Bennett, Joyce Cary, and Lawrence Durrell." Diss. Wayne State University, 1974.
Notes: DAI 35:4500A
Bien, Peter. Constantine Cavafy. Columbia Essays on Modern Writers 5. New York: Columbia University Press, 1964.
Bliven, Naomi. "Alexandria in Tetrameter." New Yorker 36.13 August (1960): 97-98, 101-03.
Boccia, Michael. Form As Content and Rhetoric in the Modern Novel. American University Studies, Series IV, English Language and Literature 77. New York: Peter Lang, 1989.
Notes: Durrell is mentioned throughout the book, with reference to the other authors under consideration, and The Alexandria Quartet is discussed in an independent chapter.
---. "The Novel As Palimpsest: The Alexandria Quartet by Lawrence Durrell." Form As Content and Rhetoric in the Modern Novel. Michael Boccia. New York: Peter Lang, 1989. 149-69.
Bode, Carl. "Durrell's Way to Alexandria." College English 22.8 (1961): 531-38.
---. "A Guide To Alexandria." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 205-21.
Notes: from College English 1961
Bolton, Matthew. "'Spellbound by the Image': A Reflective Response to Lawrence Durrell's Alexandria Quartet." Agora: An Online Graduate Journal 3.1 (2004): 1-9.
Notes: Online http://www.humanities.ualberta.ca/agora/Articles.cfm?ArticleNo=213
Boone, Joseph. "Vacation Cruises; or, The Homoerotics of Orientalism." Postcolonial Queer: Theoretical Intersections. Ed. John C. Hawley. New York: State University of New York Press, 2001. 43-78.
Boone, Joseph A. "Fifties Writing Gone Mad." Libidinal Currents: Sexuality and the Shaping of Modernism. Joseph A. Boone. Chicago: University of Chicago Press, 1998. 353-64.
---. "Lawrence Durrell, Alexandria Quartet: Homoerotic Negotiations in Colonial Narrative." Libidinal Currents: Sexuality and the Shaping of Modernism. Joseph A. Boone. Chicago: University of Chicago Press, 1998. 364-88.
---. "Mappings of Male Desire in Durrell's Alexandria Quartet." South Atlantic Quarterly 88.1 (1989): 73-106.
Boone, Joseph A. "Mappings of Male Desire in Durrell's Alexandria Quartet." Displacing Homophobia: Gay Male Perspectives in Literature and Culture. Eds. Ronald R. Butters, John M. Clum, and Michael Moon. Durham: Duke University Press, 1989. 73-106.
Notes: The entire volume is a reprint of South Atlantic Quarterly 88.1 (1989), in which this work originally appeared.
Boone, Joseph A. "Mappings of Male Desire in Durrell's Alexandria Quartet." Out of Bounds: Male Writers and Gender(Ed) Criticism. Eds. Laura Claridge and Elizabeth Langland. Amherst: University of Massaschusetts Press, 1990. 316-44.
Notes: Reprint of same title, South Atlantic Quarterly 88.1 (1989), 73-106.
---. "Vacation Cruises; Or, the Homoerotics of Orientalism." PMLA: Publications of the Modern Language Association of America 110.1 (1995): 89-107.
Booth, Janice Ann. "An Exploration of the Construct Validity of the Durrell Visual Memory of Words: Intermediate." Thes. National Library of Canada, 1978.
Booth, Wayne C. "A Gallery of Unreliable Narrators and Reflectors." Rhetoric of Fiction. Wayne C. Booth. Chicago: University of Chicago Press, 1961.
Notes: See p. 433.
Borgmann, Elmar-Laurent. Das Schwierige Ganze: Postmoderne Züge in Lawrence Durrells The Alexandria Quartet (Arbeiten Zur Ästhetik, Didaktik, Literatur Und Sprachwissenschaft). New York: Peter Lang, 1994.
Bork, Alfred M. "Durrell and Relativity." Centennial Review of the Arts and Sciences 7.2 (1963): 191-203.
Boston, Richard. "Some Notes on The Alexandria Quartet." Delta 23 (1961): 33-38.
Bowen, John. "One Man's Meat: The Idea of Individual Responsibility." Times Literary Supplement .7 August (1959): xii-xiii.
Bowen, Roger. "Closing the "Toybox": Orientalism and Empire in the Alexandria Quartet." Studies In The Literary Imagination 24.1 (1991): 9-18.
---. "'Squalid With Joy': Scobie, Sex, and Race in Lawrence Durrell's Alexandria Quartet." Literature and Homosexuality. Ed. Michael J. Meyer. Amsterdam, Netherlands: Rodopi, 2000. 55-69.
Bowles, Paul. "A Dimension of Love." Saturday Review 41.23 August (1958): 16.
Brann, Eva. "Tapestry With Images: Paul Scott's Raj Novels." Philosophy and Literature 23.1 (1999): 181-96.
Brasch, James D., and Joseph Sigman. Hemingway's Library: A Composite Record. New York: Garland, 1981.
Notes: Durrell's books, Bitter Lemons, The Black Book, Esprite de Corps, Justine, and Stiff Upper Lip are items 1933-1937 (p. 110).
Bratcher, Joe Warlick III. "An Alexandrian Trio: Three Anti-Foundational Readings of Lawrence Durrell's 'Alexandria Quartet'." Diss. University of Texas, Austin, 1993.
Brewer, Jennifer. "Lawrence Durrell's Alexandria Quartet and the Hermetic Tradition." Diss. Tufts University, 1973.
Brewer, Jennifer L. "Character and Psychological Place: The Justine/Sophia Relation." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 236-39.
Briganti, Chiara. "Lawrence Durrell and the Vanishing Author." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed Michael H. Begnal. Lewisburg: Bucknell University Press, 1990. 41-51.
Brigham, James. "An Intruder From The East." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 91-99.
Brigham, James A. "The Critic and the Nymph: Thematic Development in the Novels of Lawrence Durrell, 1935-1960." Diss. University of Alberta, 1973.
Brigham, James A. "The Uncommon Ground." Into the Labyrinth: Essays on the Art of Lawrence Durrell. Ed. Frank L. Kersnowski. Ann Arbor: UMI Research Press, 1989. 23-29.
Brigham, James A., and J. A. Douglas Brigham. "City Full of Dreams: Durrell's Alexandria and the Ghost of Baudelaire." Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 93-103.
Brodkey, Linda. "Modernism and the Scene(s) of Writing." College English 49.4 (1987): 396-418.
Brombert, Victor. "Lawrence Durrell and His French Reputation." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 169-84.
Bronowski, Jacob. "The Vision of Our Age." Insight. Jacob Bronowski. London: Macdonald, 1964. 98-108.
Notes: Contains an interview with Durrell about his use of relativity as an analogy in The Alexandria Quartet. Includes a photograph.
Brown, Keith, and Martin Dodsworth. "Lawrence Durrell." British Writers: Supplement I: Graham Greene to Tom Stoppard. Gen. ed. Ian Scott-Kilvert. New York: Scribner, 1987. 104-10.
Notes: Page reference may be more extensive than listed, up to p. 121 or more. I have not secured a copy and citations are conflicting.
Brown, Sharon Lee. "Lawrence Durrell and Relativity." diss. University of Oregon.
Notes: Dissertation Abstracts International 26:7310
Broyard, Anatole. "Alexandria Revisited." New York Times Book Review 10 October (1982): 39.
Burgess, Anthony. "Other Kinds of Massiveness." The Novel Now: A Guide to Contemporary Fiction. Anthony Burgess. London: W.W. Norton & Co., 1968. 93-106.
Notes: Durrell is discussed with other authors, including Doris Lessing, Richard Hughes, Olivia Manning, J.B. Priestley, Edward Upward and Angus Wilson. The American edition is entitled The Novel Today.
---. "Other Kinds of Massiveness." The Novel Now. Anthony Burgess. Folcroft: Folcroft Library Editions, 1971. 93-106.
Notes: Durrell is discussed with other authors, including Doris Lessing, Richard Hughes, Olivia Manning, J.B. Priestley, Edward Upward and Angus Wilson. The British edition is entitled The Novel Now.
Burns, J. Christopher. "Durrell's Heraldic Universe." Modern Fiction Studies 13.3 (1967): 375-88.
Butov, Mikhail. "'Vselennaia Podtolknula Menia Loktem v Bok!'." Novyi Mir: Literaturno Khudozhestvennyi i Obschchestvenno Politicheskii Zhurnal (Russia) 5.877 (1998): 198-207.
Notes: In Russian: "Modern epic novel as a genre (The reception of Lawrence Durrell's works in Russia)"
Bynum, Paige Matthey. "The Artist As Shaman: Durrell's Alexandria Quartet." Lawrence Durrell: Comprehending the Whole. Eds Julius Rowan Raper, Melody L. Enscore, and Paige Matthey Bynum. Columbia: University of Missouri Press, 1995. 82-97.
Byrne, Mary J. "Lawrence Durrell's Alexandria Quartet: A Work in the Baroque Spirit." Diss. University College, Dublin, 1985.
Cain, Sarah. "The Metaphorical Field: Post-Newtonian Physics and Modernist Literature." Cambridge Quarterly 28.1 (1999): 46-64.
Notes: Prize essay for 1998 -- best dissertation submitted for the final Cambridge University English honours examination.
Campon, B. "Lawrence Durrell, the Cult to Difference: Interview." Cuadernos Del Norte 6.31 (1985): 77-82.
Card, James Van Dyck. "'Tell Me, Tell Me': The Writer As Spellbinder in Lawrence Durrell's Alexandria Quartet." Modern British Literature 1 (1976): 74-83.
Cardiff, Maurice. "Lawrence Durrell in Cyprus." Friends Abroad: Memories of Lawrence Durrell, Freya Stark, Patrick Leigh-Fermor, Peggy Guggenheim and Others. Maurice Cardiff. New York: Radcliffe Press, 1997. 22-38.
Carreno, Mada. "Album De Familia, Justine y El Angel." Vida Literaria 30 (1972): 12-13.
Carruth, Hayden. "And I Shal Clynken Yow So Mery a Belle That I Shal Wakyn Al This Companye." Poetry 93.5 (1959): 323-25.
---. "Nougat for the Old Bitch." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 117-28.
Carruthers, Virginia Kirby-Smith, Ed. On Miracle Ground VII Abstracts. Baltimore: University of Baltimore, 1996.
Notes: Collects the abstracts of On Miracle Ground VII, International Lawrence Durrell Conference, July 1-4, 1992, Avignon, France.
Cartwright, Michael, et al. "Commentary." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 108-09.
Notes: On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings. Response to Godshalk in same volume
Cartwright, Michael Percy. "The Alexandria Quartet: A Comedy For The Twentieth Century Or Lawrence Durrell, The Pardoner, And His Miraculous Pig's Knuckle.". University of Nebraska.
Carwright, Michael Percy. "The Alexandria Quartet: A Comedy for the Twentieth-Century or Lawrence Durrell, The Pardoner.". University of Nebraska, 1970.
Cate, Curtis. "Lawrence Durrell." Atlantic Monthly 208 (1961): 63-69.
Chaffin, Glenda Lynn. "Musical Structures in Lawrence Durrell's The Alexandria Quartet." Diss. Florida State University, 1979.
Chapman, R. T. "Dead, or Just Pretending? Reality in The Alexandria Quartet." The Centennial Review 16.Fall (1972): 408-18.
Chepyha, Peter. "The Artists and the Stylists in The Alexandria Quartet in Relation to Durrell's Use of the Theory of Relativity: The Relativity Mythos and the Rainbow of Personality." Thes. York University.
Christensen, Peter. "Lawrence Durrell, Travel Writer, Heir of Stendhal." In-Between: Essays and Studies in Literary Criticism 11.2 (2002): 263-76.
Christensen, Peter G. "Greece, Egypt, and the Quartet: Response." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 79-88.
Notes: On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings. Christensen replies to Grimes.
Coleman, John. "Mr. Durrell's Dimensions." Spectator 204.19 February (1960): 256-57.
Corke, Hilary. "Lawrence Durrell." Literary Half-Yearly 2.1 (1961): 43-49.
---. "Mr. Durrell and Brother Criticus." Encounter 14.5 (1960): 65-70.
Cornu, Marie-Renée. La Dynamique Du Quatuor D'Alexandrie De Lawrence Durrell: Trois Études. Montréal, QU: Didier, 1979.
Cortland, Peter. "Durrell’s Sentimentalism." English Record 14.4 (1964): 15-19.
Cowell, Alan. "Alexandria Recovering Its Arab Soul." New York Times .14 November (1987): 7.
Cox, W. D. G. "Another Letter to Lawrence Durrell." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 112-16.
Cranston, Maurice. "Clea by Lawrence Durrell." London Magazine 7 (1960): 69-71.
Notes: Source: Vander Closter
Creed, Walter G. The Muse of Science and "The Alexandria Quartet". Norwood, PA: Norwood Editions, 1977.
---. The Muse of Science and "The Alexandria Quartet". 1977. Folcroft: Folcroft Library Editions, 1978.
Notes: Previously published by Norwood Editions in Norwood, PA, 1977.
---. "Pieces of the Puzzle: The Multiple-Narrative Structure of The Alexandria Quartet." Mosaic: A Journal for the Interdisciplinary Study of Literature 6.2 (1973): 19-35.
---. "The Whole Pointless Joke? Darley's Search for Truth in The Alexandria Quartet." Etudes Anglaises 28.2 (1975): 165-73.
Notes: Reprinted in Creed's The Muse of Science and "The Alexandria Quartet." Folcroft: Folcroft Library Editions, 1977.
Creed, Walter Gentry. "Contemporary Scientific Concepts and the Structure of Lawrence Durrell's Alexandria Quartet.". University of Pennsylvania, 1968.
Critchlow, V. E. "Faustian Man: a Study of Science, the Individual and Society in the Works of Aldous Huxley and Lawrence Durrell." Thes. Sheffield University, 1977.
Crowder, Richard. "Durrell, Libido, and Eros." Ball State Teachers College Forum 3.2 (1962): 34-39.
Cruickshank, E. B. "The Concept of Time in Lawrence Durrell's Alexandria Quartet." Thes. University of Aberdeen, 1981.
Dahlgren, Marta. "The Alexandria Quartet: Durrell's Narrator's and the Space-Time Continuum." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 73-93.
Dan, Joseph. "Haquadrilgia Ha-Alexadnronit Shel Lawrence Durrell." Hasifrut 3 (1972): 447-62.
Dare, Captain H. "The Quest for Durrell's Scobie." Modern Fiction Studies 10 (1965): 379-83.
Dasenbrock, Reed Way. "Centrifugality: An Approach to Lawrence Durrell." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 199-210.
Notes: On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings
---. "Lawrence Durrell and the Modes of Modernism." Twentieth Century Literature 33.4 (1987): 515-27.
Dawson, Carl. "From Einstein to Keats: A New Look at The Alexandria Quartet." Far-Western Forum: A Review of Ancient and Modern Letters 1 (1974): 109-28.
Debray-Ritzen, Pierre. "A Sovereign Harmony." Deus Loci: The Lawrence Durrell Quarterly 7.4 (1984): 16-19.
Notes: Translated by Christine de Lailhacar
Decancq, Roland. "What Lies Beyond? An Analysis of Darley's "Quest" in Lawrence Durrell's Alexandria Quartet." Revue Des Langues Vivantes 34.2 (1968): 134-50.
Notes: Some sources mistakenly list Decancq as "Delancq" and the citation as 36.2 (1968):135-150.
Decker, James M., and Kenneth Womack. "Lawrence Durrell's Mediterranean Dream: Reading The Alexandria Quartet and the Ethical Voice of the Sea." English: The Journal of the English Association 52.202 (2003): 37-52.
DeMott, Benjamin. "Grading the Emanglons." Hudson Review 13 (1960): 457-64.
Dennis, Nigel. "New Four-Star King of Novelists." Life 49 (1960): 96-99, 102, 104, 106, 109.
Diakonova, Nina. "Notes on the Evaluation of the Bildungsroman in England." Zeitschrift Für Anglistick Und Amerikanistik 16 (1968): 341-51.
Notes: Durrell is mentioned relatively briefly in the context of the bildungsroman, along with a number of other mainly 20th Century authors.
Diboll, Michael. "'A Disciple Has Crossed Over by Water': An Analysis of Lawrence Durrell's Alexandria Quartet in Its Egyptian Historical and Intellectual Contexts." Diss. University of Leicester, 2000.
Notes: BL: DXN05093
Diboll, Mike. "The Secret History of Lawrence Durrell's The Alexandria Quartet: The Mountolive-Hosnani Affair, Britain, and the Wafd." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 79-105.
Dill, Janet E. "The Space-Time Novel As A Message Event: 'Pursewarden's Suicide ." Thes. York University.
Dobrée, Bonamy. "Durrell's Alexandrian Series." Sewanee Review 69.Winter (1961): 61-79.
---. "Durrell's Alexandrian Series." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 184-204.
Notes: Reprinted from Dobrée's "Durrell's Alexandrian Series." Sewanee Review 69 (1961 Winter): 61-79.
---. "Durrell's Alexandrian Series." The Lamp and the Lute: Studies in Seven Authors. Bonamy Dobrée. New York: Barnes & Noble, 1964. 150-68.
Dokainish, Soraya. "A Spiral Staircase: Implications of Time in the Novels of Lawrence Durrell." Diss. University of Western Ontario.
Douglas, J. Yellowlees. "Understanding the Act of Reading: the WOE Beginners' Guide to Dissection." Writing on the Edge: A Journal About Writing and Teaching Writing 2.2 (1991): 112-26.
Notes: Online: http://www.newmediareader.com/cd_samples/WOE/Douglas_Guide.html
Drescher, Horst W. "Raumzeit: Zur Struktur Von Lawrence Durrells Alexandria Quartet." Die Neuren Sprachen 70 (1971): 308-18.
Durand Annick Andreee. "Persistence Of Literary Cliches: North Africa In Contemporary Literature." Diss. New York University.
Durrell, Lawrence. The Alexandria Quartet. 1968. London: Faber and Faber, 1988.
Notes: Contains all four works of the Alexandria Quartet; Justine, Balthazar, Mountolive and Clea.
---. "Justine: Behind the Novels and the Motion Picture." Holiday 45.4 (1969): 74-77.
---. "Pursewarden's Incorrigibilia." The Best of Olympia: An Anthology of Tales, Poems, Scientific Documents and Tricks Which Appeared in the Short-Lived and Much Lamented Olympia Magazine. Ed. Maurice Girodias. London: New English Library, 1966. 17.
Notes: A one-page article with photo of Durrell. Primarily contains a Pursewarden poem.
---. "Vampire in Venice." A Clutch of Vampires. Ed. Raymond T. McNally. New York: Warner Books, 1975. 195-99.
Notes: The text is of Pursewarden's vampire story from Balthazar.
Edel, Leon. "A Multiplicity of Mirrors." The Modern Psychological Novel. Leon Edel. New York: Universal Library-Grosset & Dunlap, 1964. 185-91.
Elliott, George P. "The Other Side of the Story." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 117-21.
Notes: Reprinted from The Griffin (April 1960), 2-9.
Engelborghs, Maurits. "Engelse Letteren: Nieuwe Englese Romankinst: Lawrence Durrell." Dietsche Warande En Belfort 105 (1960): 349-60.
Enright, D. J. "Alexandrian Night's Entertainments: Lawrence Durrell's Quartet." International Literary Annual 3 (1961): 30-39.
---. "Alexandrian Nights' Entertainment." Writing in England Today: The Last Fifteen Years. Ed. Karl Miller. Baltimore: Penguin, 1968. 45-53.
---. "Alexandrian Nights' Entertainment: Lawrence Durrell's Quartet." Conspirators and Poets. D. J. Enright. London: Chatto & Windus, 1966. 111-20.
Notes: Reprinted from International Literary Annual 3 (1961): 30-39.
Ernst, U. "The Experimental Novel and Its Types in Contemporary European and American Literature." Aracadia-Zeitschrift Fur VergleichendeLiteraturwissenschaft 27.3 (1992): 225-320.
Erval, Francoise. "Review." L'Express .7 May (1959): 29.
Escobar, Matthew. "Le Pendule De Durrell : La Narration Ironique Dans The Alexandria Quartet." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 167-78.
Escobar, Matthew. "Les Rapports De Force Entre Créateur Et Création Chez Lawrence Durrell Et Miguel De Unamuno." Thes. Université Paris III - Sorbonne Nouvelle, 1997.
Eskin, Stanley G. "Durrell's Themes in the Alexandria Quartet." The Texas Quarterly 5.4 (1962): 43-60.
Fagan, Edward R. "Disjointed Time and the Contemporary Novel." JGE: The Journal of General Education 23.2 (1971): 151-60.
Fagan, Edward R. "Science and English: A Rapprochement Through Literature." The English Journal 54.5 (1965): 357-63.
Fahmy, Khaled. "For Cavafy, With Love and Squalor: Some Critical Notes on the History and Historiography of Modern Alexandria." Alexandria: Real and Imagined. Eds. Anthony Hirst and Michael Silk. Aldershot: Ashgate Publishing Ltd., 2004. 263-85.
Fertile, Candace. "Joshua Samuel Scobie: A Celebration of Life." Selected Essays on the Humor of Lawrence Durrell. Eds Nichols-Betsy, Frank Kersnowski, and James Nichols . Victoria, BC: University of Victoria, 1993. 50-60.
---. "Love and Narrative in the Novels of Lawrence Durrell." Diss. University of Alberta.
Notes: Ann Arbor: UMI, 1989. 0564256. (DAI 49: 3032A)
Festa-McCormick, Diana. "Durrell's Alexandria Quartet: 'A Whore Among Cities'." The City As Catalyst: A Study in Ten Novels. Diana Festa-McCormick. Rutherford, NJ: Fairleigh Dickinson University Press, 1979. 158-75.
Fiedler, Leslie A. Waiting for the End: The American Literary Scene From Hemingway to Baldwin. London: Jonathan Cape, 1965.
Notes: Durrell is mentioned in regard to Henry Miller, William S. Burroughs, and Allan Ginsberg.
Fietz, Lothar. "Life, Literature and the Philosophy of 'As If': Aldous Huxley's and Lawrence Durrell's Use and Critique of 'Fictions'." Aldous Huxley Annual: A Journal of Twentieth Century Thought and Beyond .2 (2002): 65-102.
Fite, Gay Frederick. "Lawrence Durrell's Progression Towards the Heraldic Universe." Thes. Simon Fraser University, 1970.
Flint, R. W. "A Major Novelist." Commentary 27.April (1959): 353-56.
Foran, Kathleen. "Scobie As Tarot Charioteer." Deus Loci: The Lawrence Durrell Journal NS 7 (1999-2000): 209-10.
Fordham, Glenn Wayne Jr. "The Psychological Orientation Towards Growth in Lawrence Durrell's The Alexandria Quartet." diss. Univesity of North Texas.
Fraiberg, Louis. "Durrell's Dissonant Quartet." Contemporary British Novelists. Ed Charles Shapiro. Carbondale: Southern Illinois University Press, 1965. 16-35.
Francis, Pamela. "'This Betraying Landscape': Shrinking Colonial Space in Durrell's Mountolive." In-Between: Essays and Studies in Literary Criticism 11.2 (2002): 277-91.
Franklin, Steve. "Space-Time and Creativity in Lawrence Durrell's "Alexandria Quartet"." Perspectives on Contemporary Literature 5 (1979): 55-61.
Fraser, G. S. Lawrence Durrell. Writers and Their Work 216. London: Longman, 1970.
---. Lawrence Durrell: A Critical Study. 1968. London: Faber & Faber, 1973.
Notes: Revised edition.
---. Lawrence Durrell: A Study. New York: E.P. Dutton, 1968.
Fremantle, Anne. "Three Sides of Space and One of Time." Commonweal 72.20 May (1960): 210-11.
Fricker, Robert. "Lawrence Durrell: The Alexandria Quartet." Gymnasium Helveticum (Aarau) 16.6 (1962).
---. "Lawrence Durrell: The Alexandria Quartet." Der Moderne Englische Roman: Interpretationen. Ed. Horst Oppel. Berlin: Erich Schmidt Verlag, 1965. 399-416.
Friedman, Alan J., and Carol C. Donley. Einstein As Myth and Muse. Cambridge: Cambridge University Press, 1985.
Notes: Durrell is discussed on pp. 84-88, but is also mentioned on pp. 5, 95, 103, and 109.
Friedman, Alan Warren. "Art for Love's Sake: Lawrence Durrell and The Alexandria Quartet.". University of Rochester, 1966.
---, Ed. Critical Essays on Lawrence Durrell. Critical Essays on British Literature. Boston: G.K. Hall & Co., 1987.
---. "Fictional Death and the Modernist Enterprise." Fictional Death and the Modernist Enterprise. Alan Warren Friedman. Cambridge: Cambridge University Press, 1995. 5-30.
---. "A "Key" To Lawrence Durrell." Wisconsin Studies in Contemporary Literature 8.1 (1967): 31-42.
---. "Late Modernism: Lawrence Durrell." Fictional Death and the Modernist Enterprise. Alan Warren Friedman. Cambridge: Cambridge University Press, 1995. 250-65.
---. Lawrence Durrell and "The Alexandria Quartet": Art for Love's Sake. Norman: University of Oklahoma Press, 1970.
---. "Lawrence Durrell's World of Death." Essays on the Contemporary Novel. Eds Hedwig & Albert Wertheim Bock. München: Max Hueber Verlag, 1986. 67-78.
Notes: Reprint of "'Not Lost but Gone Before': Durrell and Death." Deus Loci: The Lawrence Durrell Quarterly 7.5
---. Multivalence: The Moral Quality of Form in the Modern Novel. Baton Rouge: Louisiana State University Press, 1978.
Notes: Durrell is mentioned frequently throughout the first half of the text.
---. "'Not Lost but Gone Before': Durrell and Death." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 95-104.
Notes: On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings. See Godshalk for response to this paper.
Fruin, Jennifer Linton. "The Importance of Narouz in Durrell's Hermetic Paradigm." Deus Loci: The Lawrence Durrell Newsletter 2.4 (1979): 3-10.
Fure, Jessica. "The White Rabbit's Guide to the Quartet: Alexandria Through the Looking-Glass." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 102-08.
Gagnon, Mary Alice. "Conception of Place in Lawrence Durrell's Tetralogy." Thes. McGill University, 1982.
Gallup, Donald C. "Collecting Lawrence Durrell 1955-1986." What Mad Pursuits! More Memories of a Yale Librarian. Donald C. Gallup. New Haven: Yale University, 1998. 110-15.
Notes: Mistakenly lists Durrell's death as before 1988.
Gascoyne, David. "Lawrence Durrell." Selected Prose 1934-1996. David Gascoyne. London: Enitharmon Press, 1998. 270-73.
Notes: Originally published as an obituary in The Independent 19 November 1990.
Gascoyne, David. "Retrospective Notes on 'The Other Larry'." Labrys 5 (1979): 59-74.
Gaster, Beryl. "Lawrence Durrell." Contemporary Review 205.July (1964): 375-79.
Georginis, E. G. "Variations of Experience: Expatriate British Writers in the Middle East During the Second World War." Diss. University of Loughborough, 1989.
Gerard, Albert. "Durrell: Un Grand Talent De Basse Époque." Revue Générale Belge .October (1962): 15-29.
Ghaly, Salwa. "Durrell’s and Istrati’s Alexandria: Towards Decentering the Image of the City." Arabs and the West: Mutual Images. Eds. Jorgen S. Nielsen and Sami A. Khasawnih. Amman: Jordan University Press, 1998. 1-13.
Notes: Derived from Ghaly's conference paper: “Towards Decentering the Image of the City: Alexandria in the Works of Durrell and Istrati.” Arabs and the West. The University of Jordan. Jordan. April 1998.
Ghinste, Josée van de. Lawrence Durrell Le Quatuor Alexandrin Et Le Mythe De La Creation. Paris: Librairie A.G. Nizet, 1983.
Gibert, Harriet. "Uses of Literacy." New Statesman .11 November (1983): 30.
Gifford, James. "Epistemological Skepticism In The Novels Of Lawrence Durrell: A Study In The Development Of Postmodern Fiction And Its Subsequent Effects On Analytic Methodologies." Thes. California State University Dominguez Hills, 2000.
---. "Noses in The Alexandria Quartet." Notes on Contemporary Literature 34.1 (2004): 2-4.
Notes: Provides evidence of source materials in Groddeck for Semira's nose in the Quartet.
---. "Reading Orientalism and the Crisis of Epistemology in the Novels of Lawrence Durrell." CLCWeb: Comparative Literature and Culture: A WWWeb Journal 1.2 (1999): no pagination.
Notes: Electronic publication. See <http://clcwebjournal.lib.purdue.edu/>.
---. "Reevaluating Postcolonial Theory in Lawrence Durrell's Alexandria Quartet ."Online. 2001. n.pag.
Notes: Text of: Gifford, James. "Reevaluating Postcolonial Theory in Lawrence Durrell's Alexandria Quartet" Literary Studies and Global Culture. University of Victoria, Department of English. 16-17 Mar. 2001. See: <http://www.ualberta.ca/~gifford/textsvictoria.htm>.
Gilliat, Penelope. "Pacts and Sects." New Yorker 45.9 August (1969): 67-69.
Notes: Reviews the film "Justine" by George Cukor, based on the Alexandria Quartet.
Gindin, James. "The Fable Begins to Break Down." Wisconsin Studies in Comparative Literature 8.1 (1967): 1-18.
Notes: This article is largely a survey of British fiction, but makes repeated references to Durrell's Alexandria Quartet. Durrell is compared directly to Golding and is categorized with Iris Murdoch.
Glicksberg, Charles I. "The Fictional World of Lawrence Durrell." Bucknell Review 11 (1963): 118-33.
---. "The Relativity of the Self: The Alexandria Quartet." The Self in Modern Literature. Charles I. Glicksberg. University Park: Pennsylvania State University Press, 1963. 89-94.
Godshalk, William Leigh. "Aspects of Lawrence Durrell." Journal of Modern Literature 1.3 (1971): 439-45.
---. "Balthazar: A Comedy of Surrogation." Selected Essays on the Humor of Lawrence Durrell. Eds. Betsy Nichols, Frank Kersnowski, and James Nichols. Victoria, BC: University of Victoria Press, 1993. 81-91.
---. "Durrell: Death, Love, and Art." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 105-07.
Notes: On Miracle Ground II: Second International Lawrence Durrell Conference Proceedings. Response to Friedman in same volume
---. "Some Sources of Durrell's Alexandria Quartet." Modern Fiction Studies 13.3 (1967): 361-74.
Godshalk, William Leigh. "Some Sources of Durrell's Alexandria Quartet." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 158-71.
Notes: Reprinted from Modern Fiction Studies 13.3 (1967), 361-367.
Goldberg, Frederick. "The Movement Toward Survival." diss. Emory University.
Goldberg, Gerald Jay. "The Search for the Artist in Some Recent British Fiction." South Atlantic Quarterly 62 (1963): 387-401.
Gordon, Ambrose Jr. The Invisible Tent: The War Novels of Ford Madox Ford. Austin, TX: University of Texas Press, 1964.
Notes: See pages 55-56.
---. "Time, Space, and Eros: The Alexandria Quartet Rehearsed." Six Contemporary Novels: Introductory Essays in Modern Fiction. Ed. William O. S. Jr. Sutherland. Austin: University of Texas Press, 1962. 6-21.
---. "Time, Space, and Eros: The Alexandria Quartet Rehearsed." Aspects of Time. Ed. C. A. Patrides. Manchester: Manchester University Press, 1976. 238-49.
Gossman, Ann. "Love's Alchemy in the Alexandria Quartet." Critique: Studies in Modern Fiction 13.2 (1971): 83-96.
---. "Some Characters in Search of a Mirror." Critique 8.3 (1966): 79-84.
Gottwald, Johannes. "Der Künstlerroman Darleys: Kontinuität in Lawrence Durrells Alexandria Quartet." Die Neuren Sprachen 70 (1971): 319-25.
Goulden, Alban S. "In Order to Continue, The Tale Over the Teller: Durrell, Creeley, Lawrence." Thes. Simon Fraser University, 1970.
Goulianos, Joan. "In Response." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 51-57.
Goulianos, Joan Susan. "Lawrence Durrell's Greek Landscape." Diss. Columbia University, 1968.
Green, Martin. "Lawrence Durrell: A Minority Report." Yale Review 45.Summer (1960): 496-508.
Green, Peter. "A Small Blond Firework: The Fertile Limitations of Lawrence Durrell." New Republic 219.14 September (1998): 55-56, 58-60.
Notes: Ostensibly a review article on Lawrence Durrell: A Biography, Through the Dark Labyrinth: A Biography of Lawrence Durrell and Lawrence Durrell's Major Novels: The Kingdom of the Imagination, this article is more a personal response to Durrell's works and his circle.
Green, Roger. "Lawrence Durrell: The Spirit of Winged Words." Aegean Review Fall/Winter (1987): 8-25.
Notes: Contains both an article-style commentary and an interview with Durrell.
Grimes, Terrence L. "How Real Is the City? Townscape in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 51-68.
Gui, Lihua. "Robertson Davies's Innovative Use of the Trilogy Form in His Fiction." Diss. University of Toronto, 1998.
Gutwillig, Robert. "The Third Chapter in a Modern Literary Experiment." Commonweal 70.3 April (1959): 27-28.
---. "Towards an Anatomy of Love." Commonweal 69.31 October (1958): 132-33.
Gwynne, Rosalind. "Islam and Muslims in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Journal NS 5 (1997): 90-102.
Hagopian, John V. "The Resolution of The Alexandria Quartet." Critique: Studies in Modern Fiction 7.1 (1964): 97-106.
Hall, Tessa F. "Lawrence Durrell's The Alexandria Quartet: Conflicting Metaphysics and the Escape From Alexandria." Diss. University of Oxford, 1988.
Notes: DAI No.: BRD-97255.
Hall, Tessa F. "Perspectives on Alexandria in Lawrence Durrell's The Alexandria Quartet." Thes. Oxford University, 1983.
Hamard, Jean-Paul. "L'Espace Et Le Temps Dans Les Romans De Lawrence Durrell." Critique (Paris) 16.156 (1960): 387-413.
Hamard, Jean-Paul. "Lawrence Durrell: A European Writer." Durham University Journal NS 29.3 (1968): 171-81.
Notes: This issue may also be numbered vol. 60 June (1968).
Hamard, Jean-Paul. "Lawrence Durrell: Renovateur Assagi." Critique (Paris) 17.163 (1960): 1025-33.
Harris, Wendell V. "Molly's 'Yes': The Transvaluation of Sex in Modern Fiction." Texas Studies in Literature and Language 10.1 (1968): 107-18.
Hasan, Zia. "Incest Over the Ages: A Comparison Between 'Tis Pity She's a Whore and The Alexandria Quartet." Literary Criterion 20.3 (1985): 39-48.
Hashem, Evine. "The City: A Unifying Element in Lawrence Durrell's Justine." Images of Egypt in Twentieth Century Literature. Ed Hoda Gindi. Cairo: University of Cairo, Department of English Language & Literature, Faculty of Arts, 1991. 77-89.
Hassan, A. F. "Lawrence Durrell and The Alexandria Quartet: Influences Shaping His Fiction." Thes. Durham University, 1981.
Hassan, Ihab. The Literature of Silence: Henry Miller and Samuel Beckett. New York: Alfred A. Knopf, 1967.
Hassoun, Jacques. "Rêver Idéologiquement D'Alexandrie." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 51-57.
Hauge, Ingvar. "Lawrence Durrell Fram Til Aleksandriak-Vartetten." Samtiden 71 (1962): 220-26.
Hawkins, Joanna Lynn. "A Study of the Relationship of Point of View to the Structure of The Alexandria Quartet by Lawrence Durrell.". Northeastern University.
Notes: DAI 26:3338-39
Hawthorne, Mark D. "The Alexandria Quartet: The Homosexual As Teacher/Guide." Twentieth Century Literature 44.3 (1998): 328-48.
Henig, Suzanne. "Lawrence Durrell: The Greatest of Them All." Virginia Woolf Quarterly 2.1-2 (1975): 3-12.
Notes: Includes a photograph on page 3.
Hicks, Granville. "Crown for a Majectic Work." Saturday Review 43.2 April (1960): 15.
Higdon, David Leon. Shadows of the Past in Contemporary British Fiction. Athens, Georgia: University of Georgia Press, 1985.
Notes: See page 9.
Highet, Gilbert. "The Proud, Sensual, Elegant, Depraved, Witty, Illusionless Alexandrians of Lawrence Durrell." Horizon 2.March (1960): 113-18.
Notes: Entitled "The Alexandrians of Lawrence Durrell" in the journal index.
Hirst, Anthony. "'The Old Poet of the City': Cavafy in Darley's Alexandria." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 69-94.
---. ""The Old Poet of the City": Cavafy in Darley's Alexandria." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 106-19.
Hirst, Anthony, and Michael Silk, Eds. Alexandria: Real and Imagined. Aldershot: Ashgate Publishing Ltd., 2004.
Notes: Contains several references to Durrell in four chapters
Hollahan, Eugene. "Who Wrote Mountolive? The Same One Who Wrote 'Swan in Love'." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed Michael H. Begnal. Lewisburg: Bucknell University Press, 1990. 113-32.
---. "Who Wrote Mountolive? The Same One Who Wrote "Swann in Love"." Studies in the Novel 20.2 (1988): 167-85.
Honor, Mary. "Larry - Our Friend." Library Research News ns 3.2 (1993): 1-2.
Hood, Richard. "Hermetica, Relativity, and Place in The Alexandria Quartet." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 73-89.
Hoops, Wiklef. Die Antinomie Von Theorie Und Praxis in Lawrence Durrells Alexandria Quartet: Eine Strukturuntersuchung. Frankfurt: Peter Lang, 1976.
---. "Lawrence Durrell." Englische Literatur Der Gegenwart in Einzeldarstelllungen. Ed. Horst W. Drescher. Stuttgart: Kröner, 1970. 250-80.
Houston, John Porter. "Literature and Psychology: The Case of Proust." L'Esprit Createur 5.Spring (1965): 3-13.
Howarth, Herbert. "Lawrence Durrell and Some Early Masters." Books Abroad 37.Winter (1963): 5-11.
---. "Lawrence Durrell Snapped in a Library." London Magazine ns 12.1 (1972): 71-84.
---. "A Segment of Durrell's Quartet." University of Toronto Quarterly 32 (1963): 282-93.
Howlett, Jacques. "Le Livre De La Semaine: Balthazar." Les Lettres Nouvelles 2 (1959): 19-20.
---. "Romans Etrangers: Justine." Les Lettres Nouvelles .January-March (1958): 290-92.
Hughes, Sean. "Justine and The Great Gatsby: Two N-Dimensional Novels." S B Academic Review: A Journal of Interdisciplinary Studies and Research 5.1 (1996): 27-36.
Notes: The journal is published for The Centre for Research, S B College, Changanassery, Kerala 686 101, India.
Husband, Janet. Sequels: An Annotated Guide to Novels in Series. Chicago: American Library Association, 1982.
Notes: Durrell is mentioned for The Alexandria Quartet and The Revolt of Aphrodite, which is identified only as Tunc and Nunquam. There is no reference to the Avignon Quintet. See p. 78.
Hutchens, Eleanor N. "The Heraldic Universe in The Alexandria Quartet." College English 24.1 (1962): 56-61.
Notes: Titled "Durrell's Alexandria Quartet" in the journal index.
Ikonomou-Agorasou, Ioanna. "Alexandria: Drei Schriftsteller-Drei Bilder?" Neohelicon: Acta Comparationis Litterarum Universarum (Budapest) 23.2 (1996): 167-78.
Isernhagen, Hartwig. Sensation, Vision and Imagination: The Problem of Unity in Lawrence Durrell’s Novels. Bamberg: Bamberger Fotodruck, 1969.
Jacquin, Bernard. "Nord/Sud, Orient/Occident: La Double Fracture De L'Espace Romanesque Chez Lawrence Durrell." Cycnos, Nice, France (Cycnos) 7 (1991): 63-75.
Jean, Raymond. "Lawrence Durrell Our Le Temps Délivré." Cahiers Du Sud .December-January (1960): 445-48.
Johnson, Ann Schwertfeger. "Lawrence Durrell's 'Prism-Sightedness': The Structure of The Alexandria Quartet.". University of Pennsylvania, 1967.
Johnson, Pamela Hansford. "New Novels." New Statesman 56.25 October (1958): 567.
Jones, Leslie W. "'Selected Fictions': The Intersection of Life and Art in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Newsletter 2.1 (1978): 11-23.
Kaczvinsky, Donald P. "The Kingdom of the Imagination: A Study of the Major Novels Of Lawrence Durrell." Diss. Pennsylvania State University.
Kaczvinsky, Donald P. Lawrence Durrell's Major Novels, or The Kingdom of the Imagination. London: Associated University Presses, 1997.
---. "A Source for Durrell's Darley." Journal of Modern Literature 15.4 (1989): 592-94.
---. "When Was Darley in Alexandria? A Chronology for The Alexandria Quartet." Journal of Modern Literature 17.4 (1991): 591-94.
Kakigahara, Mie. "Alexandria Shijuso No Kozo." English Literature and Language (Tokyo) 10 (1973): 133-45.
Kameyama, Masako. "Lawrence Durrell--A Sketch." Collected Essays by the Members of the Faculty. Kyoritsu, Japan: Kyoritsu Women's Junior College, 1968. 32-49.
Kararah, Azza. "Egyptian Literary Images of Alexandria." Alexandria: Real and Imagined. Eds. Anthony Hirst and Michael Silk. Aldershot: Ashgate Publishing Ltd., 2004. 307-21.
Karl, Frederick R. "Lawrence Durrell: Physical and Metaphysical Love." A Reader's Guide to the Contemporary English Novel. Frederick R. Karl. New York: Farrar, Straus & Giroux, 1962. 40-61.
Notes: The 1972 edition adds a description of Tunc and Nunquam in the Postscript.
Katope, Christopher G. "Cavafy and Durrell's "The Alexandria Quartet"." Comparative Literature 21 (1969): 125-37.
Notes: On the journal cover and index, "Durrell's" is mis-spelled "Durrel's"
Kaufman, Barbara A. "In Pursuit of Aesthetic Research Provocations." The Qualitative Report 1.4 (1992): n.pag.
Notes: Online: http://www.nova.edu/ssss/QR/QR1-4/kaufman.html
---. "Training Tales in Family Therapy: Exploring the Alexandria Quartet." The Journal of Marital and Family Therapy 21.1 (1995): 67-66.
Kazin, Alfred. "Lawrence Durrell's Rosy-Finger'd Egypt." Contemporaries. Alfred Kazin. Boston: Little, Brown & Co., 1962. 188-92.
Notes: reprinted in Friedman Critical Essays on Lawrence Durrell
Keeley, Edmund. "Miller, Durrell, and Their Greek Friends, 1939-1947." Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 133-57.
Notes: Contains material published in Keeley's Inventing Paradise: The Greek Journey 1937-47. New York: Farrar, Straus and Giroux, 1999.
Keller, Isabelle. "Between Eastern and Western History: 'Our Here and Now Become Your Everywhere'." In-Between: Essays and Studies in Literary Criticism 11.2 (2002): 211-22.
---. "A Portrait of Durrellian Cities: The Anamorphic Blurring of Cityscapes." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 133-54.
Notes: Mistakenly listed as beginning on page 135 in the table of contents.
Keller, Jane Eblen. "Deux Réfugiés D'Eux-Mêmes: The Bitter Necessity of Exile for Lawrence Durrell and Georges Simenon." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 223-42.
Kellman, Steven G. "The Fiction of Self-Begetting." MLN 91.6 (1976): 1243-56.
---. "One Quartet and Four Notebooks." The Self-Begetting Novel. Steven G. Kellman. New York: Columbia University Press, 1980. 93-100.
---. "The Reader In/Of The Alexandria Quartet." Studies in the Novel 20.1 (1988): 78-85.
---. "Sailing to Alexandria: The Reader in/of Durrell's Byzantine Quartet." Into the Labyrinth: Essays on the Art of Lawrence Durrell. Ed. Frank L. Kersnowski. Ann Arbor: UMI Research Press, 1989. 117-24.
---. "The Self-Begetting Novel." Western Humanities Review 30.2 (1976): 119-28.
Kelly, John C. "Lawrence Durrell's Style." Studies: An Irish Quarterly Review 52.Summer (1963): 199-204.
---. "Lawrence Durrell: The Alexandria Quartet." Studies: An Irish Quarterly Review 52.Spring (1963): 52-68.
Kermode, Frank. "Durrell and Others." Puzzles and Epiphanies: Essays and Reviews. Frank Kermode. London: Kegan and Paul, 1962. 214-27.
---. "Durrell's Alexandria Quartet." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 110-16.
Notes: Reprint from Puzzles and Epiphanies. London: Routledge, 1962.
---. "Fourth Dimension." Review of English Literature (London) 1.2 (1960): 73-77.
---. "The New Novelists." London Magazine 5.11 (1958): 21-25.
Notes: Expanded in Kermode's "Durrell and Others" in Puzzles and Epiphanies: Essays and Reviews. London: Kegan and Paul; 1962; pp. 214-227.
---. "Romantic Agonies." London Magazine 6.1 (1959): 51-55.
Kersnowski, Frank L. "Durrell's Diplomats: Inertia Where Is Thy Sting?" Into the Labyrinth: Essays on the Art of Lawrence Durrell. Frank L. Kersnowski. Ann Arbor: UMI Research Press, 1989. 51-62.
Khattab, Abdul Qader Abdullah. "Encountering the Non-Western Other in Lawrence Durrell's The Alexandria Quartet." Diss. Ohio University, 1999.
Notes: DAI No.: DA9923667.
King, James Roy. "Durrell's Alexandria Quartet: The Moment in Space." The Literary Moment As a Lens on Reality. James Roy King. Columbia: University of Missouri Press, 1983. 181-202.
---. "Inside Time." The Literary Moment As a Lens on Reality. James Roy King. Columbia: University of Missouri Press, 1983. 203-09.
Klironomos, Martha. "The Poetics and Politics of Consciousness: Durrell's Alexandria Quartet." Diss. McGill University, 1988.
Kopper Jr., Edward A. "A Note on the Religious Imagery in The Alexandria Quartet." Studies in the Twentieth Century 10.Fall (1972): 115-20.
Kostkowska, Justyna. "Physics and the "Alexandria Quartet" by Lawrence Durrell." Zagadnienia Rodzajow Literackich 32.2 (1989): 83-96.
Kothandaraman, Bala. "The Comic Dimension in The Alexandria Quartet." Osmanian Journal of English Studies 9.1 (1972): 27-37.
Kruppa, Joseph E. "Durrell's Alexandria Quartet and the "Implosion" of the Modern Consciousness." Modern Fiction Studies 13.3 (1967): 401-16.
Kums, Guido. Fiction, or the Language of Our Discontent: A Study of the Built-in Novelists in Novels by Angus Wilson, Lawrence Durrell and Doris Lessing. European University Studies, Series 14, Anglo-Saxon Language and Literature 140. Frankfurt: Peter Lang, 1985.
Notes: Durrell is discussed in an independent section of the complete work, as well as throughout the work. See pp 49-125
Kvam, Ragnar. "Lawrence Durrell." Vinduet 14 (1960): 232-40.
---. "Ny Engelsk Prosa." Samtiden 69 (1960): 549-47.
Lacoue-Labarthe, Judith. "'Not Translate, but Transplant': Ambassades Du Récit (Dans Les Ambassadeurs De Henry James, Le Quatuor D'Alexandrie De Lawrence Durrell Et Au-Dessous Du Volcan De Malcolm Lowry)." Revue De Littérature Comparée 74.1 (2000): 55-74.
Lampert, Gunther. Symbolik Und Leitmotivik in Lawrence Durrells Alexandria Quartet. Bamberg: Rodenbusch, 1974.
Lebas, Gérard. "The Fabric of Durrell's Alexandria Quartet." Caliban 8 (1971): 139-50.
---. "Lawrence Durrell's Alexandria Quartet and the Critics: A Survey of Published Criticism." Caliban (Toulouse) 6 (1969): 91-114.
Notes: An early, but annotated, bibliography of criticism on Durrell's Alexandria Quartet.
---. "The Mechanisms of Space-Time in The Alexandria Quartet." Caliban 7 (1970): 79-97.
Lemon, Lee T. "The Alexandria Quartet: Form and Fiction." Wisconsin Studies in Contemporary Literature 4.3 (1963): 327-38.
---. "Durrell, Derrida, and the Heraldic Universe." Lawrence Durrell: Comprehending the Whole. Eds Julius Rowan Raper, Melody L. Enscore, and Paige Matthey Bynum. Columbia: University of Missouri Press, 1995. 62-69.
---. "Durrell's Major Works: Classic Forms for Our Time." Into the Labyrinth: Essays on the Art of Lawrence Durrell. Ed. Frank L. Kersnowski. Ann Arbor: UMI Research Press, 1989. 151-62.
---. "The Imagination of Reality: The Reality of Imagination." Deus Loci: The Lawrence Durrell Journal NS 1 (1992): 37-44.
---. "Lawrence Durrell: The Uses of Uncertainty." Portraits of the Artist in Contemporary Fiction. Lee T. Lemon. Lincoln: University of Nebraska Press, 1985. 1-43.
Lennon, John M. "Pursewarden's Death: A Stray Brick From Another Region." Modern Language Studies 4.1 (1976): 22-28.
Leonard, F. S., and Jennifer L. Leonard. "The Pivotal Role of the Invert: A Comparison of the Quartets of Lawrence Durrell and Paul Scott." Deus Loci: The Lawrence Durrell Journal NS 1 (1992): 91-96.
Lerman, Leo. "Prelude to the Quartet." Saturday Review 43 (1960).
---. "Shifting Prisms in a Durrell Scape." Saturday Review 42.21 March (1959): 26-27.
Leslie, Ann. "This Infuriating Man -- Lawrence Durrell." Irish Digest 82 (1965): 67-70.
Levidova, I. "A 'Four-Decker' in Stagnant Waters." Anglo-Soviet Journal 23.Summer (1962): 39-41.
Levitt, Morton P. "Art and Correspondences: Durrell, Miller, and The Alexandria Quartet." Modern Fiction Studies 13.3 (1967): 299-318.
Lewis, Nancy W. "The Alexandria Quartet and the Motion of the Field: Drifting, Exploding, Regrouping." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 145-54.
---. "Lawrence Durrell and Olivia Manning: Egypt, War, and Displacement." Deus Loci: The Lawrence Durrell Journal NS 4 (1995-1996): 97-104.
---. "Two Thematic Applications of Einsteinian Field Structure in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 242-43.
---. "Two Thematic Applications of Einsteinian Field Structure in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 6.1 (1982): 1-10.
Lewis, Nancy Whyte. "Lawrence Durrell's Alexandria Quartet and the Rendering of Post-Einsteinian Space." Diss. University of Wisconsin-Madison, 1976.
Lewis, Tina. "Commentary." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 171.
Lillios, Anna. "The Alexandrian Mirages of Durrell and Cavafy." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 120-28.
---, Ed. Lawrence Durrell and the Greek World. London: Associated University Presses, 2004.
Lillios, Anna. "Love in Lawrence Durrell's Alexandria Quartet." diss. University of Iowa.
Lis, Merleen O'Connor. "The Writer's Digest Interview: Lawrence Durrell." Writer's Digest 55 (1975): 18-20.
Lodge, David. "Le Roman Contemporain En Agnleterre." La Table Ronde .179 (1962): 80-92.
Lombardo, Agostino. "Il Quartetto Di Alessandria." Terza Programma (Rome) 6 (1962): 186-92.
Lorenz, Paul H. "The Alexandria Quartet in Family Therapy." Deus Loci: The Lawrence Durrell Journal NS 5 (1997): 210.
---. "From Pub Story to a Story of Civilization: The Evolution of Lawrence Durrell's Egypt." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 39-52.
---. "Melissa: From Conon the Philosopher to the Banker Affad and Beyond." Deus Loci: The Lawrence Durrell Journal NS 3 (1994): 60-74.
Lorenz, Paul H. "Technology and Survival in the World of Self in the Fiction of Lawrence Durrell." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 155-64.
Lowenkron, David Henry. "The Metanovel." College English 38.4 (1976): 343-55.
Lund, Mark. "Query, What's Been Made of Virginian Woolf?" Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 240-41.
Lund, Mark F. "Sackcloth to Cloth-of-Gold: Durrell's Alchemical Quartet." Deus Loci: The Lawrence Durrell Journal NS 1 (1992): 45-56.
Lund, Mary Graham. "The Alexandrian Projection." Antioch Review 21.2 (1961): 193-204.
---. "The Big Rock Crystal Mountain." Four Quarters 11.May (1962): 15-18.
---. "Eight Aspects of Melissa: An Air of Mystery." Forum (University of Houston) 3.9 (1962): 18-22.
---. "Submerge for Reality: The New Novel Form of Lawrence Durrell." Southwest Review 44 (1959): 229-35.
---. "The Winepress of Love." Liberation Summer (1958): 31-33.
Lytle, Andrew Nelson. "The Hero With the Private Parts." The Hero With the Private Parts: Essays. Andrew Nelson Lytle. Baton Rouge: Louisiana State University Press, 1966. 42-59.
Notes: Ruth. North.
Mablekos, Carole Marbes. "The Artist As Hero in the Novels of Joyce Cary, Lawrence Durrell, and Anthony Burgess." Diss. Purdue University, 1974.
Mabro, Robert. "Alexandria 1860-1960: The Cosmopolitan Identity." Alexandria: Real and Imagined. Eds. Anthony Hirst and Michael Silk. Aldershot: Ashgate Publishing Ltd., 2004. 247-62.
Mackworth, Cecily. "Lawrence Durrell and the New Romanticism." Twentieth Century 167.March (1960): 203-13.
Notes: Reprinted in Moore, Harry T., Ed. The World of Lawrence Durrell. New York: E.P. Dutton & Co., Inc.; 1964; pp. 24-37.
---. "Lawrence Durrell and the New Romanticism." The World of Lawrence Durrell. Ed Harry T. Moore. New York: E.P. Dutton & Co., Inc., 1962. 24-37.
Notes: Reprinted from Twentieth-Century 167 (March 1960), 203-213.
Maclay, Joanna Hawkins. "The Interpreter and Modern Fiction: Problems of Point of View and Structural Tensiveness." Studies in Interpretation. Esther M. Doyle and Virginia Hastings Floyd. Amsterdam: Rodopi, 1972. 155-69.
MacNiven, Ian S. "A Room in the House of Art: The Friendship of Anais Nin and Lawrence Durrell." Mosaic: A Journal for the Interdisciplinary Study of Literature 11.2 (1978): 37-57.
Notes: The journal issue also contains a photo of Durrell and the image of a letter about Nin in his hand on page 35.
MacNiven, Ian S., Mark F. Lund, and James R. Nichols. "Commentary." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 127-28.
Mandel, Siegried. "In Search of the Senses." Saturday Review 40.21 September (1957): 39-40.
Manzalaoui, Mahmoud. "Curate's Egg: An Alexandrian Opinion of Durrell's Quartet." Etudes Anglaises 15.3 (1962): 248-60.
Manzalaoui, Mahmoud. "Curate's Egg: An Alexandrian Opinion of Durrell's Quartet." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 144-57.
Notes: Reprinted from : Etudes Anglaises 15.3 (1962), 248-260. Name is Mis-spelled as Manzaloui in the Friedman text.
Manzalaoui, Mahmoud. "Mouths of the Sevenfold Nile: Modern Egypt in English Fiction." Studies in Arab History: The Antonius Lectures, 1978-87. Ed. Derek Hopwood. New York: St. Martin's Press, 1990. 131-50.
Massoud, Mary. "Mahfuz's Miramar: A Foil to Durrell's Quartet." Images of Egypt in Twentieth Century Literature. Ed. Hoda Gindi. Cairo: University of Cairo, Department of English Language & Literature, Faculty of Arts, 1991. 91-101.
Matthews, John. "Threading the Maze." Labrys 5 (1979): 1-4.
Notes: Introduction to Labrys special issue on Durrell.
Maynard, John. "On Desert Ground: Ondaatje's The English Patient, Durrell, and the Shifting Sands of Critical Typologies." Deus Loci: The Lawrence Durrell Journal NS 5 (1997): 66-74.
McCarthy, Laurie Lind. "The Structural Continuum of Lawrence Durrell's Alexandria Quartet." Thes. Memorial University of Newfoundland, 1968.
McCarthy, Shaun. "Lost Alexandria: Cavafy, Durrell and the City of God." Journal of English (Yemen) 14 (1986): 21-39.
McCray, Suzanne Denise. "The Beast in the City: Animal Imagery in Lawrence Durrell's The Alexandria Quartet." Diss. University of Tennessee, 1991.
McDonald, Robert. "Lawrence Durrell: Classical Puppeteer." Descant (Toronto) 14 (1976): 52-67.
Notes: This interview is reprinted in Earl Ingersoll's Lawrence Durrell: Conversations. Cranbury, NJ: Ashgate; 1998. 149-162.
McDowell, Frederick P. W. "Recent British Fiction: Some Established Writers." Contemporary Literature 11.3 (1970): 401-31.
Notes: This is basically an extended review article, but is interesting for its careful and positive evaluation of Tunc as well as the comparisons and juxtaposition it makes between Durrell and other contemporary British authors, such as William Golding and Iris Murdoch.
McMahon, Joseph H. "Where Does Real Life Begin?" Yale French Studies 35 (1965): 96-113.
Meier, Candice Sue. "Reality and Truth in The Alexandria Quartet." da. Drake University.
Mellard, Joan. "The Unity of Lawrence Durrell's Alexandria Quartet." Linguistics in Literature 1.1 (1975): 77-143.
Notes: Mellard uses a variety of linguistic analyses to demonstrate unity in Durrell's Alexandria Quartet. Based around an archetypal framework for reading the novels, she uses lexical accounts and collocations to show unity among the volumes, as well as the importance of the lexical groups formed around the archetypally loaded images of the mirror, circle or mask, bubble and water. This analysis is especially effective in connecting the mirror in Justine to water in Clea, as well as emphasizing death and rebirth imagery as a cohesive whole throughout the volumes.
Merrick, Gordon. "Will Lawrence Durrell Spoil America?" New Republic 138.26 May (1958): 20-21.
Michot, Paulette. "Lawrence Durrell's Alexandria Quartet." Revue Des Langues Vivantes 26.5 (1960): 361-67.
Middleton, Christopher. "The Heraldic Universe." Critical Essays on Lawrence Durrell. Ed Alan Warren Friedman. Boston: G.K Hall & Co., 1987. 15-21.
Miller, Karl. "Poet's Novels." Listener 61 (1959): 1099-100.
Mills, Judith H. "Lawrence Durrell's Alexandria Quartet: A Study of Characterization." Thes. Queen's University, 1965.
Misiego, Micaela. "Lawrence Durrell y Su Alexandria Quartet." Filologia Moderna 37 (1969): 59-71.
Montalbetti, Jean. "Lawrence Durrell, En Dix Mouvements." Magazine Litteraire (Paris) 210.Septembre (1984): 78-85.
Moore, Harry T. "Including a Tank of Very Odd Fish." New York Times Book Review .18 September (1960): 4.
Notes: Reprinted as "Durrell's Black Book" in Moore, Harry T., Ed. The World of Lawrence Durrell. New York: E.P. Dutton & Co., Inc.; 1964; pp. 100-102.
Morcos, Mona Louis. "Elements of the Autobiographical in The Alexandria Quartet." Modern Fiction Studies 13.3 (1967): 343-59.
Morgan, Thomas B. "The Autumnal Arrival of Lawrence Durrell." Esquire 54.September (1960): 108-11.
Morris, Robert K. "Lawrence Durrell: The Alexandria Quartet: Art and the Changing Vision." Continuance and Change: The Contemporary British Novel Sequence. Robert K. Morris. Carbondale: Southern Illinois University Press, 1972. 51-70.
Morrison, James Raymond. "Time Structure in the Works of Lawrence Durrell." Diss. University of Toronto, 1973.
Morrison, Ray. "The Influence of Otto Rank on Lawrence Durrell's The Dark Labyrinth, Sappho and The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 135-44.
---. "'A Mirror Reference to Reality': Justine As a Schopenhauerian Woman in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 42-50.
Notes: Response & discussion, 52-62
---. "Mirrors and the Heraldic Universe in Lawrence Durrell's The Alexandria Quartet." Twentieth Century Literature: A Scholarly and Critical Journal 33.4 (1987): 499-514.
Mullins, Edwin. "On Mountolive." Two Cities 1 (1959): 21-24.
Musumarra, Adriana. "Mito e Metafora Nell'Alessandria Di Durrell." Studi Inglesi: Raccolta De Saggi e Ricerche. Ed. Agonstino Lombardo. Bari: Adriatica, 1978. 321-52.
Nambiar, C. Ravindran. "The Resonance of India in the Novels of Durrell." Literary Criterion 27.1-2 (1992): 43-49.
Neuhaus, Volker. "Lawrence Durrells "The Alexandria Quartet"." Typen Multiperspektivischen Erzählens. Volker Neuhaus. Köln: Böhlau, 1971. 150-59.
Notes: In German. Durrell is mentioned briefly in the conclusion of the work as well.
Nichols, James R. "Lawrence Durrell's Alexandria Quartet: The Paradise of Bitter Fruit." Deus Loci: The Lawrence Durrell Quarterly 3.2 (1979): 9-16.
Notes: Reprinted in Deus Loci 5.SI 1 (1981): 224-234.
---. "The Paradise of Bitter Fruit: Lawrence Durrell's Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 224-34.
---. "The Risen Angels in Durrell's Fallen Women: The Fortunate Fall and Calvinism in Lawrence Durrell's Quincunx and The Alexandria Quartet." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed Begnal Michael H. Lewisburg: Bucknell University Press, 1990. 179-86.
---. "Sunshine Dialogues: Christianity and Paganism in the Works of Lawrence Durrell." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 129-34.
Nittis, Dion Whitney. "The Heraldic Universe of Lawrence Durrell." Diss. University of California, Los Angeles, 1971.
Notes: Contains the transcript of a letter from Durrell to Nittis.
Nordell, Rod. "'Relativity' in the Novel." Christian Science Monitor .26 March (1959): 11.
O'Brien, R. A. "Time, Space, and Language in Lawrence Durrell." The Waterloo Review 6 (1961): 16-24.
Olin-Ammentorp, Warren Lee. "The Epinovel: A Study Of Modern British Fiction In Forms Longer Than The Novel." Diss. University of Michigan.
Olson, Danel. "Sex and Comedy in Lawrence Durrell's Avignon Quartet." Essays on the Humor of Lawrence Durrell. Eds. Betsy Nichols, Frank Kersnowski, and James Nichols. Victoria: University of Victoria Press, 1993. 92-101.
Operajita, Oopalee. "The Love Ethic of Lawrence Durrell in The Alexandria Quartet.". Dalhousie University, 1982.
Orfalea, Gregory. "Literary Devolution: The Arab in the Post-World War II Novel in English." Journal of Palestine Studies 17.2 (1988): 109-28.
Ozana, Anna. "Auf Dem Wege Zum Modernen Roman: Gedanken Bei Der Lekture Der Romane Lawrence Durrells." Welt and Wort 14 (1959): 237-42.
Palade Karalanian, Michaela Rodica. "Literature and Culture: Time Structure in The Alexandria Quartet by Lawrence Durrell and The Sea of Fertility by Yukio Mishima." Diss. State University of New York, 1991.
Palmer, D. N. "A Study of Love and Nationality in Lawrence Durrell's Alexandria Quartet and the Teaching of It to Greek University Students." Thes. London, Institute of Education, 1975.
Papayanis, Marilyn L. "From the Metropolis to the Margins: The Ethics of Expatriation From Lawrence to Ondaatje." Diss. Rutgers, 2001.
Notes: Durrell, with D.H. Lawrence and Paul Bowles, is identifiied a s key focus. ISBN: 0-493-56755-0 DAI: 63/02
Peaden, Cecil L. comp. "The Alexandria Quartet: An Annotated Bibliography of English-Language Criticism." Deus Loci: The Lawrence Durrell Journal NS 3 (1994): 173-259.
Peirce, Carol. "The Alexandria Quartet." Reference Guide to English Literature. Ed. D. L. Kirkpatrick. 2nd ed. Vol. 3. Chicago: St. James, 1991. 1452-53.
---. "The Alexandria Quartet: A Key to Modern Literature." Deus Loci: The Lawrence Durrell Quarterly 5.1 (1980): 123-44.
---. "Durrell's Festive Comedy: 'Very Reverent Sport'." Essays on the Humor of Lawrence Durrell. Eds. Betsy Nichols, Frank L. Kersnowski, and James R. Nichols. Victoria, BC: University of Victoria Press, 1993. 22-40.
Peirce, Carol. "East and West: Current Critical Responses to The Alexandria Quartet." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 125-41.
Peirce, Carol. "A Fellowship in Time: Durrell, Eliot, and the Quest for the Grail." Lawrence Durrell: Comprehending the Whole. Ed Julius Rowan Raper, Melody L. Enscore, and Paige Matthey Bynum. Columbia: University of Missouri Press, 1995. 70-81.
---. "'A Lass Unparalled'd': The Memory of Shakespeare's Cleopatra in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 173-82.
---. "The Long Shadow of D.H. Lawrence on Lawrence Durrell's Alexandria Quartet." D.H. Lawrence: The Cosmic Adventure: Studies of His Ideas, Works, and Literary Relationships. Ed. Lawrence Gamache. Nepean, Ontario: Borealis Press, 1996. 34-47.
Notes: Essay based on a paper from the Fifth International D.H. Lawrence Conference held at the University of Ottawa, Canada, June 24-28, 1993.
---. "'One Other Gaudy Night': Lawrence Durrell's Elizabethan Quartet." Into the Labyrinth: Essays on the Art of Lawrence Durrell. Ed. Frank L. Kersnowski. Ann Arbor: UMI Research Press, 1989. 101-15.
Notes: Expansion of "A Lass Unparallel'd" Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 173-182.
---. "'Past the Size of Dreaming': The Alexandria Quartet Then and Now." CEAMagazine: A Journal of the College English Association 12 (1999): 49-59.
---. "Pynchon's V. and Lawrence Durrell's Alexandria Quartet." Pynchon Notes 8 (1982): 23-29.
---. "A Reading of Durrell's Map: John Wain's Oxford Lecture." Deus Loci: The Lawrence Durrell Newsletter 3.2 (1979): 3-8.
---. "'Rhythms of Memory' Discovery of Lawrence Durrell." Passager 5 (1991): 8-13.
---. "Some Worthwhile Work to Be Done: Is Nessim the Leader of the World Today?" Deus Loci: The Lawrence Durrell Journal NS 2 (1993): 164-66.
---. "That 'One Book There, a Plutarch': Of Isis and Osiris in The Alexandria Quartet." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed. Michael H. Begnal. Lewisburg: Bucknell University Press, 1990. 79-92.
---. "'To Travel by Moonlight As Well As Sunlight': Nin's Theory of the Novel and Durrell's Alexandria Quartet." Anais Nin: A Book of Mirrors. Ed. Paul Herron. Huntington Woods, Michigan: Sky Blue Press, 1996. 311-19.
---. "'Wrinkled Deep in Time': The Alexandria Quartet As Many-Layered Palimpsest." Deus Loci: The Lawrence Durrell Newsletter 2.4 (1979): 11-28.
Notes: Expanded and reprinted in Twentieth Century Literature 33.4 (1987), 485-498.
---. "'Wrinkled Deep in Time': The Alexandria Quartet As Many-Layered Palimpsest." Twentieth Century Literature: A Scholarly and Critical Journal 33.4 (1987): 485-98.
Pelletier, Jacques. Le Quatour D'Alexandrie De Lawrence Durrell [Lawrence Durrell's Alexandria Quartet]. Paris: Hachette, 1975.
Peltzer, Federico. "Lawrence Durrell, Nostalgia De Su Cuarteto." Suplemento Literario La Nacion (Buenos Aires) .31 May (1991): 6.
Perles, Alfred. My Friend Lawrence Durrell: An Intimate Memoir on the Author of The Alexandria Quartet. Northwood, Middlesex: Scorpion Press, 1961.
---. My Friend Lawrence Durrell: An Intimate Memoir on the Author of The Alexandria Quartet. 1961. London: Village Press, 1973.
Peters, John U. "The Incense of Homage." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 58-68.
Petrulian, Catrinel Plesu. "Lawrence Durrell's Quartet." Revista De Istorie Si Teorie Literara 25 (1976): 397-401.
Pharand, Michel W. "Eros Agonistes: The Decay of Loving in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Journal NS 1 (1992): 61-71.
Philippe, Murielle. "'You Begin to Paint It for Yourself in Words': L'Ecriture Picturale De Durrell, Naissance Et Devenir." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 203-23.
Phillips-Peckosh, Claire Ellen. "Gender and Determinancy in the Space-Time Continuum: A Study of Lawrence Durrell's The Alexandria Quartet." thes. North East Missouri State University, 1989.
Notes: 1338351
Pinchin, Jane Lagoudis. Alexandria Still: Forster, Durrell and Cavafy. Princeton Essays in Literature. Princeton: Princeton University Press, 1977.
---. "Durrell's Fatal Cleopatra." Deus Loci: The Lawrence Durrell Newsletter 5.SI 1 (1981): 24-39.
Notes: Proceedings of the First National Lawrence Durrell Conference. Reprinted in Modern Fiction Studies 28.2 (1982), 229-236 -- and in Friedman Critical Essays on Lawrence Durrell, 1987.
---. "Durrell's Fatal Cleopatra." Modern Fiction Studies 28.2 (1982): 229-36.
---. "It Goes on Being Alexandria Still: C.P. Cavafy and the English Alexandrians." Diss. Columbia University, 1973.
Notes: Revised and published as Pinchin's Alexandria Still.
Pinchin, Jane Lagoudis, and Joan Rodman response Goulianos. "Durrell's Fatal Cleopatra." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 24-39.
Notes: Response and discussion, pp. 52-62.
Pine, Richard. "The 'Aquarians'." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 61-69.
---. The Dandy and the Herald: Manners, Mind and Morals From Brummell to Durrell. New York: St. Martin's, 1988.
Pine, Richard. "Nostos: The Durrells and Corfu." The Anglo-Hellenic Review 26 (2002): 3-5.
Powell, Lawrence Clark. "Durrell in Dallas." The Little Package: Pages on Literature and Landscape From a Traveling Bookman's Life. Lawrence Clark Powell. Cleveland: World, 1964. 122-24.
---. "Talismans for Travellers." The Little Package: Pages on Literature and Landscape From a Traveling Bookman's Life. Lawrence Clark Powell. Cleveland: World, 1964. 172-79.
Pritchett, V. S. "Alexandrian Hothouse." The Living Novel and Later Appreciations. V. S. Pritchett. New York: Random House, 1964. 303-09.
Notes: Also appears in Pritchett's The Working Novelist. London: Chatto & Windus, 1965. 30-35.
---. "Alexandrian Hothouse." The Working Novelist. V. S. Pritchett. London: Chatto & Windus, 1965. 30-35.
Notes: Also appears in Pritchett's The Living Novel and Later Appreciations. New York: Random House, 1964. pp. 303-309.
---. "The Sun and the Sun-Less." New Statesman 59.13 February (1960): 223-24.
Proser, Matthew N. "Darley's Dilemma: The Problem of Structure in Durrell's Alexandria Quartet." Critique: Studies in Modern Fiction 4.2 (1961): 18-28.
Quinn, Patrick. ""More Than a Fascination With the Divine Marquis": John Fowles's The Magus and Lawrence Durrell's The Alexandria Quartet." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 270-84.
Raper, Julius Rowan. "Durrell's Justine and Fowles's The Collector As Late Modernist Novels: Why the Postmodern?" Deus Loci: The Lawrence Durrell Journal NS 7 (1999-2000): 70-92.
---. "Lawrence Durrell's Balthazar (1958): Breaking the Modernist Mold." Deus Loci: The Lawrence Durrell Journal NS 2 (1993): 69-84.
Raper, Julius Rowan, Melody L. Enscore, and Paige Matthey Bynum, Eds. Lawrence Durrell: Comprehending the Whole. Columbia: University of Missouri Press, 1995.
Rashidi, Linda Stump. "Beyond Mere Words: Duality, Reality, and Linguistic Structure in Balthazar." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 95-118.
Rashidi, Linda Stump. "Complexity of Reality in Lawrence Durrell's The Alexandria Quartet." Systemic Perspectives on Discourse Vol 2. Eds. James Benson and William Greeves. Vol. 2. New Jersey: Ablex Publishing Corporation, 1985. 204-24.
Rashidi, Linda Stump. "Durrell As Magical Realist." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 117-23.
Rashidi, Linda Stump. "Linguistic Signals of Activeness and Passiveness in Lawrence Durrell's The Alexandria Quartet." The Ninth LACUS Forum 1982. Columbia, SC: Hornbeam Press, for the Linguistic Association of Canada and the United States, 1983. 405-12.
Read, Phyllis J. "The Illusion of Personality: Cyclical Time in Durrell's Alexandria Quartet." Modern Fiction Studies 13.3 (1967): 389-99.
Reibling, Christopher Robert. "In the Stud Book and Everything: Femme Fatality and the Word in Twentieth Century Anglo-American Fiction." Diss. York University, 1991.
Reilly, Robert J. "Henry James and the Morality of Fiction." American Literature 39.1 (1967): 1-30.
Rexroth, Kenneth. "The Comic Spirit." Atlantic Monthly 202.September (1958): 80-81.
---. "The Footsteps of Horrace." Nation 184.18 May (1957): 444.
---. "Lawrence Durrell." Assays. Kenneth Rexroth. Norfolk: New Directions, 1961. 118-30.
Notes: reprinted in Friedman Critical Essays on Lawrence Durrell. Consists of three reviews.
---. "Lawrence Durrell." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 15-30.
---. "What Is Wrong With Durrell?" Nation 190.4 June (1960): 493-94.
Richardson, K. R. "A Critical Examination of Lawrence Durrell's Alexandria Quartet, With Particular Reference to the Influence on Content and Form of Durrell's 'Heraldic Universe', and His Interests in Physics and Psychology." Thes. University of London, Birkbeck College, 1976.
Richardson, Ken. "Space-Time and Relativity in 'The Alexandria Quartet'." Labrys 5 (1979): 111-39.
Rieger-Pratt, Anna. "Lawrence Durrell's « Alexandria Quartet »: A « Novelist's Novel »?" Kwartalnik Neofilologiczny 28.3-4 (1981): 357-67.
Rippier, Joseph S. "Introduction." Some Postwar British Novelists. Joseph S. Rippier. Frankfurt/Main: Verlag Moritz Diesterweg, 1965. 5-18.
Notes: Durrell is discussed, generally, in the context of post-WWII British authors, including Golding, Murdoch and Snow.
---. "Lawrence Durrell." Some Postwar British Novelists. Joseph S. Rippier. Frankfurt/Main: Verlag Moritz Diesterweg, 1965. 106-37.
Ritchie, Harry. Success Stories: Literature and the Media in England, 1950-1959. London: Faber & Faber, 1988.
Notes: See pages 198 and 214.
Robillard, Douglas Jr. "The Alchemist of The Alexandria Quartet." Cauda Pavonis: The Hermetic Text Society Newsletter 8.2 (1989): 7-9.
---. "In the Capital of Memory: The Alexandria of Durrell and Cavafy." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 78-87.
Robinson, Jeremy. Lawrence Durrell: Between Love and Death, Between East and West. Kidderminster, Worcester, England: Crescent Moon, 1995.
Robinson, Jeremy. "Love, Culture, and Poetry." Into the Labyrinth: Essays on the Art of Lawrence Durrell. Ed. Frank L. Kersnowksi. Ann Arbor: UMI Research Press, 1989. 141-50.
---. Love, Culture & Poetry: A Study of Lawrence Durrell. Kidderminster, Worcester, England: Crescent Moon, 1990.
Notes: An extended version of an essay originally appearing in Into the Labyrinth: Essays on the Art of Lawrence Durrell. Rather rough bookmaking.
Robinson, W. R. "Intellect and Imagination in The Alexandria Quartet." Shenandoah 18.4 (1967): 55-68.
Robson, W. W. Modern English Literature. London: Oxford University Press, 1970.
Rodenbeck, John. "Alexandria in Cavafy, Durrell, and Tsirkas." Alif: Journal of Comparative Poetics (2001): 141-62.
Rodenbeck, John. "Literary Alexandria." Massachusetts Review 42.4 (2002): 524-72.
Roessel, David. ""Cut in Half As It Was": Editorial Excisions and the Original Shape of Reflections on a Marine Venus." Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 64-77.
---. In Byron's Shadow: Modern Greece in English & American Literature From 1770 to 1967. New York: Oxford University Press, 2002.
Notes: Durrell is discussed most extensively in the Introduction and Conclusion.
---. "A Passage Through Alexandria: The City in the Writing of Durrell and Forster." Alexandria: Real and Imagined. Eds. Anthony Hirst and Michael Silk. Aldershot: Ashgate Publishing Ltd., 2004. 323-35.
Rohan, Jean-Pierre de. "Lawrence Durrell." Book and Magazine Collector .47 (1988): 22-29.
Notes: Contains a review of Durrell's publishing career, with a particular emphasis on British editions. Contains a bibliography of book publications in the UK of Durrell's materials, as well as a pricing guide for these works.
Roht, Toivi. "The Narrative Quest: An Interpretation of Lawrence Durrell's Alexandria Quartet." Thes. Queen's University, 1968.
Rolin, Gabrielle. "Lawrence Durrell." Realites .280 (1969): 5-17.
Rolo, Charles. "Fiction Chronicle." Atlantic Monthly 202.September (1958): 80-81.
---. "Reader's Choice." Atlantic 203.April (1959): 134.
Romberg, Bertil. "The Alexandria Quartet." Studies in the Narrative Technique of the First-Person Novel. Bertil Romberg. Stockholm: Almqvist & Wiksell, 1962. 277-308.
---. "The Alexandria Quartet." Studies in the Narrative Techniques of the First-Person Novel. Bertil Romberg. Folcroft: Folcroft Library Editions, 1974. 277-308.
Notes: Reprint of same (Stockholm: Almqvist & Wiskell, 1962).
Rook, Robin. At the Foot of the Acropolis: A Study of Lawrence Durrell's Novels. Birmingham, England: The Delos Press, 1995.
---. Lawrence Durrell's Double Concerto. Birmingham, England: Delos Press, 1990.
Rose, John M. "Durrell and Plotinus: Mapping the City, Mapping Life." Deus Loci: The Lawrence Durrell Journal NS 5 (1997): 75-89.
---. "Multiple Truths and Multiple Narratives: Nietzsche's Perspectivism and the Narrative Structure of The Alexandria Quartet." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 215-38.
Rubrecht, Werner Hermann. Durrells Alexandria Quartet. Struktur Als Bezugssystem, Sichtung Und Analyse. Berne: Franck, 1972.
Rumens, Carol. "Eros and Thanatos in Alex." The Observer .23 October (1983): 32.
Notes: Review of Constance and The Alexandria Quartet.
Ruprecht, Walter Hermann. Durrells Alexandria Quartet: Struktur Als Belzugssystem. Sichtung Und Analyse. Swiss Studies in English 72. Berne: Francke Verlag, 1972.
Russo, John Paul. "Love in Lawrence Durrell." Prairie Schooner 43.4 (1969): 396-407.
Sajavaara, Kari. Imagery in Lawrence Durrell's Prose. Mémoires De La Société Néophilologique De Helsinki 35. Helsinki: Société Néophilologique, 1975.
Notes: Sajavaara offers a detailed study of imagery in Durrell's works, as well as how imagery and theme interact.
Sanchez-Garcia, Jesus M. "Algunas Taxonomias Del Lexico De Las Emociones y Su Pertinencia Para El Corpus Lexico De Un Estudio Traductologico Ingles-Espanol." Cuadernos De Investigacion Filologica (Spain) 21-22 (1995): 89-118.
---. "Desplazamientos Lexico-Semanticos y Efectos Macroestructurales En La Traduccion Espanola De The Alexandria Quartet: Topologia Conceptual." Miscelanea: A Journal of English and American Studies 16.189-213 (1995): 231-32.
Sanchez Mayans, Fernando. "Miller y Durrell Publican Su Correspondencia." Nivel 44.3 (1966): 8.
Savinel, Christine. "Postface: « Le Quatuor D'Alexandrie », Masque Et Rhapsodie." Le Quatuor D'Alexandrie. Lawrence Durrell. Paris: La Pochothèque, 1992. 1007-26.
Scholes, Robert. "Lawrence Durrell and The Return to Alexandria." The Fabulators. Robert Scholes. New York: Oxford University Press, 1967. 17-31.
Notes: Reprint of - Scholes, Robert. "Return to Alexandria: Lawrence Durrell and Western Narrative Tradition." Virginia Quarterly Review 40 (Summer 1964), 411-420.
---. "Lawrence Durrell and the Return to Alexandria." Fabulation and Metafiction. Robert Scholes. Urbana: University of Illinois Press, 1979. 28-36.
Notes: reprinted
---. "Return to Alexandria: Lawrence Durrell and Western Narrative Tradition." The Virginia Quarterly Review 40.3 (1964): 411-20.
Notes: Reprinted in Scholes, The Fabulators
Scholes, Robert. "The Revival of Romance: Lawrence Durrell 1967." The English Novel: Developments in Criticism Since Henry James: A Casebook. Ed. Stephen Hazell. London: Macmillan, 1978. 125-35.
Schwerdt, Lisa. "Coming of Age in Alexandria: The Narrator." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 210-21.
Seigneurie, Kenneth Eric. "Space and the Colonial Encounter in Lawrence Durrell, Out El-Kouloub and Naguib Mahfouz (Egypt)." Diss. University of Michigan, 1996.
Notes: DAI: DA9610235
Serpieri, Alessandro. "Il Quartetto Di Alessandria Di Lawrence Durrell." Ponte 18 (1962): 48-57.
Sertoli, Giuseppe. Lawrence Durrell. Civilta Letteraria Del Novecento: Sezione Inglese - Americana 6. Milano: University of Mersia, 1967.
Servotte, Herman. "The Alexandrian Quartet Van Lawrence Durrell." Dietsche Warande En Belfort 108 (1963): 646-58.
Shifreen, Lawrence J. "Faction in the Villa Seurat." Deus Loci: The Lawrence Durrell Quarterly 5.2 (1981): 1-19.
Siegumfeldt, Inge Birgitte. "Lawrence Durrell's Southbound Train: The Disorientation of the Reader in The Avignon Quintet." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 109-23.
Skordili, Beatrice. "The Author and the Demiurge: Gnostic Dualism in The Alexandria Quartet." Agora: An Online Graduate Journal 3.1 (2004)): 1-21.
Notes: Online http://www.humanities.ualberta.ca/agora/images/214.htm
---. "The Case of the Missing Green Fingerstall: Durrell's Quasi-Relativistic Poetics." Lawrence Durrell Revisited : Lawrence Durrell Revisité. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris X, 2002. 155-66.
---. "Two Optical Apparatuses in The Alexandria Quartet." In-Between: Essays and Studies in Literary Criticism 11.2 (2002): 223-40.
Sligh, Charles L. "Reading the Divergent Weave: A Note and Some Speculations on Durrell and Cortazar." Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 118-32.
Smith, Romayne Chaloner. "The Shape of the Fluid in Lawrence Durrell's The Alexandria Quartet." MA Thesis. University of Western Ontario.
Smith, Rowland. "Service in Exile: Poets Abroad in Wartime." The Dalhousie Review 75.1 (1995): 81-97.
Notes: While essentially a review article, Smith engages extensively with the Alexandria Quartet and adds to Bowen's initial work in "Many Histories Deep": The Personal Landscape Poets in Egypt, 1940-45. Madison: Farleigh Dickinson University Press, 1995.
Smyth, W. F. "Lawrence Durrell: Modern Love in Chamber Pots and Space Time." Edge (Edmonton) 2.Spring (1964): 105-16.
Sobhy, Soad Hussein. "Alexandria As Groddeck's It." Deus Loci: The Lawrence Durrell Journal NS 6 (1998): 26-39.
Notes: Preceded by posthumous tributes to the author by Dr. Zeinab Raafat and Dr. Aleya Said.
Sobhy, Soad Hussein. "The Fabulator's Perspective on Egypt in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Journal NS 4 (1995-1996): 85-96.
---. "Lawrence Durrell's Heraldic Universe." Gombak Review: A Biannual Publication of Creative Writing and Critical Comment 3.1 (1998): 1-18.
Spencer, Sharon. "Dialogues, Drifting, and Otto Rank: A Response." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 155-58.
St. Aubyn, F. C., and Michel Butor. "Entretien Avec Michel Butor." The French Review 36.1 (1962): 12-22.
Stahl, Fa. "Physics As Metaphor and Vice-Versa." Leonardo 20.1 (1987): 57-64.
Steinberg, Theodore L. "Lawrence Durrell's Postmodern Epic." Deus Loci: The Lawrence Durrell Journal NS 7 (1999-2000): 58-69.
Steiner, George. "Lawrence Durrell and the Baroque Novel." Language and Silence: Essays on Language, Literature, and the Inhuman. George Steiner. New York: Atheneum, 1967. 280-87.
Notes: Reprinted from Yale Review 49 (1960): 488-495 and Friedman's Critical Essays on Lawrence Durrell.
---. "Lawrence Durrell: The Baroque Novel." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 13-23.
Stevenson, Lionel. Yesterday and After. New York: Barnes & Noble, 1967.
Notes: See pages 387-390.
Stevenson, Randall. "The Game of Mirrors: Lawrence Durrell and John Fowles." The British Novel Since the Thirties. Randall Stevenson. London: B.T. Batsford, Ltd., 1986. 203-09.
Stewart, Jack. "Soundscapes, Smellscapes, and Cityscapes in The Alexandria Quartet." Lawrence Durrell and the Greek World. Ed. Anna Lillios. London: Associated University Presses, 2004. 129-44.
Stoneback, H. R. "Still on the Road With Durrell: Lawrence Durrell and / in Popular Culture." Lawrence Durrell: Actes Du Colloque Pour L'Inauguration De La Bibliothèque Durrell. Ed. Corinne Alexandre-Garner. Nanterre, France: Université Paris-X, 1998. 263-76.
Stoneback, Harry R. "Et in Alexandria Ego: Lawrence Durrell and the Spirit of Place." Mid-Hudson Language Studies 5 (1982): 115-28.
Stromberg, Robert L. "The Contribution of Relativity to the Inconsistency of Form in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Quarterly 5.SI 1 (1981): 246-56.
Sullivan, Nancy. "Lawrence Durrell's Epitaph for the Novel." The Personalist: An International Review of Philosophy 44.1 (1963): 79-88.
Sutton, D. C. "Mythological Writing in the Modern Novel, With Special Reference to Samuel Beckett, Mervyn Peake and Lawrence Durrell." Diss. CNAA University, 1978.
Swedan, Nahla. "Time and Structure in The Alexandria Quartet: Einstein and Narrative Perspective." Deus Loci: The Lawrence Durrell Journal NS 4 (1995-1996): 73-84.
Sykes, Gerald. "Alexandria Revisited." New York Times Book Review .24 August (1958): 4.
---. "It Happened in Alexandria." New York Times Book Review .25 August (1957): 4.
---. "A Tapestry Woven in Alexandria: In Lyrical Prose a Novelist Depicts One Man's Quest for Life's Meaning." New York Times Book Review .3 April (1960): 1, 28.
Takamatsu, Yuichi. "Monogatari Sakusha Dareru No Jikken." Eigo Seinen 136.12 (1991): 616-17.
Tanner, Tony. "Lawrence Durrell's Fireworks and Puppets." Granta 65 (1962): 8-11.
Tanner, William Edward. "Characteronyms in The Alexandria Quartet: Threads in a Tapestry." Of Edsels and Marauders. Eds. Fred Tarpley and Ann Moseley. Commerce, TX: Names Institute Press, 1971. 123-26.
Taylor, Chet. "Dissonance and Digression: The Ill-Fitting Fusion of Philosophy and Form in Lawrence Durrell's Alexandria Quartet." Modern Fiction Studies 17.2 (1971): 167-79.
Theroux, Paul. "Hypotenused." New Statesman 88.18 October (1974): 544-45.
Thomas, Gordon K. "Durrell and Wordsworth: Seekers of the Shrinking Shore." Deus Loci: The Lawrence Durrell Quarterly 7.5 (1984): 183-95.
Thornton, Lawrence. "Narcissims and Selflessness in The Alexandria Quartet." Deus Loci: The Lawrence Durrell Newsletter 1.4 (1978): 3-22.
Notes: Reprinted in Thornton's Unbodied Hope: Narcissism and the Modern Novel. Lewisburg: Bucknell University Press, 1984. pp. 129-148.
---. "Narcissims and Selflessness in The Alexandria Quartet." Unbodied Hope: Narcissism and the Modern Novel. Lawrence Thornton. Lewisburg: Bucknell University Press, 1984. 129-48.
Notes: Reprint of same from Deus Loci: The Lawrence Durrell Newsletter 1.4 (1978), 3-22.
Todd, Daniel Ray. "An Annotated, Enumerative Bibliography of the Criticism of Lawrence Durrell's Alexandria Quartet and His Travel Works." Diss. Tulane University.
Toth, Tibor. "And the Pool Was Filled (Again) With Water Out of Sunlight." AnaChronist 19-21 (1997): 113-31.
Trilling, Lionel. "The Quartet: Two Reviews." The World of Lawrence Durrell. Ed Harry T. Moore. Carbondale: Southern Illinois University Press, 1962. 49-65.
Notes: from The Mid-Century
---. "The Quartet: Two Reviews." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 34-41.
Notes: from Mid-Century, 1959 & 1960.
Unterecker, John. "Lawrence Durrell." Six Contemporary British Novelists. Ed George Stade. New York: Columbia University Press, 1976. 219-69.
Notes: Exploration of Durrell's corpus to the Alexandria Quartet, but not later. Reprint of Lawrence Durrell. New York: Columbia University Press, 1964.
---. "The Protean World of Lawrence Durrell." On Contemporary Literature: An Anthology of Critical Essays on the Major Movements and Writers of Contemporary Literature. Ed Richard Kostelanetz. New York: Avon Books, 1964. 322-29.
Notes: Reprinted from College English 22.8 (1961), 531-538. Revision of Lawrence Durrell. New York: Columbia University Press, 1964.
Valette, Jacques. "Lettres Anglo-Saxonnes: Justine, Balthazar, Et Lawrence Durrell." Mercure De France 334.November (1958): 536-40.
Vallette, Jacques. "Lettres Anglo-Saxonnes: Note Sure Clea." Mercure De France 339 (1960): 535-37.
van Aken, Piet. "De Problematiek Van De Plagiaat-Roman." Niew Vlaams Tijdschrift 16 (1963): 1259-73.
van O'Connor, William. "Two Types of 'Heroes' in British Post-War Fiction." PMLA 77.1 (1962): 168-74.
Notes: Durrell is discussed on page 173.
Veldeman, Marie-Christine. "A Reading of Lawrence Durrell's Avignon Quintet." S B Academic Review: A Journal of Interdisciplinary Studies and Research 5.1 (1996): 19-26.
Vieira, Luis Gonzaga. "Pursewarden." Minas Girais, Suplemento Literario .13 September (1969): 4-5.
Vipond, Dianne L. "Art, Artist, Ans Aesthetics In Lawrence Durrell's Alexandria Quartet." diss. York University.
Vipond, Dianne L. "Lawrence Durrell's Alexandria Quartet: The Missing Link to Postmodernism." Deus Loci: The Lawrence Durrell Journal NS 2 (1993): 54-68.
Visel, Robin, and Yorgos Paptheodorou. "The Alexandria Quartet and Drifting Cities: Modernism and Politics in Wartime Egypt." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 95-101.
Volkoff, Vladimir. Lawrence Le Magnifique: Essai Sur Lawrence Durrell Et Le Roman Relativiste. Paris: Julliard, 1984.
Volkoff, Vladimir. "Préface." Le Quatuor D'Alexandrie. Lawrence Durrell. Paris: La Pochothèque, 1992. 5-14.
Waelti-Walters, Jennifer. "Coincidental Perceptions (Michel Butor and Lawrence Durrell)." Deus Loci: The Lawrence Durrell Newsletter 3.4 (1980): 13-20.
Wakefield, Dan. "New Styles of Storytelling." Atlantic Monthly 224.November (1969): 170-72.
Notes: Review of the film "Justine" by George Cuckor, based on Durrell's Alexandria Quartet.
Wakin, Edward. A Lonely Minority: The Modern Story of Egypt's Copts. New York: William Morrow, 1963.
Notes: See pages xi and 23.
Wallace, John. "Einstein in Alexandria." Minnesota Review 1.Winter (1961): 231-39.
Warnke, Frank J. "Eros and the Embassy." New Republic 140.23 March (1959): 17-18.
---. "The Many Costumes of Love." New Republic 142.9 May (1960): 20-22.
Weatherhead, A. K. "Romantic Anachronism in The Alexandria Quartet." Modern Fiction Studies 10.2 (1964): 128-36.
---. "Romantic Anachronism in The Alexandria Quartet." Critical Essays on Lawrence Durrell. Ed. Alan Warren Friedman. Boston: G.K. Hall & Co., 1987. 185-92.
Wedin, Warren. "The Artist As Narrator in The Alexandria Quartet." Twentieth Century Literature: A Scholarly and Critical Journal 18 (1972): 175-80.
---. "The Unity of a Continuum." Diss. University of Arizona, 1971.
Weigel, John A. Lawrence Durrell. New York: Twayne, 1965.
Notes: Later revised (substantially) & reprinted as Lawrence Durrell Boston: G.K. Hall & Co., 1989.
Weisgerber, Jean. "The Use of Quotations in Recent Literature." Comparative Literature 22.1 (1970): 36-45.
Wensberg, Erik. "I'Ve Been Reading: A Young Person's Guide for Improving Books and Edifying Examples." Columbia University Forum 3.4 (1960): 38-42.
West, Paul. "England III." The Modern Novel. Paul West. London: Hutchison University Library, 1963. 99-123.
Notes: Durrell is mentioned a number of times throughout the book, but primarily in this chapter.
Westphal, B. "Alexandrian Papyrus - Literary Perceptions of Alexandria in the 20th-Century." Critique 51.582 (1995): 866-84.
Weyergans, Franz. "Clea De Lawrence Durrell." Revue Nouvelle 22.15 July (1960): 94-98.
Williams, Ernie Milton. "The Logical Structure of Aesthetic Discourse." Diss. Florida State University, 1971.
Wood, Michael. "Play It Again, Sam." New York Review of Books 22.6 March (1975): 17-18.
Woods, David M. "Durrell's Alexandria Quartet and Meaning: Some East-West Perspectives.". East Carolina University, 1985.
---. "Love and Meaning in The Alexandria Quartet: Some Tantric Perspectives." On Miracle Ground: Essays on the Fiction of Lawrence Durrell. Ed. Michael H. Begnal. Lewisburg: Bucknell University Press, 1990. 93-112.
Wright, Michael Wayne. "Durrell's Alexandrian Tetralogy: Knowledge and Space-Time." Thes. Dalhousie University, 1975.
Notes: Available through the National Library of Canada. Canadian theses on microfiche; no. 24963.
Young, Susan Helen Elizabeth. "Quantum Fiction: Relativity and Postmodernism in Lawrence Durrell's 'The Alexandria Quartet'." Diss. City University of New York, 2000.
Notes: DAI No.: DA9959244
Young, Thomas Beetham. "Thematic Emphasis and Psychological Realism in Lawrence Durrell's Alexandria Quartet." Diss. Ohio State University, 1973.
Zahlan, Anne R. "Rhodes, Ruskin, and the Myth of Empire: Imperial Intertextuality in Durrell's Mountolive." Deus Loci: The Lawrence Durrell Journal ns 8 (2001-2002): 226-30.
Zahlan, Anne Ricketson. "The Burden Slips: The Literary Expatriate In British Fiction, Before And After World War II." diss. The University of North Carolina at Chapel Hill.
Zahlan, Anne Ricketson. "City As Carnival, Narrative As Palimpsest: Lawrence Durrell's The Alexandria Quartet." Journal of Narrative Technique 18.1 (1988): 34-46.
---. "Crossing the Border: Lawrence Durrell's Alexandrian Conversion to Postmodernism." South Atlantic Review 64.4 (1999): 89-99.
---. "The Destruction of the Imperial Self in Lawrence Durrell's The Alexandria Quartet." Perspectives on Contemporary Literature 12 (1986): 3-12.
Zivley, Sherry Ann Lutz. "The Unity of Lawrence Durrell's Alexandria Quartet." Diss. Tulane University, 1973.
Zivley, Sherry Lutz. "A Quartet That Is a Quartet: Lawrence Durrell's Alexandria Quartet." Literature and Music. Ed. Michael J. Meyer. Amsterdam: Rodopi, 2002. 135-44.
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Contaminant of Concern
An hour before the yellow wrecking excavator grabbed the roof of Colleen's Cottage and bit it off, I ducked under a board nailed across the back door and walked in to take a look and say goodbye to a good neighbor. LEAD Agency's parking lot backed up to that door. We shared shade trees along our fence line.
What I found inside and saved were images of the artist's touch on the walls and sitting on counters and framing the windows and doors. A gentle place it was and how many beautiful and stylish clothes and beautiful accessories were found there, season after season. People who shopped there left with a new look and knowing no one in town would have anything like it. It was a magical place in so many ways. The Cottage had closed and reopened as Colleen's at the Coleman, with a most desirable address but still with the flair and special touches one would have found at the Cottage.
Hayden is nine years old and typical boy, watched the building be demolished for hours making sure his grandmother Mary Daugherty knew when spectacular moments occurred, so we can attest there were witnesses to the event.
Gladys Keeton, our renown elder poet wrote me a letter this week. How special is that? We don't write letters anymore, sometimes we send a card, much like the ones I made for Colleen with the photos of the images from her cottage, but to receive a handwritten letter has become rare and in my case treasured occurrence. Photos are special, rather a captured blink and June Taylor has brought a packet each time she has come showing the work the Boys and Girls Clubbers had done the previous week in the garden.
With Henry David Thoreau's 200th birthday, the author of my steady friend of a book, Walden, a book with no illustrations, no photos, but with words he illustrated the world he encountered during his years living near the pond in his homemade house in the woods. I live in the homemade house my dad and I built on the plains but now surrounded by planted and volunteer trees. Thoreau lived only to be 44 and died with tuberculosis, as my dad did when he was twice that age. And one of the ponds on this land became part of an adventure last weekend.
A Cherokee potter came out to dig some clay. We struggled to make a path across the pond dam which had grown up with tall weeds, sumac, poke and blackberry briars because the beavers had extended the dam creating a mote of sorts making the crossing with a brush hog impossible for the last 2 years. Since the rains had let up, she was determined to dig some clay to make a few pots to take to a show in Santa Fe. It was hot, much like it has been all week. We made it across the dam by cutting a path by hand and to the clay bank and we both dug. I paused to take her picture, only later reflecting on our day when reviewing the photos. Crystal Hanna is her name, but there in the photo, it appeared she had worn her pearls to dig the clay. How would have Thoreau written about that?
Lots of people get published and it happened to me this week in a journal, Environmental Health Perspectives with an article about maternal cord blood manganese. The author Birgit Claus Henn actually added me as an honorary author to the list of contributors. The article is important to us here because it demonstrates the importance of the real cleanup we need to occur at this superfund site. EPA lists lead as the "contaminate of concern" but there are other elements in the mine waste and found in our local dust. Her article is about the manganese found in MATCH Project mothers and the cord blood of their children.
We know that lead can affect the way children can learn, but so can manganese, as her research proves. Our children need to be protected and her research indicates the best way we do that is to protect our mothers who are exposed, too. And to do that we need to push for real and protective cleanup of this site and this site is big. According to the law, it is as big as "where the contaminant comes to reside." In some cases you follow the money in this case, you follow the contaminant. That is why every residence in Ottawa County is eligible to have their yards checked for lead and have it removed if the levels are high and replaced with clean soil.
But as we learn more about lead and how little it takes to damage our children, action levels on cleanup are changing in the country. We are still using an old standard for cleanup and that will remain what happens unless people demand a change. There are some great chances to learn more and ask questions at the Ottawa County Fair and at the 19th National Tar Creek Conference September 26 and 27 at NEO in the student union.
Respectfully Submitted ~ Rebecca Jim
Rebecca Jim
Rebecca is the Executive Director of LEAD Agency and one of its founding members. She also serves as the Tar Creekkeeper with the Waterkeeper Alliance.
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Filed in the Juvenile Court of the County where the child resides, a Petition for Dependant and Neglected Child is a petition, filed on behalf of the State by the Department of Children's Services that alleges that a child or children are living in an unhealthy and unsafe household. The Petition seeks to remove the children from the custody of the parent, parents or care giver and to place the child with the other parent, grandparent, family member or foster care. A Dependant and Neglected child Petition may also be filed by a parent, grandparent, family member or other concerned third party with the help of an experienced attorney. Lawyers who practice routinely in Juvenile Court should be familiar with the process and should be able to very quickly file a Petition for Dependant and Neglected Child and ask the Court for a Temporary Restraining Order which temporarily, but immediately removes the neglected child or children from the custody of the offending parent. John M. Milazo of the Franklin, Tennessee Law firm, Milazo Law P.C. has helped many parents, grandparents and other family members, file these emergency petitions and has helped families be granted many Restraining Orders that immediately remove an abused or neglected child from the custody of an abusive or neglectful parent. For a free initial consultation, call John Milazo at 615-599-7719 or click HERE to leave a message through this website and we will contact you shortly.
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Drug Abuse or Addiction, Alcohol abuse or addiction, mental or physical health issues usually lead to neglect of the children involved and certainly calls for concerned family members to intervene on behalf of the child. Abuse of a child or children does so as well. Child Abuse may take many forms. Discipline may be carried out in a manner that crosses the line and becomes abuse. Intoxicated parents may go too far or even worse. Grandparents, non-custodial parents, and other concerned family members must not conceal these abusive parents. Abuse must be reported immediately and the child or children involved must be removed and placed in a safe environment. Contact DCS at the Child Abuse and Neglect Hotline at 1-877-237-0004. You may also report online at https://reportabuse.state.tn.us/. John M. Milazo of the Franklin TN law firm of Milazo Law, P.C. has more than fourteen years of experience representing grandparents, non-custodial parents and others to help children in Juvenile Court for Williamson County, Maury County, Davidson County and all of the Middle Tennessee Area. For your free initial consultation, call us today at 615-599-7719 and speak with an experienced attorney who is passionate about helping children live without fear of being abused or neglected. To help the child or children in your life, please call today or contact John Milazo HERE to leave a message through our website and we will contact you back shortly.
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A wave of participants in the city’s Suicide Awareness and Prevention Walk make their way back into Ken Fovargue Park on Monday to eat food provided by D’Angelo’s and learn more about why people become suicidal.
TERRI HARBER, The Daily News
CJ Kelly, president of the Guardian Foundation, speaks to attendees of the city’s Suicide Awareness and Prevention Walk on Monday. Hundreds of people walked a short route near Ken Fovargue Park, listened to music and learned about why people might become suicidal and how obtain help.
These human silhouettes contain quotes from people who attempted suicide. They accompanied numerous other types of information about suicide. September is Suicide Awareness Month and Monday’s Suicide Awareness and Prevention Walk was a way to mark that event.
Hundreds walk to increase awareness about suicide prevention
BULLHEAD CITY — Hundreds of people participated in Bullhead City’s second Suicide Awareness and Prevention Walk to demonstrate that “our story’s not over.”
The phrase is part of an explanation about why a semicolon was chosen as a symbol — often used as a tattoo — meaning “my story’s not over yet.”
An author, Amy Bleuel, came up with the concept because a writer ends a sentence with a period. However, a semicolon indicates there is more to come in that sentence. She saw a semicolon as a symbol of hope and love for herself and others dealing with mental health issues, that it’s a choice to continue living — to continue the story of their life.
An array of groups that assist people seeking advice about health issues, mental health challenges and other needs — including alcohol and chemical dependency — set up booths at the event. Representatives were there to talk and hand out information about various issues, as well as business cards so people can reach out as needed.
CJ Kelly, president of the Guardian Foundation, said the stigma attached to people suffering with mental health problems needs to be addressed throughout society, including among members of the military and veterans.
Kelly also said families need to close their laptop computers and put down their telephones so they can actually talk face-to face and learn more about one another’s lives.
Those electronic gadgets have made bullying an around-the-clock occurrence and youths on the receiving end are paying a price: Younger people are turning to suicide — even children.
“Social media isn’t true relationships,” he stressed. “Kids are feeling entrapped.”
A former pastor, Kelly looks back at mistakes he made dealing with people who have attempted suicide.
He told one such person that suicide is a selfish decision.
That’s not a good way to help someone feel better about themselves, Kelly said.
He used some responses that would fit such a comment: “Now I’ve got a guilt complex” and “Pile it on.”
When someone in that state of mind reaches out, the best first reaction is simply to listen, he said.
One of the people who walked the route that began and ended at Ken Fovargue Park, Joyce Bruget, had two relatives who committed suicide and a third who attempted it.
“We saved her,” she said.
She said she also thinks about veterans she has met who managed to make it home but with issues that cause them to feel they can’t continue on, and that it makes her feel sad.
“Always be a listener,” Bruget noted.
Pictures of veterans who committed suicide were made available for walkers to wear around their necks. Some participants brought pictures of their loved ones and did the same, no matter whether that person served in the military.
Another woman, JoAnn Foss, was in pain after walking the 0.75-mile route using a cane. She has gone through some surgeries to help alleviate her medical problems. She plans to come to the next suicide prevention walk — though she’ll use a walker to help her next time.
“Depression is not a good thing,” said Foss, who takes medication to help her through it. “I think of my grandchildren. That keeps me going.”
Speakers were identified only by their first names. All survived suicide attempts and are willing to make efforts to stay alive.
For example, Laura explained that her suicide attempt was 10 years ago, this month. She had a job that required her to skillfully help others but ignored signs that she needed someone to help her, she explained.
Afterward, many family members began keeping their distance from her. And she said it saddens her that only her husband was willing to come to the suicide awareness walk with her because other loved ones couldn’t.
“It takes a lot of strength to come out of the darkness. I struggle at times,” Laura said. “But if you’re struggling, that lifeline is in your voice, to reach out and say ‘I need help.’ ”
Organizers said the number of people who came to the event on Monday at Ken Fovargue Park increased significantly over that of the first such walk last September. They estimated well over 200 people walked Monday.
The free event was sponsored by the Guardian Foundation and Catholic Charities in conjunction with Bullhead City government.
The organizers choosing to use “our” and not “my” to begin the event’s slogan is a way to show there are many people in the community willing to help someone choose to live because they are part of the community’s story, said Robert Brandefine of the Guardian Foundation. He also leads the city’s Suicide Prevention Task Force
If it appears someone you know will follow through with a suicide attempt, obtain assistance by calling 1-800-273-8255. If someone has acted on suicidal thoughts, call 9-1-1.
National Parks Service waives entry fee at Grand Canyon South Rim for MLK Day
Wildcats dominant in win over No. 20 Colorado
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Fine Dining: Impasto
Lesley Chesterman, Special to The Gazette 12.19.2013
Impasto is the creation of Michele Forgione, left, and Stefano Faita — and serves a great Arctic char, right.Allen McInnis / Montreal Gazette
A delectable pannacotta is served with homemade preserved cherries.Allen McInnis / Montreal Gazette
From left: Wide-tube pasta is served with mussels. A delectable pannacotta comes topped with homemade preserved cherries. The prosciutto, mozzarella and melon starter epitomizes Impasto’s simple, flavourful, market-driven approach.Allen McInnis / Montreal Gazette
The Arctic char was perfect: coral-coloured, delicate of flesh, rich yet so light.Allen McInnis / Montreal Gazette
The prosciutto, mozzarella and melon starter epitomizes Impasto’s simple, flavourful, market-driven approach.Allen McInnis / Montreal Gazette
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Fine Dining: Chez Lionel
Fine Dining: À la table des jardins sauvages
Fine Dining: Bar Bounya
48 Dante St., near St-Dominique St.
Website: impastomtl.ca
Open: Tues.-Sat. 5 to 11 p.m.; Lunch Thurs.-Fri. 11:30 a.m. to 2 p.m.
Reservations: Essential
Cards: All major
Vegetarian friendly: Yes
Parking: On the street with meters, difficult on busy nights
Price range: starters $9-$17; pastas: $10-$24; main courses $24-$49; desserts $6-$10
MONTREAL - It seems like everyone vacationed in Italy this summer. Almost every time I ran into anyone and asked them how their summer went, they’d hit me with this blissed-out gaze and say, “I was in Tuscany,” or “I was in Sicily,” or “I was in Rome” or Amalfi or Campania or Piedmont or whatever. And each time they’d start describing their holiday, I’d put up my hand and say, “That’s quite enough!” because if there is one place I daydream about vacationing, exploring and eating in endlessly, it would be La Bella Italia.
Fortunately, the marvellous cuisine can be found the world over. Can’t get to Italy? No problem. Live the dream vicariously through the antipasti, primi, secondi and dolci at your favourite Italian restaurant. Yet not so fast. How authentic is that vodka-sauced penne or all-dressed pizza? Not a bit, for, despite the copious amounts of Italian food on offer, little comes close the Italian cuisine of the motherland. In Montreal, authentic Italian restaurants are rare. Yet despair not! Those in search of the real deal should make a beeline for Impasto.
Located in Little Italy, an area where Italian restaurants are numerous yet not necessarily fabulous, Impasto is the creation of two young Montrealers, Stefano Faita and Michele Forgione. Author of three cookbooks, Faita is also the host of the CBC cooking show In the Kitchen with Stefano Faita. Forgione is the former chef of the acclaimed Osteria Venti. At Impasto, Forgione is head chef and Faita works the floor. That said, Faita is a fabulous cook in his own right, no surprise once you realize his mother, Elena Faita, runs the Mezzaluna cooking school and his family owns Quincaillerie Dante. Impasto is located kitty-corner from Dante in the locale that last housed Trattoria Casa Mia. Open since early July, the restaurant has already brought a nice new buzz to this relatively sleepy section of town.
Impasto is not fancy, formal or expensive. The decor, courtesy of hip resto designer Zébulon Perron, is all tile walls, beadboard ceilings and bare tables, with a large open kitchen from where Forgione leads his team. The music is a bit too loud, which means conversation levels are that much louder. The young and fun Italian ambience reminds me a bit of New York’s Babbo, yet Impasto is more casual. The space is long and narrow, and on hot nights it gets a bit steamy with the kitchen smells swirling among the Apérol-sipping customers.
Though Faita was in Toronto filming his cooking show on the night I dined at Impasto, almost everything was perfect. I missed watching Faita’s wide-eyed enthusiasm in action, but Forgione is quite a character as well. I have written about Forgione’s devotion to cooking “nonna-style” (grandmother) food, and even when having the shortest conversation with the fellow you realize how obsessed he is with getting it right. He’ll tell you, “this bit of spinach here is like they do it in Italy,” and “the rosemary placed in the oil is like they do it in Italy,” and “the crust rolled to that thickness is like they do it in Italy.”
He frowns, he smiles, he waves his hands around, laughs and then usually hands you something to taste. And chances are, it’s delicious.
The menu is short — six starters, four pastas, four meat dishes, four desserts — and immensely appealing. This is simple, clean, flavourful, market-driven food based, Italian-style, on the quality of ingredients. Just one bite of the prosciutto with mozzarella (both imported from Italy) and melon and I’m sold. The prosciutto is melting, the cheese is weepy and milky, and the melon is as good as late-August melon gets. Forgione adds a touch of vanilla to the melon, which I find unnecessary. When I mention it, he frowns, grins, then confesses he likes it that way. OK, fair enough.
I don’t think you can fully experience Impasto without tasting the charcuterie. I relished Forgione’s mortadella, pâté de foie and duck prosciutto, and spread his porchetta di testa (head cheese) over slices of baguette (OK, baguette isn’t Italian, but theirs, from Le Pain dans les voiles nearby, is awesome). All the charcuterie except for the prosciutto is made in-house and the two-person/$25 selection really is an excellent way to begin a meal here, especially with a full-bodied white wine like the 2012 Cantina Tollo Pecorino Terre di Chieti IGT recommended by our waiter. Impasto’s wine list is private-import heavy and well priced with a dozen bottles under $50 and the majority of selections under $80. The list is 100 per cent Italian and covers the entire boot with equal emphasis on all regions.
As all the pastas are made in house, it’s tempting to order full portions, but there are half portions as well. The corzetti alla Genovese was a pesto-drenched plate of round sheets of pasta (each individually stamped with a sort of flower print) tossed with new potatoes and green beans. Though I found the saucing excessive, the flavours were so vibrant that we mopped up every drop. I also have nothing but praise for the paccheri ai frutti di mare pangrattato, which consisted of a wide-tube pasta served with mussels, shrimp and squid in a light tomato broth, topped with breadcrumbs to add a bit of consistency. Gorgeous.
For mains, we opted for the porchetta del nonna, and the fish of the day, Arctic char. We’re seeing quite a bit of porchetta in Montreal of late but Forgione’s, made with Gaspor pork, cooked sous-vide and fried-to-a-crisp to order, is the best I’ve tasted. Garnished with slices of poached pear, the lightly spiced, fork-tender meat is served with nothing more than rapini, a swirl of pan juices and a spoonful of mostarda. Good stuff. The char, though, was even better. Forgione pairs it with a cream of roasted cauliflower along with a quenelle of spinach. The fish is simply perfect: coral-coloured, delicate of flesh, and rich yet so light. I think this char spoiled me for salmon for years to come. And that cauliflower cream … just so nutty and silky. Though this was probably the least Italian dish, it was definitely the star of the night.
Forgione excels equally at sweet as savoury, so dessert is a must. He favours simple treats like a soft chocolate cake made with almond flour, a textbook tiramisu and a delectable pannacotta served with homemade preserved cherries. I was looking forward to tasting the gelato-filled brioche I have been hearing raves about but I was told the gelato was on back order. Next time.
Despite the flawless meal I enjoyed at Impasto, there were problems with the service. First, the initial reservation process was a disaster. I’m not a fan of leaving a reservation request on an answering machine, especially when no one gets back to you until late in the day. Considering the popularity of this establishment, that has to change. And, secondly, our waiter forgot one of our appetizers, which we only realized when the pasta course hit the table. Service glitches aside, there were many touchdowns at Impasto. So much so that I walked away thinking: “OK, so I didn’t go to Tuscany this summer. Woe is me. I did, however, have a pretty spiffy meal at Impasto.”
criticsnotebook@gmail.com
Twitter: LesleyChestrman
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U.S. Sen. Mark Pryor prepares to speak at a campaign event in North Little Rock, Ark., Oct. 21, 2014.
Danny Johnston/AP
Will 2014 be an anti-incumbent wave election?
10/27/14 11:58 AM —Updated 10/27/14 07:09 PM
By Aliyah Frumin
In one scenario, the 2014 midterm elections could become known as a throw-the-bums-out, anti-incumbent wave with more than a dozen sitting governors and senators being tossed from office by fed-up voters. But it’s just as easy to imagine that most or all the incumbents up for re-election will narrowly hang on to their jobs, despite record levels of disillusionment and disgust with America’s gridlocked government.
During the primaries, several incumbent, establishment GOP senators were able to beat back surprising challenges from tea party-backed candidates. That included Sens. Pat Roberts of Kansas, Lindsey Graham of South Carolina, Thad Cochran of Mississippi, John Cornyn of Texas, Lamar Alexander of Tennessee and Mitch McConnell of Kentucky.
INTERACTIVE: 2014 Senate landscape
In the House of Representatives, the biggest incumbent to get the boot in the primaries was House Majority Leader Eric Cantor of Virginia, who succumbed to tea party challenger Dave Brat in one of the most surprising elections in recent memory. On the Democratic side, Rep. John Tierney of Massachusetts lost to challenger Seth Moulton and Hawaii Gov. Neil Abercrombie’s 40-year political career came to an end after losing to State Sen. David Ige.
But, overall, incumbents’ relative success in the primaries doesn’t mean they’re safe in November. Looking ahead to the general election, several incumbents – both Democratic and Republican – are in real danger. We received input from the msnbc.com community on which of these races you are paying particularly close attention to. Here’s a look at the most talked about incumbents who could be out of a job come next year.
We want to hear from you! For the next article in this series, tell us: Which independent and third party candidates do you think could spoil election results this year?
Kansas Sen. Pat Roberts – The Republican senator from Kansas has been in trouble for quite some time, narrowly beating out tea party challenger Milton Wolf in the state’s GOP primary.
This Senate race has thrown a wrench into both parties’ plans. Democratic candidate Chad Taylor dropped out of the competition in September, leaving Roberts, the incumbent, trying to secure a fourth term against independent candidate Greg Orman. What makes the race even more of a wild card is that Orman hasn’t said which party he would caucus with in the Senate.
Roberts has tried to pain Orman as a liberal in disguise in this red state. Orman, meanwhile, has tried to pitch himself as an independent voice that is much needed on Capitol Hill.
According to a new NBC/Marist poll, Orman is leading Roberts by 1 point. Earlier this month, however, Orman led by 10 points.
Alaska Sen. Mark Begich – The Democratic senator from Alaska, elected in 2008 after beating veteran Republican Sen. Ted Stevens, is in the hot seat himself. Begich faces a stiff challenge from Republican Dan Sullivan in a state President Obama lost by 14 points to Mitt Romney in 2012.
Sullivan is trying to tie Begich to Obama, who is unpopular in the state. Begich, meanwhile, is trying to distance himself from the president, even going as far to recently say he’s “not relevant.” Begich has gone after Sullivan, who served as the state’s natural resources commissioner, for not being an Alaska native.
The RealClearPolitics average of polling data surrounding the race shows Republican challenger Dan Sullivan up by 4.2 points.
Pennsylvania Gov. Tom Corbett – It’s looking likely that the Republican Pennsylvania governor who was first elected in 2010, will lose to Democratic businessman Tom Wolf.
Corbett has been under intense scrutiny over several issues, including his response to the Penn State sex abuse scandal, cuts to education and a sputtering economy that he inherited.
North Carolina Sen. Kay Hagan – A new NBC News/Marist survey released Sunday shows the Democratic incumbent senator tied with her GOP opponent, state House Speaker Thom Tillis, with 43% each. Hagan had a 4-point lead earlier this month.
While Hagan has been trying to distance herself from Obama, who remains unpopular in the state, Tillis has gone after Hagan on a slew of issues, including her attendance record at Armed Services Committee hearings. He has also accused her of not doing enough in the Senate to combat the terrorist group known as the Islamic State of Iraq and Syria.
Louisiana Sen. Mary Landrieu –The incumbent Louisiana senator is being challenged for a fourth term by Republican Rep. Bill Cassidy and tea party favorite Rob Maness. While polls have consistently showed Landrieu with a lead against Cassidy, she’s not near the 50% threshold required by the state to avoid a runoff election on Dec. 6 between the top two candidates.
Right now, the GOP vote is being divided by Cassidy and Maness. But if Landrieu is forced into a runoff between just her and Cassidy, polls show the sitting senator could lose.
Republicans have aired ads skewering Landrieu’s support for Obamacare. Landrieu, meanwhile, is trying to distance herself from Obama’s energy and health care policies.
Arkansas Sen. Mark Pryor – A new NBC News/Marist survey showed the Arkansas incumbent Democratic senator, elected in 2003, with 43% support among likely voters, compared to GOP challenger Tom Cotton with 45% (within the poll’s margin of error). Pryor has been trying to distance himself from Obama, who remains unpopular in this red state where Obama lost to Mitt Romney in 2012 by a 24-point margin.
Florida Gov. Rick Scott – Several polls have shown the Florida Republican governor deadlocked with Republican-turned-Democrat Charlie Crist. The two are not very popular in the Sunshine State and voter turnout is expected to be the tipping factor in this race.
Crist, a former Florida governor, has tried to paint Scott as an out-of-touch businessman, while Scott has attempted to brand Crist as an untrustworthy flip-flopper.
The two have fought fiercely over several issues, including the economy, immigration, medical marijuana and state executions.
New Hampshire Sen. Jeanne Shaheen – Republican Scott Brown, a former Massachusetts senator, hopes to unseat Democratic incumbent Sen. Jeanne Shaheen in this race in New Hampshire. Brown has trailed consistently throughout the campaign, but recent surveys indicate he is closing the gap.
Brown, defeated in Massachusetts in 2012 by Elizabeth Warren, has been trying to tie Shaheen to Obama’s positions on health care, immigration and foreign policy as the president remains unpopular in the state. Shaheen, in turn, has accused Brown of being a carpetbagger and has called him a protector of big oil companies.
Colorado Sen. Mark Udall – According to a new NBC News/Marist poll, Udall is in serious danger of losing his Senate seat. His Republican challenger, Cory Gardner, has a 1-point lead among likely voters in Colorado, according to the survey. In September, Udall had a 6-point lead.
Udall has stressed his support for abortion rights and contraception in hopes of winning over young, single women who often don’t vote in midterm elections. He has gone after Gardner’s past support for “personhood” legislation, which would restrict access to certain types of birth control. Republicans, meanwhile, have tried to tie Udall to Obama, who is unpopular in the state. Gardner has repeatedly attacked Udall for voting for Obamacare.
Wisconsin Gov. Scott Walker – Recent polls have shown Republican incumbent Gov. Scott Walker and Democratic challenger Mary Burke in a dead heat. The stakes are high, especially for Walker, who survived a recall election in 2012 and is considered a potential 2016 presidential candidate.
Walker and Burke, a businesswoman and former Wisconsin commerce secretary, both played it safe during their final debate Friday, sticking to state and local issues and shying away from more controversial ones – like collective bargaining power, the minimum wage and reproductive rights – that have fiercely divided the electorate.
Additional sitting governors in the danger zone include Republican Govs. Sean Parnell in Alaska, Nathan Deal in Georgia, Sam Brownback in Kansas, and Paul LePage in Maine. On the Democratic side, it’s John Hickenlooper in Colorado, Dan Malloy in Connecticut and Pat Quinn in Illinois.
Poll: Which incumbent candidate is the most likely to be unseated on Nov. 4?
The Place for Politics, Congress, Democrats, Election 2014, Elections and Republicans
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Review - The Silence of Lorna (Le silence de Lorna)
The start of a Dardenne brothers film is always a rather disorienting experience. They like to cut straight into the story, spending no time on preliminaries or introductions, and leaving us to gather details and learn more about the characters in a gradual process, until we are fully involved in their experiences. Their fifth feature, The Silence of Lorna, opens in a bank, with money being handed over the counter and a young woman telling the clerk that she will soon be a Belgian citizen. This is Lorna (Arta Dobroshi), who has come from Albania to live in Liege, and who has earned her citizenship through a marriage to Claudy (Jérémie Renier). The pair live together in a small flat, but there is little warmth in their relationship, despite Claudy's best efforts to win over his frosty wife. For Lorna, this is strictly business, and that business is a green card scam that she has become involved in at the behest of her real boyfriend Sokol (Alban Ukaj) and local gangster Fabio (Fabrizio Rongione). The plan is to get rid of Claudy as soon as he has outlived his usefulness, by forcing the junkie to overdose on heroin, and that will leave the way clear for Lorna to remarry and pass on her citizenship to another, with a Russian gentleman already standing by brandishing a big cheque.
At this point, Lorna starts to get cold feet, and she suggests a quickie divorce as an alternative to murder. We can see now that her feelings for Claudy are much more complicated than they first seemed to be, although it's hard to get an exact reading on those feelings. Has she fallen in love with Claudy? Does she simply feel sympathy for him? Or perhaps she has simply woken up to the monstrousness of the plot she is involved in, and she suddenly feels compelled to act for fear of losing her soul? In this respect Lorna finds herself in a similar situation to Bruno, the character Jérémie Renier played in the Dardenne brothers' L'Enfant – being guilty of committing a terrible crime and desperately searching for a way to make amends – and her steely determination recalls the heroine of their first Palme d'Or winner Rosetta. But Lorna is very much her own character, a figure as complex and compelling as any the Dardennes have given us, and in Arta Dobroshi, they have unearthed another extraordinary new star.
Dobroshi's face doesn't reveal emotions easily. There's a guarded quality about her countenance, which she only drops occasionally, but those moments are enough for us to see a mixture of conflicting feelings raging inside her character. Dobroshi attacks the role with a sense of conviction that drives the movie forward, and we completely believe that everything she does is coming from somewhere deep inside herself. Whether she is banging her head painfully against a wall – in the hope that an accusation of abuse will speed up the divorce procedure – or suddenly lighting up as she imagines her future running a small café, she is a luminous presence. She also works brilliantly with Renier, a Dardennes regular, who gives a stunningly empathetic display as Claudy, which shouldn't be overlooked. He makes his lovelorn junkie feel desperately real, there's a powerful tenderness about the way he yearns for Lorna's companionship, and a sex scene between the pair – the first the brothers have ever shot – is unexpectedly moving.
I feel we should tread carefully at this juncture, and I will make a great effort not to discuss any more plot specifics to ensure the film's biggest surprises remain undiminished for the viewer (be warned, some other reviews have not been so conscientious); but there is one sudden development that occurs during The Silence of Lorna, which I must bring up. The interesting thing about this twist is not so much the shattering event itself, but more the manner in which the Dardennes handle it, allowing it to occur off-screen and simply moving the film on without exposition, until we slowly put the pieces together. It is a truly daring move, and it threw the whole audience for a loop at the screening I attended, but it also had something of a jarring and counterproductive effect, taking us momentarily out of the drama, as we struggled to comprehend the story's new direction.
This film is also taking the Dardennes in something of a new direction. Although The Silence of Lorna appears to fit neatly into their oeuvre at first glance, the brothers have taken a number of risky narrative and aesthetic decisions that mark this as something new. They've toned down the restless camerawork, which followed the characters at close quarters, in favour of a more objective, classical approach, and it's probably a smart move from the filmmakers, whose style was in danger of growing repetitive by the time they made L'Enfant. This film is a little more detached than the brothers' earlier work, which is perhaps why it has received a slightly cooler reaction from critics, but it still displays their exquisite control of mood, and their ability to explore complex moral issues with an incisive and unerring eye.
The Silence of Lorna is more reliant on plot than previous Dardennes efforts, although the brothers' handling of this narrative is typically unconventional. Aside from the audacious ellipsis I mentioned earlier, they take the film into a number of surprising and hitherto uncharted areas, with Lorna's fragile mental state becoming increasingly unsound as the picture progresses. This is ultimately another rich and nuanced character study from two of the most valuable filmmakers in world cinema, and the fact that the Dardennes are trying to spread their wings with this feature – to shake up the old formula – is an exciting prospect that we should embrace. The Silence of Lorna might lack the immediacy of something like Rosetta or their masterpiece The Son, but it offers a different kind of satisfaction, and the film's unbearably tense final fifteen minutes leads to a beautiful and deeply haunting climax, which is among the finest moments they have ever given us. It has been weeks since I saw The Silence of Lorna, but I find my thoughts drifting back to it again and again.
Read my interview with Jean-Pierre and Luc Dardenne here.
Read my interview with Arta Dobroshi here.
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Alphonse Mucha: The Legacy of Art Nouveau
The Mucha Foundation is thrilled to have this opportunity to introduce the work of Alphonse Mucha to a new country and to a new continent.
Alphonse Mucha: The Legacy of Art Nouveau brings together around 100 works, including posters, drawings, paintings, prints, objects, books and photographs. The show will explore Mucha's work and the influence it has had on subsequent generations.
The show is divided into four thematic sections. The first two parts hightlight Mucha's contribution to Art Nouveau in Paris. The third section explores how his art developed after his return to the Czech lands, which culminated in his late masterpiece, The Slav Epic. In the final section, the exhibition looks at the legacy of Mucha's style through examples of works by graphic artists from the 1960s to the present day.
Centro Cultural FIESP, Sao Paulo, Brazil
18th Sep 2019 to 15th Dec 2019
Exhibition details on FIESP website (in Portuguese)
External link to Exhibition details on FIESP website (in Portuguese)
Follow @AlphonseMucha
MUCHA MUSEUM, PRAGUE
Kaunický palác
Panská 7, 110 00 Prague 1
© 2020 Mucha Foundation
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Home › Get Involved › Run for Office
Interested in running for office as a Democrat? Want to advocate for Democratic values in elected office? Well, you’re at the right page! Here’s what we’re looking for in a Democratic candidate:
Great candidates are involved, both in their communities and in the Democratic Process, and approach leadership with a servant’s heart.
They know the issues and they know the community they desire to serve.
They have demonstrated a commitment to others by volunteering for other Democratic candidates, volunteering for the Party, and by voting in Democratic Primaries.
They embody Democratic values and principles in their day-to-day lives, and are not planning on running as a Democrat just because Democrats make up the majority of voters in the community they wish to serve.
They may serve on the Muscogee County Democratic Post Committee.
Here are several organizations providing candidate training for both partisan and nonpartisan office across Georgia at several events during the year:
Georgia Government Transparency and Campaign Finance Commission
Democratic Party of Georgia Trainings
Represent Georgia
Run for Something
Emily’s List
Higher Heights
Emerge America
National Democratic Training Committee
Progressive Change Campaign Committee
GA WIN Leadership Academy
VoteRunLead
Her Term
Get Her Elected
Georgia Women’s Policy Institute
Leadership Georgia
NewPower PAC
SO you fulfill the qualifications but you’re not sure who to go to for getting on the ballot? Great! Here’s what you can do:
If you, or someone you know, are planning on running for office as a Democrat in Muscogee County, it is highly recommended that you make contact with the Democratic Party in order to go over your plans. Our Chair, our Executive Director, or another party officer will be happy to assist you in evaluating your options and determining what resources may be available to you as you finalize your plans. We believe that running for office is at the heart of the American dream, and while the sacrifices a candidate must make on the campaign trail are many, they are far outweighed by the results of having good Democrats in office at every level of government.
We also recommend that you fill out this form with the Democratic Party of Georgia in order to receive more statewide support in your candidacy.
When you fill out the following forms, please return signed copies of these forms to the Muscogee County Elections and Registration Office during Qualifying Week:
Qualification Week (DOC format)
Qualifying Form (PDF format)
QUALIFYING FEES (DOC)
Declaration_of_Candidacy_County_Municipality (PDF)
In addition, please return affidavits for the specific office for which you’re running.
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Описание CD
вернуться закрыть окно
Исполнитель(и) :
Rouse, Charlie (Tenor Saxophone) , Paul Quinichette (Tenor Saxophone)
◄◄◄ ►►►
Наименование CD :
The Chase Is On
Год издания : 2004/1957
Компания звукозаписи : EMI, Toshiba
Музыкальный стиль : Hard Bop, Saxophone Jazz
Время звучания : 38:25
Код CD : TOCJ-9616, BCP-6021
Комментарий (рецензия) :
CD, стоящие на полке рядом : Jazz (Saxophone - Bop)
Charlie Rouse & Paul Quinichette
Recording Date: August 29, 1957 - September 8, 1957
The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie "Lockjaw" Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging. The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set "This Can't Be Love" apart from the original and "The Things I Love" displays the two tenors at their conversational best, while the lone original, "Knittin'," is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of "When the Blues Come On" and the good-old basic vintage swinger "You're Cheating Yourself." An LP-length CD (under 40 minutes), it is a shame there are no extra tracks or alternate takes. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy - and now legendary - session.
Соисполнители :
Ed Thigpen (Drums)
Freddie Green (Guitar)
Wendell Marshall (Bass)
Wynton Kelly (Piano)
Наименование трека
1 The Chase Is On 0:03:18
2 When The Blues Come On 0:05:49
3 This Can't Be Love 0:05:25 Lorenz Hart / Richard Rodgers
4 Last Time For Love 0:04:30 Carmen McRae
5 You're Cheating Yourself 0:05:16
6 Knittin' 0:06:19 Charlie Rouse
7 Tender Trap 0:04:25 Sammy Cahn / James Van Heusen
8 The Things I Love 0:03:23 Harold Barlow / Lew Harris
T 'щелкнуть' - переход к тексту композиции.
Главная страница коллекции
Collection main page
My Music Base
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Back to the main Page!
Some of the links in the following text may now be defunct.
News: (from Andrew 2/15/08)
With Adrian and I living in two-different states at the moment, the form of this group is definitely in a phase of evolution to say the least! :) While it might be a good while still before we'll be whipping out the classics again in a live-format, there are still quite a few exciting things afoot.
The odds that 'Ocean Waves' will end up on a groovy N.Y. label's compilation CD this year is looking better and better. We've already delivered the agreement and the master-track to them and are looking forward to hearing more. Still, I'm wary of jinxing it, so I won't say any more at the moment.
Our crazy friend Eric Peacock is putting the finishing touches on his third (and, I think, most-fantastic!) full-length 'neon brown' video. I got to see a rough cut the other day and was both technically blown away and deeply amused. To whet your appetites I've embedded the youtube versions of his previous NB videos into our myspace page.
There's also a bit of long-distance studio-collaboration going on between Adrian and me (and others in the 'neon brown' circle), which is likely to manifest later in the year under another (or several) project name(s). More on that too as it develops.
News: (from Andrew 8/4/07)
While 'neon brown' is still on indeterminate hiatus from live shows, there's plenty of related activity going on. Adrian has been composing with live Chai-House material as he settles into his retreat in sunny Portland. Meanwhile, I've been working on some solo guitar-and-voice numbers and developing my new stereo-looping technique in a new secret duo...more on that soon I hope. I even finally managed to play a truly satisfying live set (after a few previous attempts that were more disappointing than inspiring, at least for me) of my guitar-and-voice arrangements at a recent show in Ballard that also featured sets by Woody Frank, Evan Strauss, and Five Philpin.
In group-improv news, the 'Jam of the Week' page is continually chock-full of the recent endeavors of the increasingly successful 'Juggler's Challenge' (2nd Wednesdays) and 'Woodland Acoustic Orchestra' (4th Wednesdays) excursions at the Chai House during the regular 'Neon Brown Presents' slots.
There's also a non-zero chance that one of Neon Brown's studio-tracks will end up on a cool N.Y. label's compilation CD this year. Flatteringly enough, they wrote us through our myspace page after listening to Ocean Waves, and have been in contact with Adrian about the project ever since. We'll let you know more if anything comes of it.
Recently I've been working on a new approach to playing with the loops which has been surprisingly satisfying. Fans of the Plank may be disappointed to hear that I'm working entirely with my 6-string semi-acoustic at the moment (though it's unusually simple to run just about any instrument through the same setup). I even got a chance to play with this setup down in Portland with Adrian last month -- a truly amazing show that was entirely improvised, but still managed to feature lyrics from 'neon brown' and even further back. Appropriately enough, the recording failed on that show, but I *will* post some short clips (and photos by Keith Bruns) from the second half of a party I played at All City Coffee (in Georgetown) celebrating the release of a comic compilation created by some friends of mine. The comic is called Atomic Lead.
Photos by Keith Bruns
Atomic Lead Clip 1 (4.6 megs)
Atomic Lead Clip 2 (6.0 megs) ...this one isn't so good
Atomic Lead Clip 4 (7.7 megs) ...this is the best one!!
Thanks to Oval League and everyone at The Brown Lantern and the new Stuart's Coffee House for a great weekend tour! Here's a shot from the new half of the Brown Lantern:
Photo by Tina Scott
Just a few quick reminders: You can still get a copy of the new Neon Brown CD 'Trouble' online at CDBABY, and you can still catch Andrew, sometimes Adrian and a plethora of special guests at Mr. Spot's Chai House every 2nd and 4th Wednesday, AND there's still a potentially infinite amount of time to become our special online friend while listening to selected tracks from our studio CDs at our myspace page.
News: (from Adrian 1/17/07)
Hey Everyone! I've got some great news and some other news.
In the great news category, we finally finished our newest CD "Trouble". I think it's by far our best yet. It's got the great live energy of "Nice Feathers" combined with the studio experimentation and song-based approach of "Fiber". It will be available at all of the "Neon Brown Presents:" shows which occur on the second and fourth Wednesday of every month at Mr. Spots Chai House in Ballard. Additionally, it is available online at CDBaby. You can sample it, read a great review of it by Five Philpin and then order it HERE.
Which brings me to the other news category. Unfortunately, due to my current situation, I will be unable to attend the shows we had originally scheduled as CD release shows at the end of January and beginning of February. I would say this was bad news, but I think they're going to end up being really cool anyways. Oval League will be playing as scheduled (you should definitely check them out) and it sounds like Andrew is in the process of putting together something really cool for those shows as well. So it won't be the official Neon Brown, but it will definitely be something that's worth checking out. And plus, you can pick up your shiny new copy of "Trouble" in the process. If you're on the mailing-list, you should get more details on those shows as things solidify.
News: (from 10/12/06)
'Trouble' (our brand-new CD!) should go to press some time this week! So, it shouldn't be more than a couple of months before you will be able to get your very own copy at our Seattle CD-release party (likely sometime in early December). Meanwhile, you can check out a couple of the tracks on either Garage Band or our mostly languishing myspace page (where -- if you are already a myspace-user -- you can help make us look cooler by becoming our "friend"). One of the tracks is an already-acclaimed studio-capture of one of our live-favorites, "Ocean Waves" and the other is a brand new tune created with a relatively experimental recording process that originated at a multitracked Mr. Spot's show (produced and featuring lyrics and vocals by Adrian, and featuring the addition of James Whiton on standup-bass and James Campbell-Drury on Electric Guitar).
Looking a little further ahead, we're currently beginning to put together arrangements for some of these more-experimentally-generated new tunes from the CD -- and trying to remember how to play the other ones -- in preparation for not only our CD-release party, but a giant 2-day world tour of Northwestern Washington over the first weekend of February. So fear not, we know it's been a long time since we've played live, but if you're willing to trek with us up to places like Bellingham and Anacortes, there should be a great opportunity for us to all hook up again for a big group hug in February! ( : { ) >
News: (from 9/3/06)
Our newest CD ("Trouble") is pretty much done. We're still assembling art, choosing a duplicator, and figuring out what the whole package is going to look like, but the music is all there! We're both beyond happy with how this one has turned out and have a suspicion that you'll decide it was worth the wait. ( : { ) >
Meanwhile!!!!! Here's another in Eric Peacock's series of 'Neon Brown' videos: STATIC. If any of you checked out his video for "Tippin the Fridge" from a few months back, you'll be surprised at how different this one is -- other than the consistently stellar production quality. (Really, from what I've seen, each one in the series uses completely different techniques and has a correspondingly unique feel.) Made almost completely from small numbers of still photos of the band and ultra-low-res-show-footage, it somehow comes off as having shockingly high production values. Check it!
News: (from 5/21/06)
Still slowly cruising on the new CD. Oh man, are we excited to have you hear it!! It's looking like we'll probably have everything put together sometime in June, and hopefully have our hard-copies in time for a late-summer/early-fall CD-release in Seattle...with a brief regional tour to follow shortly thereafter.
Meanwhile, our good friend Bart Kaufman recently finished some incredible new NB-related art -- which of course I immediately repurposed to beef up the marketing juggernaut that is our Cafe Press site. There's a fantastic new poster, and organic-cotton t-shirt (or two) and even our first ever ("back in") Black T-Shirt. Check it out now at www.cafepress.com/neonbrown!
Alrighty folks, this is definitely the beginning of something pretty strange: The release of the first ever 'Neon Brown' music-video!!! I hate to spill the beans, but the craziest part is this isn't the only one. Our good (and deranged) friend Eric Peacock has been silently working on a trio (+!) of videos for certain selected tunes from 'Fiber' (2002). Each of them takes a radically different approach to the material and is crafted to the highest levels of technical artistry and crazy-extra-somethingness that only Eric can bring to this sort of thing. But before I get ahead of myself, check this one out. It's for 'Tippin the Fridge'. A hypnotizing construction whose form nicely mirrors aspects of the musical structure, it uses looped archival footage to put a new tonal spin on what is certainly one of our most popular extended groove-pieces. (For now you'll need Quicktime 7 (and some decent bandwidth!) to view this...let us know if you want to see it, but can't get things set up right.)
'Tippin The Fridge' Video
Final production on the "Spring" CD is still moving along well (we promiss! :). It's just looking more like a Summer CD at this point... We're very excited about both the music and the incredible cover art that our good friend Matt Morgaine has been creating for it. Just a couple more musical morsels we want to squeeze in now. Still, while you're waiting for that, you should definitely download our First Ever Web-Only Studio Album and burn a disc for your car and a bunch of copies for your friends. This is the same production quality as our other studio CDs...definitely worth hooking up the good speakers or moving it off of the computer in whatever way you do.
In instrument building news, I'm just now putting the finishing touches on a new acoustic "Bass-Box". It's a fretless neck with nylon round-wound strings built into a cajon (box drum). This truly feels like my most successful acoustic instrument yet...surprisingly loud and rich tone and easy as easy-pie to play! Here's a picture of it assembled, but with the wood still unfinished (...but perhaps I look a bit too serious in this photo, no?). Click on the thumbnail to see a bigger version:
Here's a surprise for anyone who might be getting antsy for the new studio CD (still on track for a late-Spring release, by the way): We've finished off and mastered 4 previously unreleased studio recordings and assembled them into a brand-new web-only mp3-album! With newly polished studio out-takes spanning nearly the full history of the band, and some cleverly revealing cover-art by Eric Peacock, it's a must have for any true elitist 'neon brown' snob. Get yer fix here!
Happy Solstice everyone! It only gets more brown from here. As the light slowly returns, Adrian and I will be polishing up our mixes for the new (as-yet-untitled) CD! More details as it ripens. For now, to whet your appetites, here's an excerpt from Adrian's truly-stellar vocal performance on 'A Place'.
Thankyou, thank You! Such a fantastic string of shows last week. Things started a little slow in Olympia, but quickly ramped up through the week, culminating in one of our best full nights at the Brown Lantern on Saturday and an incredible homecoming gig at the Rendezvous (with The Pop Logic) on Sunday. Perhaps for me the highlight would still have to be Corvallis, OR on Thursday. It was our first time there, playing in this intimate little coffee house (The Interzone) on a rainy night and attentive listeners just seemed to seep in through the woodwork all night! Stay tuned to the audio page for new live clips.
Oh man oh howdy, the new CD is sounding mighty fine. So far, some truly smokin' versions of many of the time-tested compositions. And the composed-improv experiments (some with guests!) have been unbelievably successful...really freaking me out beyond words. "When is it coming?", you may well ask. ...maybe early Spring?... Regardless, expect lots of music which you haven't heard before. We're really looking forward to whipping out two-piece versions of some of these new tunes at our shows.
Speaking of shows, sorry it's been so long! A fall mini-tour is starting to shape up for the first weekend (and a bit of the next week) of November. Watch it develop and find out where to go on the shows page.
Hey everybody! We'll be back out on the road again in October, but look for slightly fewer shows to pop up over the summer as we begin to work on our next studio CD. Of course we'll be recording all of the new favorites, but you can also expect a few familiar guest-musicians on this next one as we explore some unconventional improv-based compositional approaches.
Meanwhile, take a listen to Adrian's new studio mix of Cityscape#2 -- from way back in the 'Fiber' recording sessions -- on the audio page!
I also just put a new T-shirt design up on our CafePress site...with two oblique graphical references to one of our most popular compositions. Check it out and get your very own now at www.cafepress.com/neonbrown!
What a tour! All solid (and very full) nights, with the Olympia show standing out as a particular highlight for me. A heart-felt thanks to all of the great listeners, old and new. No doubt some select audio clips will eventually show up on the audio page, but for now check out this time-lapse movie of most of the Brown Lantern show (minus the second set), shot from right in front of the "stage". mmmmmmmmm...vegggie-burrrger!MPEG-4 (8.6 megs)
Hey, speaking of CDs, while we were in Olympia, we sold out of our last 5 copies of 'Fiber'! That means they're all gone!! ...with the exception of a couple of copies still in stock at CD-Baby. So, if you've been waiting to come see us to grab one, give it up and order one online right now! News: (from 4/2/05)
Less than two weeks 'till our Spring "tour"! It's not a ton of dates, but we *are* playing full nights at each of them. We'll be kicking things off with our (un)usual Wednesday night of improvisation at Mr. Spot's, and then bringing all of the 'neon brown' material (including our two newest!) to Olympia and Port Townsend for the first time ever -- finishing off at our old standby on Saturday in Anacortes. As always, we're very excited! So excited in fact that I might even manage to whip up a "tour t-shirt" to go with our swelling collection of merchandise at cafepress.com. Check it out...it's just ridiculous.
In addition to the regular "Neon Brown Presents:" action at Mr. Spot's Chai House, it looks like we'll be making another short regional run of shows during an extended weekend ending April 16th! Look for a stray Seattle show to pop up around that time as well.
Meanwhile, in addition to various other projects, two brand-new Neon Brown compositions are well under way. This time, both ideas (a mind-melting polyrhythm/polymeter, and a tight, dark, high-energy funkster) originally sprouted from Adrian's twisted craw and have been growing all over the place at the Jambox.
Finally, if you've always wished that Neon Brown were more of a merchandising juggernaut, look no further than http://www.cafepress.com/neonbrown to check out our slowly-evolving mini-store of band-branded items. At this point, with 0% markup, there's never been a better (or even *a*) time to pickup a fantastic 'neon brown' coffee-cup, bumper-sticker, or (eventually) t-shirt for your cousin in Sweden!
Stay tuned to the 'audio' page! While we're working on a more experimental improv-pop CD (featuring compositionally-refined multitracked improv-sessions with some of your favorite NBP guests), we're still doing our best to sooth your insatiable desires for more studio-quality recordings of your favorite 'neon brown' compositions. The plan is to post all-new mixes of the unused tracks from the 'Nice Feathers' recording session -- and even perhaps from all the way back at the 'Fiber' sessions -- only on the 'audio' page. In fact, there's already a rough mix of 'BaileyRog' up there now.
And, of course, if you haven't heard 'Nice Feathers' yet, you can still get you very own copy at any 'neon brown' show, Sonic Boom in Ballard (supply replenished just today), and online at CD-Baby.
(quick update (2/2/2005)) Hey check out this fantastic acoustic cover of Static recorded by Five Philpin!
It's been a smokin' fall so far!: In addition to busting out two really unique new 'neon brown' compositions (the second of which will likely debut at our next NB show), we've finally -- after years of overtures -- just gone ahead and assembled a brand new rockin' 3-piece group with one of our longest-standing musical collaborators (and great friends) TQ Berg! We're calling ourselves Indonesian Junk. It's an unusual powerful sound...some great new compositions with TQ and I both playing full-range instruments and switching off between treble and bass as the moment inspires. Adrian is grooving as hard as ever on a stripped down kit and the harmony is a bit thicker and more adventurous, with all three of us singing in many places. Our first ever show (which also happens to be the next true 'neon brown' show) will be a split-bill with 'neon brown' and another great new band, "Dumb Found Dead" at The Blue Moon Tavern at the edge of the U. District. Come hear what we've been up to!!
For those of you who haven't gotten your copy of "Fiber" or "Nice Feathers" and need some convincing, check out the reviews on the Leaked Albums website. Two great reviews of both CDs! (Scroll to the bottom of the page.)
You can order copies of Nice Feathers and Fiber from CD Baby. Nice Feathers can also be obtained at Sonic Boom in Fremont and Ballard.
Thanks to Cracker Factory and all of the generous listeners who came out to celebrate with us at our June11th CD-release Party! Stellar sets of CF and NB were followed by a monster-truck-5-piece-jam, which eventually turned in to a 7-piece jam. We even managed to squeeze in the debut of a brand new 'neon brown' composition, "A Place". For those of you who missed it, there's still good news: 'Nice Feathers' (The new CD) is now available at all 'neon brown' shows! You can also order it directly from CDBABY.COM or pick up a copy today at Sonic Boom in Ballard or Fremont.
The new studio CD, "Nice Feathers", is now in replication! We're extremely happy with the mixes and are like totally stoked (dude) to hold a complete assembled copy in our hands. This time around, a great friend of ours, Dylan Sisson created a disturbingly beautiful new painting for the cover, opening a unique window into the music within. If all goes well, "Nice Feathers" should be available at local stores and online very early in June (if not before) with a big CD-release party/show to follow shortly thereafter.
We are just a few finishing touches away from sending our next CD "Nice Feathers" out to get replicated. It was recorded over the span of the last year in many different locations and venues and sounds FANTASTIC! (If I do say so myself.) We should be having a big CD release party sometime in June, so keep your calendar open for that month. It will probably be available at stores and on CD baby sometime in May. Also, we're going to release it to a few local radio stations before we make it available to anyone, that way you'll HAVE to call in and request it if you want to hear some of the tracks. Okay, okay, we might not do that. We wouldn't want to deprive people of Neon Brown and incur their wrath. At any rate, keep your eyes peeled over the next month and you should hear about the CD soon.
Thanks to all of the great listners/participants who came out to lend their energy (and their voices;) to the highly-successful experiment that was our December multi-tracking session at Mr. Spot's. After an unusually lengthy setup, we were able to cleanly capture a solid 90 minutes or so of live music to 8 digital tracks! Mixing is well under way and, without spoiling the surprise of which tunes from that evening will be used for the upcoming CD, I can safely say that we managed to get fantastic takes of 3 full songs and another tune's jam-section. (To ponder the possibilities, check out the 2003 setlists page.)
We then spent a couple of evenings the following week holed up in Adrian's basement, capturing the instrumental tracks for the remaining tunes for the CD. This too was a highly inspired session, with takes going down quickly and freely. At this point, we've certainly got far too much material for a CD, so look for only the best assembled mixes to be released sometime later in the Spring.
In live news, our two newest tunes ("Burn" -- possibly a temp title -- and "Bionic") were debuted in Bellingham on January 9th. Though both are still in their infancy, we're extremely excited about the possibilities.
Special thanks to Capitol Hill's 'Theater Babylon' for inviting us to play at their incredible 10th Anniversary party! What a very cool group of people those folks are. (They were even nice enough to move us into the heart of the main room when the temperature suddenly dropped and it seemed like our planned location out front might cost us our fingers in frostbite.) Amidst the food and drink orgy, the fortune telling (hot dog reading!?), and the general theatrical chaos, Neon Brown and the enthralling bellydancing 'Fuzzy Monkeys' swapped sets for over 4 hours. Check out Eric Peacock's smokin' flash-free photos from the evening on the pics page.
In recording news, shows are being booked a bit more selectively over the late fall and early winter, as we attempt to finish up basic tracking for our next CD. Of course we'll still be doing 2nd and 4th Wednesdays at Mr. Spot's (with the exception of Dec. 24th). We're even hoping to turn one of our upcoming dates there into a recording session for the new CD (likely with some extra audience-interactive elements ;), so stay tuned to the shows page for details.
While we're on temporary haitus from the Seattle bar scene, in addition to playing a few more out of town gigs, we'll also be putting the finishing touches on two whacked out new tunes! Look for one or both to debut at a show very soon.
Thanks to Denali, RL, and Shane of Cracker Factory for setting up an amazing two day run east of the Cascades last weekend! Cracker Factory blows us away more and more each time we see them, and this time we even managed to sqeeze in an hour of incredible freeform 5-piece groovin' at the end of the first show. (Those of you who made it out to this past Wednesday's 'NBP' at Mr. Spot's got a taste of what I'm talking about!) More 'neon brown' and 'Cracker Factory' collaboration is inevitable. :) Thanks also to the fine folks at the B-side (Spokane) and especially to Jack (from Walla Walla's "The Underground"), for the unexpectedly warm hospitality!
Due to some really good news for our expected October tour partners Frank Jordan, it's looking like we'll be postponing our tour South just a bit (likely until Spring), as they'll be playing a string of CD-release shows (celebrating their new CD on their new label!) on exactly the dates we were planning to be down there. Fear not, though, we'll get down there eventually!
In recording news, we've finally started mixing the first two tracks from what will be our second full-length CD. Look for some possible live-recording dates, and a slightly more intensive production schedule on this one as we tentatively shoot for a late Spring release!
There's a whole mess of stuff going on in the Brown world right now. If you look at our shows page, you will see that we have a bunch of shows coming up over the next couple of months. There's some local stuff and some out of town stuff. We'll be doing a short jaunt with Cracker Factory (formerly Otis P and the Jive Funk) out to Moscow, Idaho. And on top of that, it looks like we will be doing a tour down the west coast and playing some dates with Frank Jordan in the middle of October. So there's no excuse not to show up at a show! Also, if you haven't already gotten a copy of our CD "Fiber", and want to, you can buy it from CD Baby. Or you can go there and write up a great review of us, so that other people will buy the CD. ;) Plus, be sure to check out Hotbands.com and mp3.com for some updated mp3 action.
Hope to see you at one of the many upcoming shows!
If you were there at Mr. Spot's on that 4th Thursday in May, then you already know what I'm shouting about, but DOLGUMMIT that was a lot of sound!! Twelve (12!!) of the regular cast of Neon Brown Presents musical-characters showed up to celebrate the release of 'JOTW compilation CD Volume 5', and we since we lacked the foresight to think of anything more clever, we all just tuned up and went at it. (see the photos below, courtesy of David Estrada!)
Occasionally, Adrian or Andrew would do some directing or temporarily remove a group of players, but mostly it was just a huge beautiful wash of sound. Thanks to you all! (Look for some select mixes to appear on the JOTW page soon.) Of course, this means that the fabulous JOTW 5 compilation disc should henceforth be available at all shows, so feel free to bug us if yer interested.
Sneak Peak at the upcoming JOTW 6 Compilation cover:
We can't stop playing! JOTW compilation Volume 5? HA!! We're well past Volume 7, we just can't find the time to mix it all down. No problem though. We're loving it. Thank you, thank you for your ears...both musicians and listeners. Really though, 'Jam of the Week Compilation 5' has a great vibe. If you've been enjoying the type of jazz that's been overtaking us at Mr. Spot's, you should check it out. We'll have a few copies at our very next show, and we'll be doing an informal CD-release party very soon at one of the upcoming "Neon Brown Presents:" shows.
We've also done a first raw-tracking session for our next studio CD. It's looking to be tighter. It's looking to be looser. More on that as it develops.
On the live front, in addition to the usual local-ish shows, we're hoping to swing South for (a minimum of) a week of non-stop rolling and jamming early in the fall. With any luck, we'll be making it at least as far as SF and playing with some friends along the way.
Well, so far 2003 has been a blur of shows and an unexpected fountain of new tunes (with many of the newest structures arising fully formed in less than half a rehearsal ( : { o > ...what in tarnation! There's some wicked magic in that there Jambox!). Thanks to all of the incredible musicians who continue to breath life into the ongoing experiment that is 'Neon Brown Presents:' at Mr. Spot's Chai House.
Thanks also to Robert Kirkpatrick for his continued recording support. This compound situation has yielded such an abundance of great 'Jam of the Week' material, that we're already over a month behind in getting them up on the page! Still, if improvised groove is your bread and butter (as it is ours), then this is not a bad thing. Stay tuned to the jotw page as the edited selections continue to trickle in.
Speaking of shows, The Old Pequliar really is! Check out this quicktime slideshow (artfully authored by King Media Geek: Eric Peacock). Click here or on the image below (requires quicktime 6).
If you like Ballard, we're your band!! At this point, each and every scheduled Neon Brown show for the next several months is at one of two great locations right in the heart of bussling downtown Ballard. Look for the hugely successful 'neon brown presents:' series (at Mr. Spot's Chai House) to continue to supply a taste of 'neon brown' followed by a set of unpredictable freestyle groove (with all of the regular culprits, plus a steady stream of brand new guests) every second and fourth Wednesday. And, as if that wasn't enough for one neighborhood, we'll also be playing quite a few shows at 'The Olde Peculiar', a cozy little joint just a couple of blocks east on Market. And just so there's no confusion: Hot beverages at Mr. Spot's. Cool beverages at 'The Olde Peculiar'. Of course we will also be setting up some shows a little further into the outskirts of Ballard very very soon. really!
Speaking of that 'neon brown presents:' thing and freeform music and the like, anybody who's been following the recent deluge of new additions to theJam of the Week page might be suspecting the approach of another compilation CD (or two!). Yes indeed! As soon as we can whittle our selections down to about 80 minutes worth, 'JOTW Compilation 5' will be available at shows (a disc of mastered CD-quality versions of the best improvised morsels from the past 6 months).
And on the composition front, this recent 'post CD release' period has seen the sudden emergence of three new tunes (each continuing to evolve as they're tested and expanded at shows.) 'Keychain' (an oddtime shuffley changes-based ballad) and 'Neo Burn' (a high energy anthemic looper) have already become welcome regulars over the late fall. Look for a third brand new -- as yet unnamed -- tune to debut at an upcoming show in all of its incomplete Floydian, funktacular, 4-part vocal harmonizing splendor.
BRAND NEW NEON BROWN CD "FIBER" NOW AVAILABLE!!!
That's right, the brand new CD "Fiber" is now available!! The official copies are finally back from the presses, and they look and sound GREAT!! (In our own humble opinions of course.) We are -- needless to say -- extremely happy with this CD and can't wait for YOU to have it. Of course, you can get it at any of our upcoming shows. But for those of you who can't wait, it is now also available at these fine locations:
Sonic Boom in Ballard.
Sonic Boom in Fremont.
Cellophane Square in Bellingham.
With many more stores to carry it soon. Plus we have given copies to both KEXP in Seattle and KUGS in Bellingham, so if you find yourself without Neon Brown, you can request the new CD from either of those two stations. If you want to preview some tracks online, check out our CD page.
Hey, jamfans! Special thanks to the many gracious listeners -- and of course the fabulously bold musicians -- who have poured their attention into the first several "Neon Brown Presents:" events at Mr. Spot's Chai House. Even with A & A alternately out of the state, the first three gigs have seen some radically funky risk-taking musical exploration. This is definitely a tradition to continue, AND -- especially if you haven't been to one yet -- an event to check out!
AND: While you're waiting for that 'oft-promissed' and 'not at all yet delivered upon' threat of a new CD, check out some choice tracks (in MP3 form) on the newly updated CD-tracks page! (There, you can also get a glimpse of a teeny tiny version of the cover art.) More news on the actual release (in disc form!) very soon (at least in geological terms).
The CD is done!!! Holy crap! We really couldn't be more excited. The current plan is to have a limited special edition -- with a bonus second CD of live collaborative improv -- available at shows (possibly as early as the very next one), with a final pressing and a more officialish CD-release party to take place in the fall. Keep your eye on the shows page and the announcement mailers for news on the new CD's ominously impending availability.
Speaking of, in the name of bringing you even MORE spontaneous musical covorting for your hot-beverage-buying dollar, 'neon brown' and Mr. Spot's Chai House have created a brand-new recurring event: Neon Brown Presents!:. Starting in August, head down to Ballard's finest Chai/Music emporium every 2nd and 4th Wednesday of the month for an unpredictable evening of 'neon brown' and/or some of their unusually talented musical friends as they throw out the book and revel in the now.
As promised, with only a few weeks of work left on the CD, we've been gradually ramping up the show frequency and have really been enjoying it! Not only have we gotten some great 2nd-set opportunities to stretch out with some amazing guest musicians, but it seems like the listeners just keep getting better and better. All of your attention and enthusiasm has definitely been helping to move the music into some exciting new spaces.
Special thanks to Brendan Wires and Brian Kenney Fresno for an incomparable evening of music and mayhem down at The Matrix in Chehalis. Speaking of, what an amazing venue! ...truly worth the trip! (Great people, great food, and one of the best feeling rooms we've played.)
Anyway, the CD really is just about there (we mean it!). Hopefully, we'll be setting up some sort of CD release party within the month where you can get a copy of your very own and decide for yourself if it was really worth all the work :) . Stay tuned to the shows page for that and more as we break out of the studio and get back to playin' like never before.
Special thanks to the many good friends and great listeners who gathered at Mr. Spot's last night for an absolutely smokin' opening party! We had a great night.
Please stay tuned to the shows page as we wind up our months of CD-obsession and start "taking it back out of the house" again. One of our main goals will be finding small havens for adventurous listeners that are further out of the city (in order to complement the great in-town venues we've been lucky enough to frequent), so let us know if you know of the right place for us. No?
CD update: Pretty much all of the basic instrumental tracking is now complete, and a few of the tunes from the second recording session are even nearing completion. Thanks to a generous donation of studio time and engineering expertise from Scott Finholm (of Rubberchicken Productions), the instrumental tracks for 'Tippin the Fridge' and 'Cityscape #2' were captured direct to digital with a full 16 tracks of separation. Adrian and Andrew are now entering the final vocal tracking and mixing stage on those and a boatload of experimental jam/compositions, so the CD still seems to be on track for a late spring release. (And of course, expect some special guest appearances by a few of the regular Jam Of The Week celebrities!)
Finally, those of you who might remember a little 3-piece band by the name of 'hEEnD' and a scary bit of improv-theater called 'Ghidra vs. Godzilla' might be enthused to note that Andrew has been extending the black and white 2d-animated version during his bus commute to and from work. Check out an updated (3/24/02) clip of the "fruits" here. (requires quicktime...send us a note if you're interested and can't view the movie.) See you soon!
CD update: The first session of song tracking for the upcoming CD is now in its final mastering phase! The five tracks (Blue Fiber, Static, The Riddle, Lost Baggage, and Get Round) are all frequent live-setlist mainstays that were selected for the first session either because they had been consistently inspired at shows or because the band felt they were likely to really shine in the studio setting. So far, not only have the captured performances been top-notch, but the resulting mixes are viewed as a huge improvement in Woods-brothers recording craftsmanship. For the most part, the first session has been focussed on defining the tighter, punchier end of the CD, with a second session -- exploring some of the more extended improvisation-heavy material -- to begin basic tracking this week. Additional 'live to 2-track jam' edits and experimental compositions are also in production, so stay tuned!!
Live shows: A 'n' A will still be venturing out of the recording closet as often as they can during the upcoming months, so keep your browsers pointed to the shows page. With a new show at 'Cafe Solstice' already on the calendar and the promise of a March date at the new 'Mr. Spots Chai House', there should be at least a couple of good opportunities to check out some of the funky new breed of neon brown instrumentals as well as revel in the developing range of the old standards. Also, with such a successful night at The Blackbird in December (special thanks to both the old friends and the great new listeners met there!), you can definitely expect more dates in Portland soon too.
News: (from 11/8)
Here it is: The first session of tracking for the upcoming Neon Brown CD is now 'on the hard-drive'. Adrian and Andrew spent the last few rehearsals of October stringing miles of cord-spaghetti across the rehearsal space in the hope of close-mic-ing (sp?) enough of the instruments to screen out some of the rumble from neigboring bands (not that it wasn't adding just the right element of unpredictability to the mix. It's just that we fear inadvertant copywrite infringement ; ) ). Five tracks were successfully recorded (boosting the brothers' sound-engineering confidence to such a degree that the vocal session is tentatively planned for Boeing Field! ( : {o> ... ; ) ). Adrian and Andrew have divided up the songs and are each in the process of editing the best pieces together to create complete instrumental takes. Vocals will then be added (at one of their apartments), with the final stage of sonic-tweaking to follow.
Meanwhile, new tunes continue to emerge... perhaps ripening a little more slowly, as the band moves to dig in and really find and expand the soul of each of the existing pieces.
News: (from 9/27)
Announcing: the first ever web-posting of a full 'neon brown' show. Robert Kirkpatrick (our trusty live-recordist/info-archivist) has posted about an hour of live music from our one-set opener on September 9th at the Rainbow. Go to spiralcage.com's AV club for set-info and the tracks (160 kbps mp3s)
New tunes in the works: 'Hunkasaurus Junior' -- a slow deep funk instrumental -- and an as-yet-unnamed high-energy context-shifter (you might have caught some brief peeks of this second one as soundcheck material at the last couple of shows).
Recording sessions intended for a second (full-length +) 'neon brown' CD are so close you can smell 'em. ...stay tuned for more info.
News: (from 8/19/2001)
Special thanks to 'Frank Jordan' (the band, not the guy) for a great night of music in June at The Central. If you were there, you know that of which I speak. If, for some reason you HAVEN'T been flattened and then buffeted around by this particular group, perhaps you should at least visit their website and check out some of their live mp3s here. Hopefully, we'll be hooking up with them again in the near future.
Also, special thanks to the fine folks at the Arlington Garlic Festival for having us out to groove and severely dehydrate in the sometimes painfully beautiful weather of August 11th. Not only did we get to play for two or three-hundred gracious listeners who had never heard us before, but we had Garlic!
Adrian's got his new G4! I ask you, can a new 'neon brown' CD be far behind?!
New tunes in the works: 'get round' -- debuted in all its funk-tastic glory as the Garlic Festival opener (after a brief warmup jam, of course) -- and 'glass turtle' -- a strangely hypnotic looper with climbing classical interludes.
News: (from 6/4/2001)
After a brief retreat to the new rehearsal space to dig in and finish off some new material (and log some smokin' jam-time with some of our best musical buddies), we're aiming to spend a lot more time playing live. Look for plenty of opportunities to check out new tunes (a jazzy instrumental called "lost baggage", an unnamed reggae/punk-funkster and a smooth, soulful revamp of 'the riddle' -- which might be vaguely familiar to anyone who saw 'falling down time') as the new shows are listed.
It's been almost exactly a year since the recording of the basic tracks for our debut/promo CD, and we're getting the itch to document some of new stuff. Most likely, a full-length CD will be recorded in several short (3-4 song) sessions...allowing us the time to really baby each piece and to gradually refine our basic-track capturing and general production process. Look for a finished disc to appear at shows sometime within the next 24 mos ( : { ) > .
(tech update: I believe adrian is now calling his new two-stringed instrument "the sticklet".............and he's getting some weeeeiiird-ass sounds out of it. He's also been doing some experimentation with a technique called 'no-input mixing board' where he creates feedback within one of the effects-loops of his mixer and then sends the resulting 'controlled-squeal' through some other effect on the way out. It can end up sounding like anything from space-bubbles to a constipated elephant grunt and has been supplying amazing new musical textures at recent live shows...just thought this knowledge might help in case you hear any mystical warbling in the high-end.)
Zoinks! It's been a while since we've updated this here news, but with Adrian soaking up humid heat and sweet jazz in the deep Southeast for a week, it looks like I've finally got a moment to write. If you've been out to any of our last few shows, you'll know that we've been spewing out the new material at a feverish pace. Even still, it seems like we're forgetting more grooves and arrangements than we have time to develop -- of course, this certainly isn't the worst problem one could have. One improvement in this area has come from our recent move from our long-term rehearsal house (thanks to Colin, Tim, and Russel, for being such gracious hosts and smokin' jam-partners for so long...don't worry everybody: If we have any input in the matter, you'll be hearing plenty more collaboration with those guys in the future). Now, with a shared room in a big faceless industrial buttrock rehearsal facility (; {)> , we're able to get in twice as much playing time a week. So, with so much time between shows for at least another month or so, you can expect plenty of new material and whacked modifications of the old stuff. Speaking of shows, things look to be getting more busy again quite soon. Look for 3 shows in one week at the beginning of May, as well as sporadic out-of-town engagements to begin popping up soon after.
News: (from 11/20/2000)
mmmmmmmm...chai. Over the last couple of weeks, new tunes a plenty have been birthed and paraded around on wobbly legs in front of small, friendly crowds at Ballard's favorite mellow groove spot: Mr. Spot's Chai House. More still to come on selected upcoming Monday's. See the shows page for more details on that and other appearances...INCLUDING a sweet spot THIS COMING SATURDAY, opening for KILGORE TROUT (as far as we know, the first chance to see them locally in quite a while) and the mysterious APES OF WRATH.
Hey, if you haven't checked out the 'Jam of the Week' page in a while because you think we haven't been updating it, then MAN are you sadly mistaken! GO THERE NOW OR SUFFER ETERNAL 'NOT FREE-FORM JAM HAVINGNESS'! Holy cow...I'm really sorry.
News: (from 10/8/2000)
With a great NXNW experience and our first Seattle show behind us, we're more excited than ever about the musical possibilities of this 2-piece format. (Take, for instance, the new clips from the Rainbow show on the audio page. Also, check out new pictures from the NXNW music festival on the updatedpics page courtesy of Elliot Levin.) So, while we continue to explore the endless compositional possibilities, the time has also come to start filling in the local calendar with some live shows. Check the shows page often, as it should be updated at least weekly. In addition to an expected return to the Rainbow and some of our older familiar haunts, we're always interested in new venues, so feel free to let us know if you know of the perfect place for us.
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← “Let us close our eyes; outside, their lives go on much faster…”
“There’s a beast upon my shoulder, and a fiend upon my back…” →
“…and every one of them words rang true, and glowed like burning coal…”
In 2007, I translated the 15th-century romance “The Taill of Rauf Coilyear,” a 972-line Middle Scots poem about the kerfuffle that ensues when Charlemagne, separated from his entourage by a snowstorm at Christmastime, seeks refuge in the home of a proud and irascible collier (a sort of medieval Tommy Saxondale). Combining folklore motifs with burlesque humor and elements of chansons and chivalric romances, “Rauf Coilyear” is a lively but rarely-read tale of courtesy, hospitality, and knighthood. To my knowledge, it’s also the only medieval romance in which Charlemagne totally gets slapped in the face.
The translation was an experiment: I wanted to see if I could imitate all 75 of the original poem’s tricky rhyming, alliterative, 13-line stanzas in a translation that was both readable and entertaining. (Check out “The Taill of Rauf Coilyear” in its original Middle Scots to see what I was up against!) I made the translation available as a free, downloadable PDF in 2007, and then in 2008 I sold the occasional paperback directly through the blog.
This year, I decided it was time to put this book into wider circulation. The Tale of Charlemagne and Ralph the Collier is now available through Amazon as a $10 paperback. There’s also a version specially formatted for the Kindle. (To get a taste of the translation, sample this low-res PDF of the first few pages.)
No one else has ever translated “Rauf Coilyear” into rhyming, alliterative, modern English verse, and I doubt anyone else will be nutty enough to try—so whether you’re a longtime reader of this blog, a student of medieval literature, a fan of old-fashioned poetic formalism, or a collector of truly obscure manifestations of Charlemagniana, I hope you’ll find this translation a satisfying read. Despite what Mamillius claimed, sometimes a sad tale isn’t best for winter after all.
Tuesday, December 18, 2012, 2:30 pm in Charlemagne, literature, translations | 3 Comments »
3 responses to “…and every one of them words rang true, and glowed like burning coal…”
# 1 - Pete wrote:
Wednesday, December 19, 2012, at 1:53 pm
Outstanding. I’ll add it to my list.
# 2 - Alpheus wrote:
Thursday, December 20, 2012, at 12:35 pm
I looked at the .pdf and was delighted. Why isn’t some national magazine employing Jeff Sypeck to publish witty verse and poem translations? This is what I think economists call a market failure.
# 3 - Jeff wrote:
Friday, December 21, 2012, at 1:02 am
Thanks, Alpheus! I wonder, though: How many general-interest magazines publish poems anymore?
(For what it’s worth, I had a rather lackluster magazine-and-newspaper freelance phase from around 1999 to 2002. What I found was that if editors didn’t reject my story ideas as too obscure, they edited out much of what I considered the fun stuff, and the pay was bad. Even plausible venues turned out to be iffy: When Cullen Murphy was editor of The Atlantic, junior editors used to send me notes that read, in essence, “Nice idea, but Mr. Murphy writes medieval stuff for us already.” By contrast, blogging is far less stressful.)
(Comments with links may be held briefly for moderation.)
"Quid plura?" is the blog of Jeff Sypeck, a writer in the Maryland woods.
Becoming Charlemagne is available as a Harper Perennial paperback. Order a copy here.
Looking Up: Poems from the National Cathedral Gargoyles is now available! Order a copy from Amazon or learn more here.
Folklore! Chivalry! Mad alliteration! The Tale of Charlemagne and Ralph the Collier: A Translation is available in paperback and as a Kindle e-book.
The Beallsville Calendar is a yearlong alliterative poem about moving from the city to the country. Learn more about it or order a copy here.
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Explore Blagdon
Evolution of Everything
Shale gas changes everything
Published on: Thursday, 20 January, 2011
Some people think I am obsessed by the shale gas revolution and that I might be exaggerating its significance.
Well, if anything I'm underplaying it.
The International Energy Agency says so. Here's what it says (from UPI):
"Production of 'unconventional' gas in the U.S. has rocketed in the past few years, going beyond even the most optimistic forecasts," said Anne-Sophie Corbeau, a gas analyst at the IEA. "It is no wonder that its success has sparked such international interest."
Shale gas production in the United States is booming and the IEA estimates that unconventional gas makes up around 12 percent of the global supply.
Global supplies of natural gas could last for another 130 years at current consumption rates. That time frame could double with unconventional gas, the IEA said.
"(D)espite the many uncertainties associated with production, countries are still prepared to take risks and invest time and money in exploration and production, because of the potential long-term benefits," Corbeau said.
and here's more (from the BBC):
[Dr Fatih Birol, chief economist at the International Energy Agency] also warned that efforts to tackle climate change through renewable energy were under threat from the world revolution in unconventional gas sources. He said the shale gas boom in the US has already led to a gas rush which had contributed to a 50% drop in investment in renewable energy.
And the US boom, he said, had a knock-on global effect. The fact that the US has suddenly found that it is independent in gas supplies means it doesn't have to import gas.
That means the nations gearing up to sell gas to the US have to find other markets, which is forcing down prices.
"There's suddenly much more gas available in the world than previously thought," he told BBC News.
"It's cheaper than it was and the supply is more assured. And it's only half as polluting as coal. There will be strong debates between energy and climate and finance ministries round the world about whether investment should continue to support renewables when the situation on gas has so radically changed."
By: Matt Ridley | Tagged:
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Romans, Knights, Doughboys: Lingering memories in a European Landscape
Hesselbach fort and watchtowers
Filed under chapter 5. Echoes of a Roman past
In retrospect, I have come to regard the high point of my wanderings along the Limes as, quite literally, the Hesselbach sector. Hesselbach is a small village set amongst the forests of the high Odenwald and lies behind the spur formed by the first (Domitianic) Limes. Here, in this particular sector of the frontier zone, the combination of dramatic and rugged hill country, important archaeological finds and a surprising tribal memory offer strong resonances of the past.22
Traveling slowly along the narrow roads that shadow the Limes in this particular region, one soon becomes aware that the Roman surveyors chose to follow crest lines, occasionally angling the straight runs of palisades, and taking advantage of east-facing slopes that plunge at 45° into the valleys. In archaeological terms, the forested Hesselbach ridge is noteworthy for the presence of a pair of reconstructed watchtower bases, each representing a different phase of military occupation (Fig. 14). Their site is 2 km north of Hesselbach. The earlier tower base, originally built around AD 100 and ringed by a ditch, is a low, five-metre square plinth of timber beams, earth and stones. Nearby is a second tower base of later design, several metres high, made of fitted stone blocks. Traces of white plaster and red-painted joints were found on this stonework. At one corner, four courses of original sandstone blocks laid in AD 145-6 are visible: the rest of the structure is a modern reconstruction (1979), the gift of the local Rotary Club. The two structures are said to be the best indicators of watchtower construction on the entire Limes. The line of the continuous palisade, about 30 m away, is today indicated by a token run of sharpened timber stakes, each 25-30 cm diameter.
Fig.14 – Two watchtower bases (Sector 10/site 30, Domitianic Limes).
At the edge of Hesselbach village, on Römerstrasse, is the discernible outline of a Roman numerus fortlet (Fig. 15). The term numerus signifies a small unit of auxiliaries, 100-150 men strong. The small field marking the site of the fort is set on a high but relatively flat stretch of land. The four sides of the fort are now just visible as low earthen banks, each roughly fifty Roman paces (75 metres) long. The main gate (porta praetoria) faced the original Odenwald – Limes, 200 metres away. The excavations of 1964-6 by a team led by Dr. Dietwulf Baatz of the Saalburg Museum revealed that this site was quite unique as it gave the first insight into the organization of a small tactical, independently-operating unit of the Roman army. Within the the fort, which had been enclosed by walls 3-5 metres high, it was possible to identify barracks, stables, stores and a central command building (Fig. 16). During its life, which dated from about AD 100 until AD 155, wooden structures were replaced with very substantial stonework.
Fig. 15 – Site of numerus fort, Hesselbach village, Odenwald.
Fig. 16 – Reconstruction of the numerus fort at Hesselbach. (© Römerkastell Saalburg)
H. Göldner and F-R Herrmann, Archäologische Denkmaler in Hessen 154 (Wiesbaden: Landesamt für Denkmalpflege Hessen und der Archäologischen Gessellschaft in Hessen e.V, 2001) [↩]
« Saalburg fort
Manning of the Limes by Britons »
1. A Landscape of History and Romance
2. The Great Northern Frontier
3. The Drive to the East
4. Holding the line
5. Echoes of a Roman past
6. Trier, ‘Rome of the North’
7. Shades of Varus
8. Maps and roads, ancient and modern
9. Roman Museums and Limes Pathways
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Roberto Porres, the passionate entrepreneur behind Barroco and Bocata
Le Foiegwa will be the third restaurant from this young entrepreneur
Born of an American mother and a Guatemalan father, nothing predicted that Roberto Porres, the restaurateur behind Barroco and Bocata, would come to Quebec to develop a career. He discovered Montreal through a student exchange (computer studies, no less) program and quickly caught the bug for everything that represents the city.
"I grew up in a southern U.S. culture, which was very warm and hospitable. Montreal culture looks a bit like that; it’s a nice mix of European and North American, but less saturated and less aggressive than the US. I decided to stay and it's been over 15 years!"
Having gradually worked at all levels of the restaurant business, from café employee to restaurant manager, he doesn’t hide the fact that his passion grew very quickly, to the point that he wanted to open his own place and control most decisions himself. "I went around and I wanted to be involved in all aspects of the restaurant, including the menu, music, staff, and the presentation."
Roberto Porres, the restaurateur behind le Barroco and le Bocata.
You could say that Barroco opened quite naturally, even if the young 26 year old entrepreneur didn’t know all the basics of starting a business, including the sheer number of hours of hard work. Work that according to Porres is not really work "If it’s your passion, it’s not a job. You have to love it! The food you eat, the music you hear, the people you see, the wine you drink; all the elements of a restaurant, they must do something for you. That’s what allows one to work so many hours without resenting it."
The hours accumulated rapidly, thanks to a restaurant concept that wasn’t quite so widespread a few years back. The stone walls and wooden beams at Barroco charmed the owner, who was looking for that spirit of hospitality and friendliness from his American roots. "I really feel at home, and I think that in Quebec, especially in Montreal, people like places that remind them of a little cottage. It feels warm in the summer, but especially during the winter you feel like you can stay here for hours. The idea of an urban cottage is what inspired all the rest."
At Barroco, the finesse is in the details of the baroque decor.
Kinds of food we'd like to eat at home, served in pans and on wooden planks, square napkins, denim aprons, etc., all these aspects were part of a movement that was in its infancy when they opened:
"It was daring to be more cozy, without necessarily altering the haute cuisine. Plating that’s too fancy doesn’t speak to me. It’s a lot of work for nothing and I think we really need to present our meals clearly; they are of course healthy and appetizing, but it's still just a plate. We don’t need to stray too far from our basic human instincts, eating is very natural. You have to respect food, not manipulate it too much."
Despite the resounding success of his first effort, there was more than enough reason for Porres and his associates to launch a new project. In addition, the adjacent space was available. Le Bocata opened less than two years later. This time, the concept was anchored around fish and seafood with a slightly more relaxed and accessible atmosphere. Nearly six years later, Bocata has not budged; Porres doesn’t make too many mistakes.
The famous boar's head adorning one of the walls at Barroco.
Even as success follows him at every turn, the restaurant remains very realistic in the face of so many challenges: "The biggest challenge, I think, is it’s not the glamorous side of the job; there are financials, budgets. Yes you must let yourself get carried away with your passions because it is motivating, but you also learn to control yourself somewhat, finding the right balance between the two."
Porres no doubt has the key to this balance, which perhaps also explains why he’s launching another project this May, Le Foiegwa. A play on the dessert "foie gras", the idea began as a hashtag on Barroco’s social networks to make something upscale more accessible. Based on a growing trend of diners, Le Foiegwa serves French classics in the heart of Saint Henri.
And that's not all! Just behind the brewery, the group will open the Atwater Cocktail Club, an underground type bar where you can enter through the alley.
Fine wines, selected by Porres, himself a sommelier.
He chooses team members according to their passion rather than their experience. In fact almost all servers are also sommeliers, demonstrating, he said, their real interest in this kind of work. Porres has no desire to move again; the Barroco paella, Porres’ favorite, is more than enough to keep him happy!
Le Barroco
312, St-Paul Street West
Old-Montreal
Le Bocata
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Environmental Justice Is Worth Fighting For
by Sidney Shapiro
Robert Verchick
Originally published in The Regulatory Review as part of a series on social justice and the green economy. Reprinted with permission.
The reactions to our article, Inequality, Social Resilience, and the Green Economy, have a clear message: We, environmentalists, have our work cut out for us.
We wrote our article to start an overdue conversation about environmental policy and social and economic well-being, and we thank our commentators for joining us in starting this conservation. In response, we would note that, although protecting the environment and achieving justice has never been easy, the United States has made progress over time. We are persuaded, despite the caveats our commentators have identified, that the country can do so again.
Michael P. Vandenbergh warns of the political danger of tying the environmental agenda to social well-being in our current political state, and we agree with this warning for all of the reasons that he gives.
To start rolling the boulder up the hill, we suggest that environmental and social advocates find ways to work together, thus bolstering political support for needed policies. We contend that this collaboration should be possible because both types of advocates support a common purpose: giving Americans a fair chance in the race of life by considering the fate of people losing jobs, whatever the cause.
Once political momentum develops, our commentators warn there will be many a slip between cup and lip, to use a well-worn phrase.
Daniel A. Farber notes that policy design is still in the basement stage because we lack a very good understanding of the extent of job loss and of the resulting types of harms. Vandenbergh points out climate change will require policymakers to address not only intragenerational justice, but also intergenerational justice—a rather daunting task.
Nives Dolšak and Aseem Prakash catalog the multiple facets of climate justice that need to be addressed, including: the disproportionate impact of climate bads, the unequal extent to which some citizens benefit from environmental goods, and the issue of who will bear the cost of environmental protection. Achieving environmental justice, they note, will require not only recognizing all of these facets, but also designing programs—including compensation programs—that address them.
But, as Alice Kaswan indicates, there is some reason for optimism.
California policymakers have enacted policies that pursue environmental protection and economic justice, which can serve as models for the rest of the country. And Dolšak and Prakash point to other initiatives—in Appalachia and elsewhere—underway in places that do not share California’s pro-environmental politics.
To sum up, we resort to one last cliché: “Nothing worth doing comes easily.” But, for us, the bottom line is this: Environmental justice, social resilience, and embedded environmentalism—to borrow three terms used in this series of commentaries on our article—are all worth doing.
Now for the hard work.
Tagged as: green economy social justice
Also from Sidney Shapiro
Sidney A. Shapiro holds the Fletcher Chair in Administrative Law at the Wake Forest University School of Law and is the Associate Dean for Research and Development. He is a member of the board of directors of the Center for Progressive Reform.
@CPRBlog
Shapiro | Oct 02, 2018 | Environmental Policy
Regulating the Green Economy
Shapiro | Sep 24, 2018 | Regulatory Policy
From Surviving to Thriving: Equity in Disaster Planning and Recovery
Shapiro | Sep 05, 2018 | Climate Change
News and Observer Op-ed: Bill Would Weaken Neighbors' Ability to Be Compensated in Hog Farm Lawsuits
Shapiro | Apr 05, 2017 | Access to the Courts
Old and New Capture
Shapiro | Jul 07, 2016 | Regulatory Policy
Expanding Environmental Justice to Achieve a Just Transition
The Jobs and Regulation Issue Revisited
A Planet in Peril
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Suggested Shropshire Itineraries For Groups
BRIDGNORTH & THE SEVERN VALLEY
This itinerary starts in the Low Town of Bridgnorth, after a stroll around, you can board the steepest inland cliff railway in Britain. This will take you up to the high area of the town and the castle gardens. After exploring the gardens you will need to cross the nearby iron footbridge to the Severn Valley Railway Station. Your train will whisk you away, and whilst eating lunch you will steam through the Severn Valley to Kidderminster.
Accommodation Suggestions
The Raven Hotel and Restaurant
The Gaskell Arms Hotel
The Bulls Head
Click on the accommodation provider above for further information.
*From Much Wenlock take the A458 to Bridgnorth, from Telford take the A442.
10.00 Bridgnorth
After a stroll arround Bridgnorth Low Town, board the cliff railway to be lifted 110 feet to the high town. On the way up look for Bishop Percy’s House, former home of the cleric and poet who collected the ballards known as Percy’s Reliques and the cliff caves, which were inhabited until the 1850’s. Once at the top you can wander around the castle gardens, through what’s left of the actual castle after it was blown up by parliamentarians in the civil war. It leans more than the tower of Pisa.
12.30 Severn Valley Railway, including lunch
Board one of the trains and take the 16 mile journey to Kidderminster. Lunch will be served on board whilst the train steams through the River Severn Valley. This will need to be pre-ordered and tickets will need to be booked in advance. Contact Severn Valley catering department on 01562 827232 to book.
3.30 Bridgnorth
The rest of town can now be explored, there are plenty of shops, buildings and inns to captivate you, the town trail will take you around many of these. The locals obvious love of, and pride in the town shows with every corner and hanging baskets filled with beautiful blooms. For their efforts they have won both regional and national competitions, including an RHS gold award.
There are several places where afternoon tea can be taken. For more information and a guide to Bridgnorth contact the Visitor Information Centre.
Email: bridgnorth.tourism@shropshire.gov.uk
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Acta Paulista de Enfermagem
Acta paul. enferm. vol.25 no.3 São Paulo 2012
The clinical seminar as a learning methodology: an evaluation of nursing students' views
Seminário clínico como metodologia de aprendizagem: avaliação fundamentada nas opiniões de estudantes de enfermagem
Seminario clínico como metodología de aprendizaje: evaluación fundamentada en opiniones de estudiantes de enfermería
José Granero-MolinaI; Cayetano Fernández-SolaII; Adelaida María Castro-SánchezIII; Francisca Rosa Jiménez-LópezIV; Gabriel Aguilera-ManriqueV; Josefa Márquez-MembriveVI
IPhD. Professor of the Faculty of Health Science, University of Almería
IIPhD. Professor of the Faculty of Health Science, University of Almería
IIIPhD. Professor of the Faculty of Health Science, University of Almería
IVPhD. Professor of the Faculty of Health Science, University of Almería
VPhD. Head of the Nursing and Physiotherapy Department, University of Almería
VIBachelor of Science Nursing. Commissioner of the Degree. University of Almería
Autor Correspondente
OBJECTIVE: To explore students' assessments of the clinical seminar as a complementary teaching method to the clinical practicum experience.
METHODS: This was a qualitative study based on the hermeneutic phenomenology of Gadamer. Twenty-three open-ended interviews were conducted from among the 132 first-year students who attended an initial clinical practicum. We performed a qualitative analysis of the data using ATLAS.ti software.
RESULTS: The students agreed that the clinical seminar gave them the opportunity to learn about procedures, nursing care and interpersonal relationships. They also found it very helpful when they encountered challenging stressful situations as they performed their practice, and believed it allowed them to make a connection between the theory in the classroom and the clinical practice.
CONCLUSIONS: These seminars can contribute to reducing levels of stress during clinical practice. They can also help students obtain significant learning from their fellows and reduce the theory-practice gap.
Keywords: Clinical clerkship; Students, nursing; Problem-based learning
OBJETIVO: Avaliar a importância que os alunos atribuem ao seminário clínico como método de ensino complementar às práticas clínicas em estágio.
MÉTODO: Estudo qualitativo baseado na fenomenologia hermenêutica de Gadamer. Foram realizadas 23 entrevistas abertas entre um universo de 132 alunos do primeiro ano da licenciatura de enfermagem, que assistiram a um seminário clínico, durante o seu primeiro ensino clínico/estágio. Foi realizada uma análise qualitativa dos dados através do software ATLAS.ti.
RESULTADOS: Os entrevistados coincidiram na opinião de que o seminário lhes deu oportunidades de aprendizagem sobre procedimentos, cuidados de enfermagem e relações interpessoais.
Referiram também que o mesmo foi útil para lidar com situações estressantes e relacionar os conteúdos teóricos com a prática.
CONCLUSÕES: Este tipo de seminários pode contribuir para a redução dos níveis de estresse durante a prática clínica, para a aquisição e partilha de aprendizagens significativas em grupo e para colmatar lacunas teórico-práticas.
Keywords: Estágio clínico; Estudantes de enfermagem; Aprendizagem baseada em problemas.
OBJETIVO:OBJETIVO: Evaluar la importancia atribuida por los alumnos al seminario clínico como método de enseñanza complementaria a las prácticas clínicas.
MÉTODO: Estudio cualitativo basado en la fenomenología hermenéutica de Gadamer. Se realizaron 23 entrevistas abiertas entre un universo de 132 alumnos del primer año del pregrado en enfermería, que asistieron a un seminario clínico, durante su primera enseñanza clínica/práctica.
Se llevó a cabo un análisis cualitativo de los datos a través del software ATLAS.ti.
RESULTADOS: Los entrevistados coincidieron en la opinión de que el seminario les dio oportunidades de aprendizaje sobre procedimientos, cuidados de enfermería y relaciones interpersonlaes. Refirieron también que el mismo fue útil para lidiar con situaciones estresantes y relacionar los contenidos teóricos con la práctica.
Conclusiones: Este tipo de seminarios puede contribuir en la reducción de los niveles de estrés durante la práctica clínica, para adquirir y compartir aprendizajes significativos en grupo y para corregir lagunas teórico-prácticas.
Descritores: Prácticas clínicas; Estudiantes de enfermería; Aprendizaje basado en problemas
The importance of initial clinical education on learning in the health professions cannot be questioned(1-2), primarily because an ever increasing number of educational theorists began emphasizing the social and cultural nature of knowledge, and, in particular, the role played by practice and experience on the development of skills(3). However, it should be approached as a period during which it is vital for the faculty to provide attention (4-6). Considering this, development and evaluation of clinical learning strategies are needed to enable efficiency and optimization of the limited clinical centers(7). Research on the experiences and perceptions of nursing students during their clinical placement has been conducted during the last few decades. Generally, studies have shown that students experience stress and anxiety(5,8), a feeling of abandonment and incompetence(9), a clash with reality or the theory-practice gap(10), shame and humiliation(11), a sense of impermanence and generational tensions which prevent them from integrating into a team(6), leading to feelings of invisibility or of being ignored (12) or discriminated against(13). Sometimes, students believe they are supposed to function as qualified members of the clinical team(14-15).
There have been various strategies described for minimizing these problems and optimizing the period of clinical practice training. Among these strategies, the Dedicated Education Unit (DEU)(16-17) is relevant, and is defined as "a client unit that is developed into an optimal teaching/learning environment through the collaborative efforts of nurses, management, and faculty"(17). One study(8) identified different measures available to reduce anxiety within the clinical training environment, such as the use of humor, collective instruction or tutorials together with Mindfulness-Based Stress Reduction programs. Another author proposed a better understanding of the components in clinical education from the student's point of view(4). Other authors developed a cooperative learning model where advanced students supervise beginners(18-20).
Concerned with the stressful effect of the first clinical placement, and the integration of theory and practice for nursing students in the Faculty of Health Science (FHS) in the University of Almeria (UAL), the teaching staff for the first year designed and implemented the Clinical Seminar (CS). The CS is developed within the framework of a pilot experience, aimed at implementing the European Higher Education Area.(21-22) It is based on different strategies, developed to reduce stress during training, increase students' performance, and to integrate theory and practice. Some of these were instituted during periodical meetings held with clinical placement students, called supervision programs(1,23) or clinical seminars(24).
Emotional support and clinical management increase performance and improve patient care(25). The first session of the CS was held weekly during the hospital clinical placement. This first session consisted of two hour meetings for groups of 10-12 students, in the same work centre where they were being trained. In this first session, the teacher explained the main goals of the CS and each student explained: the characteristics of the unit or service to which they were assigned; experiences and subsequent emotions; difficulties arising from the performance of different procedures: and, their perception of the similarities and differences between the way basic procedures were conducted in hospital and the way they were taught in the classroom or during laboratory simulation.
The integration of theory and practical training is necessary to help nursing students apply theoretical knowledge in practical situations(22,26). The second session of the CS was held during the last week of the hospital clinical placement. It included a general assessment of the clinical practicum and a study of cases in which professional practice was related to the theoretical aspects of the subject. In order to do this, each student group (two students) produced an initial assessment for a patient of its choice, formulating nursing diagnoses, and described the nursing care plan. In this phase, the debate focused on analyzing the congruency of the care plan using the theoretical assumptions of Virginia Henderson's model.
In response to the need to assess the instruments and methods applied in the learning-teaching process, this study was designed to explore the opinions of the first year nursing students following the introduction of the CS. The research questions for the study were: How valuable do students regard the CS, as a complementary method to the clinical practicum training? What benefits were obtained through their participation in the CS? During the CS sessions, what did they learn, and how?
This was a phenomenological study based on Gadamer's hermeneutic philosophy, performed between the years 2008 to 2009, at the FSH in the UAL. Phenomenology is based on existentialism; phenomenology, hermeneutics, and existentialism are natural fellows, since in pointing to the experential world, phenomenology grounds our research inquiries, focusing us on the concrete happenings of the lived experience, to understand the meaning behind our reflections(27). Gadamer is a German philosopher influenced by the work of Husserl and Heidegger. However, he rejects the notion of phenomenological reduction and claims that all understanding arises only in and through our pre-understanding of the world, which exists by our very nature of being in the world(28). In this case, we, as researchers, exist within the world as nurse educators; we have been students and clinical nurses. We designed the study to ascertain if the CS addressed problems that arise during clinical placements. We already had an understanding of these problems due to our position as former students, nurses and educators. Regarding the collection of data, we sought information relating to the students' perceptions of the impact of the CS on resolution of said problems. In the presentation and interpretation of the results, we usedthese "problems" as predefined categories that, together with the emerging categories, comprised the category tree of our study.
For this study, the population consisted of 132 first-year nursing students in the FSH at the UAL. A total of 23 students, ranging in age from 18 to 25 years old, with an average age of 19.1 years old, were chosen using theoretic sampling. Of these, 18 were women and 5 were men. The inclusion criterion was that the students had participated in the two CS sessions. The number of participants was not determined beforehand, but was fixed when theoretical saturation occurred.
Data Collection: The open-ended interviews were conducted by researchers during the two days which followed the two CS sessions. In order to avoid skewed responses, students were reminded that the interviewers were not their professors. To allow for the interviews to be transcribed, they were recorded using .mp4 format. After each interview, the interviewers immediately made field notes which were also analyzed.
A question guide was available for the first interviews, with the general open-ended question, "You have just finished participating in a seminar with your professors, could you evaluate your experience?" Afterwards, if the reply had not covered the points required by the researcher, probing questions were asked to gain more information such as, "What have you learned in the CS?"; "The characteristics of the CS are...". After the analysis of the first interviews began, new questions were included to gather information in emerging categories which had not been sufficiently developed such as, "What role do your colleagues have in the CS?".
Data Analysis: The qualitative analysis began with transcribing and reading the interviews during the period in which data collection was also occurrring. Afterwards, a content analysis was conducted using constant comparative techniques to evaluate the variation or similarity among data collected. ATLAS.ti 5.2® software was employed for the analysis. Analysis was a circular or cyclical process, in which three levels for interpreting data were used: syntactic level analysis, identifying the most relevant answer fragments as quotations, and, assigning a code to each quotation. A semantic level of data interpretation occurred through the creation of code families and free codes, gathering codes into "Categories", which constituted phenomena especially relevant to the research question(29). The pragmatic level of data interpretation, in which a network among quotations, codes and/or code families was established, was conducted to provide graphic representations of these interactions
Once the 23 interviews were analyzed, and when there were no new elements appearing in the analysis, the authors determined that the stage of theoretical data saturation had been reached, and that the information gathered was sufficient for the aims set.
To avoid researcher bias and to increase the validity of this study, we invited two independent colleagues to analyze the categories, subjecting them to discussion, and to provide us with a final listing. Thereafter, we immediately performed a re-reading of the transcriptions to confirm that the categories chosen covered all of the aspects needed.
The study was approved by the Nursing and Physiotherapy Department of the University of Almeria. The free and informed consent was obtained before the interviews took place. Confidentiality and anonymity were ensured, as well as the possibility of refusing to participate or answer the questions.
The qualitative data were organized according to four main categories that were derived from the analysis. Quotations were identified with the number of the interview and the paragraph of the transcription. For instance, QU12:17 means that the quotation can be found in interview 12, paragraph 17. Figures are accompanied by a reading key.
Characterization of the CS: a positive experience
Students showed a remarkably positive attitude towards the implementation of the CS, related to their characterization of the CS; this positive response was present in 20 out of the 23 interviews, as seen in Figure 1. The health sciences exist within a world where absolute certainties are scarce, and where experts' judgments are not always sufficient. This is why we have to go beyond what is established in textbooks or teachers' lessons and use other knowledge resources derived from praxis and the lived world. The students saw their participation inthe CS as an efficient, entertaining and useful way to acquire significant knowledge.
Peer learning led by professor
The most quoted element was "Classmates" who, through their different experiences and dialogue, constituted a main source for learning and collective support in the CS. The next nuclear element within the CS was the "Professor", who was considered to be someone who was close, who guided and facilitated learning, becoming an element of "help", support and understanding within a stressful environment. Subsequently, from the conjunction of these two actors ("Classmates" and "Professor"), students obtain "Learning", which can be related to: the best way to perform nursing care and procedures: "since each of us is on a different ward, patients suffer from different diseases and we share the procedures" (QU4:6); the way to cope with new situations: "I've learned how to react in an unpleasant situation" (QU15:4); hospital work: "We're introduced to working in hospitals and to different wards in which we haven't worked yet" (QU19:10); performing their professional role: "one of the most important things I've learned is to critically identify one who is a good professional and one who isn't" (QU12:14); and, interpersonal relationships: "The reinforcement of my idea regarding how to treat people has been the most important thing for me. I stick to that. The better you treat them, the better they feel" (QU12:4). These interpersonal relationship include relationship with patients: "I have learned ideas produced about classmates about how relationships within the team and with patients work" (QU7:4), and with professionals, "I have learned how to react in the face of staff rejection" (QU19:4).
The way in which this learning process occurs was also documented. Classmates' "Experiences" were one of the most relevant elements: "We share all our experiences in the debate (...) and so, we learn from what happens to others" (QU11:7); as well as ideas, knowledge and information provided by students and professor, to be compared, exchanged, cleared or reinforced: "These seminars have reinforced many of the ideas I'd been taught but haven't used yet, they have also helped me to assess my patients" (QU23:4). Finally, students learned from the mistakes they made or observed during their placement: "I've learned a lot and I have been able to realize my mistakes and why they were mistakes" (QU23:13). This main role played by the students reinforced a cooperative learning in which the professor could assume new roles as a leader and helper in the learning-teaching process versus the traditional lecturer, where students were passive receivers of the information delivered by the professor.
Stress reduction CS
The stress reducing traits of the CS were based on the perception students had that sharing their negative experiences relieved and consoled them: "I believe knowing the problems of others helps us coping with ours better" (QU19:20). The CS offered students the opportunity to complain about what they did not like, which contributed to the reduction of stress through their peers' and professor's support, and reinforced the idea that the CS strengthened the ties that bound them. "I've found very sound psychological support here, most of all in the first session, where every student is strongly encouraged" (QU6:9). This was particularly relevant in the initial clinical placement which constituted an important source of stress, along with several negative feelings for the student (e.g., anxiety, embarrassment or humiliation). Although stress can be an incentive for adaptation, it can also have a negative influence on the learning process and students' performance when the levels are high.
Theory-Practice Gap
If professors tend to provide positivist explanations where technological views are highlighted, the nursing theories and patterns will be enclosed within an academic environment which overwhelms the students, due to the amount of concepts they cannot apply, thereby widening the theory-practice gap. Some students prioritized the clinical learning framework over theory lessons: "hospital work has taught me more than all I learnt in theory class" (QU13:16). Yet, they also stated that the right wayto execute certain procedures can not always be seen in hospitals. "Talking to my classmates and professor has helped me to see that, very often, nurses don't act as they should and neglect their work" (QU22:4). All this refers to the gap between theory and practice, more clearly defined in interview 21 with a question that refers to the core of the problem: "There is a huge difference between working with 'toys' [simulators] and with people, and between the procedures of one professional and another one [nursing procedures and cares]" (QU 21:20). Simulation in labs with mannequins and other simulators contributed to psychomotor skills and manual dexterity, but when the student was confronted with real people s/he perceived a great difference. Another element identified by many students, was the variation in care and performing procedures. They found it very disturbing to learn that the theory of procedures is taught one way in the classroom, and implemented in a very different way in hospitals. Almost all of them believed that the CS was the appropriate place to deal with that variation, being able to tell right from wrong, learning from this initially disturbing element: "It is important for us to learn how to change what we've seen done in an inappropriate way, so as to avoid making mistakes" (QU11:16). Some other students in the CS found what they were taught in class about the importance of treating the patient correctly was fundamental: "During these seminars, I've realized it is important to treat patients and their relatives beyond technique. At first I thought that was silly, but now I see it is essential" (QU12:8). This is why the efficiency and usefulness of the dialogue and reflection on the experiences obtained while in a clinical placement, guided by faculty who move to clinical environments, was found in the integration of theory and practice, providing maximum learning of the lived experiences in the actual clinical framework: "[the CS] teaches us more than a theory lesson since it's about things we've witnessed or experienced ourselves" (QU18:4). Nursing science is mainly practical, with its final aim being to intervene in the world in order to change it rather than to explain, predict and control events of reality. One of the mechanisms by which professional knowledge is generated and produced is the reflection on actions. In other words, the reflective-practical rationality can be more useful that thetechnical in the practice and learning of care.
We emphasized in our study the importance that students attribute to the possibility of exchanging ideas and experiences among themselves and with the faculty professor. Various studies have highlighted the importance of giving students the opportunity to think over and verbalize their feelings about their first clinical experiences(9,25). Sharing their experiences with classmates and professors in a structured way offers very necessary support since, while participating in these sessions, students realize they are not the only ones having those feelings(9). The CS provided students with the opportunity to reflect on their professional activity, obtaining a critical view of interpersonal relationships between patients, relatives and professionals. These relationships must also be considered by the faculty as another element of the nursing students' curriculum(30). The teacher can assume the role of mediator(13), showing the importance of the clinical nurse in the students' training(30). The experience gained during the clinical placements and the network of relationships established within it contributes to the graduate's later incorporation into the work team(31).
The Critical Incident Technique framework(24) allows the student to examine a situation comprehensively arising during the seminar as participants discuss issues based on the experiences of students. In the first sessions of these weekly seminars using this framework, a certain source for collective support is provided, and the following sessions evolve toward an analysis of cases, as occurred during our study. The role of the professor varies as well, from being a supportive element in the first session to becoming the facilitator of dialogue about those analyzed cases. Likewise, it has been stated that the seminar increases trust within the group, which supported our assumption, that the CS "strengthened ties" among students and professors(24). Our assumptions were also supported by another study, in which there was a warning about one of the most stressful experiences: the initial clinical practicum. These authors also believed the peer learning system encouraged students' clinical performances, relieved anxiety and developed collegiality among students as they took time to support and listen to one another(18).
Students in our study, in agreement with other research(10,26), highlighted the discrepancy between the theoretical studies and the practical learning in the clinical area. The difficulty of transfering knowledge from one situation to another,(32) and the reality of university professors being more and more removed from the clinical practice,(25) have both been highlighted as causes of this theory-practice gap. Moreover, those who defend the supremacy of the social environment, also forget that the reciprocal relationship between theory and practice is vital for professional training.
A recent study reported, "It is during this reflective time that students make linkages from theory in class to the reality of a working unit"(33). Some of our students obtained a unique learning experience based on this duality, which they initially perceived as disturbing. Therefore, the CS integrated theory and practice because, through dialogue, students reviewed their behaviors critically, making a distinction between what was right and what was wrong according to what they studied in the theory lessons. This prevented the appearance of such a phenomenon as that described(10), which consists of the belief that, when confronting a gap between theory and practice, the student will tend to discard the credibility of the professor, rather than making a critical analysis of what s/he observed in practice.
Students who participated in a study on a clinical placement supervision program with weekly sessions claimed that it helped them integrate theory and practice and positively influenced the quality of their patient care(23). Students in DEU had a more positive attitude than those in the traditional practice group about most aspects of clinical practice, and they had a better understanding of the synergy between theory and practice(15). Some dimensions of the peer learning process(20) appeared in our study, since it was perceived to be a satisfactory experience by students, who experienced learning facilitation and emotional support from their classmates. This positive assessment of the CS focused on the fact that first year students noticed improvements in their cognitive and motor skills, increased confidence in their capacity to ask questions and discuss concerns, and a deeper understanding of the functions each member of the health team performed(19).
In terms of the limitations of the study, results cannot be extrapolated to a wider group due to the fact that the study was based in a qualitative methodology. A triangulation with different data sources could have improved the generalizability of the results. The locale and small scale of the study was chosen because it was developed within the framework of an examination of innovative teaching experiences limited to one university. Only first year students (doing their initial clinical placements) were interviewed; including more advanced students from other years may have shown different results.
CONCLUSIONS AND IMPLICATIONS
In the CS, students learned from each other's experiences, guided by the professor, and obtained help and emotional support to face stressful situations. The CS was perceived to be an effective method to complement their clinical practice training, according to the students. They obtained not only academic benefits, such as the development of competencies and the capacity to apply theories, but also personally learned the value of interpersonal relationships in life and work. During this learning, peers became especially relevant, together with experiences with the professor, as both leaders and helpers in this process. Taking this into consideration, the new study plan for our faculty, designed for adapting nursing studies to the European Higher Education Area, includes clinical seminars as part of the dedicated Practicum teaching time.
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Autor Correspondente:
Cayetano Fernández Sola
Edif. CC de La Salud. Desp. 1.16 Universidad de Almería Ctra
Sacramento s.n
04120. Almería
e-mail: cfernan@ual.es
Artigo recebido em 22/07/2011 e aprovado em 19/12/2011
R. Napoleão de Barros, 754
04024-002 São Paulo - SP/Brasil
Tel./Fax: (55 11) 5576 4430
ape@unifesp.br
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2012 NFL Playoffs: Divisional Round Preview
Green Bay Packers Aaron Rodgers is chased out of the pocket by New York Giants Jason Pierre-Paul in the first quarter in week 13 of the NFL season at MetLife Stadium in East Rutherford, New Jersey on December 4, 2011. The Packers defeated the Giants 38-35 and remain undefeated for the season at 12-0. UPI /John Angelillo
Saints @ 49ers, Saturday, 4:30PM ET
It’s no secret that the Saints have been a different team on the road this year than at home. As I pointed out in this week’s edition of “Five Questions…,” they’ve outscored opponents 329 to 143 at home this season and only 218 to 196 on the road. Sean Payton has seemingly been more conservative with his play calling as Drew Brees has thrown less touchdowns (29 to 17), more interceptions (6 to 8), has a lower average per pass attempt (8.75 to 7.99), and has been sacked more (8 to 16) on the road than at home. Gregg Williams’ defense doesn’t play with the same confidence that it does inside the Superdome either. It’s not that the Saints are a bad road team (they were 5-3 during the regular season), but they’re not the juggernaut they are at home. On the other side, there’s not much that San Francisco doesn’t do well defensively. They’re outstanding against the run, they get after the quarterback, and they’re solid in pass coverage. They also have a great special teams unit so if the Saints are sloppy on Saturday, they will fall. The question is whether or not the Niners will generate enough offense if the Saints start firing on all cylinders. San Fran doesn’t pass protect very well and if it can’t open up running lanes for Frank Gore, that’s when Alex Smith starts to get turnover-happy. It’ll be interesting to see how this matchup unfolds come Saturday.
Broncos @ Patriots, Saturday, 8:00PM ET
Tim Tebow better strap in tight because he’s not likely to see as much one-on-one coverage as Dick LeBeau showed him last week. Bill Belichick will likely keep a safety over top of Demaryius Thomas at all times and force Tebow to go through all of his reads. If he doesn’t and he starts chucking the ball up thinking he can beat New England deep like he did Pittsburgh, he could be in for a long night. On the other side, it’ll be interesting to see if Denver’s stout defense can rattle Tom Brady. One of the biggest reasons the Patriots lost in their first postseason game the last two years is because Baltimore and New York harassed Brady to know end. But New England’s pass protection has been better this season than it was last year, so if the Broncos can’t generate pressure then Brady could eat them alive. It would behoove Denver to jump out to an early lead like Miami and Buffalo did on New England the past two weeks. But with Tebow running the show, that could prove to be difficult.
Texans @ Ravens, Sunday, 1:00PM ET
This game is all about Houston’s defense. If Wade Phillips’ unit can’t slow down Ray Rice, force turnovers and create good field position for the offense, then the Texans’ season will end in Baltimore this Sunday. The Ravens’ run defense is the best in the league and they were stout in pass coverage as well. The combination of Arian Foster and T.J. Yates isn’t going to get the best of Terrell Suggs and Ray Lewis. The best Yates can do is not turn the ball over and take what Baltimore gives him. Otherwise, if he’s forced to make plays then the Texans are in trouble. The Ravens were unbeatable at home this season and there are mismatches that they can take advantage of this weekend. As long as they don’t get caught looking ahead, it’s hard to envision the Ravens falling on Sunday.
Giants @ Packers, Sunday, 4:30PM ET
If the Giants play with the same confidence, swagger and determination this week at Lambeau as they did last Sunday versus the Falcons, then they have a shot. In fact, they already have a shot. The Giants have always been a dangerous underdog and when they think everyone is against them, they raise the level of their play ten-fold. It’s no coincidence that the Giants have played their best football over the past three weeks. They’re healthy and the strength of their defense (i.e. their defensive line) is now fully intact. As I’ve written so many times before, the way to beat an elite quarterback like Aaron Rodgers is to pressure him with your front four. If Jason Pierre-Paul, Osi Umenyiora, Rocky Benard and Justin Tuck play with the same relentless attitude this week as they did the past three, the Giants will have a shot to pull off the upset. Because their offense is certainly capable of matching Green Bay score-for-score thanks to that receiving corps and the Packers’ suspect defense. That said, Green Bay will not hand the game over on a silver platter like Atlanta did last Sunday. The Falcons played not to lose. They were timid – scared even. Rodgers plays with reckless abandon and he’s not going to be afraid to take shots downfield against New York’s vulnerable secondary unlike Matt Ryan, who never once tried to throw deep. Atlanta never adjusted its opening game plan either. You can expect Mike McCarthy to change things up if the Giants are getting the better of the Packers early on. This is going to be a great matchup and a wild ride.
Tags: 2012 nfl playoffs, Aaron Rodgers, Alex Smith, Arian Foster, Bill Belichick, broncos vs patriots, Demaryius Thomas, Dick Lebeau, Drew Brees, Frank Gore, Jason Pierre-Paul, Justin Tuck, NFL Divisional Round, NFL Playoffs, Osi Umenyiora, Ray Lewis, rocky benard, saints vs 49ers, Sean Payton, T.J. Yates, Terrell Suggs, Tim Tebow, Tom Brady
2012 NFL Playoffs: Five Questions for the Divisional Round
2012 NFL Playoffs: Quick-Hit Reactions from Giants vs. Packers
2012 NFL Playoffs: Quick-Hit Reactions from Broncos vs. Patriots
2012 NFL Playoffs: Five Questions for Wildcard Weekend
Sunday Evening Quick-Hitters: Reactions from Week 8 in the NFL
2 responses to “2012 NFL Playoffs: Divisional Round Preview”
Jester of the Apocalypse says:
As much as I want to, I’d like to say that all the Cinderella stories are over. But chances are there will be at least one upset this weekend, so I’ll call it: Texans over Ravens, just because of all the over-dogs in the playoffs, the Ravens have been the most inconsistent this year.
Anthony Stalter says:
You’re probably right – there will be an upset. But if I’m calling my shot its:
49ers over Saints.
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You catch yourself acting with these people that youve watched and loved in movies for years, and you feel truly blessed to be in that position.
I always have my best thoughts on the toilet, so thats where that sage wisdom was coming from.
Fat Mac. Hed be so hungry hed want to get the fight over quickly and I think hed just snap.
As an actor, sometimes you feel a pressure to change yourself from time to time.
I mean, first and foremost were just trying to make the best product we can and the internet becomes sort of a secondary thing. If a certain joke or scene picks up on the internet and takes off thats great. Although we never want someone to just get one scene or joke out of context. But sometimes well do a little short video or something for the internet hoping that that goes around just to stir up a little buzz for the show. But you know the internet is just a nice bonus to getting the show out.
I don't think there's anybody in this country that isn't familiar with Danny DeVito. He's just so recognizable and famous, but it was just an absolute rush. It was great to work with him and it gets better and better every season. I would say that the thing that's most impressive is just how professional he is and how up for anything we throw at him he is. He's just a really good sport and he's got a really good attitude.
If we were on NBC we would have been canceled by now. It's the perfect marriage with FX, they let us get away with murder. They had the foresight to stick with it and we've built it the old fashioned way, through underground and word of mouth.
One thing I learned that I didn't know before was that I can write. Because I think Glenn and myself, when we sold the show, we really didn't have any aspirations to be writers. It was because of our budgetary limitations and the networks request that we start wearing all these hats. At least I can write this show, I don't think I can bring you the next Brokeback Mountain.
Cats do not abide by the laws of nature.
We stress a lot because we really care. We're here for every second. I stress about making sure that the quality stays the same but at the same time doesn't get boring. We stress about making things funny, and then we stress about 'have we gone too far?' All the little details.
We were just in our apartment, pointing the camera at each other, taking turns holding it and saying lines, All of a sudden, 'Sunny' became a series.
A lot of debate goes into the writing but I don't think a show can be destroyed. It's a TV show not an embryo.
The people who know the show really love the show, and they know quotes and details. It's exactly what we wanted. It's been a really great time.
Being Hurt
Father Daughter
Positive Work
Acting Different Torwds Your Cr
Adult Daughter Rude To Mother
Beware Of Giftsf Gifts
Birthday Of An Ofw Parent
Didnt Want To Let You Go
Funny Dont Be Depressed
Gift From Someone Special
If A Hug Represented How Much I Loved You Iwould
Jago Grahak Jago Slogan In English
Motivational Workmates
My Ex Funny
Potluck Funny
Rip Or Poe
Tagalog Slogan Tungkol Nasyonalismo
They Save The Best F
Throwback High School Days
You Glitter
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Per Mar acquires Southlake Security
Company gains 1,800 accounts in its latest purchase
Spencer Ives
DAVENPORT, Iowa—Per Mar Security Services, a full-service security company based here, on June 1 announced its acquisition of Southlake Security, based in Griffith, Ind.
“We had quite a few customers in the area, but nothing like they had. So, this will make a huge difference to our presence to the … Northwest part of Indiana,” Brian Duffy, president of Per Mar Security Services’ electronic security division, told Security Systems News. Southlake Security’s office is situated about halfway between Per Mar’s locations in South Bend, Ind., and Rockford, Ill., he said.
“We have purchased the building, so, we’ll be in that building for the long term,” Duffy said of Southlake’s facility. “It’s in a pretty heavily trafficked area where I think it’s very visible—not too big or ostentatious, just a place for us to operate out of,” he said.
Three technicians joined Per Mar from Southlake.
Per Mar gained 1,800 accounts through the deal, which are about 50 percent residential and 50 percent commercial, according to Duffy. Per Mar’s existing account base is about 65 percent commercial, he added. Duffy declined to release financial terms of the deal.
Southlake operated its own monitoring center, Duffy said, and the accounts have already been moved to Per Mar’s central station. Less than 100 of the purchased accounts were wholesale, Duffy estimated.
“We reached out to the owner, Dan Barnes, and met him [about] six months ago,” Duffy said. “We had known each other before that, but I think he’s been ready to retire and just looking for the right company [to sell to].”
Per Mar Security Services,
Southlake Security,
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Page 45 Comic & Graphic Novel Reviews July 2015 week five
“If you dehumanise others then you dehumanise yourself.”
– Stephen on NOUGHTS & CROSSES by Malorie Blackman, Ian Edginton & John Aggs, below.
Noughts & Crosses: The Graphic Novel (£12-99, Doubleday) by Malorie Blackman, Ian Edginton & John Aggs.
Young Adult literature at its most intelligent, pertinent and affecting, this graphic novel adaptation of award-winning prose comes highly recommended.
“This is growing up, isn’t it?”
“I think it is.”
It’s not going to be easy.
We make things so difficult for ourselves, don’t we? Racial prejudice is as ridiculous and unreasoned as it is vile and unnecessary, yet we’ve polluted our history and corrupted our children with it for millennia. It’s also the biggest source of rank hypocrisy outside of organised religions battling each other for authenticity and superiority whilst spreading lies and hatred about “the other”. It’s an insult to our God-given intelligence.
With a single, simple, straightforward if comprehensive inversion Malorie Blackman eloquently exposes how we complicate everything from friendship to family and every aspect of society just because of the colour of our skins. How utterly superficial of us.
Enhanced by John Aggs with the most tender art imaginable which breaks into stark brutality, the key success is in making you care: by making it personal. And despite the best intentions and the very real love of the two lead protagonists, Sephy and Callum, no one is perfect: everyone will make mistakes which will make you physically wince.
Persephone Hadley and Callum McGregor have been friends since early childhood. Callum’s mother Meggie worked for Mrs Hadley as Sephy’s nanny and on sunny summer days she was allowed to bring Callum along to play. On the surface it seemed idyllic. But when Meggie failed to produce an alibi for Mrs Hadley for an evening’s affair while Mr Hadley was away, she was summarily sacked after fourteen years of faithful service.
Flash forward a few years and it hasn’t stopped Sephy and Callum from meeting up on the beach, their romance tentatively blossoming. The future still looks as bright as can be. But back home their families are showing fractures – massive ones at the McGregors’ – and it’s going to grow very dark indeed.
So what’s the big schism? It’s race and racism, I’m afraid.
The comprehensive inversion…? In this world of white Noughts and black Crosses, the Noughts never created empires through military and economic conquest. It’s the Crosses who have always called the shots. They do to this day, whose social conditions approximate America’s in the early 1960s as recollected by Congressman John Lewis in MARCH Book 2.
Seph is a Cross who comes from one of the most privileged families of all: her father is a ruthless, top-tier, two-faced politician who only reluctantly agreed to a few Noughts entering Cross schools under the presumption that so few would qualify academically that the difference would be negligible. Because Noughts are all thick, aren’t they?
Callum, a Nought, has just qualified.
The McGregors’ reaction to this news is far more complicated than would be obvious, but then this is a complex book full of complicated and conflicted individuals. Yes, individuals! In spite of the very real domestic hardship – and personal affront – that her dismissal by Mrs Hadley caused the McGregors, Callum’s mother Meggie won’t abide use of racial slur ‘dagger’. But the two more vocal members of the family – his father and older brother – have grown increasingly resentful. Dare I even use the term “militant”? As to Callum’s sister, Lynny, she seems withdrawn and confused about her own racial identity. Oh, just you wait, but again – not as obvious as you may think. She has some wise words to counter Callum’s optimism about being allowed access into a Cross school, then, potentially, university:
“Just remember, Callum. When you’re floating up in your bubble, they have a habit of bursting. The higher you climb, the further you have to fall.”
Are they wise words, or a defeatist attitude to making a difference? Whatever you believe, reality has a horrible habit of slapping sleepy dreams wide awake. We are, if you remember, in the realms of Congressman John Lewis’ very real MARCH Book 2 when the decree for the desegregation of schools was met with mendacity and obstruction by local government and law enforcement.
“Noughts are treated the same way here as they would be outside…” says the feckless headmaster.
“And that’s the problem!” argues a teacher who typically cares.
Callum’s reception will not prove pretty, but it is Seph whom I felt for the most. Time and again, in spite of Callum’s self-sacrificial advice to stay away from him at school, she tries to intervene against the rife racial prejudice, putting her neck on the line by joining him at lunch – a brave display of public support – then reaping the wrath of her friends. Did I mention that the racial slur for white Noughts was ‘blanker’? Seph’s called a “blanker-lover” (just as I was, aged 14, once called a dagger-lover*) and is physically struck in the face.
“Stick with your own kind! I don’t care who your Dad is! Sit with blankers again, we’ll treat you like one! You need to wake up and check which side you are on!”
Ugh. One of us. One of them. One of your own kind. Blackman recalls the divisive, dismissive language so accurately. It was vital that she came up with fictional racist language so that no one had to repeatedly read the real atrocity yet could still experience its vicious and sickening impact. And how cleverly did Malorie coin the denigratory term ‘blanker’?
“Blank by name, blank by nature.
“Blank white faces, no colour in them. Blank minds, empty and stupid. Blank, blank, blank.
“That’s why they serve us and not the other way around.”
Jeepers, but John Aggs excels here.
The young ladies aren’t demons or demonised. They’re perfectly approachable, pretty and chic and exactly the age they’re supposed to be. They look loving and reasonable until the moment they’re neither. You wouldn’t see their ire coming, either.
Aggs’ Callum with his blonde, floppy hair and English-Rose air will have you grinning with affection and wishing that Callum was in a completely different graphic novel if only for his own sake. Sephy and her older sister Minerva you instinctively recognise as siblings, each in their own way influenced by their mother’s fashion sense but with entirely natural departures. I love an artist who thinks of these things!
It was our Jonathan who spotted the similarity in style to THE DROWNERS’ Nabiel Kanan whose equally school-centred, teen-centric but out-of-print EXIT – to which this is closer – was sublime. It’s there in the crisp lines, tree textures and shadows cast too! It’s so obvious now that I see it. There’s a particular panel I don’t have for you here in which, after a moment of misunderstanding resolved, Sephy reaches up to Callum’s chest with the most delicate hand gesture, their eyes meeting.
“So am I.”
And you just know that they’re going to be okay.
You know that, don’t you?
One of the smartest adaptations I’ve ever read, this feels neither overly abridged nor cluttered – both a real risk when transforming prose into comics, but Ian Edginton has judged it to perfection.
In terms of the ingenious reversal and what we all take for granted, one moment that particularly stuck in my mind was this, when Sephy – worriedly and with genuine concern – asks a pale-skinned Nought girl how she’s faring after being bashed about with a brick:
“How’s your head?”
“It’s okay. Thanks for asking.”
“That plaster’s a bit noticeable.”
“They don’t sell pink plasters. Only brown ones.”
I’ll let that sink in, if I may.
I could go on for pages – another real risk when this is not printed on paper – but you need to discover this for yourselves. I’m hugely indebted to its artist John Aggs for taking the time and trouble to send me interior art which I couldn’t find anywhere online.
*Sadly the word used was not ‘dagger’. But you get the gist.
Buy Noughts & Crosses: The Graphic Novel and read the Page 45 review here
Sunny vol 5 h/c (£16-99, Viz) by Taiyo Matsumoto.
SUNNY’s a series we love so much we’ve reviewed every volume.
It has the capacity to win your heart and then break it over and over again.
Episodic in nature, with six self-contained chapters in each book with a beginning, middle and end, it’s centred round a communal Japanese foster home and focuses on the children taken into its care… often by their parents. Who leave them there. Permanently.
Here, for example, we finally find out how imaginative, excitable and rebellious, ash-haired Haruo was introduced to the rest of his life:
“Haruo thought he was being taken to an amusement park or something. He was so confused. What a mess… A lot of the kids get told stuff like that when they come. They start freaking out, hanging onto their parents. I guess they can feel something bad’s coming.”
Yeah. Like being left there, permanently. His parents stayed overnight but by morning were gone, leaving Haruo to run around screaming all day in search of them. Maybe twice a year he receives a visit from his mother. Haruo associates her with the smell of Nivea and to this day he carries a tin of it everywhere in his pocket, bringing it out from time to time to sniff.
Smell is something snot-nosed Junsuke also associates with his mother. In his case the smell is of hospitals, for Junsuke’s mother is so ill that she’s been lying in one for what seems like forever. When Junsuke catches a cold this volume – a real stinker – he’s taken to a much closer hospital against his fervently expressed wishes… but then relaxes once he’s there because with that smell in the air he can imagine his mother being right by his side.
(Quick note: this manga reads from right to left. Would you look at that downpour? I’m drenched!)
What impresses one above all, then, is the resilience of these young individuals, and the kindness of the carers like Miss Mitsuko, Makio and his grand-father who modestly suffixes all his life lessons with the qualifier “That’s what I think.” Miss Mitsuko takes the trouble to get Junsuke’s bed-ridden mother on the phone, if only for a few moments, to reward his mental resourcefulness.
Ah, resourcefulness too! Quiet, studious and bespectacled Sei’s had enough, waiting for the proverbial train that never comes: not a single visit. So he copies out the transit timetables he finds in the home and makes meticulous notes on his own plan of action which you will only discover afterwards, and his honour may make you cry. Can you imagine what it’s like to be told this: first that your mother has disappeared, asked not be traced, then…
“Your dad changed jobs, so he had to move. So no one’s even in the apartment you used to live in.”
In a perfect piece of storytelling the panels close in from Sei and Makio’s granddad on opposite sides of a low Japanese coffee table to Sei silently absorbing the news, to Sei with his eyes shut, and then darkness.
Equally poignant is the visit from Megumu’s Auntie and Uncle. Rumour is rife round the home that they plan to adopt her. As we’ve learned from SUNNY VOL 3, Megumu’s mother is quite dead and they are the last hope she has. What a wonderful couple they are, both tireless in a patience which you may consider sorely tried if it wasn’t for their unconditional love. Still, it proves quite the weekend and you do know that I’m prone to misdirection, don’t you?
As I’ve written before the presentation of the children in SUNNY is far more raw than you might expect if all you know of Japanese comics is the sugar-buzz adrenaline rush of the shouty-shouty, wide- and glossy-eyed brigade. This scruffy lot are infinitely more human, the art more humane so you can’t help but care. There is both a fragility and a fractiousness here both in the art and in the heart of its antagonists. Take Haruna, not from the orphanage, but caught as if by a fishing fly in less than salubrious circumstances.
“Everything I do goes wrong.
“It really sucks.”
Haruna does try, sometimes, she really does. But she’s not exactly her own best friend; she can be belligerent to the point when a teacher sighs…
“You’ll have to warn me next time you decide to attend. I’m not dressed for foul weather.”
Buy Sunny vol 5 h/c and read the Page 45 review here
Tim Ginger (£14-99, Top Shelf) by Julian Hanshaw…
“So your book. I have to be honest, I didn’t know you could do that with comics. I guess I’m a bit old fashioned. Thinking of the strips I used to read in the base newspapers.”
“It’s a brave new world out there, Tim.”
Well, well, well, hasn’t Julian Hanshaw come a long way since the crowd-splitting THE ART OF PHO? This is one of the best written pieces of graphic novel fiction I have read this year, and the art is rather good too.
Tim Ginger is passing his twilight days living in a trailer in a deserted caravan park in the middle of the desert in New Mexico. A former test pilot, replete with eye patch, his only hobby these days is his cricket played with a group of ex-pats at a nearby field they lovingly set up for matches. His beloved wife Susan passed away a long time ago, and he seems content to see out his days sitting drinking a few beers outside his trailer during the day, and gazing at the near-infinite number of stars in the clear desert sky at night.
The only thing that might tempt him to break his regime is his publisher Mike, who is always trying to get him on the lucrative sci-fi and comic convention circuit. For you see, during Tim’s last tragic flight to the edge of space, something happened. Something strange and inexplicable, that he wrote a book about, which was hugely successful with UFOlogists and conspiracy theory nuts.
Unfortunately for Tim, given his position that there are certain matters he isn’t at liberty to speak about due to his military background, there are those who still believe he knows much more than he revealed. So when he agrees to do some conventions, one such nut, Karl, begins to hound him and chastise him for his part in perpetuating the ‘big cover-up’. He’s particularly enraged when Tim reveals he’s working on a follow-up book… about cricket. There’s a wonderful scene, that neatly conveys how cleverly written this work is, where Karl is sat in the audience at a panel Tim is speaking on and takes his opportunity to cross-examine Tim in public. Tim’s reply blows Karl’s mind…
“Do you really want to know the truth, Karl?
“About the universe.
“And still be stuck in supermarket queues.
“Or waiting on the end of a phone to some call center on the other side of the world?
“Or. Why not just kill yourself?
“Hurry up the moment of enlightenment.
“Fast-track it.
“Or perhaps that’s a leap of faith too far?
“And you know what, Karl?
“The real kicker?
“The government are no smarter than you.
“They can’t believe society manages to tick over as it does. And there isn’t rioting in the streets.
“They do their four years.
“Fill their pockets.
“Get on some quasi non-governmental body.
“And pray it doesn’t all go tits up.
“On their watch.
“We worry too much.
“I still worry too much.
“There is already too much information out there.
“Live the life you love, Karl.
“Choose a God you trust.
“And don’t take it all so seriously.”
The scene then cuts to Karl, still sat in a deserted auditorium, immobile, eyes staring into the distance, hours later, as the light is eventually turned off.
So where does the opening quote about comics come into it then? Well, whilst on the convention circuit, Tim runs into Anna, a member of his ground crew who used to prep his planes for his flights. She’s written a book too, a graphic novel as it happens, the true stories of various people who have chosen not to have children and why. People like her and her ex-husband Chuck, and indeed Tim and Susan, who were the only ones of their wide circle of friends on the military base who made that choice. Which firmly cemented their mutual friendship as the rest of their friends got embroiled in the day to day minutiae of kids.
Anna separated from Chuck a long time ago, and truth be told, Tim and Anna always had an unspoken, unacted-upon, mutual attraction. Anna would be interested in rekindling those romantic feelings, but Tim isn’t over the loss of Susan, whom he dearly loved, and nor is he fully over what happened on the edge of the atmosphere that day. For something quite remarkable did happen. Something that he only ever shared with Susan.
Ahh, what a fabulous story this is! I was absolutely gripped from start to finish. I was so intrigued by Tim’s story, what exactly did happen to him up there, and were he and Anna going to get their happy ending? There are some wonderful twists and reveals Julian throws in mid-way, (the eye patch has two of its own!!) which only add to the poignancy of Tim’s tragically reclusive lifestyle choice. The art is really excellent too, entirely in keeping with the tone of the work. Julian reminds me of Michael DeForge quite a bit, though without the surrealism. I love the gentleness and subtlety of people’s expressions he captures. This is going to end up on my top five books of the year list for sure.
Buy Tim Ginger and read the Page 45 review here
Poetry Is Useless h/c (£22-50, Drawn & Quarterly) by Anders Nilsen.
“Everything I needed to know about life I learned from opening other people’s mail.”
That sets the tone perfectly. Also:
“Why can’t we just get along
“Stick and beat each other senseless?”
Additionally:
“A bird in the hand is better than a horse in the mouth.”
It’s not necessarily the most profound proverb, but it’s clearly inarguable.
These are Anders Nilsen’s notebooks full of cartoons and comics bursting with mirth and wholly intentional bathos.
“The entirely of world history, yes, including Napoleon and the Black Plague, has led to this moment, in the grocery store, where you’re choosing what kind of cereal to buy.
“Don’t fuck it up.”
God and Satan are very much in evidence, God petulantly flicking his cigarette butt into Satan’s back yard. It’s silly to start a fight. The repercussions can be of quite Biblical proportions.
I think the process may be something like this: Anders reads, hears, sees or remembers something and amuses himself enormously by questioning it, often at length and in such ridiculous details that it is rendered absurd. He pokes things until they puncture, even admirable things like imagination and empathy. He can be pithy as well:
“Dear empty, lifeless void…
“Thank you for nothing.”
It’s easy to forget that the creator responsible for the haltingly moving eulogy DON’T GO WHERE I CAN’T FOLLOW and its epilogue, THE END, plus the raw, vulnerable and dreamlike DOGS AND WATER is an effortless comedian. I don’t know why: BIG QUESTIONS is one of the funniest graphic novels I’ve ever read, and his piece in the equally enormous door-stop treasure chest that is DRAWN AND QUARTELY: 25 YEARS OF CONTEMPORARY CARTOONING, COMICS & GRAPHIC NOVELS had me roaring with laughter. RAGE OF POSEIDON is riddled with wit.
A lot of the comics involve you being addressed by a black silhouette, which may sound a little simplistic but nothing more is required for it’s all in the timing of the speech balloons, their contents, and this is the man’s notebooks, remember? They weren’t intended for publication, but if they hadn’t been we’d be missing one of the funniest books on our shelves which fans of Tom Gauld’s YOU’RE ALL JUST JEALOUS OF MY JEPACK will adore.
There are pages of portraits accompanied by pronouncements – snippets of stupid things his oblivious models are saying – and sometimes he gets caught and adds that to the memento as well.
Graph paper appears to provoke Anders into producing patterns and shapes, usually bleeding out from the centre of his sketchbook like a techno-organic virus.
One of the funniest slices is a retort to a critic’s snotty response to BIG QUESTIONS:
“Apparently, about my last book, the philosophy one with the little birds, some comics critic said my philosophical “reach” exceeded my “grasp”.
“In answer to this criticism, I would cite the conversation Heidegger and Kirkegaard had in the Sorbonne as the first guns were erupting at the start of the First World War.
“Kirkegaard: “Is someone gonna go on a beer run?”
“Heidegger: “Where’s my pants?”
“Kirkegaard: “Cuz I have five bucks but I’m not drinking any more fucking Miller High Life.”
Coming in for a right satirical slapping are institutions like the Food And Drug Administration and poetry, obviously, which is useless.
Apart from Byron, apparently, for Anders and Lord (I think that was his first name) do agree on the whole Sorrow being Knowledge fandango – you know, “Those that know the most must mourn the deepest” etc.
“They say the unexamined life is not worth living.
“They don’t mention that the examined life can be kind of like getting dragged through the desert at the end of a rope, too.”
Amen. Excuse me, but it’s wine o’clock and oblivion calls.
Buy Poetry Is Useless h/c and read the Page 45 review here
Nearlymades: A Smattering Of Found Stories And Kipple Narratives (£9-00, Boing Graphics) by Simon Russell…
We get asked about abstract comics on a not infrequent basis and since the excellent ABSTRACT COMICS hardcover anthology went out of print, seemingly into the great abstract void of fuzzy-black-never-to-be-reprintedness without even the merest hint of brilliant-shining-tunnel-of-light back-from-the-dead softcover reprint, we have nothing to show people. Until now…
Simon Russell first came on my personal radar when he sent us his ROY (Reclaiming Lichtenstein For Comics), a lovely barbed dig at the titular plagiarist who considered ‘comics to be non-art’. My opinion, not necessarily Simon’s. We didn’t stock that, simply because it was a very mini-mini, but it showed real talent, I thought. This though, is a very different beast. Creating abstract comics is a real art form. Go too abstract and well, it becomes so subjective as to be practically meaningless.
A perfect example of a brilliant and very meaningful abstract comic would be Anders Nilsen’s ‘Event’, which only appeared in a MOME collection. It was a series of ever-increasing, coloured small rectangles, accompanied by statements like “eight events you have sent on course” and “sixteen things that would have happened but now will not”. Actually, I have a totally unique version of that work as I asked Anders to add an additional page on the blank page that followed it in my copy of MOME. He was rather tickled by that!
This collection contains 29 individual works, many one- or two-pagers, plus a few longer ones. I personally preferred the longer ones, simply because the narrative felt stronger. Some of the shorter ones tend more towards abstract art in my opinion; nothing wrong with that. I personally need a few more sequential panels to get my juices flowing with this type of material, but I definitely respect the craft that’s gone into each work, even the shorter ones. What they all are, without exception, are thought-provoking. Which is of course essential with this type of material otherwise it is pointless. The titles often provide a clue as to the theme, as does the minimal amount of text accompanying or submerged within the panels.
My favourite, a longer one, ‘Interview With Medusa’, commences and concludes with a sequence of Photoshopped coloured images of bare planks of wood, the lines of the circles through the wood running horizontally, as of course happens when you plane planks from a tree trunk. Most of each plank is a deep blue, with a single huge orange circle overlaid, each of these circles containing a knot of wood of deeper orange still. The effect is clearly meant to be of the planet Jupiter and it’s never ending, always moving, Great Red Spot dust storm. The fact that the horizontal lines are in a different position and with a different knot, as it is a separate plank each time, only adds to the illusion of the movement of the Great Red Spot and the passage of time. This collection is chock full of clever devices like that and you’ll find yourself marvelling at the construction.
So yes, next time someone asks if we have any abstract comics, we will have something to show them.
Buy Nearlymades: A Smattering Of Found Stories And Kipple Narratives and read the Page 45 review here
Fante Bukowski (£9-99, Fantagraphics) by Noah Van Sciver…
“Someone told me you were trying to make it as a writer now?”
“Good luck! Me? I’m still at the firm. Actually your father just gave me a big promotion! Hey, you take care! Boy, oh, boy! What a life, huh?”
“When I’m famous I’ll crush you.”
I could very easily simply say that if you loved Dan Clowes’ portrayal of the self-proclaimed ‘people person’ WILSON you would get a real kick out of this, though stylistically the art is much closer to a tidied-up Jeffrey Brown. Fante Bukowski – real name Kelly Perkins, he changed it to make himself cooler – is absolutely desperate to be a writer. The work of his favourite writer of all time, unsurprisingly being Charles Bukowski, is seemingly his idea of how a real scribe should live too.
Consequently, he’s given up his job at a top law firm where his unimpressed father is a partner and is now living out of a cheap motel, drinking cheap booze, singularly failing to impress women, or indeed literary agents, and generally agonising about not coming up with any good ideas to write about. In other words, comedy gold in the hands of Noah SAINT COLE Van Sciver who likes his humour dark and his protagonists as flawed as a roll of cheap lino.
It reads a lot like WILSON too in the sense that each page, or sometimes two pages, is a gag strip in and of itself, always with Fante as the punchline. And so gradually we build up this unflattering portrait of a man flailing helplessly, perhaps haplessly might be a better adverb actually, against the tides of life, the ever-present fear of remaining in obscurity forever crippling his will and motivation to knuckle down to some actual writing! The occasional quote from a literary giant perched atop the next page merely compounding our opinion that Fante isn’t going to break his losing streak any time soon…
‘Amateurs sit and wait for inspiration, the rest of us just get up and go to work.’ – Stephen King.
But! Inspiration does strike like a bolt from the blue in the middle of the night and somehow Fante comes up with an idea, starts writing, manages to get a girl, and then even persuades an agent to take a look at his book. Surely things aren’t about to change for our hopeless hero… No, that’s right, of course they’re not! But I guarantee you that his misery is our mirth as everything falls apart once again and Fante decides a Kerouac-esque road trip is the only solution to his blues. No, that’s right, of course it’s not! But I guarantee you…
Well, you get where I’m going with this… Fante, meanwhile, is going nowhere fast.
Buy Fante Bukowski and read the Page 45 review here
Island #1 (£5-99, Image) by Brandon Graham, Marian Churchland, Emma Rios, Kelly Sue DeConnick, Ludroe.
“No man is an island…” John Donne c.1623
Indeed. I have no idea whether the classic work by the metaphysical poet and cleric inspired the title for this eclectic anthology series. Be nice to think so, but who knows?! Anyway, this issue opens with a couple of double-page abstract paintings from Marian BEAST Churchland, closely followed by the first instalment of a great sci-fi ménage à trois bodyswapping yarn set against the backdrop of an unstable society beset by anarchistic riots and domestic terror outrages, simply entitled ‘I.D.’, from Emma PRETTY DEADLY Rios.
‘I.D.’ was probably my pick of the bunch from this first issue, as the three protagonists meet for a drink to begin discuss their own particular reasons for wanting to engage in this most unusual of transitions. Illustrated in a rather unusual palette of red and white, the unique feathery penmanship will be immediately familiar to anyone who has seen any of Emma’s previous work, but let me tell you, she’s an incredible writer too. I will be reading the next issue of ISLAND just to see how this story continues.
Then, an interlude of a prose memoir essay about a dear departed friend by Kelly Sue BITCH PLANET DeConnick. This thoughtful, touching reminiscence is very sweet, we’ve all had someone in our lives who have had that sort of gentle but powerful impact, and I respect the fact Brandon Graham has allowed DeConnick to eulogise about someone comics readers will never have heard of in this issue. I hope this type of piece might become a regular feature actually, I would like that.
Then, it’s straight back to sequential art based antics as we have a full thirty pages of new MULTIPLE WARHEADS madness from the man himself, before this inaugural tip of the archipelago culminates with forty-five glorious pages of all-action vigilante undead skate punk nonsense called ‘Dagger Proof Mummy’ from someone called Ludroe. Who apparently comes from Ludlow, which is of course well known for its undead skate punk culture… Neither half of that last sentence may be entirely factually accurate.
Fans of MULTIPLE WARHEADS will be delighted, for this is Brandon right on top nonsensical form here, with all the usual visual and verbal play on word gags coming thick and fast alongside the preposterous story itself. It’s not a direct analogy by any means, but the wandering story, surrealist narrative and illustrative elements plus the colour palette made me think of Moebius’ AIRTIGHT GARAGE.
Hmm… after the recent impact the first few issues of MEANWHILE, the anthology carrying Gary Spencer Millidge’s much anticipated conclusion to STRANGEHAVEN, and now this exciting mix of tricks, it seems the periodical anthology might not be quite so dead and buried post-MOME as we had originally thought.
Buy Island #1 and read the Page 45 review here
Wolf #1 (£3-99, Image) by Ales Kot & Matt Taylor.
“How do you feel about myths, Antoine?”
“I love myths.”
“You are one. And I apologise for not believing you. I hope you understand – the measures we had to take were simply business. Examining the stock, so to say.”
Ooof. Where have you heard that before?
Meet Sterling Gibson, “a well-known supporter of occasionally having black people set on fire”.
Meet Antoine Wolfe, a black person Sterling Gibson saw occasion last night to set on fire.
To be precise, he tied him into a straight-jacket and set him on fire on top of the hills overlooking Los Angeles. It took him quite some time to get as far as Mulholland and throw himself into a white celebrity’s swimming pool. Naturally Antoine is arrested. He’s black. He’s probably not as crispy as he should be, though.
No one who’s read Matt Taylor’s THE GREAT SALT LAKE will be remotely surprised to learn that this is beautiful to behold. The eyes particularly have it. This is important given that there’s a great deal of one-on-one confrontation going on. Antoine Woolfe has a clear head and quick wit. But so do those he’s antagonising, and I like that. He particularly enjoys antagonising those with power over others, be they lowlife thieves using mind-control to rob old ladies on buses, both literally vampiric landlords (“cuisine sucks”) or multi-millionaire businessmen who support occasionally having black people set on fire. Did I mention Antoine was barely singed?
So. Eloquent anti-authoritarian occultist detective who relishes playing verbal sabres, sticks up for the vulnerable, despises injustice and is haunted by dead friends – in his case fellow former soldiers. Did you read Alan Moore’s SWAMP THING and HELLBLAZER? As a revitalised John Constantine with a radically different accent and vocabulary, Antoine Wolfe is a joy to spend time with.
The only thing missing is the requisite spirit of place. Except it’s not missing:
“You see this city? This city is a blend. It’s desert and it’s woods and it’s ocean and it’s cheap junk and it’s expensive junk and it’s ugly and it’s beautiful and it’s fiction and it’s real.”
Once more Matt Taylor, lit by Lee Loughbridge, excels. This could not be anywhere other than Los Angeles, a city I know intimately from so many visits… err, playing Grand Theft Auto. I even enjoyed the treated photography which jarred not a jot: beautifully coloured to denote time of day with just the right degree of detail retained.
This is a big, thick issue full of big, intelligent ideas and a great deal of fun – the most accessible thing I’ve read that Kot’s written. It’s far from linear with multiple strands I’ve barely alluded to and some that I haven’t even touched. I think you’ll like his mate, Freddy Chtonic, whose face isn’t particularly well appointed for drinking coffee without a straw. Whether anyone will like the teenage girl found covered in blood between her mauled parents, I’m not sure yet. She sees very open and innocent but has a rather disturbing name and so, potentially, heritage. I think much may depend on how she is treated.
“You got kids?”
“No, sir.”
“Sometimes the only procedure that matters is empathy.”
In stock by Kot: complete runs so far on THE SURFACE and MATERIAL plus all the ZERO tpbs and CHANGE.
Buy Wolf #1 and read the Page 45 review here
Starve #1 (£2-75) by Brian Wood & Danijel Zezelj…
“Gavin Cruikshank is a name that can attract unwanted attention. It’s also a name I gave up years ago. These two things are closely related.”
With very good reason. Gavin Cruikshank was once upon a time a feted celebrity chef, with a moderately popular TV show called Starve. But personal problems – including an extremely bitter divorce with his ex-wife who was a teensy-weensy bit shocked and upset at learning the love of her life and father of her child was suddenly ready to come out of the closet – meant that just disappearing seemed like a good option, even if abandoning his daughter broke his heart.
Plus he had begun to fall out of love with cooking as well, spending increasingly less time in the kitchen and more and more in front of the cameras promoting the Cruikshank brand. To his surprise, in a world where global warming and an increased sea level has wreaked havoc upon major conurbations almost entirely at the expense of the have-nots, vanishing amongst the hoi-polloi in distant south-east Asia was far easier than he expected. Suspiciously easy, perhaps.
Except, except… in this brave new world where most of the population are struggling to find anything decent to eat, the rich have elevated the consumption of excess and fancy to obscene new levels. And thus, during his absence of several years, and quite unbeknownst to him due to his off-the-grid lifestyle, Starve has become the number one rated television programme on the planet.
It’s not the programme he left behind, though. It’s become something far more disgustingly voyeuristic than that. As those with all the money flaunt their boorish opulence with increasing abandon, Starve has practically become a culinary gladiatorial arena. These stellar ratings however, must be maintained at all costs, and so someone came up with the idea to bring back Gavin Cruikshank, to see if he could hack it in this new cut-throat competition.
So the Network tracked him down, keen to keep up the juggernaut momentum of their entertainment behemoth, politely pointing out he was legally obliged to do eight more episodes from his existing contract, then not so politely pointing out if he didn’t they would ruin his life, and oh, he wasn’t likely to see a penny of income from selling his soul once more, because his ex-wife now owned all his rights to Starve…
There are all sorts of little games at play here. I’m not sure I entirely believe the Network’s execs, his one-time colleague and rival Roman Algiers who is the current host of Starve, or Gavin’s cunning and still very bitter ex-wife, as to what is going on, and I’m pretty sure he doesn’t either. It clearly isn’t going to be as simple as that. But he decides to take up their challenge, partly to find out what is going on, also because he wants to rekindle his relationship with his now grown-up daughter, and most definitely due to the healthy pinch of egomania that every top chef needs. He wants to take them all on at their own games and beat them. He trusts his daughter implicitly, though, and I do have to wonder if that isn’t going to be his Achilles heel…
Ah, he does come up with some good concepts for stories, Brian Wood, I must say. There are all sorts of sub-pots, sorry, plots, bubbling away in the background here, but basically this is going to be a character-driven story. You can see the look and personality of Gavin has been part-inspired by the original British enfant terrible of cuisine, Marco Pierre White, and then just given that little bit of a cocktail sexuality shake up before being served with a twist on the crushed ice of a collapsing, polarised society. Sounds tasty!
I really enjoyed Danijel Zezelj’s art here. It’s mean and moody, thickly lined and darkly coloured, with Gavin Cruikshank in particular looking like a brooding serial killer who’d be as likely to carve you up as fillet a fish, and who definitely prefers his steak dripping with blood. As I say, just like Marco Pierre White then! Intriguing palette cleanser of an opening issue… now bring on the main!
Buy Starve #1 and read the Page 45 review here
Zenith Phase Four h/c (£20-00, Rebellion) by Grant Morrison & Steve Yeowell…
“… So all I’m saying, Robert, is that we need to get the next phase of your career sorted out. A new image, keeping up with the times. All this rave stuff’s had its day. The minute I heard that record where the fellow sings ‘Raving, I’m Raving,’ I knew it was the finish.”
“I don’t need an image, Eddie. I’m a household name. And anyway, the last time we talked about this you said punk was coming back.”
“Did I? No, it’ll not be punk, it’ll be a revival of all that gender-bender nonsense. Boy George and Marilyn , remember? You wait and see, once that RuPaul fellow starts getting records in the charts, they’ll all be swapping their trousers for tights.”
“Why don’t you just say it, Eddie: you want to see me in a bra, don’t you? You have for years you daft old tart.”
Funny how you can have a completely different perception of certain material when you re-read it. I distinctly remember this being my least favourite ‘Phase’ by some distance upon initial reading nearly twenty years ago. After the all-out superhuman war epic of ZENITH: PHASE THREE, this just felt like a massive anti-climax with a cop-out deus ex machina ending, and even the art seemed inferior in comparison.
In fact, upon reading it once again, I was struck by how fitting a conclusion it brings to the whole Zenith story, as well as being a great arc in its own right. And I appreciated the ending much more this time, more precisely a deos universi, for its cleverness (along with a certain other revelation regarding the true nature of the superhumans), especially when you realise Morrison certainly wasn’t trying to suddenly wrap things up neatly because he had no idea how to finish the story. He almost certainly had this in mind right from the very beginning.
On the art front, I do still think Steve Yeowell looks better uncoloured. I loved the stark nature of his black and white art in PHASES TWO and THREE, and most of PHASE ONE. It just seemed more angular, precise. I think some of the beauty of his illustration is lost during the colouring process employed through this volume, but I fully appreciate that others may disagree.
Anyway, following the events of PHASE THREE, the surviving superhuman community has experienced a schism. The vast majority, under the banner of the Horus Programme, led by three of the original members of Cloud 9: Lux, Spook and Voltage, are openly proposing superhumans simply take charge of the planet for their own ends, humans being an out-evolved irrelevance. On the other side, wanting to maintain the status quo and trying to help humanity is their former colleague Peter St. John, a.k.a. Mandala, now the British Prime Minister, who is backed only by Zenith and Archie the robot.
Events escalate and rapidly start to spiral out of control following a failed decapitation strike on the Horus group by mildly psychic-powered human US government agents, then the revelation I alluded to changes everything, and the reason why the main story is interspersed with the memoirs of a de-aging Dr. Michael Peyne, told from a future where the Lloigor rule a devastated earth dimly illuminated by a huge black sun, becomes all too clear…
Then there’s that ending… which as I said, is a brilliant conclusion to an early Morrison epic, which is as good as anything he’s done since, I believe, but then I did always have a soft spot for this material, it being such a radical departure for a 2000AD strip at the time. Meanwhile, in amongst all the action, you get pearls of genius comedy poking fun at the popular music nonsense of the eighties and nineties like the opening conversation between Zenith and his manager Eddie, above. In terms of blending action and comedy, it’s pitch-perfect. Unlike Zenith’s singing.
Buy Zenith Phase Four h/c and read the Page 45 review here
Fables vol 22: Farewell (£13-50, Vertigo) by Bill Willingham & Mark Buckingham, various.
AKA FABLES #150.
Yes, this is the final periodical issue as well as the final trade paperback – confusing no one! I don’t envy retailers who sell it on their shelves as a monthly. Fortunately we’ve just popped it in all its lovely supporters who have a Standing Order with us!
Whether you regard FABLES as a hit or a myth, you cannot deny its longevity!
Twenty-two collected editions, two or three original graphic novels, one prose novel and several spin-off series, all of which you can find on our FABLES web page or on our shelves with the rest of the Vertigo books, just past the till on the left! We even have those Diamond has long considered out of print!
That was a Public Service Announcement on behalf of our ravenous till.
Buy Fables vol 22: Farewell and read the Page 45 review here
The Motorcycle Samurai vol 1: A Fiery Demise s/c (£14-99, Top Shelf) by Chris Sheridan.
“I’m not boring, fool!
“I’m a bloody riot.”
No, you’re boring.
Shockingly repetitive and life-suckingly slow, I suspect half the problem lies in its original incarnation as a digital comic: no one worked out the cost of all the paper they’d be wasting.
“Roy, it’s not every jubilation some strangers rolls into town with the fugitive brother of the town’s criminal boss in tow.”
Yet it is every ten pages on which someone will tell us so.
“Just to be clear, in case you didn’t know, you’re standing before the boss of this town, Frankie Parker. That was my brother you dumped at the sheriff’s feet.”
It was pretty clear, don’t you worry. What isn’t clear is why this page needs to exist:
“Come on. Just don’t let this turn out like that time in Chino.”
“With that old fool of a sword swallower?”
“”That was nothing like this, Chuck.”
Buy The Motorcycle Samurai vol 1: A Fiery Demise s/c and read the Page 45 review here
Arrived, Online & Ready To Buy!
Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews.
The Divine (£14-99, FirstSecond) by Boaz Lavie & Asaf Hanuka, Tomer Hanuka
Katzine Issue One (£5-50, self-published ) by Katriona Chapman
Katzine Issue Two (£5-50, self-published) by Katriona Chapman
Nearlymades: A Smattering Of Found Stories And Kipple Narratives (£9-00, self-published) by Simon Russell
Haunter (£10-99, Study Group Comics) by Sam Alden
Leaf (£18-99, Fantagraphics) by Daishu Ma
Not Funny Ha Ha (£12-99, Fantagraphics) by Leah Hayes
Sshhhh! (£12-99, Fantagraphics) by Jason
Steven Universe vol 1 (£10-99, Kaboom) by Jeremy Sorese & Coleman Engle
The Diary Of Teenage Girl (£13-99, Random House / Vertical) by Phoebe Gloeckner
Meat Cake (£16-99, Fantagraphics) by Dame Darcy
Wasteland vol 11: Floodland (£14-99, Oni) by Antony Johnston & Christopher Mitten
Zero vol 4: Who By Fire s/c (£10-99, Image) by Ales Kot & Ian Bertram, Stathis Tsemberlidis, Robert Sammelin, Tula Lotay
Batgirl vol 5: Deadline s/c (£13-50, DC) by Gail Simone, Marguerite Bennett & Fernando Pasarin, various
Hawkeye vol 4: Rio Bravo s/c (£13-50, Marvel) by Matt Fraction & David Aja, Chris Eliopoulos, Francesco Francavilla
Inhuman vol 3: Lineage s/c (£9-99, Marvel) by Charles Soule & Ryan Stegman, Andre Araujo
Rocket Raccoon vol 2: Storyteller (UK Edition) s/c (£10-99, Marvel) by Skottie Young & Filipe Andrade, Jake Parker
Spider-Man 2099 vol 2: Spider-Verse (UK Edition) s/c (£12-99, Marvel) by Peter David & Will Sliney
Bleach vol 64 (£6-99, Viz) by Tite Kubo
Master Keaton vol 3 (£12-99, Viz) by Naoki Urasawa
Monster Perfect Edition vol 5 (£12-99, Viz) by Naoki Urasawa
Fairy Tail vol 49 (£8-50, Kodansha) by Hiro Mashima
Doctor Who: The Tenth Doctor vol 1: Revolutions Of Terror (£10-99, Titan) by Nick Abadzis
ITEM! Rare, hilarious CEREBUS treasures by Dave Sim have been animated, appropriately enough, online!
Dave Sim’s Animated Cerebus Portfolio: A Well Equipped Bar
Dave Sim’s Animated Cerebus Portfolio: Add One Mummified Bat
Dave Sim’s Animated Cerebus Portfolio: His First Sword
ITEM! Creator of the British Comic Awards-winning, Young Readers HILDA graphic novels, that Luke Pearson has a glorious revamped website. Oh yes! Read Luke Pearson’s entire ADVENTURE TIME comic here!
ITEM! From the creator of online comicbook marvel THE FIRELIGHT ISLE (get your gawping gear around that!), Paul Duffield writes a second clear and considered essay on ‘Comics And The Value Of Language’. Ever wondered what happened when a sequence in a comic seemed not quite right? Or even the entire thing? Paul explores the ways in which things can go wrong and the root causes of why. Clue: this is a visual medium!!!
We’ve something rather special coming from Paul any day now.
ITEM! Comicbook creators Sean Phillips, Dave Gibbons, Bryan Talbot, Jonathan Edwards, Sarah McIntyre with Philip Reeve and more re-create the Lakes District for The Lakes International Comic Art Festival in October in “Wish You Were Here – Postcards from the Edge of Reality”. Click on that link to see the full collection!
Each is naturally very different in tone and style, but the below unmistakeably belongs to Poblin-creator Jonti Edwards, doesn’t it!
– Stephen
Page 45 Reviews written by Stephen & Jonathan then edited by a clapped-out cassowary on ketamine
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Page 45 Comic & Graphic Novel Reviews July 2015 week four
Racism, crime and commandeering! Vast Baroque architecture, mountaineering, life in the Lebanon, a stroll through the woods! Moomins, Martians, dragons, giant space robots and the best ADVENTURE TIME comic ever!
News underneath: substantial previews of new comics by Hannah Berry, Marian Churchland, Jennifer Hayden & more!
High Crimes h/c (£14-99, Dark Horse) by Christopher Sebela & Ibrahim Moustafa.
“The key is to commit: no matter how dumb or doomed it seems.”
“Please don’t be dead, Sully. I still want to pull your secrets out, one tooth at a time.”
Either of those should give you idea of the flavour of the climb ahead of you. At 200 full-colour pages saturated with former Olympic snowboard medallist’s Suzanne Jensen’s internal monologue recalling her fall from grace during her ascent of Everest while fleeing one fuck-load of armed and highly trained trouble, it is a dense and intense read well worth your fifteen quid.
Almost all of this takes place during that painful, laborious and desperate crawl during which it is most emphatically impressed upon you how many and severe are the dangers even if you don’t have an American black ops faction fixing to fix you once and for all. The more impatient element in me wanted Zan and the story to get a bloody move on but anything swifter would have been doing a disservice to the experience: climbing a mountain like Everest is punishingly and perilously arduous and is going to take page after page after page.
“Perilously arduous”? Just look at all the bodies! I hadn’t thought of that: it has never occurred to me how many bodies litter the snowscape, unclaimed, because although climbing a peak that high above sea level is so close to impossible that so few have done it, getting down alive, once exhausted, is much harder still. Carrying down the deceased? Forget it!
This is HIGH CRIMES’ premise, its pivotal plot point and – before I forget to allude to it later – will prove a vital resource.
Like LAZARUS’ Greg Rucka (steaming with professional jealously during his introduction) I’m in awe with how much already extant knowledge then further research Sebela has not just packed into but utilised to full effect during the uphill struggle of this gruelling graphic novel. Speaking of packed, how many meanings do you imagine a title can hold? Just take a look at those three covers I’ve selected out of so many more.
Not only does each tell an extensive story in its own right (as do all the others) but they are immaculately composed by artist Ibrahim Moustafa and all reproduced within along with additional promotional design work carefully coordinated with and instigated by Sebela himself. My point is this: if “the key is to commit” then these two have unlocked the motherload. There are no half-measures here.
Haskell Price is a vulture. While in the guise of a guide aiding wealthy explorers to reach summits, he loots the well preserved corpses of those long left behind in the snow. He carefully bags a few items of interest, then severs a hand. Once back in Nepal’s Kathmandu he pays a bent police officer to identify the hands’ owners by way of finger prints. Price then contacts the deceased’s nearest and dearest to demand a fee for retrieving the body itself. It’s quite a very steep fee but then it’s a very steep climb. And I know from personal experience directly related to Kathmandu that you would pay almost anything to have your loved one’s actual body back to bury. Closure, etcetera.
Suzanne Jensen is the business partner Price took under his wing when she fled the fall out of her blood tests. An Olympic snowboarding champion who won multiple medals, she failed a blood test for drugs. Not just performance-enhancing drugs, either. The media went ape-shit, the authorities closed in and demanded her medals back. She ran. Suzanne left it all behind – everything except herself, the drugs, her self-loathing and her addiction. Everything, in essence, that could continue to haunt her: Suzanne left nothing behind. She’s a wreck.
Haskell Price scavenges the body of a man called Sullivan Mars. It’s just another body, yet another corpse he will identify by its finger prints which will be known only to him and his corrupt cop. Except that if you want to identify finger prints then you have to go online and access a worldwide database. Does “American surveillance” ring any bells with you?
“Remember, Mars went rogue to protect the future from people like us. Let’s show him how badly he failed.”
His body’s still up there and only Price and Jensen knows where it is. Or what is on it. Or what one of them already has: Sullivan Mars’ journal.
The one thing I would warn you about is that – unlike many corporate comics’ collected editions wherein the story ends so much earlier than you were expecting because of the padding they’ve played the book out with – HIGH CRIMES is a book of false summits: you’ll think you’re nearing its apex, its end, only to discover that yet another steep climb lies ahead of you.
Buy High Crimes h/c and read the Page 45 review here
An Entity Observes All Things (£8-99, Retrofit) by Box Brown…
“The alien entered me.
“The lizard-man and I became one entity.
“Together. We. Destroyed. My ego.
“Viewing my memories without any sense of attachment.
“The lizard reduced my existence to nil.
“And then we rebuilt.
“I was moulded into my most perfect form.
“The negative ideas that once impeded me destroyed.
“My body had been remodelled.
“My chronic conditions gone.
“The lizard fixed me…
“The lizard fixed me.
“The lizard then showed me the depths of the universe.
“I say “then” as if it happened in sequence.
“But you have to understand this was all happening simultaneously.”
Of course, Box, I understand completely…! The above is about a third of a monologue from a story called The Lizard in this mind-bending collection of nine short stories, all of which definitely swing well towards the more fantastical end of the science fiction spectrum. Each one takes some bizarre conceit such as revisiting past memories as a form of therapy, a cult leader attracting followers through music and the power of social media, someone taking an abandoned giant war robot for a spin through space, or indeed being probed by an alien lizard-man flying a gigantic pyramid.
But, there’s always a devious or deviant twist in every story whether it be choosing to ignore the doctor’s implicit instructions to repeat the memory exactly, being poisoned by a weird drug, giant space robot copulation, or becoming ultra-successful and wealthy post-abduction. None of the stories without exception goes where you would expect, which I think is the primary appeal of these works. They have a real primal feel to them and pack an extremely powerful punch, which is all you can ask for from a short story.
I love the art too, usually black and white with one additional colour. He does like his black dot hatching too, our Box. Some elements of the illustration are clearly freehand in a loose style quite reminiscent of Johnny Ryan, yet these are combined in practically equal measure with figures and heads composed of perfectly straight lines, corners and circles that look like they could be Chris Ware’s warm-up material.
Also, there are some incredibly elaborate buildings and detailed structures that defy all architectural logic. Somehow, it all comes together perfectly to produce a style as fascinating as it is unique in its totality. In comparison to his far more controlled and composed ANDRE THE GIANT, this compilation looks more like he’s emptied out of the contents of his mental sketchbook and then decided to compose stories ad hoc from the various components. I like it lot! Also, each title page comes with a drawing of a different giant robot, every single one of which looks like it could batter all the Transformers and the Decepticons put together!
Buy An Entity Observes All Things and read the Page 45 review here
The End Of Summer (Signed & Sketched In) (£9-99, Avery Hill) by Tillie Walden.
Well, would you just look at this architecture!
Vast arches, vaulted ceilings and windows several storeys high; classical statues set inside concave bays; halls which conclude with the opulence of a Roman cathedral’s chapel. Could you get more Baroque than this?
Then there’s the ethereal air, nightgowns and all that time spent in bed; an indoor lake on which the children go sailing; and a giant cat called Nemo.
Winsor McCay, anyone?
This is a family home! Also a haven from a three-year winter during which the doors must remain firmly closed, but for a sanctuary it doesn’t seem very safe. It’s cold and it’s hard and there will be conflicts and confinements. I don’t think this family is very healthy at all.
Quite apart from the fact that young Lars is dying. I’m not sure of what but he seems rather sickly, consumptive. He appears to be fading away. His closest relationship is with his sister, Maja, but that’s also going to run into trouble. As I say, not the healthiest of families.
He’s comforted by that giant cat which – when it’s not carrying Lars on its back – is constantly curled up like a gigantic, fluffy, white pillow which is what Lars uses it as.
To be honest I wasn’t sure what was happening towards the end. It’s all very rarefied and the family far from distinctive. But it’s very beautiful with the crispest of architecture which boasts the most enormous sense of space and attendant frigidity. You can almost hear the echoes.
Our current copies have the most swoonaway sketches of snoozing cats inside.
Buy The End Of Summer (Signed & Sketched In) and read the Page 45 review here
Moomin And The Martians (£6-99, Enfant) by Tove Jansson.
“But how can there be room for a Martian in a flying saucer?” asks Moominmamma.
She eyes her dirty dishes at the sink, incredulously.
Are you traumatised by new technology? Does nano-bling and digital do-da baffle you to the point where they might as well be magic, their means of operation a heart-sinking, hair-tearing mystery? Welcome to my world! That I can actually format these reviews in WordPress and populate them with size-adjusted interior art is a minor miracle, true testament to the teaching prowess (and patience) of Jonathan and Dee.
Family Moomin is about to experience extreme bewilderment, for the Martians have landed! Well, one of them has. He’s a funny little fellow the colour of coal with a head so fuzzy he looks as if he’s stuck his fingers into an electricity socket. He appears to be wearing a glass gas lamp globe. Twin springs dangle down on either side or sit up straight in be-startlement.
He’s a classic piece of Jansson design (which you can admire aplenty in the back of the MOOMIN DELUXE SPLIPCASED EDITION) with big, expressive eyes, at once mysterious and ridiculous and entirely at odds with clichés of the day, as Moomintroll discovers when he roots out his old science fiction book as reference.
Anyway, the little chappy’s innocuous enough: it’s the box of wires and cogs and bulbs and buttons the Moomins find in his spaceship that cause all the mayhem. They don’t come with instructions so learning how it works will have to a question of trial and error. Well, mostly error. Mrs. Fillyjonk’s cow will never be the same.
If Tove has anything social to say this time round, it’s pretty brief and right at the beginning when Moomintroll is given a hand-me-down transistor radio which doesn’t work to begin with but he doesn’t really mind: he just admires its complicated looking inner gubbins. I had precisely that experience myself way back then.
“If you hadn’t hidden my Superstrofonic Box in the baking oven I would have learned English a week ago.”
If Moominmamma had hidden the Martian’s Superstrofonic Box in the baking oven the second she found it, this entire fiasco could have been averted. The laws of physics are in for a right battering. I’m not sure having a luminous police force is an entirely positive development.
Buy Moomin And The Martians and read the Page 45 review here
Moomin Complete Lars Jansson Comic Strip vol 10 h/c (£14-99, Drawn & Quarterly) by Lars Jansson.
“I would never watch TV. Strictly a plebeian pastime!”
“Oh, we don’t watch it, either.”
“What do you do with it, then?”
“We bought it for a sideboard.”
“Between vulgarity and snobbishness there’s really little to choose.”
Ha! Typically of the Jansson siblings there is much mirthful social commentary here on what was then a boom in square-eyed covetousness and obsession, but equally typically of the Moomin family they fall into it quite by accident when Moominpappa is persuaded to buy a television set as the latest thing to put ornaments on! Initially they’re oblivious to its true function and wonder why there’s no room inside to store crockery inside. Like so much they encounter it is an enigma to them.
Once Moominpappa does tune in, however, he’s swiftly turned on and completely drops out of regular family activity and interaction, so desperate is he not to miss out on a single minute or new development. He snubs the spectacle of cranes flocking outside in favour of a TV programme on birdwatching and misses a meteorological marvel outside because there are waves on the gogglebox instead. Does any of this seem familiar, much? Snorkmaiden starts judging her beloved Moomintroll by soap opera standards, conflicting advertisements for competing washing powder brands cause chaos in the household as they try to keep up with the paid-to-praise Joneses, and Lars Jansson essentially invents TiVo decades before its time.
The biggest recognition box I ticked, however, was everyone and everything cordially inviting themselves round to watch TV and in doing so displacing the Moomins, and then when Moominmamma offers them coffee they hiss:
“Ssh! Must you talk?”
Black, white and brilliant. Also in for a skewering: Beatniks. Their dance one of the funniest things Lars has ever drawn!
Buy Moomin Complete Lars Jansson Comic Strip vol 10 h/c and read the Page 45 review here
Strange Fruit #1 (£2-99, Boom!) by Mark Waid & J.G.Jones.
In which I get to haul out one of my two favourite words, “serendipity” (the other being “parenthetically”), for although this comic was written and drawn many months ago it is right now that the confederate flag is hitting the news big-time as a public display of racism.
In light of which, the full-page punchline will have you grinning from ear to ear with glee. Best use of a confederate flag ever, and it could not possible be better placed!
“It’s 1927 in the town of Chatterlee, Mississippi, drowned by heavy rains. The Mississippi River is rising, threatening to break open not only the levees, but also the racial and social divisions of this former plantation town.”
So many prejudices are given a fetid airing here, balanced by acts of bravery and if you thought you already loved WANTED’s J.G. Jones art, you will weep in adoration at the glory within.
The first few pages I have for you here are meticulously painted and ever so lambent they are too, but even they are completely outclassed by the thrilling compositions of the final nine pages and their raw, physical beauty. On top of the impeccable, muscular neo-classical physique, the weight of a hefty tree trunk, the folds in the robes of the Ku Klux Klan and a purple stormy sky crackling with lightning, there are two perspectives of phenomenal power shot from below then a double-page spread split into radial panels worthy of Neal Adams (except these actually work better – *cough*) to present a monumental sense of movement.
Think I’m laying it on a bit thick? I really am not.
What you might infer from the above is a distinct change of pace and perhaps even genre within, for this wasn’t what I was expecting. I was expecting straight historical fiction, and I’m trying to imply that there’s more than one reason why fans of Mark Waid and Alex Ross’ KINGDOM COME will love this.
My first clue was the comet streaking across the sky.
La la la… leaving it there…
Buy Strange Fruit #1 and read the Page 45 review here
Four Eyes vol 1: Forged In Flames s/c (£7-50, Image) by Joe Kelly & Max Fiumara.
Dragons are a draw.
If we harbour so much love for creatures long lost – the giant lizards of yore whose haunting, hollow, excavated skeletons loom so impressively over our heads in natural history museums, catalysing the human imagination and a deep-seated regret – how much more romantic is our notion of the winged beasties which never existed?
Freed from the confines of both biology and physics, these dazzlingly hued, fire-breathing, multiformed majesties have taken wing in our hearts and minds since mythologies began. However ferocious their threat, they’ve often been imbued with a certain nobility – hence perhaps the designated rank and heroic calibre of their various nemeses, and their pride of place on the Welsh national flag. There’s also an aspect of tragedy involved, perfectly evoked here.
There aren’t enough decent dragon comics. Fewer still are those that do something different with them, like this, and it’s full of heart right to the very last page.
Speaking of “different”, I applaud the aesthetic decision to bleach this book of its former colour which throws focus onto its intricate line work and the gigantic forms which fill so many pages with their tough and rough hide. It’s certainly not a commercial decision. Some customers are so averse to black and white graphic novels that I have to sell them with a set of coloured pencils. The grey tone is gorgeously warm, as is the bronze effect reserved for two specific elements: the young lad’s thick leather handling gloves… and the dragon he handles.
It’s set firmly in New York of the 1930s during The Great Depression when on both sides of the Atlantic the economies fell apart, welfare was slashed, unemployment rocketed and what employment there was could often be described as slave labour given the wage cuts and individuals’ desperation for any way to pay for their next meal. FOUR EYES manages to reflect its social setting with power and compassion.
Ten-year-old Enrico is enjoying a rare day on the beach with both his parents. If you could find work you certainly didn’t shirk it, so for his dad to be there, towering above his sandcastles, that means the world to him.
“We have had a good year. I know because Mama has stopped crying so much. Papa found new work. Steady work. With real pay. “The Lord provides,” he says, always with a smile, like he’s telling a joke. I don’t know what his work is. When I ask, he always says “Taking care of you and Mama is my job.” Then he tickles me and we laugh. Mama doesn’t laugh with us.”
That’s because she knows what her husband’s work is, and who he works for. Enrico is about to find out too, and then his job will be looking after Mama because he makes a terrible mistake he couldn’t possibly recognise as the mistake that it is, and his world comes crashing down around him.
I liked Enrico, and I understood where he was coming from: his burning desire to provide for a mother who is far too beholden to others for comfort. Also, his fear of the enormous beasts, nesting in their subterranean lairs – they’re terrifying to behold and Joe Kelly does a cracking job of building your trepidation in advance through their handler’s stern warnings of what to do and what not to do if you start to smell methane.
But there’s a newspaper page in the back of the book which is worth reading quite early on, convincingly explaining the relationship between the human population and the rarely spotted, rarely threatening but brutally treated dragons, used and abused in the same we as we do other animals, by making them fight for sport and gambling. Enrico has a lot of learning to do, and the final issue here was the clincher for me. There better be more.
Buy Four Eyes vol 1: Forged In Flames s/c and read the Page 45 review here
Through The Woods (UK Edition) s/c (£10-99, Faber & Faber) by Emily Carroll.
Long out of print, this review would obviously be higher up if we hadn’t already published it for the hardcover. Here we go, then…
Emily Carroll has a thing for teeth. I wish she didn’t. It’s very upsetting.
And I don’t mean just jagged teeth, but teeth where there ought not to be, doing things which they shouldn’t. Wobbling teeth are most worrisome of all: imagine what lies behind.
Also present and most incorrect: woods, caves, families and intruders – infesting your house, inhabiting your body and eating away at your soul.
It’s the not-quite-right taking a turn for the oh-my-god-no!
Eerie and chilling, this Victorian brand of horror owes less to the likes of RACHEL RISING or FATALE and much, much more both in tone and style to THE HIDDEN’s Richard Sala and especially MEATCAKE’s Dame Darcy. The protagonists are called Janna, Yvonne, Mary and Mabel, and they all have pert, pointy noses and long, slender fingers. There is the same sense that anything can happen on the page: the countryside may suddenly loom at a tilted angle, the path snaking through it becoming representational (of both space and the time taken to travel it); colouring may bleed outside its boundaries; the wail of a tortured soul may curl across the glossy paper forming the very gutter between its pitch-black panels haunted by past deeds in bright white and electric blue. As with Dame Darcy, lettering plays an integral part in the art and storytelling.
In ‘A Lady’s Hands Are Cold’ the not-quite-right is signalled early on by the intense flush on a young girl’s face as she sits in nervous trepidation at the other end of a vast, opulently laid dining table to the man her father has told her to marry. He, we never see but for the back of his head and a mouth into which he slides slabs of rare, juice-dribbling meat he has stabbed and cut with a two-pronged fork and carving knife. The oh-my-god-no is not far behind.
Another features a brother taking credit where far from due. Jealousy often goes unnoticed.
Then there are three sisters left to fend for themselves when their father goes hunting. In the woods, of course, but for what is uncertain. He says he’ll be gone for three days but warns them to leave the house and seek their neighbour’s if he fails to return on schedule. He fails to return on schedule. Things fall apart.
A Victorian parlour prank becomes more successful than anyone ever wanted it to. Two life-long friends find themselves at odds, and one starts seeing the most terrifying spectre I have ever laid eyes on because of what I laid eyes on. This one’s not as transparent as most.
A stylish soon-to-be-sister-in-law plays host to… No, there we will not go.
Nor will we go through the woods now that we are safely back home.
“Oh, but you must travel through those woods again and again,” said a shadow at the window.
“And you must be lucky to avoid the wolf every time…
“But the wolf… the wolf only needs enough luck to find you once.
Buy Through The Woods (UK Edition) s/c and read the Page 45 review here
Baddawi (£14-99, Just World Books) by Leila Abdelrazaq…
No, not a biography of the ground-breaking television and radio journalist Zeinab Badawi, but a coming of age biography about a Palestinian boy called Ahmad raised in a refugee camp in northern Lebanon. This work has been compared to the likes of PERSEPOLIS, MUNNU: A BOY FROM KASHMIR and FORGET SORROW: AN ANCESTRAL TALE. It’s good, but I certainly wouldn’t put it on a par with those works.
Much like FORGET SORROW: AN ANCESTRAL TALE, this story is recounted by the protagonist’s daughter, young Ahmad being creator Leila Abdelrazaq’s father. His story, of life growing up effectively in exile in Lebanon, displaced from Palestine and unable to return, is undoubtedly one of hardship, certainly. But also of the adaptability and ingenuity of children forced to grow up fast under those tough conditions. Ahmad and his school chums still managed to have fun, despite the deprivation. Part one spans 1959-1969 and covers his time in the camps.
In part two from 1970-1975, the family moved to Beirut as Ahmad’s father got a job managing an apartment building, and this period of Ahmad’s life was, by and large, relatively content and comfortable, despite the rising political tensions that would eventually break out into a brutal fifteen-year civil war in 1975. The third part of the book covers the first five years of the war as Ahmad gradually came to the conclusion that to create any sort of future for himself he needed to get out of Lebanon and go and study overseas. The ever-present danger of bombings and shootings punctuated these times, as friends and family were lost to the escalating sectarian conflict.
Where this work does succeed is in raising awareness of the human cost of this period to a very put-upon community, the Palestinians, something which obviously continues to this day. But I have to say, I didn’t feel anywhere as engaged as with PERSEPOLIS, MUNNU: A BOY FROM KASHMIR and FORGET SORROW: AN ANCESTRAL TALE. It might be because it felt a little disjointed at times, in comparison to some of those other works. In places it felt more like a collection of anecdotes than a seamless narrative, though I appreciate it is extremely difficult when compiling a biographical work, also referencing historical events, of what to put in and what to leave out. Similarly the art is nice enough, if relatively basic. The closest comparison that springs to mind is it looks a little bit like David B, though not as good.
I’m glad Leila Abdelrazaq has taken the time to create this memoir, because I do personally believe that anything which help maintains general public awareness of what the Palestinian diaspora has been, and is going through, is a very good thing. But I don’t believe this work will achieve the widespread acclaim of PERSEPOLIS.
Buy Baddawi and read the Page 45 review here
Adventure Time: Graybles Schmaybles s/c (£7-99, Titan) by Danielle Corsetto & Bridget Underwood…
“I’ll bet you schmaybles would like to know the theme of today’s graybles! Since it’s your first time, let’s review some hints. Are you ready?”
Ha, I was wondering if Cuber was going to turn up! This is by far the closest any ADVENTURE TIME comics material has come to feeling exactly like an episode of the cartoon phenomenon of a generation. If you’re a fan of the show, you’ll exactly know what a grayble is, why there are always five of them, and how indeed there is always a connecting theme. I didn’t guess what the theme was either, until Cuber revealed all, which made me smile. It’s a tricky one!
For those of you who have absolutely no idea what I’m going on about, a grayble is a short story. There have been several episodes of Adventure Time presented by Cuber (who is from the future) where he pulls out a holo-pyramid, presents five stories from ‘days of old’, and breaks the fourth wall by inviting us, the audience, to try and guess the theme.
Why Cuber calls stories graybles, your guess is as good as mine, but much like the graybles TV episodes, this OGN was great fun featuring most of our usual favourites: Finn, Jake, Ice King, BMO, LSP, Tree Trunks, and also a rare appearance from a personal fave, Party God, who is a huge floating Alsatian head wearing a baseball cap perched at a jaunty angle and howls about partying hard a lot. It all makes no sense, it really doesn’t, but that doesn’t matter one iota.
I wonder how long Adventure Time can continue to feel fresh and fun, I just know after six seasons of the show I’m still utterly hooked, and if the comics material continues to be of this high standard, which is entirely down to employing the writers who work on the show to do the comics – always a good idea – then I’ll keep reading them too!
Buy Adventure Time: Graybles Schmaybles s/c and read the Page 45 review here
Sunny vol 5 h/c (£16-99, Viz) by Taiyo Matsumoto
The Motorcycle Samurai vol 1: A Fiery Demise s/c (£14-99, Top Shelf) by Chris Sheridan
A Quick Dip Into Deep Thinking: The Growing Of Dreams (£6-50) by Dori Kirchmair
Fables vol 22: Farewell (£13-50, Vertigo) by Bill Willingham & Mark Buckingham, various
William Shakespeare’s The Clone Army Attacketh h/c (£11-99, Quirk) by Ian Doescher
The Girl Who Kicked The Hornet’s Nest h/c (£22-50, Vertigo) by Stieg Larsson, Denise Mina & Andrea Mutti, Antonio Fuso
Batman: Arkham Manor vol 1 s/c (£10-99, DC) by Gerry Duggan & Shawn Crystal
Batwoman vol 6: The Unknowns s/c (£12-99, DC) by Marc Andreyko & Georges Jeanty, various
Daredevil vol 3: The Daredevil You Know s/c (£11-99, Marvel) by Mark Waid & Chris Samnee
Deadpool Classic vol 12 s/c (£25-99, Marvel) by various
Guardians Of The Galaxy vol 3: Guardians Disassembled s/c (£14-99, Marvel) by Brian Michael Bendis, various & Nick Bradshaw, various
Thor vol 2: Who Holds The Hammer? (UK Edition) s/c (£12-99, Marvel) by Jason Aaron & Noelle Stevenson, Don Glut, C.M. Punk & various
ITEM! 8HOUSE ARCLIGHT’s Marian Churchland is interviewed with co-writer Claire Gibson and artist Sloane Leong about their new comic FROM UNDER MOUNTAINS. Interior art there too. What a cover!
You can pre-order FROM UNDER MOUNTAINS #1 from Page 45 here!
ITEM! From the creator of shiver-fest ADAMTIME (you will never take the last train home again – never!) and oh-so-British comedy BRITTEN AND BRULIGHTLY, Hannah Berry presents a substantial preview of her next graphic novel, LIVESTOCK!
ITEM! Substantial preview of Jennifer Hayden’s graphic memoir about breast cancer, gamely titled THE STORY OF MY TITS. Simone Lia agrees with me that, under these circumstances, this is possibly the best title ever.
ITEM! Illustrated interview with Tom Devlin about the exceptional 750+ page DRAWN AND QUARTELY: 25 YEARS OF CONTEMPORARY CARTOONING, COMICS & GRAPHIC NOVELS anthology.
My review: DRAWN AND QUARTELY: 25 YEARS OF CONTEMPORARY CARTOONING, COMICS & GRAPHIC NOVELS
ITEM! Preview of Rick Remender & Sean Murphy’s TOKYO GHOST.
You can pre-order TOKYO GHOST #1 from Page 45 here.
Page 45 Reviews written by Stephen & Jonathan then edited by a cock-eyed chameleon which is probably a tautology, I know.
Page 45 Comic & Graphic Novel Reviews July 2015 week three
In the news section below: Page 45 is proud to sponsor The British Comics Awards!
Bacchus Volume One Omnibus Edition s/c (£29-99, Top Shelf) by Eddie Campbell.
“Hey, deadface!”
“Yeh, you, old man. What are you in for?”
“Drunk and disorderly.”
“Ha ha. You look old enough to know better.”
“Is 4000 years old enough?”
In the very first panel on the very first page “Are you talking to me?” is seen from behind bars.
I’m loving the cover over which someone’s spilled a great big bottle of burgundy. “Cheers!” salutes the sozzled old storyteller.
Fifteen years ago I wrote: “A mature, full-bodied comic with a musky, oaken flavour, which is heart-warming in the winter, but equally refreshing on a summer’s day picnic.”
“Full-bodied”?! This first half comes in at a whopping 550-pages! It’s almost as hefty as Eddie’s 640-page autobiographical ALEC OMNIBUS which I’ve long declared the single finest body of work in comics anywhere in the world to date. Fiercely literate and a phenomenally astute philosopher, he’s comics’ finest raconteur both in person and in print. He had us all howling with laughter when he performed the secret history of THE FATE OF THE ARTIST using customer Vis Pather’s young son as an impromptu prop.
As Neil Gaiman puts it:
“Eddie Campbell is the unsung King of comic books. The man’s a genius and that’s an end to it.”
Last year saw the release of Gaiman and Campbell’s THE TRUTH IS A CAVE IN THE BLACK MOUNTAINS as a book after being performed live by Gaiman at the Sydney Opera House with projections painted by Campbell. When Neil signed at Page 45 the first thing he did was ask for the latest instalment of BACCHUS which was being serialised for the second time as a monthly. That’s Gaiman’s idea of a rider, so he’s not making that up for the back cover.
Campbell has been recounting tales of his weather-worn demigod for decades now. Sub-titled “Immortality Isn’t Forever”, it finds the Greek god of revelry washed up 4,000 years later on strangely sympathetic modern shores in far from fine physical fettle but with his spirits still riding high. He boasts a lot of lived-in laughter lines and his turns of phrase seem to tumble effortless out of his mouth:
“I’m Bacchus. I’m a god. I’m living testimony to the fact that it’s a dying profession…
“I’m the god of wine. Once I was the bouquet promising great things. Now I’m the gritty bits at the bottom on the glass.”
And it’s as much about the stories Bacchus has to tell – of his and other gods’ escapades – as it is about Bacchus himself, who now wanders across the globe from bar to bar or beach to beach in a battered old coat and a fisherman’s cap which hides his wizened brow and his twin, stubby horns. Wherever he roams he finds ancient friends and quite ridiculous foes, along with new devotees eager to imbibe his wisdom.
In ‘Doing The Islands With Bacchus” he encounters three naturists on holiday, corrects them on the earliest means of modesty (they weren’t fig leaves for the most part but vine leaves, of course) then embarks on a discourse about the history of fashion.
“Now the Spartans were a great mob. They were the first to appear naked at the Olympic Games…. The willy was regarded with awe.”
Two of them point to the other’s little willy.
Half the hilarity comes from the juxtaposition of the modern and mythological, Bacchus using contemporary vernacular like “natty dressers” and “the big cheese”. For example, while Bacchus and his acolytes are down a dockside “taverna” overlooked by an industrial crane, glugging down jugs of wine and scoffing wild mushrooms (“Amanita muscaria… that sacred mushroom: ambrosia nectar… food of the gods!”), Joe Theseus is opening a can of coke and a packaged sandwich in an airport. Joe Theseus! Just sticking “Joe” in front of Theseus makes me laugh.
To begin with it has all those trappings of a comedy crime caper, then lobs in the most ludicrous fight scenes involving The Eyeball Kid, overly endowed with ten pairs of eyes perched on top of one another. If ever you were in doubt about the relationship between ancient gods and modern superheroes, this thrusts it right in your face. There’s even an early full-page take-down with a much burlier Bacchus than you’d suspect once the coat comes off launching himself at his assailant which could be – and was almost certainly directly inspired by – Jack Kirby inked by Vince Colletta on THOR.
“I wanted to mock the improbability of a big sprawling adventure while still having one,” writes Campbell in the introduction. It’s something he’d return to much later on in THE AMAZING REMARKABLE MONSIEUR LEOTARD.
Another early flourish finds Bacchus striding through sheets of rain at night. As the grizzled god looks up into the downpour in close-up it’s impossible not to flash forward in time to similar scenes in Frank Miller’s SIN CITY VOLUME 1, only this is much less clinical and infinitely wetter. Which is what rain should be, really.
Basically, this: if you think you know all there is to know about Eddie Campbell as an artist from the ALEC OMNIBUS, FROM HELL, THE FROM HELL COMPANION, THE FATE OF THE ARTIST, THE LOVELY HORRIBLE STUFF, THE PLAYWRIGHT etc., you’re in for some startling surprises. Yes, you’ll recognise his fine line and particular style of portraiture but here you’ll find a far, far wider range of renderings, organic textures and experimental special effects than in any other of his works even – given how big this book is – on a whittled-down page-per-page ratio.
This is the material with which Mark first introduced me to Campbell’s craft twenty-five years ago (admittedly there wasn’t much more to choose from back then other than early ALEC and In The Days Of The Ace Rock’n’Roll Club) because I shared the same passion for wine, Greek mythology and have been obsessed by Bacchus, Pan et al since the age of fourteen. I fell head over heels in love immediately with this mind-bogglingly novel approach which manages the neat trick of being both wholly irreverent and completely faithful. Its greatest fidelity, perhaps, is to the Greeks’ art of storytelling and their reverence of it.
Collects Immortality Isn’t Forever, The Gods of Business, Doing The Islands With Bacchus, The Eyeball Kid: One Man Show and Earth, Water, Air & Fire, with new introductions to each. Additional writing by Wes Kublick, substantial art contribution by Ed Hillyer, with bits by Pete Mullins and – haha! – I thought I saw SWAMP THING’s Steve Bissette in some of those roots and monsters. Page 325 was my biggest clue when you get there. If I’m wrong then the yolk’s on me.
Buy Bacchus Volume One Omnibus Edition s/c and read the Page 45 review here
Moose (£12-99, Conundrum International) by Max De Radigues…
“I think you know.”
“But nobody’s even watching.”
“Well… I started to get a kick out of it, with or without an audience…”
We eventually find out the real reason why Joe is getting mercilessly and remorselessly bullied by Jason. He has two mothers, which in such a small parochial town is obviously sufficiently outré as to be different enough from the supposed ‘norm’ to get picked on. Jason is clearly getting sadistic thrills out of his treatment of Joe, possibly even sexually so, given a certain turn of events towards the end of the book. So you suspect that if it hadn’t been Joe’s atypical family setup, then there would have some other equally inconsequential reason found for Jason’s victimisation of him.
It’s the sheer relentless, inescapability of the bullying which will break your heart, no matter how Joe tries to avoid his tormentor by wandering through waist-deep snow-filled fields and woods, for example, which is where we learn of his affinity for nature and we also see the titular moose. All this so as to avoid catching the schoolbus, Jason having ‘reserved’ the seat directly in front of him for Joe, to allow the maximum torture potential…
Joe’s trapped, of course, by the code of silence, that unspoken childhood rule that you shouldn’t tell the teachers on someone, not even if they’re kicking you up the arse with a compass (the pointy circle drawing kind, not the directional aid). His only ally is the school nurse, a young girl who knows exactly what is going on and is thus the only adult-ish individual Joe can confide in. And so you begin to wonder if, when, Joe will snap.
After all, people can only take so much, even those with the strongest of wills. But when people snap it can go two ways, depending on just how scared of their bully they are. They can lash out in desperation, or look to hurt themselves in despair. I was getting fearful for Joe, I really was, wondering which way he’d go when he finally cracked and then… the story takes an altogether unexpected turn, and Joe is presented with a very tough moral dilemma indeed…
Wonderful storytelling from Max De Radigues, who is definitely a talented artist too. You’ll be minded of several different creators, I think. I could see the likes of Kevin Huizenga, Liz Prince, Sammy Harkham, Ethan Reilly, even a bit of Jeffrey Brown actually. His characters have a real sensitivity to them, he portrays their emotions very well, even the odious Jason whom, when he revealed one particularly snide smile, I was absolutely willing Joe to batter. Very Gandhi-esque of me, I know! I will definitely be looking for more from Max in the future. He is Belgian and apparently has produced a few other works, so hopefully if this is successful enough then they will get translated.
Buy Moose and read the Page 45 review here
Cakes In Space (£6-99, Oxford) by Philip Reeve & Sarah McIntyre.
In zero gravity, no one can hear you butter-cream scream.
Ah, the perils of being peckish!
This stars the most ferocious fruit cakes you could ever imagine. The most belligerent and bellicose Battenbergs ever! There’s a green Fondant Fancy which I really don’t fancy and that cupcake’s a killer for sure! Hundreds & Thousands should be the icing on your cake, not the number of them desperate to do you dietary damage. Abandon ship!
From the creators of UKLA Award-winning OLIVER AND THE SEAWIGS, one of the most thrilling and funny illustrated prose books I’ve ever read (I rate it right up there with Dave Shelton’s exquisitely well observed and equally award-winning A BOY AND A BEAR IN A BOAT), comes a tale so tall it’s told way up there in outer space.
Imagine this: one hundred and ninety-nine years until your next breakfast!
Astra’s family is all set to travel to Nova Mundi, such a faraway planet that it will take yonks to get there.
“Yonks” is a specific, space-science unit precisely calibrating time taken between planets. I thought you already knew that.
Mum, Dad and Astra will all settle down in cryogenic suspension pods and so go to sleep for the duration. But Astra’s not quite sure what the duration really means. One hundred and ninety-nine years sounds a long time to go before her next breaker so she asks the all-knowing Nom-O-Tron for a quick snack which won’t ruin her appetite between meals. Guess what? It ruins her appetite between meals!
“Please state the exact type of cake you require,” said the Nom-O-Tron.
She is a bit vague. And a bit too specific.
“Oh, just make me the most amazing, super-fantastic cake ever!” she said. “I want something brilliant! I want something so delicious it’s scary! I want the ultimate cake!”
At which point Astra is whisked away by her parents and settled down to sleep. And, while she sleeps, Nom-O-Tron clicks and ticks away, working on her instructions, interpreting them as accurately as it can – “brilliant”, “delicious”, “ultimate”… I’m sure there was another adjective there – until the results cause a systems-wide wibble which wakes Astra up when the spaceship’s journey is only halfway complete!
No one else wakes up, only Astra. So tentatively, ever so tentatively, she explores the corridors to discover that Nom-O-Tron has delivered the goods and come up with the confectionary: it’s made the ultimate cake. It’s made a bazillion if not squillion of them. They may well be so delicious it’s scary but – with big, bulging eyes and the most fearsome of fangs – it is they are who are scary and Astra who seems quite delicious. And she’s out there, all alone, in the night…
Well, until the googly-eyed Poglites pop up to plunder the spaceship’s spoons. These aliens have developed warp-drive, hyper-drive and even parking-when-permitted-at-night. But they have never managed to master spoon technology! It’s too advanced. They threaten to zap Astra with their Arkle-splifflicator.
“The first alien’s suit might not have been able to find a translation for ‘Arkle-Splifflicator’, but Astra still felt pretty sure that she didn’t want her arkles splifflicated: the last thing she needed right now, she felt, were splifflicated arkles.”
Yep, there’s that same love of language I found in OLIVER AND THE SEAWIGS: “the spilled-salt glitter of the stars” and a clinical, dark dining area “where clean white surfaces shone coldly in the dim light, like icebergs on an Arctic night.” Cake has been turned into a verb and this definitely one book in which you do not want to be “caked”!
The prose once more has been fully integrated into the illustrations, or is that vice-versa? Either way, it is as one. I adored the far from obvious coronas of McIntyre’s stars, representing their radiating luminosity. Which sounds awfully highbrow so let me add that I also loved her maniacal, man-eating mega-sponges which are worthy of Jim Henderson, bibbling with bobbly cream. Astra is wide-eyed with wonder throughout – check every single page! – while the Poglites could not look more loopy and gormless.
So who will win out, do you think, between the mutant meringues and the dim-witted Poglites, tentacled to the teeth with stolen spoons?
“So you’ve escaped, have you?” growled the Poglite captain. “You still think you can scare us with your cakes? We are Poglites! We eat cakes for breakfast! Well, not really for breakfast – that would be weird – but we eat them for afternoon tea…”
Buy Cakes In Space and read the Page 45 review here
ODY-C vol 1: Off To Far Ithicaa s/c (£7-50, Image) by Matt Fraction & Christian Ward…
“It’s vulgar, Mother-Father, finding bloodsport in torturing great women like Odyssia, warrior or not.”
“And yet the little apes are so very good at it.”
“There will be more. There will be blood yet to come.”
“There should be recompense. There should come thunderous punishment from we Olympians for their insolence and hubris.”
The finest rip-up-the-rule-book reinterpretation of Homer’s Odyssey since the classic animation Ulysses 31! That merely updated the Greek mythological epic to the 31st Century. ODY-C takes that same future science-fiction starting point and then throws in a gender flip too, reversing the sex of most of the characters.
Story-wise Fraction takes what is classic material, in all senses, and refashions it, scintillatingly relevant and exciting for even our over-indulged, battle-weary modern tastes.
It helps, obviously, that the original plot is brilliantly captivating, a ten-year struggle against impossible odds and overwhelming obstacles simply to get back home to loved ones and the throne. The gender flip freshens the material up further, allowing Fraction to put significantly different emphases and affectations on both the characters and plot. It’s a conceit which in a lesser writer’s hands could have turned into a right old chariot crash, but definitely makes this unique version of the Odyssey well worth reading.
However, what really turns this into a shining triumph is Christian Ward’s psychedelic art and colouring. I don’t know if he used every single hue and tint of his virtual palette, but I rather suspect he didn’t leave very many out. Rich and vibrant are oft-used terms but this is as expansive use of a truly vast array of colours, successfully I should add, as you are ever likely to see in a comic.
Fans of Ward’s work on Nick Spencer’s equally mind-bending INFINITE VACATION will already know of his ability to combine said colouring with surprisingly fine and intricate line work. He has a particular stylistic element to his line work, employing innumerate, endless flowing curves and waves going in all directions, with barely a straight line in sight that I absolutely love. The overall effect is one of such depth and complexity, he’s undoubtedly the perfect artist for this futuristic space opera.
About the only negative comment I can make about this first volume is that it doesn’t include the ultra-widescreen, multiple-page fold out splash-entrance that the first issue commenced with! They’ve included all the pages, and it does still work because they are beautiful, but they don’t have that same incredibly dramatic impact.
Buy ODY-C vol 1: Off To Far Ithicaa s/c and read the Page 45 review here
They’re Not Like Us vol 1: Black Holes For The Young s/c (£7-50, Image) by Eric Stephenson & Simon Gane.
“I didn’t ask for any of this.”
“None of us did, but here we are. And I know you don’t trust me, but I promise you, when you know the whole story, you will feel better about being here.”
She won’t.
Hurrah, my leap of faith has been vindicated!
I love Simon Gane.
Since ALL FLEE I’ve been smitten, his landscape sketchbooks are amongst the most thrilling I’ve seen and his contribution to ABOVE THE DREAMLESS DEAD: WORLD WAR I IN POETRY AND COMICS was for me its star turn: all those ivy-strewn statues setting the tone in stone and reinforcing the poem’s haunting sentiments.
From the very first page he does not disappoint, the leaves on the trees as special and semi-detached as ever, enhanced by colour artist Jordie Bellaire’s paler echoes behind and beyond. Gane’s clothes have all the requisite wrinkles depending on where they’re stretched by the flesh beneath – the sort of detail Art Adams excelled at – while his faces are angular yet soft, and where Simon excels is at eye contact. So much of this is about eye contact: about trust and distrust, truth and lies. Which will be which, do you suppose?
Atop the Saint Francis Memorial Hospital, San Francisco, a young woman called Syd balances perilously close to the rooftop’s edge, her arms outstretched, tears streaming down her eyes.
“I live to fall asleep.
“It’s the only way I can get some relief from it all.
“The worrying.
“The planning.
“The lying.
“It’s the only way to escape from the complete lack of silence, the complete lack of peace. All I have to do is close my eyes and I’ll be at rest forever.”
Now, I was curious as to exactly why “the worrying” was set against an old woman, face buried in her hands; why “the planning” showed a handsome young man, smiling as he stood at a tram stop; and “the lying” seemed to refer to a middle-aged businessman dressing after sex with a woman who clearly wasn’t the one about to jump off life’s cliff.
You’ll have to wait a few pages while a dapper young man in a suit and tie – who clearly loves himself dearly – tries to talk Syd down and fails. Syd’s been dragged in and out of that hospital by her parents for years. She’s been plagued by voices, so many voices; a cacophony that has driven her to distraction while building a barrier between her and her parents who have never believed her. But she’s been telling the truth: she’s a telepath, and it’s only now that The Voice has found her that she has a seemingly sympathetic soul able to explain her condition and ease her mind. By controlling it.
Now there is silence and sanctuary in a gabled, gated mansion thick with Simon Gane foliage. I’d like all my foliage to be Simon Gane foliage. I wonder if he’d come and draw my garden for me? It’s in a bit of a state.
Under Gane and Bellaire the mansion becomes a character and star in its own right. The bedspreads, picture frames, carpets, chairs and stairs are so opulent!
It was, however, at this point that I originally ran into difficulties, but suspected that the big reveal was almost a distraction from a very important sentence which – combined with an extreme sense of entitlement expressed by The Voice – did not bode well for any of them. The big reveal came in the form of ten other occupants who were not all straightforward telepaths but an empath, a clairvoyant, an illusionist, a pyrokinetic, a –
Are you getting whiffs of Charles Xavier’s School For The Self-Sequestrated?
“But I don’t think there will be any big battles except between egos and control-freaks within,” I wrote. “I don’t think everyone’s showing their true colours.”
Sure enough it becomes increasingly clear to Syd that this group of young men and women squatting in a house which is not theirs, preying on whomever they fancy and taking whatever they please has been persuaded that this is their right. That because they’ve been mistreated because they are different, they are entitled to do the same. Because The Voice says so. Syd’s essentially fallen in with a cult, and a very dangerous one at that.
Stephenson balances the indoctrination brilliantly. It’s impossible to feel sorry for at least one of their targets when out on the streets and the self-justification comes thick and fast. But such extreme misfits living in such close proximity, almost under house arrest for so much of the time is going to cause increasingly worrying behaviour, you mark my words…
Buy They’re Not Like Us vol 1: Black Holes For The Young s/c and read the Page 45 review here
Supreme: Blue Rose s/c (£10-99, Image) by Warren Ellis & Tula Lotay.
Diana Dane, meet Darius Dax. You’ll find him in equal parts lucrative and infuriating.
“You seem to know a lot of people, who want others to know they know you, but who don’t want anyone to know about you. So I was curious enough to take the meeting.”
“That is as it should be. I imagine it was quite frustrating for you, though, important investigative reporter and all.”
“I don’t know if I’d agree with “important”.”
“I was being polite. I meant “unemployed”.”
Diana Dane is indeed unemployed. She won an award then was laid off the week after.
“That’s the universe telling you something.”
Now it’s Darius Dax who’s telling her something: that it wasn’t a plane that came down on Littlehaven a few months ago. It was something altogether more unusual and included the vast arch of gold now suspended above Dax’s desk declaring wherever it came from “Supreme”.
This is of interest to Dax for Dax too is an acquirer of knowledge which few will ever have access to. He specialises in Blue Rose cases – “Blue roses do not occur in nature” – “rare truths” he sells on to very wealthy entities, and he will pay Diana Dane $300,000 to start gathering information on whoever might have connections to the artefact and $700,000 if she succeeds in bringing him something concrete.
Elsewhere and elsewhen, outside of time and space, someone else was telling her many things – about reality and revision; about how the universe occasionally reboots itself. But above she was told this:
“Don’t trust Darius Dax.”
Warren Ellis seemed back on top linguistic form to begin with, and certainly found an artist to match the daydream, elusive, other-dimensional aspect of the book. There is a quiet and soft vulnerability to Lotay’s forms and colours over which pale blue lines swirl like a chilly wind, giving them a sense of the ethereal; as if who and what you’re looking at might not even be there. Or you might not even be there. As if you’re looking at it all remotely, through a window, a viewscreen or a tank of liquid, especially in Darius Dax’s National Praxinoscope Company where there are additional, geometrical overlays.
There are sonic cathedrals and ghostly gazelles radiating light and colour like noboby’s business and when they cross the bridge which “is, of course, a quarter of a million miles long” they pass under monumental, neoclassical, triumphal arches of white stone held aloft by twin Supreme statues after gliding by what appears to be a curved, seaside scene of boarding houses basking in a Northern-Lights green.
As a colourist alone, Tula Lotay excels: she is inspired, dazzling, delirious. I promise you these pages are like nothing you’ve ever seen, though there’s something of the Michael Allred in the faces.
The art is something new for something both borrowed and blue, for this yet another remix of a funny old brand called SUPREME. And I’m afraid to say it, but this is akin one of those noodling 12-inch ‘80s vinyls which is so full of filler and goes nowhere. Like Darius Dax, it is deliberately obtuse and infuriating, full of long, clever words where much simpler ones would do. It really is this simple:
Twenty years ago a former Marvel artist called Rob Liefeld created a superhero called Supreme for what was then an illiterate brand relying solely on what was perceived to be the strength of its Image. Supreme was a dumb rip-off of the most obvious aspects of Superman. Then along came Alan Moore who rebooted the character and, with a winking glint in his eye, used the very nature of its rip-off to have enormously clever fun with all the more interesting and really very silly but endearing aspects of Superman in its own multiple, multiversal incarnations.
So now here we have Warren Ellis doing a new reboot in which the reboot’s gone wrong and former aspects of its previous versions have filtered through into the new. It’s all very meta but not rocket science, yet it’s been cloaked in terminology which makes it seem so. What am I missing?
Very, very, very beautiful.
Try Ellis’ INJECTION. It’s deliciously British, taking in legend and lore, reminiscent of Jamie Delano’s early HELLBLAZER and has the most swoonaway sweeps of leaves by Declan Shalvey.
Buy Supreme: Blue Rose s/c and read the Page 45 review here
The Amazing World Of Gumball vol 1 (£10-99, Kaboom) by Frank Gibson & Tyson Hesse…
I discovered The Amazing World Of Gumball TV show last year. We had gone on the annual Rigby summer jaunt to bella Italia. The country, that is, not the dreadful chain restaurant that has about as much in common with Italian cuisine as a McCain’s oven pizza.
Actually, digressive and non-digestible true story, there used to be an Italian restaurant called [REDACTED] very near where I live and the food was absolutely appalling. Just the worst, and it was so renowned for it that the wife and I actually felt compelled to try it, believing it couldn’t possibly be that bad.
So, the one and only time I ate there I ordered a pizza and the wife a lasagne. We then watched the ‘chef’ wander out the door to the Spar convenience store next door and shuffle back in not particularly surreptitiously with a frozen pizza and lasagne in his hands. I wondered out loud whether he seriously could have got those for us, surely not, but yes indeed, he shortly proudly brought out the obviously microwaved, offending articles. Unsurprisingly he closed not too long after that, though not before turning into a fish and chip shop for two whole weeks…
Anyway… back to bella Italia… the Whackjob (my 4-year-old daughter) and I had worked our way through every episode of ADVENTURE TIME, BRAVEST WARRIORS and REGULAR SHOW in the preceding months and I was conscious that it would be useful to find something else to entertain her whilst the wife and I attempted to enjoy our long, prosecco-soaked lunches without having pasta and pizza twirled round our ears. Someone recommended Gumball so I acquired the first season. Much like ADVENTURE TIME, BRAVEST WARRIORS and REGULAR SHOW, I quickly realised I was going to enjoy it just as much myself as Whackers! (This year’s luncheon lifesaver, by the way, was the first season of Steven Universe!)
It’s quite impossible to describe exactly what Gumball is all about, mind you. Basically loveable idiot Gumball and his eclectic multi-coloured bunch of friends and enemies – which include fish, dinosaurs, giants, flying eyes, monkeys, ghosts, even a talking balloon – have the most absurd adventures, often simply revolving around their street or school, but frequently involving danger levels of cosmic, world-shattering proportions. It is all utter nonsense, I can’t honestly ever recall what any episode was about ten minutes after I have watched it, but it’s relentlessly entertaining without pausing for breath as every good cartoon should be.
The animation is a mixture of standard illustration and overlaid photo inserts of some of the characters, like the T-Rex, which only adds to the fast-paced surrealism of it all. Gumball does only seem to have one volume and pitch of talking though, shouting in a monotone basically, which can get a little wearisome if you have to watch, or indeed by serenaded by, ten-plus episodes in a row whilst you’re mentally willing the waiter to hurry up with your tiramisu before the littlest tourist gets too restless in the restaurant…
Anyway, as I have commented on before, I do think that is extremely difficult for comics to achieve the same level of engrossment as truly brilliant cartoons, and much like longer form television dramas, I do think we are in a new golden age of cartoons also. But, if you are a fan of Gumball, you will get great enjoyment from this comic adaptation, as it is wittily written, perfectly capturing the hurricane-strength blow-you-along wind tunnel appeal of the show, plus they’ve done an excellent job of emulating the style of illustration.
Buy The Amazing World Of Gumball vol 1 and read the Page 45 review here
The Cat With A Really Big Head h/c (£13-99, Titan) by Roman Dirge.
Oh dear, Titan miss a trick as the original title for the £2-20 pamphlet was its best joke:
‘The Cat With A Really Big Head (And One Other Story That Isn’t As Good)’.
Channelling Tim Burton (THE MELANCHOLY DEATH OF OYSTER BOY AND OTHER STORIES – you can consider employing far less flattering verbs if you like), it’s now been turned into a colour picture book full of blood and bones.
The story revolves around a cat with a really big head, so it’s far from false advertising. The fun is in watching the poor little mite trying to do all the things normal cats do – imagine it negotiating the cat flap, if you will – if that’s your idea of fun.
Please be warned that it’s a very quick read and, this being Roman LENORE Dirge, we don’t see a lot of sympathy for the moggy.
If you laugh at things like Vasquez’s FILLER BUNNY, you’ll like this one.
I’ve done my duty.
Buy The Cat With A Really Big Head and read the Page 45 review here
Civil War #1 (£3-99, Marvel) by Charles Soule & Leinil Francis Yu.
Genuinely bleak and nasty, this is another of those satellite series to Marvel’s current SECRET WARS. But, unlike the few others I’ve dipped into, it doesn’t appear to reference that series at all – for the moment, anyway.
I rate the original CIVIL WAR by Mark Millar & Steve McNiven very highly. It had something genuinely interesting to say about privacy and power, and it speaks volumes about our distrust of recent governments – with what they do with our information, how they glean it and what they are most likely to do with superior military might – that everyone I know instinctively sided with Captain America’s refusal to register with the American authorities and submit to their potential deployment (even though he’s a former soldier used to obeying the chain of command) rather than Iron Man who recognised that those with superpowers are potentially lethal loose cannons, as witnessed when a bunch of relatively inexperienced, attention-seeking teens took on a bunch of supervillains they were woefully ill-equipped to handle, resulting in the death of six hundred souls. It’s interesting because those same individuals who sided with Captain America, like almost everyone else in Britain, are adamantly in favour of American gun control which is what Iron Man was effectively advocating.
In case you’re intrigued enough to take a punt on the collected edition, I won’t tell you how it ended except that it was abrupt, unexpected and yet entirely in keeping with character.
In this alternative scenario – by the writer of DEATH OF WOLVERINE and the artist on Mark Millar’s NEMESIS – hostilities between the two sides of superheroes didn’t cease. They escalated. They escalated because things went horrifically wrong while the two factions were locked in battle in Iron Man’s prison hidden in a pocket dimension.
The Black Panther hacks into its security systems which sets off a fail-safe self-destruct sequence he attributes to Iron Man. I am choosing my words carefully, yes. Iron Man is informed by Commander Maria Hill of S.H.I.E.L.D. that the Black Panther set off the self-destruct sequence deliberately under direct orders from Captain America. I am still choosing my words very carefully. Both sides are incredulous about the other’s callousness. Then the bomb goes off. The bomb goes off just as Cloak is teleporting as many as possible from both warring parties, en masse, back to New York City. Some make it out, some don’t. What does make it out, is the blast.
The bomb-blast destroys New York and takes fifteen million people with it.
Whose side are you on now?
I ask that because in spite of my original analysis and the ante that’s now been upped I still instinctively sided with Captain America, and what follows, six years on, only goes on to entrench that alignment… because both scenarios are very carefully written.
Six years on and — haha, no! You wouldn’t thank me. You’ll want to read this comic for yourselves.
I’m a big fan of Yu who is solid, sure and exciting, and studies expressions well. They change only incrementally between panels as our own do between seconds unless something does actually take us by surprise. If every character reacts to everything and every word with melodrama as happens woefully often in superhero comics (and the sugar-buzz mainline of manga) then how do you discern the mellow from the genuinely dramatic? Inked by Gerry Alanguilan and coloured by Sunny Gho, there is a light, bright modelling going on.
But by “carefully written” I mean who do you think is backing whom? Which of Marvel Comics’ most cherished couples finds itself on opposing sides of the argument, in different camps which are not speaking to each other and so cannot meet in an America which has quite literally, geographically and geologically been divided in two? Can you spell “chasm”? There is one, right in the heart of the dessert.
Peace talks are proposed and, against all odds, a single woman persuades Captain America and Iron Man to meet in a building in the middle of the bridge which straddles that cavern.
Even before it goes horribly wrong it is patently obvious that they are both so set in their ways, so locked in their mindsets, so trapped in their past and so bitter about what they believe the other has done that recriminations are all they can offer each other.
Then it goes horribly wrong, and there is no hope to speak of.
Buy Civil War #1 and read the Page 45 review here
Poetry Is Useless h/c (£22-50, Drawn & Quarterly) by Anders Nilsen
Four Eyes vol 1: Forged In Flames s/c (£7-50, Image) by Joe Kelly & Max Fiumara
Moomin And The Martians (£6-99, Enfant) by Tove Jansson
Moomin Complete Lars Jansson Comic Strip vol 10 h/c (£14-99, Drawn & Quarterly) by Lars Jansson
Adventure Time: Banana Guard Academy s/c (£9-99, Titan) by Kent Osborne, Dylan Haggerty & Madeline Rupert
Predator: Fire & Stone s/c (£10-99, Dark Horse) by Joshua Williamson & Chris Mooneyham, John Lucas, Lucas Graciano
Teenage Mutant Ninja Turtles / Ghostbusters (£13-50, IDW) by Erik Burnham, Tom Waltz & Dan Schoening
Batman: Arkham Knight vol 1 h/c (£14-99, DC) by Peter J. Tomasi & Viktor Bogdanovic, various
Batman: Harley Quinn s/c (£14-99, DC) by Paul Dini, various & various
New Suicide Squad vol 1: Pure Insanity s/c (£12-99, DC) by Sean Ryan & Jeremy Roberts, Tom Derenick, various
Sinestro vol 2: Sacrifice s/c (£12-99, DC) by Cullen Bunn & Dale Eaglesham, various
The New 52: Futures End vol 2 s/c (£22-50, DC) by Brian Azzarello, Jeff Lemire, Dan Jurgens, Keith Giffen & Georges Jeanty, Patrick Zircher, various
Miracleman Book vol 3: Olympus (UK Edition) h/c (£19-99, Marvel) by Alan Moore, Grant Morrsson, Peter Milligan & John Totleben, Joe Quesada, Mike Allred
Spider-Man 2099 vol 2: Spider-Verse s/c (£14-99, Marvel) by Peter David & Will Sliney
Thor God Of Thunder vol 4: The Last Days Of Midgard s/c (£14-99, Marvel) by Jason Aaron & Esad Ribic, R.M. Guera, Simon Bisley
Dogs – Bullets & Carnage vol 10 (£9-99, Viz) by Shirow Miwa
ITEM! Page 45 is proud to promote The British Comics Awards! Yes, Page 45 is the BCA’s official Executive Sponsor! Scroll down to read all about it then please get your nominations in! Voting is open to all!
It seemed such a natural partnership to us. The winners of the @BritComicAwards best graphic novels – NELSON then THE NAO OF BROWN and THE ENCYCLOPEDIA OF EARLY EARTH – were my favourite books each successive year, and it’s by far the best award institution British Comics has ever known. I may have to blog about it later.
ITEM! Time-lapse vimeo of Jonathan Edwards painting a waterfall – three minutes of your life in exchange for hours of awe and adoration as you daydream about it forever. You can buy Jonathan Edwards’ prints here!
ITEM! STAR CAT’s James Turner’s hilarious comic on the perils of procrastination. Creators may well relate!
ITEM! New interview with Asaf Hanuka and Tomer Hanuka about THE DIVINE.
ITEM! Brilliant blog by Sarah McIntyre, the co-creator of, JAMPIRES, OLIVER AND THE SEAWIGS (which just won the UK Literacy Assocation Award for 7- to-11-year-olds), and CAKES IN SPACE which I reviewed above:
“Pictures Mean Business: Why Do So Many People Keep Forgetting To Credit Illustrators?”
Why indeed! It’s absolutely crazy as every comic lover knows, but this carelessness is prevalent amongst publishers of illustrated prose and picture books. Take a gander, it’s great, and if tweeting about it, please use the hashtag #picturesmeanbusiness.
Page 45 Reviews written by Stephen & Jonathan then edited by an elephant that’s as blind as a bat.
Page 45 Comic & Graphic Novel Reviews July 2015 week two
Announcing THE WICKED + THE DIVINE Patheon t-shirts! Oh yes! News below our reviews includes details for pre-ordering!
The Wicked + The Divine vol 2: Fandemonium s/c (£10-99, Image) by Kieron Gillen & Jamie McKelvie with Matthew Wilson.
“You are of the Pantheon.
“You will be loved.
“You will be hated.
“You will be brilliant.
“Within two years you will be dead.”
In which we learn why – as the Pantheon dies only to be reincarnated every ninety years in a new body, a new aspect – ancient Ananke stays behind to find them and activate them; to guide and nurture them through their new, short life spans and, if necessary, even keep the peace. If she didn’t stay behind, all former knowledge would be lost.
Ananke’s finally found the twelfth god. I’m afraid it isn’t Laura.
In THE WICKED + THE DIVINE VOL 1: THE FAUST ACT we witnessed the latest, highly inclusive Recurrence of gods and goddesses casting themselves in a highly exclusive role – that of pop stars whom we place on pedestals in order to worship from afar.
The most wicked and divine of them, Lucifer, was targeted for assassination by a couple of gunmen. They failed: Luci blew their brains out with a click of her finger. Luci was put on trial but someone blew the judge’s brains out. Then someone blew [SPOILERS] brains out.
This will blow your brains out.
Determined to disprove the existence of any Pantheon – to expose the mythology as a music marketing scam – is sceptical journalist Cassandra Igarashi. Determined to expose the killer is seventeen-year-old Laura, a fangirl who found herself on the inside, taken under louche Lucifer’s ever-so-saucy wings and now granted access to the others.
Once she clicked her fingers and they lit a cigarette just like Lucifer. She’s been trying to recreate the miracle ever since. Nothing’s happened. Brockley, South London, on her way home, clicking her fingers disappointedly:
“I’m not a god.
“I was delusional to think I was. I was delusional to think I could be.
“Fuck you, Laura Wilson. Quitter. All I get is calluses? They’ll be the best calluses in the world.
“I won’t give up on Lucifer. I don’t understand what happened. I will.
“I won’t give up on any of them. They’re all fucked up, all doomed. If all I can do is help them, I’ll help them. No one gets a happy ending. So I’ll make sure they get the least terrible one possible.”
Unfortunately a lot of people are banking on the Prometheus gambit: kill a god to steal their powers. It doesn’t work. But what if a god were to slay another god? Maybe they’d get their oh-so-limited lifespan? Two years is, after all, a very short time to shine…
From the creators of YOUNG AVENGERS and the two music-as-magic PHONOGRAM collections (PHONOGRAM III: THE IMMATERIAL GIRL #1 – please pre-order!), this is chic, sharp and thoroughly contemporary. And, as I say, highly inclusive. It’s so inclusive that straight white males are scarce on the ground. If I were to detail exactly how inclusive it is then I would be giving for too much away, but it’s typical of Gillen and McKelvie that, during a burst of black and white satori, a wheelchair user is amongst the crowd of silhouetted gig-goers on the receiving end. That shouldn’t be remarkable, but it is.
In THE WICKED + THE DIVINE VOL 1: THE FAUST ACT I made much of Jamie McKelvie’s line and Matthew Wilson’s colour art and here in the back there are process pieces which will have you bewildered by just how much thought and work has gone into a double-page spread, for example, overlooking the Ragnock music festival.
Behind all the elaborate, sleek and sexy eye make-up designs and the spectacular Pantheon threads which have inspired so much cosplay (you will love Inanna’s Prince regalia), there is an interest and understanding few other comic artists display of civilian fashion sense: what the best dressed are wearing today as well as the moms who are waiting up late for their errant offspring to get back from gigs.
McKelvie’s Paul Smith-inspired line has long been this crisp but grows increasingly smooth and soft. Even Ananke’s wizened wrinkles give the actual folded flesh a much moisturised feel.
As to Gillen, there are so many fundamentally thought-through observations about the human condition: our aspirations and our most superficial and deep-seated fears. Urdr’s blinding flash of mass enlightenment is entirely consistent in its contradictions! Oh, and he knows the story a seventeen-year-old’s bedroom tells.
Look, I can just keep on typing until this review falls off the edge of the virtual page but I risk running out of misdirections and actually giving stuff away. You know, like the climax. If I told you that I would sell an extra two hundred copies before you’ve finished reading this week’s other reviews. Instead:
Ragnarok for our demi-gods and goddesses approaches. Ragnarock 2014 in Hyde Park, to be precise. 500,000 tickets sold for the five-day festival.
Kieron does love his puns, doesn’t he? The thing is, they’re never throwaway.
“You feel like you’ve got a raw deal.”
“There is no one in this story who has not got a “raw deal”.” says Ananke.
Still, I’m sure it’s going to be okay.
Buy The Wicked + The Divine vol 2: Fandemonium s/c and read the Page 45 review here
Criminal vol 6: The Last Of The Innocent s/c (£10-99, Image) by Ed Brubaker & Sean Phillips.
From the creators of FATALE and THE FADE OUT, these are the best crime comics in the business, right up there with the recently revived STRAY BULLETS.
CRIMINAL is a series of completely self-contained stories you can read in any order you like, and for me this is its finest outing yet.
Summoned home by his father’s sudden illness then death, Riley Richards has briefly escaped the city of his sins which have begun to cost him dearly, and travelled back to the town of his youth.
It was a sunlit life immersed in the relatively innocent pleasures of crime comics bought by his Dad and meeting down the diner where his best friend, Freakout. With the monumental munchies of being stoned, they would regularly break records for scoffing ice cream.
Then there was sweet Lizzie Gordon, the girl who lived literally next door; the girl whom everyone assumed he would marry. If only he had.
But his life changed course dramatically on the arrival of rich bitch Felicity Doolittle, bringing with her the alluring, honey-pot cocktail of novelty, sophistication, self-confidence and sexual availability. They argued, they split, they got back together, but eventually Riley made a fatal mistake: he married her.
Now he’s a man who witnesses the world around him at a remove, as if it’s not his own life at all. He’s become so detached that he doesn’t know how to feel at his father’s funeral, he just calculates what’s expected of him. He’s become so resigned that when he caught his wife shagging Teddy, the man he loathes most, he concluded that it simply made sense. He’s almost immune to his father-in-law’s long-voiced contempt, and he had all but ignored the slurred cries for help Freakout would leave on his answer phone before finally seeking help and sobering up for good. But returning home now – seeing Lizzie as kind and beautiful as ever and Freakout still funny when dry – has reminded Riley of how promising it once looked before the empty marriage and the crushing gambling debts in the city which he’s grown to hate. He had been a key crossroads in his life and, in marrying Felicity, taken the worst turn possible.
But gradually it occurs to Riley that there may well be a way to reverse all his misfortunes in one fell swoop.
He’s going to kill his wife.
Nothing Brubaker drops in early on is accidental; everything is reprised. Riley’s machinations are fiendishly clever. There is nothing and no one he won’t use to achieve his goal, but that’s all it is to him: an objective. You’ll be shaking your head at the calculated lows he will sink to and yet – an incredible testament to the seductive strength of creative team here – you’ll still find yourself rooting for the rat, fearful in case he fucks up.
For any successful first-person narrative it’s crucial that reader wants to spend time in protagonist’s self-absorbed head, and that’s where Brubaker excels. That the intricate plot mechanics are so devious and the delivery so adroit is what makes each read so enormously satisfying. What makes them so attractive is the art of Sean Phillips, by far the finest draughtsman in this most twilight of genres. His faces stay cast and masked in a permanent semi-shadow – I never trust anyone drawn by Sean Phillips – and some of them are positively threatening.
Allowed for once to play in the suburban sunlight as well as the metropolitan grime, Phillips appears to have had great fun not only in capturing a much younger, less tainted crowd, but also in drawing the flashback sequences: snapshots of memory rendered here in Archie-Comics innocence, even when the style beautifully belies the content under Felicity’s prom-night gown.
All the original periodical’s landscape covers are reproduced within and now all six volumes of CRIMINAL have iconic new covers. Together they look like the most lambent but lethal stained glass window or an elaborate set of traffic lights sending mixed signals to stop, get set (up) and go.
Or, in this case, swim like crazy or sink forever.
Buy Criminal vol 6: The Last Of The Innocent s/c and read the Page 45 review here
8house #1 Arclight (£2-25, Image) by Brandon Graham & Marian Churchland.
“The borders must be near.”
“Closer than you think.”
A border creature: a living edge of the bloody lands.
*hek*
“It’s dying. We need it alive.”
There are so many strains of fantasy but the most infectious by far are those that are ethereal and otherworldly, not just in aspect but in custom and cadence and the in which way their creators communicate them to us. 8HOUSE ARCLIGHT excels at all four.
Mysteries should not be delivered to you, hand-held, but laid before you in such a way that you are required to tease them apart yourselves. There’s a difference between oblique and obscure.
The above is the script to the third early page reproduced here. All three come, like the graphic novel ZAYA, with a restrained Arthur Rackham palette in an ancient woodland setting which Rackham admirers would feel quite at home in and populated by two figures they would be equally comfortable keeping company with. The light at the root-tunnel entrance is very subtle.
The one with the aquamarine cloak could easily be from Faerie nobility, far from incongruous in A Midsummer Night’s dream and there is much of the Elizabethan about everything here from the courtly intrigues to its couture.
The other is more “other” still. Are those matted tresses blowing in the breeze or, as seems more likely, soft roots or tendrils blowing in the breeze? If a comic causes you to ask questions this early in then it’s doing its job properly. She has arcane knowledge and an instinct in touch with both the natural and unnatural world. Like the three witches in Macbeth, we’re still not straying from Shakespeare in that respect nor in the creature she prizes. Like the turquoise cloth, its fire-red skin stands out a mile from the olive-browns surrounding it.
I’m not going to give you much more.
Given that this is written by the creator of MULTIPLE WARHEADS and KING CITY and both drawn and coloured by the creator of the equally allusive, elusive BEAST, you would be so surprised if this repeated old tropes without infusing them with something so new to comics. I imagine Charles Vess of SANDMAN, STARDUST and DRAWING DOWN THE MOON would swoon over this, but equally so Monsieur Moebius, for the double-page landscapes are epic.
But this is an alchemical fusion which transmutes those and any other influences into an entirely new element of Churchland’s own crafting. I’m speculating on Rackham, Vess and Moebius but I know for a fact that Churchland incorporated Yoshitaka Amano’s fashion sense into the mix.
And so we come to the androgyny and it’s not your Natassja Kinski ‘Cat People’, girl-with-a-boy’s-bob thing going on. Cut to the court, and it’s ostensibly a much more sybaritic affair but also, above and beneath that, a genuine, heartfelt and complete relaxation of stereotypes to form new norms. Well, new to comics. Thankfully it’s being going on around us in real life for years.
Post-script for pedants:
Yes, yes, officially it’s called 8HOUSE ARCLIGHT #1 but by its third issue it’s officially called 8HOUSE #3 KIEM and by its fourth issue 8HOUSE #4 YORRIS so we’re nipping any confusion in the bud early on – just like you would an Azalea’s flowers once over – in order to promote better growth. Pop yourself down on a Page 45 Standing Order by mail or for collection in store and we’ll insure you get the lot regardless of subtitle.
Buy 8house #1 Arclight and read the Page 45 review here
Pain Is Really Strange (£7-99, Singing Dragon) by Steve Haines & Sophie Standing…
“Pain does not exist in this dojo, does it?”
“NO SENSEI!!”
Sensei John Kreese and his demented dojo dwellers from The Karate Kid on how to deal with pain…
Of course, whilst the members of the Cobra Kai might have a slightly different approach to overly stimulating skin pressure to you and I, it shouldn’t be doubted that there is definitely a subjective element to the sensation of pain. After all, taken to extremes, one man’s pain is another’s pleasure; however this excellent 36-page work doesn’t get into those realms, instead concentrating on the current critical scientific thinking on the nature of pain and our physiological, psychological and indeed emotional experiences of it. Plus how, perhaps, with the right approach from both patients and doctors alike, we can alter the perception of pain to make it far more manageable, without having to resort to the usual pharmacopoeia of medicinal delights.
Probably the major argument the author and long-time healthcare professional Steve Haines puts forward is that to understand an individual’s pain, you first need to understand the individual, because the experience of chronic pain is an incredibly complex phenomenon arising from a large number of interconnected and interrelated systems, both of body and mind. Thus two people could have exactly the same ‘injury’ but experience extremely different levels of pain.
Which all sounds like a very heavy read, however this work is beautifully illustrated by Sophie Standing in a manner that conveys the more complex concepts and theories of neurophysiology put forward by Steve, just as clearly as the witty look at brain chemistry that is NEUROCOMIC, or even the headscratching theorems of quantum physics in FEYNMAN.
As Nick Sousanis explained in his recent expansive graphic novel PhD submission UNFLATTENING, images can convey meaning and thus understanding far more simply and eloquently than words alone can do. And that is abundantly true here as Steve examines the process of how pain arises right through to how our very different individual subjective experiences of it occur.
Plus it is very impressive production qualities too from Singing Dragon, akin to a Nobrow release, all neatly sutured, sorry saddle-stitched, with inviting French flaps that always add a touch of gravitas to a smaller sized release.
This is an intriguing and informative look at a subject which we all have first-hand, personal experience of, typically the myriad acute comedy to catastrophic variations on the theme, but is utterly devastating for many chronic sufferers. I have to say I personally agree with his thinking, that the experience of pain can be, to a degree at least, ameliorated by changing the sufferer’s mental approach to it. But I’ve never seen the whole process of how one might practically go about doing just that explained so simply. This is a work which actually ought to be handed out to all GPs and is another very worthy addition to the rapidly burgeoning genre of graphic medicine.
Buy Pain Is Really Strange and read the Page 45 review here
We Stand On Guard #1 (£2-25, Image) by Brian K. Vaughn & Steve Skroce…
“What if it was us?”
“Don’t even joke about that. I could lose my security clearance if people heard you spouting that kind of nonsense.”
“But I’m serious. We burned down the White House before once, right?”
“We did?”
“Like, three hundred years ago.”
“That’s just a myth, Tommy. Canada wasn’t even a country back then. It was the British who torched Washington.”
“Yeah, for trying to steal this land.”
“Why would the U.S. try to steal our…”
“The hell? What happened to my feed?”
A lot of exceedingly heavy ordnance, that’s what, as Ottawa is practically flattened during the initial thunderous start to the 2112 US invasion of Canada. Yeah, you read that right: Canada…
Unfortunately for young Amber cuddling her fluffy white teddy bear – I’m guessing she is maybe six – and her slightly older brother Tommy, this blitzkrieg rain of missiles instantly wipes out their parents, leaving the terrified siblings to fend for themselves. Fast forward ten years and Amber is now part of the resistance movement fighting the tyrannous occupiers.
Hmm… is it really over thirty years since siblings Patrick Swayze and Charlie Sheen, plus the rest of their ragtag teen-band of ‘Wolverines’ took on the might of the invading Soviet forces in the classic bratpack film Red Dawn? Hegemonous, brutal bad guys versus the righteous protectors of their beloved homeland…
Ah well, plus ça change as they would say in ‘free’ Quebec! However, you have to say in the intervening three decades since Ronald Regan was the Cold War warrior President protecting the Free World from the belligerent Ruskies, while we all fervently hoped Sting was right and the Russians did love their children too, the Americans have rather managed to besmirch their own reputation over those years, haven’t they? We can argue the merits or otherwise of their various military invasions and interventions in the interim ad infinitum, but you would seriously hope that Canada might be not be in President Clinton’s – Hilary that is – crosshairs come her probable election next year. Mexico on the other hand…
Anyway, you can immediately see where Vaughn is going with this. Much like Brian Wood’s DMZ – one huge what if the Iraq civil war was actually happening in American with Manhattan being the epicentre – this tale of what, in theory, would never happen, is going to presumably allow him to make some serious points about the state of current American foreign policy under the cover of a ripping adventure yarn. Much like he did to superlative effect on various hot social political topics in EX MACHINA. And let’s be totally frank, it’s not really that much of a stretch to see the American military as out-and-out bad guys. There are plenty of people in the world who have that viewpoint already.
Nice enough clean art from Steve Skroce who hasn’t really done much in comics for years, mainly doing concept art story boards for cinema instead for people like the Wachowskis. I think that possibly shows a little bit in places, some of the panels feel a little bit flat, primarily because there’s virtually nothing going on in the background of the panels that are mainly conversation between characters; whereas, in contrast, some of the more action-based panels have plenty going on. Having a look at some of the concept art pencils included at the end; I thought that material was considerably more impressive actually. But whilst it’s not Fiona SAGA Staples or Tony EX MACHINA Harris, it’s certainly a style well suited to the story.
This first issue is primarily a set up, about some of the various characters who are presumably going to form the backbone of the series, though without giving too much away at all beyond that. The big question, why America launched the invasion, has yet to be explained. I am looking forward to that nugget! Also, the current whereabouts of Tommy, Amber’s brother…
There’s certainly potential for a decent series here, particularly in as skilled a writer’s hands as Vaughn. Based on this opener I do suspect it will be quite similar in flavour to EX MACHINA, and that’s fine by me!
Buy We Stand On Guard #1 and read the Page 45 review here
Gun Machine s/c new edition (£7-99, Mulholland Books) by Warren Ellis.
“He glided across the street to the fenced perimeter of Central Park and slipped between its bones like a knife.”
Behold the hunter, a predator subsisting on what little is left of Manhattan’s nature, a man more in tune with its past. The present is virtually toxic to him. He is a creature of ceremony, of meticulous preparation and exact execution, successfully stalking both the streets and his targets undetected for years. He is a man with a mission, and it has just been rudely interrupted.
Detective John Tallow has been jaded and weary but he’s waking up now with a start. His partner’s had his head blown off by some random naked guy with a shotgun. Another blast strayed and sprayed into an apartment wall through which John can see guns: hundreds and hundreds of guns arranged in a precise pattern of rows and spirals and… there appear to be gaps, waiting to be filled in fill. They’ve all been used, these guns. They have all done their duty, the purpose for which they have been precisely selected. And now they are Tallow’s problem. He should be on sick-leave on compassionate grounds, but for some reason his Lieutenant has kept him on the case. He’s being set up to fail, and he’s now on the hunter’s radar.
John Tallow is in deep, deep shit.
If you love your language then you’re in for a treat. What struck me very early on was that Ellis has changed voices for this second prose novel, not altogether but enough to set this apart from CROOKED LITTLE VEIN and indeed almost all of his comics to date bar PLANETARY. The one sequence that did put me in mind of CROOKED LITTLE VEIN was when Tallow snaps on the police radio to shut everyone up, and it surely does.
“All at once, horror tumbled out of it.”
Crime after almost inconceivably grotesque crime floods from its speakers in a relentless slurry of casual sadism and cruelty. It’s like a condensation of FELL: FERAL CITY. But beyond that the lurid sex-talk and angry bombast – which amuses me no end – has been set aside for now, replaced by two alternating narratives, one following Tallow, the other the hunter.
It’s as much about observation as anything else, for here we’re presented with two preternaturally perceptive individuals able to read the world and the people around them, albeit in radically different ways. I doubt my tells would get past either of them.
“Emily seemed to be sliding into a state of… he wouldn’t say emotionlessness, but certainly distance and apathy. Her voice came from somewhere deep inside her, somewhere dusty that was a long drive away from being present in the world. The same remote point that he has sometimes, in rare self-aware moments, heard his own voice coming from over the past few years.”
The dialogue is as deft as you’d expect, for which Ellis supplies two new assistants, albeit slightly less filthy that TRANSMETROPOLITAN‘s except when Tallow’s just bought them coffee:
““Oh my God,” Bat prayed. “I love you. I would let you have sex on me and everything. But I am very tired and would prefer not to move.”
Scarly killed a cup lid with feral fingers and chugged a third of the container. Her eyes flexed weirdly in their sockets. “Oh, that’s the stuff,” she said. “That really is the stuff.”
Bat was weakly pawing at the lid of the cup nearest him. Tallow reached over and took it off him, abstractedly wondering if this was what fatherhood felt like.”
The history and geography of Manhattan lie at the book’s heart, and possibly its future too for there’s a very neat use of security cameras. Above all else, however, I can promise you a killer the likes of whom you’ve never encountered before, and I hope you never will. There’s probably one out there waiting, though.
Buy Gun Machine s/c and read the Page 45 review here
S.H.I.E.L.D. vol 1: Perfect Bullets s/c (£13-50, Marvel) by Mark Waid & Carlos Pacheco, Humberto Ramos, Alan Davis, Christ Sprouse, more.
Alert! Angry English Dad on the phone! Wall of words on its way!
“Good lord! Your mother and I are staggeringly disappointed by the mediocre path in life you seem to have chosen since you moved to the States! Party planner? A woman with your education? For God’s sake, you were brilliant at university, which cost us a fortune, by the way – No, you’re not grateful. Your brother and sister appreciated it! Maybe you should talk to them! What’s that? I can’t hear – Don’t you dare hang up on me! I’ll call you at “work” if I want to call you at “work”! You told me you blow up balloons and pitch canopies for a living! What urgent task can you not pull yourself away from?”
Poor Jemma! I’ve received several similar calls over the years, but I wasn’t an agent of S.H.I.E.L.D. in the middle of the mother of all firefights. That’s the problem with cell phones.
Much comedy’s been made over the years about the hidden life of spies, so secret that not even their spouses know what they’re doing. I rather enjoyed James Cameron’s ‘True Lies’.
Lying to your loved ones is a common dilemma facing many a superhero too, as a young Ms Marvel is currently discovering in the family-centric, heart-of-gold escapades of MS MARVEL, a comic which we adore.
S.H.I.E.L.D. technician Jemma Simmons empathises and has a quiet word. Her history’s familiar for spies, which is why I found Waid’s diatribe above so well written. I found the following rather touching.
“S.H.I.E.L.D. recruited me when I was still at university. Due to the classified nature of my work, though – well – my dad and mum think I’m a corporate party planner. Explains all the travel, but doesn’t make them proud, exactly.”
“How long have you managed to – “
“Keep the secret? Years. It can be done, But before you file that away as good news, I’m afraid I fell compelled to add this: I love my parents. And I miss the days when they knew their daughter.”
The central star of the series – as in the TV show – is Agent Coulson. He’d rather Ms Marvel hadn’t gotten involved in that episode because she’s far too young, but he can’t help but admire her encyclopaedic knowledge of supervillain paraphernalia gleaned from writing meticulously researched superhero fan-fic. She is, dare I say it, a nerd; by which I mean someone who has what is widely regarded as a disproportionately obsessive interest in things so arcane and esoteric that no one in their supposedly right minds should give a chuff about. Please note: that does not include comics. Comics are for everyone!
Parenthetically it was just such knowledge which saved the day in Mark Millar & Tommy Lee Edwards’ delightful MARVEL 1985, a surprisingly tender graphic novel for Mark Millar about a young boy which is emphatically not set in the Marvel Universe. That’s its whole point. I recommend you take a quick gander.
Agent Coulson approves, however reluctantly, because he sees himself in her. His was a similar enthusiasm which he’s since honed into his field’s special skill. So shall we begin?
“It’s fun when your hobby becomes your work.”
There Mark Waid speaks for himself, for S.H.I.E.L.D. Special Agent Phil Coulson and for me too. The key, once it’s your job, is to stop treating it as your hobby and to apply your knowledge and affection into something professional, invaluable and accessible to all. That is exactly where all too many comic shops fall so lamentably short and where a fair few comics writers fail too. Not Mark Waid. His knowledge of superhero comics is virtually unparalleled and it all dovetails beautifully here.
In the opening flashbacks Agent Coulson is seen gathering superhero intel from almanacs then transcribing it onto index cards from the tender age of nine; seen aged nineteen analysing the information from television news coverage; updating it as a junior agent of S.H.I.E.L.D. at twenty-five; using it to save his sanity before being saved from solitary only last year, and then deploying it last night to clean up at poker! With a mind like that you could not only card-count but anticipate your superhero competitors’ every move and motivation.
It is in the field, however, where it proves invaluable. At his disposal Agent Coulson has so many superhero power sets to call in as required for each specific threat. He’s basically Miranda Zero from Warren Ellis’ highly recommended none-superhero action-thriller GLOBAL FREQUENCY. He will have to improvise depending on who’s already preoccupied with other repeat offenders or merely reroute those already in the field with a crafty slight-of-hand.
That is precisely what Coulson does in the opening scenario and the pay-off is so satisfying that you may squeal.
Let us be clear: this is a fully fledged superhero comic at the heart of the Marvel Universe not – as has been the case before – a satellite spy thriller or a time-travelling mind-melt. As such the first chapter comes with thrills-aplenty Carlos Pacheco art featuring so many of your favourite powerhouses attempting to contain the demon-strewn, multidimensional fallout of Asgard’s Rainbow Bridge being shattered into portal-opening pieces.
In chapter two Humberto Ramos does a mean, lean and lanky Ms Marvel; chapter three sees the great Alan Davis on Spider-Man, roped in to act as a canary in a coalmine when Dr. Strange’s mansion is made skew-whiff with magic; and Chris Sprouse is on hand for when Sue Storm receives a summons to a sale on at a department store and shown into a changing room which is anything but. Nice nod there to the old sequestered S.H.I.E.L.D. entrance via a barber’s shop chair which used to descend through the floor. See? I know this stuff too!
Coming back to the strategic planning, Agent Coulson could do none of that in this comic if veteran writer Mark Waid didn’t excel at precisely the same key skills: using his encyclopaedic knowledge of superheroes both past and present (always with his finger on the pulse of the present) then judging how to combine the most interesting and unused elements in the most intriguing new ways.
Please see Waid & Ross’ exquisitely painted KINGDOM COME set in the future of the DC Universe when it’s already gone horribly wrong and about to grow much, much worse.
Buy S.H.I.E.L.D. vol 1: Perfect Bullets s/c and read the Page 45 review here
Bacchus Volume One Omnibus Edition s/c (£29-99, Top Shelf) by Eddie Campbell
The End Of Summer (Signed & Sketched In) (£9-99, Avery Hill) by Tillie Walden
Bunny vs. Monkey Book Two (£7-99, David Fickling Books) by Jamie Smart
The Cat With A Really Big Head h/c (£13-99, Titan) by Roman Dirge
Cheer Up (£3-99, Hic & Hoc) by Noah Van Sciver
Crickets #4 (£5-99) by Sammy Harkham
Crossed vol 13 s/c (£14-99, Avatar) by David Hine, Justin Jordan & Nahuel Lopez, Fernando Heinz
Baltimore (Novel): Or, The Steadfast Tin Soldier & The Vampire (£9-99, Dark Horse) by Mike Mignola & Christopher Golden
Godzilla: Half Century War h/c (£25-99, IDW) by James Stokoe
High Crimes h/c (£14-99, Dark Horse) by Christopher Sebela & Ibrahim Moustafa
Jack Of Fables vol 4: Americana (£10-99, Vertigo) by Bill Willingham, Matthew Sturges & Russ Braun, Tony Akins
Kabuki Library vol 1 h/c (£29-99, Dark Horse) by David Mack
Moose (£12-99, Conundrum) by Max De Radigues
They’re Not Like Us vol 1: Black Holes For The Young s/c (£7-50, Image) by Eric Stephenson & Simon Gane
Through The Woods (UK Edition) s/c (£10-99, Faber & Faber) by Emily Carroll
Batman Eternal vol 2 s/c (£29-99, DC) by Scott Snyder, James Tynion IV & various
Justice League vol 6: Injustice League h/c (£18-99, DC) by Geoff Johns & Ivan Reis, various
Amazing Spider-Man vol 3: Spider-Verse s/c (£18-99, Marvel) by Dan Slott & Olivier Coipel, Giuseppe Camuncoli
Guardians Of The Galaxy / All New X-Men: The Black Vortex (UK Edition) s/c (£16-99, Marvel) by Sam Humphries, Brian Michael Bendis, various & various
UQ Holder vol 5 (£8-50, Kodansha) by Ken Akamatsu
The Amazing World Of Gumball vol 1 s/c (£10-99, Kaboom) by Frank Gibson & Tyson Hesse
ITEM! THE WICKED + THE DIVINE Pantheon t-shirts are available to pre-order! PAGE 45 SHIPS WORLDWIDE! The price of postage will be indicated towards the end of your order. All Page 45 postage is at cost, based on weight. If you don’t like the cost you can cancel and walk away!
Please pre-order by July 20th because Page 45 has to pre-order by July 22nd! Any orders placed later cannot be guaranteed. When we offered THE WICKED + THE DIVINE “Lucifer Died For Our Sins” t-shirts 100 people pre-ordered and every single order was filled. Then dozens of people tried to reorder after publication and burst into tears.
They will be crying forever.
ITEM! Warren Ellis writes the new JAMES BOND comic!
ITEM! SCOTT PILGRIM, SECONDS and LOST AT SEA‘s Bryan Lee O’Malley & Leslie Hung have a new monthly comic heading your way soon: SNOTGIRL. I’m not even kidding you! Sounds thoroughly infectious.
Page 45 Reviews written by Stephen & Jonathan then edited by a clapped out cockatoo with cataracts
Page 45 Comic & Graphic Novel Reviews July 2015 week one
Wednesday, July 1st, 2015
Featuring Scott Snyder & Jock; Philip Reeve & Sarah McIntyre; Kathryn Immonen & Stuart Immonen; Jason Little; Alex Grecian & Riley Rossmo; John Arcudi & James Harren; Peter David & George Perez, Dale Keown; Nick Spencer & Ramon Rosanas; Lee Bermejo & Rob Haynes, Jorge Corona.
News underneath!
Russian Olive To Red King h/c (£18-99, Adhouse Books) by Kathryn Immonen & Stuart Immonen.
“Just let me know when you’re coming home.”
“I will. I will always come home.”
He’s a tough, muscular guy with a square jaw, chiselled features and cropped white hair. But Red really is counting on it.
He likes being left behind far less that he’s letting on.
Why will only become clear during the substantial coda which Red writes for Olive in prose illustrated by photographs of windows smashed in by stones.
And it all seems to start so idyllically, early on the morning before Olive leaves. Light streams into the bedroom in lemon yellow as Olive’s Border Collie, Pasha, pads in and considers carefully before bounding onto the bed anyway. What dog could resist?
Jet-haired Olive is the first to surface from underneath the sheets, tentatively at first. It’s a quiet, tender scene, beautifully choreographed with body language that says so much, Red reaching out to here with his hand: he really, really doesn’t want her to go. He won’t say as much, of course, but he’s frowning slightly even after Olive’s reassuring smiles and enveloping touch.
He promises to walk Olive’s dog, but is far from keen.
He’s really not as stoical as he seems.
If you were in any doubt after the opening remarks that Olive isn’t coming home, there’s her flippant reply to this, quoting Chekov.
“Why do you always wear black?”
“Because I’m mourning my life. Duh.”
”Okay, Masha. But I don’t think Chekov wrote “Duh”.”
After that you’re just waiting, and as Red walks Pasha down the tranquil, tree-lined, Brownstone avenue, Olive flies away through a cloudless azure sky in a rust-red seaplane piloted by an old man with heartburn.
“Sixty is miles away from fifty-nine, I tell ya.”
The scenes are intercut and played out against each other beautifully, two commercial jets streaking the sea-green sky up above Red and Pasha while opposite the silent seaplane banks at a disastrously steep angle. Extraordinarily it is still all so quiet. But then Red remarks, “The light’s changing”.
Boy, Stuart can control colour and light, and ever so abruptly in places. In places it works on an audible level. The skies are absolutely majestic. He’s so versatile, too, adapting his entire style for each project. This really couldn’t be much further from SECRET IDENTITY or – at another end of the spectrum – NEXTWAVE. There’s a huge sense of heaviness in what follows. Inertia too, as the darkness closes in.
Kathryn completely eschews the obvious far before the stark and startling coda. There’s no melodrama. Instead it’s all very elliptical, especially the phone conversations.
I’ll be interested to hear what you make of the final page of chapter six.
But yes, I think it’s safe to say that Red has abandonment issues.
“It’s hard to tell when you’re blinded by despair.”
Buy Russian Olive To Red King h/c and read the Page 45 review here
Oliver And The Seawigs (£6-99, Oxford) by Philip Reeve & Sarah McIntyre.
Hold on to your hats, your toupees, your seawigs, this is going to prove… exploratory!
Oliver Crisp may be only ten years old but he’s already seen so much because his parents are Famous Explorers. They even met on top of Mount Everest!
Since Oliver was born they’ve taken him right round the world. They’ve pushed his pram across rope bridges dangling precariously above alligator-infested rivers; they’ve balanced him in their backpacks as polar bears roared so loudly that ice cliffs have cracked; they took him into a musty old tomb where his mum met a mummy. (Oliver didn’t scream “Mummy!” Probably.)
Now that they believe they’ve peered into every nook and cranny and discovered all there is to discover the family’s going home to Deepwater Bay, to the house they’ve barely set foot in. Believe it or not, Oliver’s delighted to lay down some roots for a change. But when they get there they discover that there is more to discover: the bay is full of steep, craggy, grass-tufted islands that weren’t there before. The Crisps of course love exploring mysterious islands, but now they’re going to encounter mysterious islands which love to explore! These are the Rambling Isles whose dark caves are mouths and they’re about to set off for The Hallowed Shallows for the Night Of The Seawigs contest – taking Oliver’s mum and dad with them!
This illustrated prose for Young Readers is such deliriously great fun that I bought a copy myself! Both creators constantly surprise.
At their first sight of Deepwater Bay Oliver goes “Wow!” and his parents go “Wow!” and I defy you not to go “Wow!” as well. The headland they’re driving down from curves up in a cliff of line-free grey tone leaving room for its black nesting birds to stand out a mile; the gabled house below is all curves too, reflecting the Crisps’ quirky nature – it’s quite wonky-woo! – while the sea blooms below it, more curved lines reflecting the white-on-black stems of the bushes up above.
On page after page Philip Reeve lobs out such loopy ideas so often that I swore even Sarah McIntyre – comics’ own exuberant human hat-stand of JAMPIRES and VERN AND LETTUCE fame – couldn’t possibly illustrate them, yet she does. In fact she illuminates them, matching Reeve’s zeal with her own wild imagination to create gibbering, chittering, chattering sea monkeys which grin with gormless glee no matter what chaos is coming up behind them! There are googly eyes everywhere – blinking within shipwrecks, lurking in the murk of tunnels or poking up from behind flapping fern fronds – while Colin the crab pops up all over the place.
But, oh my days, you wait until you see all the Seawigs!
What is a seawig, you ask? They’re wigs worn by the Rambling Isles fashioned from all sorts of found things. Everyone loves a little bounce to their bonce, so imagine you’re an island with a lighthouse on top of you. That’s flashy all right! But what if you were a sentient isle that could dip down underwater then come up for air (they don’t really need air) with a narwhal on your noggin, a train in your tresses or even a radio telescope? Somehow one does. Ridiculous!
They’re all so elaborate they almost match McIntyre’s own crazed and colourful headpieces, and they’ll have to if they want to win the Seawig competition.
That might be Neil Gaiman on the right of Sarah, yes!
Now let’s catch up with Oliver in pursuit of his parents on top of another Rambling Isle called Cliff. He’s also made friends with a short-sighted mermaid called Iris (of course she’s called Iris!) and Mr. Culpeper, a grumpy old Albatross. When Oliver leaves Iris a handwritten note she has to squint hard to read it.
“What does it say?” she wondered.
“How would I know?” said Mr. Culpeper. “I’m an albatross.”
I love the way Reeve tweaks one single word to create hours of caustic commentary thus:
“We must be in the Sargasso Sea!” [Oliver] said excitedly. “Sailors fear it because their ships get becalmed here, and the weed tangles round them and traps them.”
“No, this is a completely different place,” said Iris. “It’s called the Sarcastic Sea, and sailors fear it because the weed keeps making horrid, hurtful comments about them.”
Oooh, dangerous!
Once more McIntyre delivers on the eye front, the seaweed bladders we all love to pop peering with withering disdain.
Eventually they will find the Rambling Isle that ran off with Oliver’s mum and dad. It’s called the Thurlstone and it’s not very nice at all.
“Octopuses writhed their tentacles among its eyebrows, and a shark fell out of its nose like a fierce bogey.”
It has a most elaborate seawig already including a stone temple, knotted trees, a rusty battleship and a mean-spirited bully called Stacey de Lacey in command of the pesky sea monkeys. He overcompensates appalling for having a girl’s name. The language here is delicious.
“He was older than Oliver: a tall teenager, balancing precariously on beansprout legs and about to tumble clumsily into adulthood.”
Sometimes the text is integrated within the illustrations. When Oliver crawls through the cave which is the Thurlstone’s craggy throat, so does the writing. When the sea monkeys grow so boisterous at play that they threaten to smother Oliver out at sea, Sarah comes up with a double-page spread which is as close as you can imagine to the suffocating sensation of drowning, the monkeys’ faces looming over him, wide-eyed and grinning, squeezing the text between them and the air out of Oliver.
Stacey de Lacey and the Thurlstone are going to give Oliver, Iris, Cliff and that Culpeper a terrible time. So are the sea monkeys.
You, on the other time, are going to have a riot. Err… so are the sea monkeys. “Eep!”
Buy Oliver And The Seawigs and read the Page 45 review here
Wytches vol 1 s/c (£7-50, Image) by Scott Snyder & Jock…
“Pledged is pledged.”
“… Yes, it is.”
Brrrr… this is one of the creepiest, nay horrifying, comics I have read in some considerable time.
The Rook family – Dad, Mom and daughter Sailor – have moved to the sleepy town of Litchfield to begin again after a life-shattering event. What they find hiding beneath the friendly veneer of this sleepy backwater is beyond even their worst nightmares. For lurking in the woods around the town are dark forces that have a taste for human flesh… preferably young human flesh. And they are old, very old. But perhaps even worse is the fact that these Wytches couldn’t operate unseen without the assistance of their mortal acolytes…
The unease that builds throughout this volume before exploding in spectacularly violent fashion had me squirming in my seat. There was a grindhouse film classic from 1975 starring Peter Fonda and Loretta Swift called Race With The Devil (check out the official trailer HERE) that I was vividly reminded of after reading this. Basically in the film the four main protagonists who are travelling around relatively rural America in a camper van stumble across a midnight black mass and then are relentlessly pursued by the coven.
There is growing paranoia then full-blown hysteria as our heroes gradually realise to their ever-increasing horror that the coven is far larger and more influential than they could possibly have feared, and they are being watched at absolutely every turn, before the pursuit truly begins. There is no escape, no happy end either. The film concludes with them being burned alive in their camper van, surrounded by chanting, cowled figures. It certainly made a powerful impact on me, watching as a child of far too tender years, shocked that the heroes hadn’t once again triumphed despite overwhelming odds…
I’m not entirely convinced there is going to be a happy ending for the Rooks either. Some of them, possibly. All of them…? I very much doubt it, as the forces of darkness begin their inexorable circling in towards their intended prey. Their pledged prey… Of course, it does take someone to pledge you to them…
So if you are in the mood for some grisly chills, look no further, albeit through half-closed eyes from behind the settee. Brutally captivating art from Jock (who did one of the finest Batman covers ever in my humble opinion, during Scott Snyder and his’ BLACK MIRROR arc – The Joker’s face nearly entirely composed of bats – see it HERE), he really nails the practicably unbearable tension in some of the pursuit sequences.
The Wytches, when we finally see them are so horrifically gruesome, contorted perversions of a barely human shape, practically faceless aside from chittering, exposed teeth, you can really understand the stark terror experienced by the Rooks. I’m reluctant to give too much more away in terms of the plot, specifically because there are a number of shock reveals and twists that serve to increase reader discomfort even further up to those full-on seat-squirming levels, but suffice to say this is already up right there with OUTCAST and RACHEL RISING for me in terms of horror rating!
Buy Wytches vol 1 s/c and read the Page 45 review here
Borb (£14-99, Uncivilised Books) by Jason Little.
This is true horror.
It will have you wincing or even retching depending on your tolerance threshold. Unlike some critics the one thing it never did was made me laugh, even grimly. It’s painful.
Obviously it’s not as painful to watch as it is painful for Borb to endure: a catalogue of extractions, infections, infestations and more than one compound fracture leaving bearded Borb with his tibia or fibula split in two and jutting out of his lower leg. The fracture is further compounded even after medical assistance by inflammation then a transmogrification worthy of FRANK’s Jim Woodring. Alas, there is nothing fantastical about it or what follows, which is worse.
Glimmers of hope turn out to be temporary or even illusory. Even on a vaguely upward curve, always he goes back to the spirits, and every time he does so it destroys the scant help given to him. But guess what? Borb passed the point of alcoholic a lifetime ago. It’s a chronic addiction. A new set of dentures doesn’t come with a concurrent cure for addiction.
Nevertheless Dean Haspiel speaks true when he writes:
“Jason Little’s empathy-challenging BORB is the antidote to Frank Capra’s It’s Wonderful Life. You will beg for Borb to bite the dust while stuffing your face with chocolate and watching hours of puppy and cat videos to wash away the elegant horror that is Borb’s trains-wreck on a life.”
“Empathy-challenging” is right and intentionally so. Jason Little has in no way romanticised the plight of the terminally transient which is, as I say, true horror. What appears on the page is revolting. Again, intentionally so, and I did beg for Borb to bite the dust, so help me God.
This hasn’t been written or drawn to tug at your heartstrings, though he may do during and post-illusion: if Borb was a Horseman Of The Apocalypse he would be Pestilence.
It’s delivered in the form and style of an unrelenting series of newspaper strips “[paying] homage to the Depression-era imagery of Harold Gray (LITTLE ORPHAN ANNIE) and Frank King (GASOLINE ALLEY), and the long tradition of the comic strip slapstick vagabond archetype” which it surgically undercuts. You’ll see what the publisher means during the pratfalls and split seams and their ramifications.
Oops of all things.
Buy Borb and read the Page 45 review here
Rumble vol 1: What Colour Of Darkness s/c (£7-50, Image) by John Arcudi & James Harren.
Next time you wish for more excitement in your life, think twice.
“If your life were a movie it would be over in an hour and a half.”
So says Cogan, an old man propping up the bar. And he should know: he’s even older than he looks and not really a man at all.
He’s talking to Bobby the barman, who is exactly who he seems. Already unlucky in love, he’ll be lucky if his life lasts longer than a minor movie’s credits!
He wasn’t expecting closing time to be called by a sword-wielding scarecrow slashing his way through the door and Cogan’s right arm. What on earth is their beef? Why has it lasted for thousands of years? Why is there no blood and no Cogan when the cops are called? Just a whole mess of straw and that ancient blade Bobby decided to hold onto.
He might want to rethink that: there’s a whole menagerie of monsters on their way to lay claim to it.
Labelled an “urban fantasy / horror” on the back, I’d call this more of a caper.
Bobby’s mate Dell declares, “Be-Bop, c’mon! You always do this! Stop overthinkin’ it! Let’s just have fun!”
A perfect description. It’s a vast variety of creepy critters slicing and dicing each other to bite-size pieces, a short-tempered fire god who’s not so hot when he’s been put out (funny visual gag, that) and a quest to get the scarecrow chap his ancient body back (real name: Rathraq), all interspersed by an old lady’s kittycat Mr. Bildad making a mess while gorging himself into something increasingly gargantuan.
Those were my favourite bits – James Harren nails cute-gone-wrong. There’s also a great deal of gurning going on for this is very much an up-and-at-‘em action comic – with icky stuff.
Buy Rumble vol 1: What Colour Of Darkness s/c and read the Page 45 review here
Rasputin vol 1: The Road To The Winter Palace s/c (£10-99, Image) by Alex Grecian & Riley Rossmo…
To people of a certain age, mention one Grigori Yefimovich Rasputin, and they will almost certainly think of this… https://www.youtube.com/watch?v=OBXRJgSd-aU . However long before Boney M re-popularised the exploits of Russia’s greatest love machine, he was widely lionised and lambasted in equal measure, depending on your politics, by the chattering classes of turn-of-the-twentieth century Europe.
What is undoubtedly true about Rasputin is that he had an enormous impact and influence upon Russian political and regal life, by dint of sheer force of personality, to such a degree that eventually, certain people decide he needed to be done away with… Though achieving that wasn’t quite so straightforward. Rasputin managed to surviving multiple assassination attempts, a fact which only added to his considerable mystique with the public.
Rather than being a straight biographical work, though, this is most definitely a fantasy yarn, appropriating the mad monk as its central character and building a heavily fictionalised story about and around him. It’s very entertaining, actually, with the transformation of Rasputin from a callow youth with a reputation for healing powers into a full-blown beardy magician, courtesy of the spirits ruling the snowy plains of Siberia.
So, in this first volume we see his early years, his initial development as a mage, and the burgeoning cost to his soul of using even his healing powers. Simultaneously Rasputin himself narrates the story of his demise, the final successful assassination attempt, perpetrated this time by his friends and travelling companions. He knows it is coming, foreknowledge of his own life, and consequently his death, being another of his acquired magical powers, yet gives no warning to his friends that he is aware of their impending treachery.
Why he seems happy to go along with his own murder I have no idea, but I suspect we will find out in volume two, presumably along with the answer to a most puzzling and not entirely unrelated mystery that transpires in the final pages of this volume resulting in an intriguing temporal cliffhanger.
I think people who enjoyed the likes of UMBRAL and PORCELAIN may well enjoy this. It’s basically a dark fantasy revolving around a character that you really shouldn’t be rooting for, but much like the Romanovs, you may well find yourself charmed and lured in by his charismatic ways.
Art is supplied by Riley Rossmo who I was not previously familiar with, but he does a mean angular face with piercing eyes, a touch Sean Murphy-esque, plus it’s always nice these days to see someone break out the coarse dot-stippling effect in the background, very retro. He throws in the occasional dramatically splendid full page too, usually when Rasputin is filling the air with eldritch cracklings, or when the spirits of the plains are making their considerable supernatural presence felt.
Buy Rasputin vol 1: The Road To The Winter Palace s/c and read the Page 45 review here
We Are Robin #1 (£2-99, DC) by Lee Bermejo & Rob Haynes, Jorge Corona.
What a contemporary cover – all very inclusive and le parkour!
It’s drawn by the writer, Lee Bermejo, artistic collaborator of Brian Azzarello on that nasty little number THE JOKER, and I mean that in a good way – brrr…
The interior art is by Jorge Corona over Rob Haynes’ breakdowns and it’s as lithe as you like as our principal protagonist for the moment, Duke Thomas, fends off attacks – by which I mean beatings with baseball bats – at school. He does so very successfully. Too successfully for his adoptive family and social worker who now needs him to move on to another.
It’s a lose / lose situation and you feel for his plight. Duke has no stability, no castle that he can call his own and that’s what you need from a home: stability and safety. He doesn’t even know if his parents are dead or alive. They were victims of THE JOKER: DEATH OF THE FAMILY but they’ve never been found. They may be dead or left to wander the sewers of Gotham with amnesia, and that makes Duke restless: if there is a chance at all that they’re there, he must do his best to find them.
Obviously given the title and cover there is something much bigger brewing about taking back the streets but on top of the acrobatics there’s easily enough here in this first instalment to make you care and that’s what counts. Corona has no powers, just hours and hours of wondering where his life is heading without structure, a safety net or – let’s cut to the quick – love.
“Who here does not belong?” snarls an underground rabble-rouser once Duke’s been detected.
I believe that’s very much on Duke’s mind.
Buy We Are Robin #1 and read the Page 45 review here
Hulk: Future Imperfect s/c (£14-99, Marvel) by Peter David & George Perez, Dale Keown.
Back in time for its SECRET WARS satellite sequel FUTURE IMPERFECT #1 which is on our shelves now!
Future stories of your favourite Marvel characters have met with varying degrees of acclaim and indifference. Quite how the 2099 line lasted as long as it did 18 years or so ago is beyond me.
On the other hand Byrne and Claremont’s X-MEN: DAYS OF FUTURE PAST which capped their collaboration – and in which most mutants have finally fallen victim to man’s love affair with genocide and concentration camps – is single-handedly responsible for so many homages and follow-ups that it’s easy to forget what a neat little self-contained number it originally was. We’ve seen the Punisher take on (and out) the Marvel Universe, we’ve seen the final days of the Avengers. There are so many variations that nothing is definitive – indeed they’ll only have aged another year or so by 2099 anyway, so putting a date on them seems somewhat foolish.
SPIDER-MAN: REIGN was a belter with more than a whiff to it of DARK KNIGHT RETURNS (a book so ancient that at the time of typing we don’t even have a review of it) but by far my favourite – which took us all by surprise at Page 45 – was Mark Millar’s WOLVERINE: OLD MAN LOGAN. In it we discover that something so atrocious has befallen the crested Canadian that he’s sworn to the cause of pacifism no matter the provocation. And it’s quite provoking having the inbred, redneck offspring of the Incredible Hulk as your landlords. Actually they’re just collecting the rent because Daddy dearest is very much alive and well and so many people have evidently made him so very angry over the years that nobody likes him at all anymore.
Which brings us to Peter David’s future of the Hulk as seen in this collection of FUTURE IMPERFECT from 1992 drawn by George Perez and THE END as envisaged by Dale Keown in 2002 where we discover that the Hulk has finally got what he said he always wanted – to be left alone. By necessity, then, that’s a somewhat bleak and ruminative affair which has its origins in a short prose story called The Last Titan.
But back in FUTURE IMPERFECT there were still plenty of people to give the jade giant grief because he hasn’t aged well. He’s outlived almost everyone whom he could ever have considered his friend and, in their absence, succumbed to his own worst aspects. As the Maestro he’s ruler of all he surveys. There’s only one relic from his past remaining who sits in a trophy room of broken helmets, shredded capes, abandoned armour, fractured shields… and a poster of the Phoenix saying “Dead… Again!” He’s lived far too long – it’s over ninety years since we last saw him – but he’s determined to be reunited with the Hulk he once knew, even if it means bringing him forward through time so that Banner can look himself in the eye and see what he’s become.
Originally written with a specific but unidentified European artist in mind, you could not have found a more apposite replacement back then than George Perez, an American master of ligne claire, so distinctly European-looking it remains. That trophy room (“Needs a giant penny. Pretty complete otherwise”) is full of tiny details – even at the back of a bookcase you can make out the Serpent Crown – some of which may prove useful or even fatal later on.
Buy Hulk: Future Imperfect s/c and read the Page 45 review here
Ant-Man vol 1: Second-Chance Man s/c (£11-99, Marvel) by Nick Spencer & Ramon Rosanas.
“That thing earlier was just the setup. There was no way to beat it.”
“You mean like the Kobayashi Maru?”
“From Star Trek.”
“Oh, you’re of those.”
Stark’s arched eyebrow there by Ramon Rosanas is priceless. I think he’s a John Byrne fan which is no bad place to start especially since Scott Lang’s first appearance as Ant-Man was drawn by Byrne and now reprinted in ANT-MAN: SCOTT LANG along with his subsequent team-ups with Iron Man against the Hulk and Hawkeye, Spider-Man and The Avengers en masse against the Taskmaster, all of which will be revisited in this much more modern incarnation.
So yes, this is the Scott Lang Ant-Man who will feature in the forthcoming film, not the original Hank ‘Who Even Am I Today?’ Pym, he of the multiple identities, mental breakdowns and size issues whose early exploits in TALES TO ASTONISH made me chuckle heartily.
This too made me chortle but I expected no less from the writer of THIEF OF THIEVES VOL 1, EXISTENCE 2.0 / 3.0, FORGETLESS and MORNING GLORIES. He’s gone for the HAWKEYE model of self-deprecation on the protagonist’s front for Scott is a clot and always has been, even in FF: FANTASTIC FAUX (highly recommended).
He’s a failed thief so ex-convict and ex-husband, but his redeeming feature right from the start has always been as a doting dad. Spencer wisely focuses in on this – his relationship with his daughter and understandably less than enthusiastic ex-wife – so that there are as many “Awww” moments as there are in Grant Morrison and Chas Truog’s family-centric ANIMAL MAN which itself comes highly commended and in three volumes. See also G. Willow Wilson & Adrian Alphona’s current run on MS MARVEL.
Scott’s also an ex-corpse, and explaining that gap in your CV is never easy.
Nevertheless – in spite of all the above – he does get an interview with Tony Stark for the job of Stark Industries’ Head Of Security. Stark turns him down immediately. Nevertheless does get the chance to hack Stark’s security alongside the likes of Prodigy. He fails that too. Nevertheless he decides to do what he does best which is steal the password instead by breaking into Stark’s private apartment at night. He gets caught.
“Tony, I, uh… I don’t know what to say.”
“Hey, if I saw what you just saw for the first time in there, I’d be speechless too.”
Oh my god, that really is a knob gag!
Don’t worry, it’ll all go over the heads of your young ones, but if any doubt at all we’ve the MARVEL UNIVERSE ANT-MAN DIGEST for your youngest.
What follows is a move to Miami to maintain contact with Scott’s daughter Cassie and a decidedly dippy attempt to start up a small business by selling his skills as a thief on a giant billboard:
“Ant-Man Security Solutions: Who knows how to not get your stuff stolen better than the guy who used to steal your stuff?”
Inset is a thumbs-up portrait of Iron Man, declaring: “I’d hire him”.
“And no, for the record,” Scott says, “I don’t think Iron Man will mind. Regardless of what happened, us superheroes gotta stick together!”
Iron Man’s alter ego Tony Stark sits still, fingers pressed together, in front of a laptop snapshot of the billboard held aloft by his lawyer: “Sue.”
Buy Ant-Man vol 1: Second-Chance Man s/c and read the Page 45 review here
Noughts & Crosses: The Graphic Novel (£12-99, Doubleday) by Malorie Blackman, Ian Edginton & John Aggs
Supreme: Blue Rose s/c (£10-99, Image) by Warren Ellis & Tula Lotay
The Wicked + The Divine vol 2: Fandemonium s/c (£10-99, Image) by Kieron Gillen & Jamie McKelvie
Criminal vol 6: The Last Of The Innocent s/c (£10-99, Image) by Ed Brubaker & Sean Phillips
Devlin Waugh: Red Tide (£18-99, Rebellion) by John Smith & Colin MacNeil, John Burns, Peter Doherty, Sean Phillips
Gun Machine s/c new edition (£7-99, Mulholland Books) by Warren Ellis
Hound vol 1: Protector h/c (£20-00, Cuchulainn Entertainment) by Barry Devlin & Paul Bolger
Magic Trixie vol 1 (£6-99, Harper Collins) by Jill Thompson
Nimona s/c (£9-99, Harper Collins) by Noelle Stevenson
The Autumnlands vol 1: Tooth & Claw s/c (£7-50, Image) by Kurt Busiek & Ben Dewey
Bob’s Burgers vol 1 (£13-50, Dynamite) by various
The Classic Comic Colouring Book (£9-99, Michael O’Mara Books) by various
Star Wars: Jedi Academy vol 3: The Phantom Bully h/c (£9-99, Scholastic) by Jeffrey Brown
Batman: Arkham Origins s/c (£10-99, DC) by various
Runaways: Complete Collection vol 4 s/c (£25-99, Marvel) by Terry Moore, various & Phil Noto, Emma Rios, Sara Pichelli, Humberto Ramos, various
S.H.I.E.L.D. vol 1: Perfect Bullets s/c (£13-50, Marvel) by Mark Waid & various
Assassination Classroom vol 4 (£6-99, Viz) by Yusei Matsui
Blue Exorcist vol 13 (£6-99, Viz) by Kazue Kato
Dragon Ball 3-in-1 Edition vols 25-27 (£9-99, Viz) by Akira Toriyama
Lone Wolf And Cub Omnibus vol 9 (£14-99, Dark Horse) by Kazuo Koike & Goseki Kojima
ITEM! Out this week: 8HOUSE #1 by MULTIPLE WARHEAD’S Brandon Graham & BEAST’s Marian Churchland Have an illustrated 8HOUSE interview with Marian Churchland!
ITEM! Adorable flick-animation effect going on at Richard Swan’s panel-per-day UNTITLED COMIC.
ITEM! From the creator of comicbook creepiness THROUGH THE WOODS, Emily Carroll illustrates Neko Case’s ‘Wild Creatures’ for Songs Illustrated.
ITEM! Check out Tom Gauld’s ‘Endless Journey’ a “myriorama” for the Laurence Sterne-based Shandy Hall Museum! “Twelve picture-cards which can be arranged to form 479,001,600 different landscapes.” Ha!
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Salmon Protocol
Unifying the Conversations
Attribution and credits
Final Spec Drafts Available
Salmon Now Supported by StatusNet 0.9
Salmon Specification Published
Protocol Summary
How does Salmon deal with abuse and spam?
Early Internet protocols and systems were vulnerable to trivial forgery, and fixing this after the protocols were widely deployed is painful, partial, and slow. On the other hand, it's also possible to add too much security and make a protocol too restrictive or too complex for large-scale adoption.
Salmon tries to find a good balance. Salmon adopts a defense-in-depth strategy, assumes that there will be abuse and spammers, but builds in protocol hooks to make an active in-depth defense both cheap and effective with few false positives.
Specifically, spammers can not forge signatures from legitimate users, and it is very hard for them to mint massive numbers of fake identities without detection. So as a first line of defense, anything whose authorship check fails, is simply dropped. We're building this in from the start so that we'll never have an installed base of clients doing things insecurely.
Salmon disallows completely anonymous and untraceable messages. It requires pseudonyms from verifiable identity providers. This feature allows receivers to rate limit the messages per hour per pseudonym and per identity provider. (Identity providers themselves have verifiable identities and can gain or lose reputation based on what their users do; every identity provider has to at least have a domain name, raising the bar for spammers significantly, and meaning that simple rate limiting can force the spammers to acquire and "burn" many domain names.)
Assuming wide deployment, we expect that spammers will attack Salmon with the same vigor they throw at email. However, Salmon implementors can cheaply and easily deal with the simpler techniques the spammers currently use to inject email. They will also mount active defenses based both on the years of experience in spam-blocking email and the new tools (guaranteed identity, identity providers, distributed reputation) that Salmon enables.
All of this is possible to do, and has been done, with closed systems. Salmon provides a way to do this with an open protocol that anyone can implement and anyone can interoperate with.
Does Salmon support threading?
Yes, the thr:in-reply-to ID can be the ID of a comment (which can itself be a Salmon with a xpost:source element that points at the ultimate source). While the protocol supports threading, recipients can of course flatten salmon in the feeds that they re-publish -- though the thr:in-reply-to element can be used to reconstitute threads as needed.
How is Salmon different from using AtomPub to post to a comment feed?
Salmon is in fact based on and compatible with AtomPub. Salmon greatly enhances interoperability and usability by specifying a distributed identity mechanism for identifying the author and intermediary involved, provides a discovery mechanism, and specifies how things should be linked together. By not requiring pre-registration or federation but still allowing for verifiable identification, it provides a usable, level playing field for all parties involved.
Why are you using this new crosspost extension instead of just using, and retaining, atom:id?
See http://wiki.activitystrea.ms/Cross-Posting.
What else is Salmon useful for?
The payload can define any kind of message, so Salmon can be extended in arbitrary ways. It is already being used to communicate mentions to mentionees. It has also been used to signal cross-site following (by sending a follow message) or to send requests (by sending requests rather than notifications, e.g., a friend request). It is best used when there is not necessarily predefined relationship or subscription between the source and destination; if there is, PubSubHubbub may be a better choice.
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Home About the Embassy About Samoa Travelling to Samoa Samoa – China Relationship News Aritcles Photo Library
Samoa – China Relationship
Samoa and China
Samoa and China established diplomatic relations on 6 November 1975 and have since developed a very close friendship. The Chinese Embassy in Samoa was established in 1978 while the Samoa embassy in Beijing was established in 2009.
The Samoan Government engages with China on a range of bilateral and multilateral issues. Some of these issues include security, bilateral cooperation and development assistance, tourism, educational and cultural exchanges, trade and investment.
The Embassy of Samoa in Beijing works to promote Samoan made products in China, reduce barriers and restrictions to trade and promote Samoa’s business interests in China. Similarly, the Embassy also encourages and facilitates Chinese investment in Samoa.
Copying right by Samoa Embassy Beijing China
2-72, Tayuan Diplomatic Office Building, 14 Liang Ma He Nan Lu, haoyang District, Beijing
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Guy Pearce Joins Iron Man 3
Guy Pearce is all over our screens this weekend, starring as wisecracking bruiser Snow in Lockout, and all over this site, too as you can hear him chat about it on the latest Empire Podcast. So it only seems fitting that he’s now lining up a big, exciting new job, Pearce will appear in Iron Man 3.
Before we proceed with any further info, be warned that even knowing who Pearce will be playing could be considered a spoiler, so those who might cry foul should skip away.
Right then… As has been previously talked about, the plot of Shane Black’s take on Robert Downey Jr's Tony Stark will draw from Warren Ellis' Iron Man: Extremis six-issue run on the comics. It's not all that surprising, since Ellis’ work has been running through the cinematic incarnation of Stark since the first movie.
The third film will see Stark dabbling with nanotechnology, which is created by geneticist Aldrich Killian. When it gets into the hands of terrorists (including, presumably, the recently-cast Si…
Lobo Film To Be Directed By Journey 2's Brad Peyton
Brad Peyton, who helmed the global hit Journey 2: The Mysterious Island, has just been set by Warner Bros to rewrite and direct Lobo, the live-action film based on the DC Comics franchise. Joel Silver and Akiva Goldsman are producing.
Lobo is an alien that works as an interstellar mercenary and bounty hunter. Introduced as a hardened, rarely used hard-boiled villain in the 1980s, the character remained in limbo until his revival as an anti-hero biker in the early 1990s, when he became on of the most popular characters in the DC Comics stable.
Source-Deadline
Transformers: The Ride–3D Behind The Scenes
Here is the behind the scenes of the upcoming Transformers: The Ride–3D, which is set to open in May at Universal Studios Hollywood.
The thrill ride will tell a new “TRANSFORMERS” story using original, photo-realistic 3D-HD media, sophisticated special effects masterminded by Industrial Light & Magic, and one of the most elaborate roaming flight simulator ride systems ever created.
Fusing high-tech elements with an epic new “TRANSFORMERS” tale, “Transformers: The Ride–3D” will be Universal Studios Hollywood’s most ambitious ride ever created and will set a new standard in the world of theme park attractions, stretching the medium’s potential as an immersive and powerful storytelling vehicle.
Get To Know Real Nick Fury Before The Avengers Hits Theaters
Today onepercase introduces us to the Man who is in Charge. Director of S. H. I. E. L. D., Nick Fury.
Not much is known about Nick Fury before World War II other than he was born some time in the early 1900's. Fury fought in World War II for the United States and served with Private Fisk and James Howlett (Kingpin's grandfather and Wolverine, respectively). While looting a house. all three are arrested with Fisk only receiving a minor wound, but Fury and Howlett are both imprisoned and shipped to unknown locations.
At Fury's secret location, he was chosen to be the next test subject of Project Rebirth (which is the Super Soldier program that produced the likes of Captain America). After being injected with the serum, he used his new found super strength to free the other prisoners and then escape from the facility.
Fury went to college in India and then enlisted in the US Military. He was involved in many different conflicts such as the Kosovo Wars and the Gulf War. During…
Mark Wahlberg Is The Avon Man
Mark Wahlberg is in talks to come aboard Avon Man,the 20th Century Fox comedy that once had Hugh Jackman ready to star and Kevin Lima to direct. I’m told that Wahlberg and partner Stephen Levinson will board the projects as producers alongside Krasnoff Foster’s Gary Foster and John Palermo, and it will be developed as a potential star vehicle for Wahlberg. Lima is no longer involved.
Michael McCullers will come aboard and write a new draft of a script originated by Kevin Bisch. Jackman stepped out because he expected to do The Wolverine and had a schedule clash before that project was pushed back. In the film, a group of guys are laid off from an auto dealership, and one reluctantly becomes an Avon salesman. He survives the emasculation, relies on his charm and becomes a top seller. He then tries to save his town and help his struggling family by pulling in his macho unemployed pals to hawk beauty products so they can win a regional contest.
Wahlberg has been mixing dramas and comedie…
We Have Your Access To See THE RAVEN In Sacramento
In Theaters April 27, 2012
We have your access to see THE RAVEN. Rogue has provide me with Exclusive passes for the fans to get access to the screening in Sacramento,Ca.
Please Bring your ID's to the screening
THE RAVEN is an American thriller film directed by James McTeigue, produced by Scott Levy, and based on a screenplay by Ben Livingston and Hannah Shakespeare. It stars John Cusack, Alice Eve, Luke Evans and Oliver Jackson-Cohen.
It is a fictionalized account of the last days of Edgar Allan Poe's life, in which the poet and author pursues a serial killer whose murders mirror those in Poe's stories.
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When a mother and daughter are found brutally murdered in 19th century Baltimore, Detective Emmett Fields (Luke Evans) makes a startling discovery: the crime resembles a fictional murder described in gory detail in the local newspaper--part of a collection of stories penned by struggling writer and social pari…
We Have Your Access To See THE RAVEN In San Francisco
We have your access to see THE RAVEN. Rogue has provide me with Exclusive passes for the fans to get access to the screening in San Francisco,Ca.
When a mother and daughter are found brutally murdered in 19th century Baltimore, Detective Emmett Fields (Luke Evans) makes a startling discovery: the crime resembles a fictional murder described in gory detail in the local newspaper--part of a collection of stories penned by struggling writer and social p…
Francis Lawrence Is "Catching Fire"
After a quick but fairly exhaustive search, Lionsgate has chosen Francis Lawrence to direct the Hunger Games sequel Catching Fire.
Sources say Lawrence will receive an official offer Thursday afternoon. If he accepts and a deal can be worked out, he will replace Gary Ross, who directed the hugely successful first installment of the franchise.
The hunt has been fast and furious, with the field narrowing down to Lawrence, director of I Am Legend and Water for Elephants, and Bennett Miller, who helmed the Oscar-nominated Brad Pitt baseball movie Moneyball. Both directors met with the studio Thursday, according to sources, and Lionsgate executives have made their pick.
Lawrence was deemed the front-runner by observers simply because of his open schedule. Miller is working his way to a December start for Foxcatcher, a true-life project centering on John Du Pont that has been his focus for several years. Miller has even lined up Steve Carell, Channing Tatum and Mark Ruffalo for the drama, a…
G.I. JOE: RETALIATION Character Posters
Here are the new character poster from G.I. JOE: RETALIATION via comingsoon/superherohype, IGN, HeyYouGuys, Clone Web, JoBlo,Collider. We arounded them all up for you.
Which poster is your favorite?
See all the posters after the Jump...
A follow-up to the 2009 release of G.I. JOE: THE RISE OF COBRA, which grossed over $300M worldwide, Paramount Pictures, MGM and Skydance Productions, in association with HASBRO and di Bonaventura Pictures, commences production on G.I. JOE: RETALIATION. In this sequel, the G.I. Joes are not only fighting their mortal enemy Cobra; they are forced to contend with threats from within the government that jeopardize their very existence. The film stars D.J. Cotrona, Byung-hun Lee, Ray Park, Adrianne Palicki, Jonathan Pryce, RZA, Ray Stevenson, Channing Tatum with Bruce Willis and Dwayne Johnson. Directed by Jon M. Chu, and produced by Lorenzo di Bonaventura and Brian Goldner, from a screenplay by Rhett Reese & Paul Wernick based on Hasbro’s G.I. Joe(R) c…
Iron Man VS Thor: Another Clip From The Avengers
Who's mightier, Iron Man or Thor? We have another one for you. In this new clip from The Avengers we see Iron face off against Thor.
THE AVENGERS opens May 4th, 2012
Marvel Studios presents in association with Paramount Pictures “Marvel’s The Avengers”–the Super Hero team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins. Starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Samuel L. Jackson, and directed by Joss Whedon, “Marvel’s The Avengers” is based on the ever-popular Marvel comic book series “The Avengers,” first published in 1963 and a comics i…
Lincoln: Vampire Hunter New Poster
Here is the new poster for Abraham Lincoln: Vampire Hunter via Empire puts old Abe (Benjamin Walker) front and centre in the movie's not-entirely-historical world. On a train, to be precise. A flaming death train. Well, this is a Timur Bekmambetov movie. It was never going to be the 16.47 to Wanstead.
Adapted from Seth Grahame-Smith vampire genre mash, Vampire Hunter sticks an axe into Abraham Lincoln's hand and no doubt sneaks a trick or two under that stovepipe hat, as the Prez tackles the massed ranks of the undead.
The vampire cohorts are led by the exceptionally nasty Adam (Rufus Sewell), while saddling up on Team Abe are wife Mary Todd Lincoln (Mary Elizabeth Winstead) and his vampire-smiting guru Henry Sturges (Dominic Cooper). To recap: that's Howard Stark and Ramona Flowers versus the massed ranks of the undead. And AlanTudyk's in the mix as Stephen A. Douglas. Fight!
If you wonder what the 19th century would have looked like if, instead of penning Emancipa…
Sam Jackson Talks About A S.H.I.E.L.D. Film
Fourteen days, "Avengers" fans! You know, not that we're counting or anything. Oh, who are we kidding? Of course, we're counting down! To help as you drudge through the long days that lie ahead before the midnight release, we have another "Avengers" interview for you: Nick Fury himself, Samuel L. Jackson!
When MTV News caught up with the actor, our correspondent mentioned to Jackson that there are a lot of people who would love to see just him in a S.H.I.E.L.D. film.
"Really?" he questioned. "Just handling it?"The actor was surprised because he knows there are key characters necessary for any S.H.I.E.L.D. movie. "Natasha is part of S.H.I.E.L.D., Hawkeye is part of S.H.I.E.L.D., and I couldn't do a S.H.I.E.L.D. movie without those two people. They're essential elements of what's there," Jackson said.
Watch the clip after the Jump...
Get More: Movie Trailers, Movies Blog
He doesn't just mean the Earth's mighties…
The Bourne Legacy Japaneses Trailer
We have the Japaneses trailer for The Bourne Legacy. The story resumes after the conclusion of The Bourne Ultimatum, as a new cast of characters grapple with the consequences of Jason's actions.
Watch the trailer after the Jump...
The Bourne Legacy - International Trailer #1...
The narrative architect behind the Bourne film series, Tony Gilroy, takes the helm in the next chapter of the hugely popular espionage franchise that has earned almost $1 billion at the global box office: The Bourne Legacy. The writer/director expands the Bourne universe created by Robert Ludlum with an original story that introduces us to a new hero (Jeremy Renner) whose life-or-death stakes have been triggered by the events of the first three films. For The Bourne Legacy, Renner joins fellow series newcomers Rachel Weisz, Edward Norton, Stacy Keach and Oscar Isaac, while franchise veterans Albert Finney, Joan Allen, David Strathairn and Scott Glenn reprise their roles.
THE BOURNE LEGACY opens August 3rd, 20…
New International TV Spots For The Avengers
We got our hands on two new international TV spots for The Avengers. The first clips focuses on Thor and the second focuses on Iron Man. I really hope they are saving some of the action for the film.
Marvel Studios presents in association with Paramount Pictures “Marvel’s The Avengers”–the Super Hero team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins. Starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Samuel L. Jackson, and directed by Joss Whedon, “Marvel’s The Avengers” is based on the ever-popular Marvel comic bo…
The Wolverine To Be Shot In Australia
LOOK out Sydney - Hugh Jackman is coming to town and he's bringing his razor-sharp claws with him when he films The Wolverine in his home city.
In a deal estimated to be worth $80 million to the New South Wales economy, the blockbuster is the latest big budget movie to be made in the state following recent hits such as The Great Gatsby, Lego, Walking With Dinosaurs and Happy Feet 2.
Deputy Premier Andrew Stoner, who helped secure the deal with 20th Century Fox when he flew to Los Angeles in January, said winning the film would generate more than 2000 jobs for Sydney.
"The Wolverine is expected to generate more than $80 million in production expenditure in NSW and create more than 720 jobs for NSW-based cast and crew, along with opportunities for 1200 extras," he said.
"It is a testament to our screen industry that Hugh Jackman and his team have chosen to come back to Australia after such a positive experience making the X-Men Origins."
The Federal Government has…
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Jerry Bruckheimer. David Ellison
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苏州学美甲需要多少钱
Hazelnut capital embraces project
16/10/2018 admin 苏州美甲美睫培训学校
Narrandera Shire Council mayor Jenny Clarke has welcomed the $70 million hazelnut project. She’s pictured with Agri Australis general manger Alessandro Boccardo and Primary Industries Minister Katrina Hodgkinson at the Sandigo farm in May. THE Narrandera mayor has praised the development of a $70 million project one year on from its announcement.
Agri Australis, a subsidiary of Italian chocolate maker Ferrero, announced last November the company would develop a large-scale hazelnut project on a 2600-hectare property on Dellapool Road at Sandigo, near Narrandera.
The first lot of 30,000 trees were planted in May this year, with the intention to plant more than one million.
It’s expected to generate 50 full-time and 50 seasonal jobs when it reaches full production in eight years.
When fully operational, the Sandigo farm is expected to generate 5000 tonnes of hazelnuts a year.
“We’re absolutely thrilled to bits with it,” Narrandera mayor Jenny Clarke said.
“There’s been a lot of community support.
“It’s going to provide jobs for planting to start with and progress to (more) full-time jobs.”
Developers Agri Australis initially described the project as a “demonstration site” to encourage local farmers to follow their lead and plant hazelnut trees to boost production to 10,000 tonnes a year.
“There is a certain amount of interest,” Councillor Clarke said.
“The potential for hazelnut cultivation, so should generate 50 full-time and 50 season jobs when it gets into full production.
“It’s a great boost.”
It’s believed the industry has the potential to become a $200 million export business for Australia.
“It’s been a real coup for Narrandera,” Cr Clarke said.
“It’s really wonderful.”
The first crop is expected to be harvested in the next four years.
Finding ‘easy’ way out
SO, VICTORIANS have voted “It’s just too hard” and decided tough economic times aren’t for them.
So they elected a Labor government which will be a free-spending “what do you want? We will give it to you” government and hang balanced budgets and responsible management.
There are clear signs that far too many Tasmanians are feeling the same way.
Having expressed alarm and some disgust at the financial capriciousness of a Labor/Green administration and called in the Liberal Party heavy-hitters to sort out the mess, sections of this electorate are now saying: “Oh, we wanted you to ‘fix it’ but didn’t realise it might affect us”.
Even at the national level the same plaintive cries are being heard: “You said there’d be some tough times ahead but please leave us out of the cuts”.
Whatever happened to “The Lucky Country”? Well for a number of years it got lucky but now it has run out and it’s down to a bit of hard yakka and that’s too much for too many to bear for too long.
So, the response is “chuck ’em out and bring in the tooth fairies”.
That’s what the Victorians have done and it’ll end in even more tears.
— TREVOR COWELL, Perth.
Slipstream Circus juggles with space issue
ON THE MOVE: Ulverstone’s Slipstream Circus is looking for a new, larger home for its 210 school-aged members. Picture: Stuart Wilson.AT full capacity, Ulverstone’s Slipstream Circus is looking for a new home.
Slipstream, Tasmania’s largest youth circus, currently has 210 school members.
“Slipstream is growing exponentially, but is finding it difficult to do so within the constraints of the current training space, which takes up half a basketball stadium in the Ulverstone Sport and Recreation Complex,” general manager Arlette Bruggeman said.
“If Slipstream could access either more timeslots or other suitable training spaces, we could offer a wider variety of specialty circus classes and more intense training time for those who take circus as a more serious option.”
Ms Bruggeman said since 2008, seven Slipstream students had been accepted into the National Institute of Circus Australia.
“This is a reflection on the calibre of the training program and considered an awesome feat by most other Australian youth circuses who admire this outcome,” she said.
“We are aware of at least 12 past students who continue to make a career out of circus.
“Other students have improved physical, mental and emotional health issues merely by being participants of circus and feeling part of something exciting and inclusive.”
Due to its capacity the non-profit organisation could see itself outside of Ulverstone.
The squeeze out for CBD parking
AND so the squeeze for CBD workers becomes that little bit tighter. Bathurst Regional Council’s trafficcommittee has recommended a further 116 spaces in the council-owned car park behind Bathurst RSL be converted to timed parking.
The new measures will not come into effect until the traffic committee minutes go before full council for final approval – most likely at the first meeting next year – but committeedecisions are rarely challenged in the chamber.
That’s good news for RSL patrons who have found it difficult to find a park when they have dropped in at the club for a drink or bite to eat, but bad news for 116 CBD workers each day who must now find somewhere else to leave their car while they’re off trying to earn a dollar.
Good luck to the RSL for securing a better deal for its members, but how can council truly justify hanging CBD workers out to dry like this?
Traffic committee chairman councillor Warren Aubin’s suggestion that workers take advantage of their four-hour park in themorning before moving their car at lunchsimply doesn’t add up.
If that is the solution for workers, then RSL patrons will receive no benefit from the new arrangements.
And if workers are delayed at their desk for any reason in the morning, then they risk a $104 fine – meaning they’ve spent all morningworking for nothing.
Sounds like no-one is better off, doesn’t it?
Surely council has an obligation to provide all-day parking options for CBD workers that are both a reasonable walk from the centre of town, and safe for workers returning to their cars after dark.
If council is to increase the number of timed parking spaces in one part of town, shouldn’t it increase the number of all-day parking spots elsewhere?
Council clearly wants to attract businesses to the CBD, but those businesses need somewhere for their staff to park.
Council seems intent on ignoring that need.
Donate for pets in need this Christmas
ANIMALS IN NEED: Lake Road Veterinary Clinic employees Jess Joannides, Dotti the cat and Alex Keough are urging people to donate blankets, pet food and other items for needy shelters. Picture: Michael FrogleyHUNDREDS of abandoned kittens, puppies and possums will be spending the festive season in a shelter.
Rescue organisations, run entirely by volunteers, are calling on the community to support these little battlers and donate to “The Giving Tree”.
“The Giving Tree” is the brainchild of Lake Albert Veterinary Clinic vet Alex Keough and people are being asked to donate blankets, cat litter, pet food or toys for animals in need.
They can also buy a bauble for a gold-coin donation, with all the proceeds going towards the plight of the animals.
“It’s Christmas season, but it’s also breeding season so there are lots of animals in need,” Dr Keough said.
Vet nurse at the clinic, Jess Joannides said there were many animals in need.
“We do a lot of work for animal rescue,” she said.
“They needs towels, toys, anything and everything.”
WIRES employee Glenda Pym said community support was desperately needed.
“The Christmas season also a sees a sharp increase in the demands for this support resulting in available resources stretched to the max for these organisations,” Ms Pym said.
“Lake Road Veterinary Clinic in conjunction with Bob’s Birdz N Pets have joined forces to deliver some practical help to these caring volunteers with the establishment of The Giving Tree.
“The hot weather and increased road traffic also cause hardship for wildlife.
“Please give what you can this giving season to our furry, feather and scaly friends.”
Wrapped gifts can be left at trees at Bob’s Birdz N Pets or the Lake Road Veterinary Clinic.
Baubles can be purchased from both locations.By OLIVIA SHYING
HUNDREDS of abandoned kittens, puppies and possums will be spending the festive season in a shelter.
Baubles can be purchased from both locations.
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Achieving dreams
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Rose Elizabeth Tulloch
Name Rose Elizabeth Tulloch [1, 2, 3, 4, 5]
Birth 07 Dec 1893 26 Holmdale Rd, West Hampstead [1, 2, 3, 4, 6]
daughter of Rhodesian Pioneer Alexander "Sandy" Tulloch, and his wife Elizabeth [Henrietta] Tulloch; her historic walk from Beira to Umtali is in most history books on Rhodesia. [TFSA]
Rose Elizabeth Tulloch (1893-1969)
Birth register
Residence Apr 1911 St Margaret's School, 12-13 Oak Hill Park, Hampstead ; School boarder & niece [3]
with her (great?) aunt Elizabeth Isabella Tulloch, 60 b Logierait, Perthshire, school principal; also her sister Jean Frances Tulloch, 15 b Umtali, Rhodesia.
St Margaret's School, Hampstead
Marriage 12 Jun 1917 Southern Rhodesia [5, 7]
Heathcote Tatham, b. 09 Dec 1889, 42 Loop St, Pietermaritzburg, Natal , d. 08 Jan 1963, Umtali Hospital, Southern Rhodesia
Residence - 1969 Fairways House, Salisbury, Rhodesia [2]
Death 16 Aug 1969 Fairways House, Salisbury, Rhodesia [4, 8]
Burial aft 16 Aug 1969 Penhalonga, Rhodesia [8]
Rose Tulloch's brother, Alistair Rhodes Tulloch was the first baby born in Manicaland after the pioneers moved into the district, and he was given the farm "Summerfield" at Inyanga by Cecil Rhodes as a birthday present, with the request that the name "Rhodes" be inserted into his name. Summerfield now belongs to John Heathcote Tatham (Jack), her son. Rose died in 1969; buried at Penhalonga. [TFSA]
Rose's sister Jean Frances Tulloch, born at Umtali abt 1895, was at school with her in Hampstead; in 1923 she married George MacLellan Young, whose family had a farm close to Summerfield; she died at Mangula Hospital on 01 Sep 1966.
Person ID I1395 Tatham | Heathcote branch | Spouse
Father Alexander Tulloch, b. 28 Mar 1859, Tibbermore , d. 28 Jun 1940, Durris Farm, Umtali, Southern Rhodesia (Age 81 years)
Mother Henrietta Tulloch, b. abt Nov 1861, Hackney , d. 27 Sep 1934, Durris Farm, Umtali, Southern Rhodesia (Age ~ 72 years)
Marriage 30 Sep 1885 Cape Colony, South Africa [9]
daughter Flora Isabel, twin sister of Rose Elizabeth, birth reg 4Q1893, death reg same quarter.
Family Heathcote Tatham, b. 09 Dec 1889, 42 Loop St, Pietermaritzburg, Natal , d. 08 Jan 1963, Umtali Hospital, Southern Rhodesia (Age 73 years)
+ 1. Newby Alexander Tatham, b. 19 Jun 1918, Umtali, Southern Rhodesia , d. 20 Sep 1978, Salisbury, Rhodesia (Age 60 years)
+ 2. Florence Rose Tatham, b. 1920, Southern Rhodesia? , d. Yes
+ 3. Nancy Millicent Tatham, b. 1922, Southern Rhodesia? , d. 1986, Zimbabwe (Age 64 years)
+ 4. Jean Henrietta Tatham, b. 05 Apr 1925, Umtali, Southern Rhodesia , d. 22 Jan 2011, Chiswick (Age 85 years)
+ 5. John Heathcote Tatham, b. 23 Oct 1931, Southern Rhodesia? , d. 2005, Harare, Zimbabwe (Age 73 years)
Last Modified 05 Dec 2012
[S32] Birth Certificate.
[S02] BMD Index, birth reg Hampstead, 4Q1893.
age 17 b Hampstead
[S41] Death Certificate, Southern Rhodesia, 20 Sep 1969.
DN 1241/69
[S08] Family Trees & Websites, Mackay family tree.
website accessed 14 Dec 2012
[S41] Death Certificate, Southern Rhodesia, 28 Jan 1963.
DN 102/63
[S10] Tatham Family in South Africa.
[S41] Death Certificate, Southern Rhodesia, 12 Jul 1940.
d 28 Jun 1940 age 81
DN 65/40
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You are here: Home / Intellectual Property / The Recipe for Open Standards (and Why ISO Can’t Cook)
The Recipe for Open Standards (and Why ISO Can’t Cook)
First some definitions. Let’s define an “open standard” as one that is: 1) freely available, 2) developed in an open process and 3) freely implementable, e.g., is royalty free. Clearly there are interests out there that attempt to soften these criteria, but that only demonstrates the competitive power presented by truly open standards. We see similar “dumbing down” pressures on other popular marks of distinction, such as the constant pressure by “big agriculture” to allow more permissive use of pesticides in organic/biologique food. It is almost a law of nature that any item of relative scarcity and value will be counterfeited. Dumbing down definitions is just one way to counterfeit an open standard.
At the same time there is clearly a spectrum of openness, from proprietary, trade-secret technology at one extreme, progressing through proprietary non-RAND specifications, proprietary RAND specifications, RAND standards to RF standards. But for sake of argument, let’s draw the line for open standards at these three criteria: freely available, open process, and freely implementable.
So how do you make an open standard? In the industry we have a number of years experience creating open standards. We know what works and what doesn’t. We’ve learned from experience and especially from failure, the harshest of teachers, e.g., Rambus and OOXML. At a high level, this experience has led to the following recipe for open standards, a recipe practiced by several notable standards consortia today:
Publish your standards on the web for free download and use. This seemingly simple step has enormous repercussions for a standards organization, since it eliminates an entire business model, that of selling standards. So an organization that produces open standards must have an alternative source of income to fund its operations, for example, membership fees, corporate or government sponsorship, etc.
Define and enforce an open process for the development of standards. Much has been written and said about the further qualities that define an open process, but generally they focus on openness, balance, lack of domination, broad-based public review, consensus, due process, right to appeal, etc. ANSI’s Essential Requirements [PDF] is an excellent outline of the minimum process requirements for ANSI, the organization that accredits US standardizers.
Have a clearly-defined, enforceable IPR policy that ensures that implementors of the standard have royalty free (RF) access to all rights needed to implement the standard. This area evolved quite a bit, especially post-Rambus, and the best practices now include: defining obligations of members with regard to patents they may control that read on the standard, defining obligations of 3rd parties who submit comments or proposals related to a standard, ensuring copyright assignment from contributors, defined 3rd party patent disclosure obligations, etc. The complexities of rights given during the drafting of the standard, durable obligations of members who leave, and how rights transfer to future maintenance releases of a published standard — all these are concerns of standards organizations that strive to produce open standards. For reference, note the IPR policies of OASIS and the W3C. (Now there may be some of you thinking, “IPR wouldn’t matter if we would just eliminate software patents”. But it is not so easy. First, we need to consider copyright as well. And second, remember that not all standards involve only software. Many relevant technologies today are defined by standards that encompass software, hardware and physical media components , e.g., Blu-ray.)
As you can see, there is a set of corresponding rights and obligations that the standards organization must deal with. The right of the user to freely download the standard derives from the obligation of contributors to assign copyright to the standards organization, so it in turn can make the specification freely available. And the right of implementors to implement the standard without payment of royalties comes from the obligation of contributors to waive royalties from patents that they control that are necessary to implement the standard. And the right of implementors to be safe from 3rd party patent claims — to the extent this is ever possible — comes from the obligation of members to disclose such 3rd party patents.
It might be useful to compare this to a well-run open source project, one that requires that contributors sign and fax in a membership or contributor agreement, assigning copyright and making assertions regarding necessary patents. In a similar way, participation in an open standards organization requires a binding membership agreement, to ensure that there is a record of the obligations that have been undertaken.
ISO in the kitchen
Now what about ISO? I claim, quite cheekily, that they cannot cook. So let me right away make the case why ISO, by their own rules and procedures, cannot reliably develop open standards.
First, let’s look at the “free availability” question. ISO’s business model is predicated on the sale of standards. If we look at a typical example, say a copy of the C++ programming language standard, we see it sells for 380 CHF ($374.38). Note that everyone directly involved in the development of ISO standards is a volunteer or funded by outside sponsors. The editors, technical experts, etc., get none of this money. Of course, we must also consider the considerable expense of maintaining offices and executive staff in Geneva. Individual National Bodies are also permitted to sell ISO standards and this money is used to fund their own national standards activities, e.g., pay for offices and executive staff in their capital. But none of this money seems to flow down to the people who makes the standards. In fact, in the US I need to pay $1200/year for the privilege of volunteering my time to create standards that are then sold at costs that I could not afford. And what rights do you get for your $374? Very little. You can print one copy. ISO reserves almost all rights, as they explain in their copyright brochure [PDF].
Note that ISO does make a small number of its standards available for download at no cost, generally ones that originated from outside of the ISO system. (It is hard to restrict access if the standard was born free elsewhere). But these “Publicly Available Standards” represent only around 1% of the 18000+ ISO standards.
So is this compatible with an open standard? I don’t think so. And if $374 is exorbitant for me, imagine what impact these ISO standards prices have on small technology firms, especially in the developing world?
What about criterion #2, the open process? Let’s go down the ANSI essential requirements list in more detail:
On Openness, ANSI says:
Participation shall be open to all persons who are directly and materially affected by the activity in question. There shall be no undue financial barriers to participation. Voting membership on the consensus body shall not be conditional upon membership in any organization, nor unreasonably restricted on the basis of technical qualifications or other such requirements.
A big fail there for ISO. In particular, materially affected persons are not able to vote at all, but only indirectly via required membership in a National Body. The entire ISO system is non-open.
On Lack of Dominance, ANSI says:
The standards development process shall not be dominated by any single interest category, individual or organization. Dominance means a position or exercise of dominant authority, leadership, or influence by reason of superior leverage, strength, or representation to the exclusion of fair and equitable consideration of other viewpoints.
We saw during the OOXML ballot, and especially at the BRM, how this totally fell apart. It was raised several times that Microsoft was dominating the committees, sometimes representing more than 50% of the people in the room. But ISO leadership dodged the issue, saying there was nothing they could do about it, based on their rules. This may be true. But that is just acknowledgment that their rules are not able to prevent dominance.
And on Balance, ANSI says:
The standards development process should have a balance of interests. Participants from diverse interest categories shall be sought with the objective of achieving balance.
Like committees containing almost exclusively Microsoft Business Partners? Fail. In fact you can go up and down the list and ISO fails to meet these minimum requirements.
OK. Maybe it is unfair of me to subject ISO to the criteria that we use in the US to accredit little industry standards consortia. Maybe it is unfair of me to suggest that the International Organization for Standardization should meet the openness requirements that are regularly met by stalwart giants like the International Institute of Ammonia Refrigeration or the Hardwood, Plywood & Veneer Association? (Full ANSI list is here [PDF]) Maybe you tell me that it is unreasonable and asks too much. I would accept that response. But I believe that, as it is today, if ISO tried to get accreditation as a standardizer in the US, it would fail, for inability to meet basic minimum openness and due process requirements. And that saddens me. It should sadden you as well.
The 3rd and final ingredient, as we know, is the IPR policy. I ask you to glance over the ISO/IEC/ITU “Common Patent Policy” and compare it to the IPR policies mentioned above from the W3C and OASIS. I think you will first be struck by how short and fuzzy the ISO statement is, and by the complete lack of any stated obligations for ISO members with regards to patents.
For example, the main disclosure requirement is stated as:
Any party participating in the work of ITU, ISO or IEC should, from the outset, draw the attention of the Director of ITU-TSB, the Director of ITU-BR, or the offices of the CEOs of ISO or IEC, respectively, to any known patent or to any known pending patent application, either their own or of other organizations, although ITU, ISO or IEC are unable to verify the validity of any such information.
Now, I am not a lawyer, but even I can see that “any known patent or known pending patent application” is vague to the point of making it meaningless. There is zero qualifications or restrictions given. I know that there are 8 million or so granted US patents, maybe 10 million if you include pending applications, and that is just in the US. Should I report them all? That’s what it appears to be recommending (but only recommending, since it is stated as a “should” not a “shall”) when it says “any known pending patent application”.
There appears to be no serious consideration given to what the disclosure obligation is. Am I supposed to disclose patents that I actually know read on any part of the standard? On required portions of the standard? Optional portions? Mandatory requirements on optional features? Patents that I think, but am not sure that may read on a standard? Ones where there is a remote, but non-zero possibility that it reads on a standard? Ones where someone else has alleged it reads on a product that implements a standard? Ones where a jury has determined that a product implementing the standard infringes on a patent? Ones where the Federal Court of Appeals has upheld that a patent reads on a product that uses the standard? Ones where the U.S. Supreme Court has affirmed the Federal Court of Appeals decision?
You can see how ridiculous the ISO requirement is. IMHO, you could replace the ISO patent policy with a wall poster with a big yellow smiley face and the caption “Be careful!” with no essential loss of effect. ISO seems to be living in a world where Rambus never happened. Without solid obligations for ISO participants there are no corresponding strong rights for implementors.
(That’s my opinion. Again, I am not a lawyer, so don’t take any of this as legal advice. This is all my personal opinion and observation. But, geez, look again at that patent policy. Are they joking? You should then look again at the OASIS disclosure requirements for a real world example of how a disclosure obligation must be phrased for it to have any teeth whatsoever. What ISO has is more like a voluntary registration of reported patents. That is not much of an assurance post-Rambus.)
The fundamental issue is that the membership of ISO consists of National Bodies, not individuals and not corporations. So the formal members of ISO are not the patent owners. This “committee of committees” approach puts a level of administrative indirection between those who have the knowledge and control of the IP and those who formally make the decisions. It is an approach seemingly crafted to obfuscate accountability and disclaim responsibility.
The other problem is that they have attempted to craft a single patent policy that applies to all standards from ISO, IEC and ITU, for everything from document formats to paper sizes, from quality processes to bolts, screws and studs, from shipping containers to medical devices. The licensing and royalty practices of these diverse industries are equally diverse and any attempt to reduce them into a single rule will naturally lead to a lowest-common denominator statement of generalities. And if you have 18000 standards, the lowest common denominator is rather useless, as we saw above.
Another issue is that ISO is fundamentally accepting and accommodating of RAND licensing. There is no effective way for a committee to state the intent of developing an open standard, and then to maintain the pedigree and hygiene of the specification and process to assure a royalty free outcome. There is no guarantee that contributions from other NBs will be RF. There are no procedural protections against an NB who would seek to introduce patent encumbered material into the standard. In fact, there is nothing to prevent a National Body or group of National Bodies from withholding their approval of a draft unless and until a specific desired RAND feature is added to the standard, perhaps to benefit a domestic rights owner. This is all incompatible with the development of open standards.
So what are we to do? ISO is obviously not going away, at least not quickly. But certainly for vast swaths of important, widely-adopted standards work, ISO is simply irrelevant. The web was built on open standards that were developed entirely outside of the ISO system, and in fact could only have been developed outside of that system. Openness was key to their success. So one approach for us is simply to ignore ISO wherever possible. Certainly, do not promote procurement and policy initiates that exclusively favor ISO standards, since by doing so you eliminate from consideration the majority of relevant open standards that are available. In other words, why grant ISO a monopoly on standards, especially when they seem constitutionally unsuited to the 21st century task of creating timely, market-relevant open standards?
Another approach is for industry to make more aggressive use of the Publicly Available Specification (PAS) process, allowed in ISO/IEC JTC1, by which existing market-relevant industry standards can be turned into International Standards, largely unmodified, via an accelerated transposition procedure. This allows the technical work to originate in an industry standards organization that understands the unique requirements of open standards and that can ensure relevant protections are in place to ensure the pedigree and hygiene of the IP in the standard. Once the technical work is completed and review and consensus approval is achieved, the standard can then be transposed into an International Standard. Some have criticized this as using ISO as a “rubber stamp”, that this process does not permit NBs to fully participate in the work of creating the standard. But we must note that the PAS process is not intended as a standards development process. It is not intended as a means for ISO NBs to participate directly in the development of the standard. PAS is simply a transposition process, taking existing, relevant industry standards, and after a short review, giving them the imprimatur of an International Standard. So yes, it is a rubber stamp of sorts, but one where ISO has two rubber stamps at hand, one saying “Yes” and one saying “No”. Either can be used.
But in the end the problem isn’t the rubber stamp. The problem is that ISO has no ability to develop open standards of their own, to enforce the member obligations that ensure the rights of users to freely implement the standard, and that ISO lacks open and transparent procedures, and that ISO clings to standards publication revenue model that puts their standards out of reach for many.
Filed Under: Intellectual Property, Standards
André Rebentisch says
For standard bodies the IEEE principles also seem very important, in particular “to seek, accept, and offer honest criticism of technical work, to acknowledge and correct errors, and to credit properly the contributions of others”.
I suppose there is the question of what things make good procedural rules that can govern a committee versus what are rules of professional ethics that govern individual behavior. Other professions, like law and medicine, have professional boards that review complaints regarding violations of professional ethics. This tends to go hand-in-hand with fields that require professional licensure.
Doug Webb says
After OOXML and it’s wild sleigh ride over ISO I couldn’t imagine any reason why I would look to ISO for anything except what to avoid.
A couple of laws I’d like to see:
If you don’t own the invention covered by your patent, you cannot enforce the patent. (Would get rid of a lot of patent trolls.)
If you conceal a patent that reads on a standard in development you cannot enforce that patent once that standard is in use. (Would stop Rambus style land grabs.)
Can delegated power be accepted or are technical members independent, though financed, to carry out their professional tasks? The concept of delegated power is flawed. Current reform ideas in the EU are directed to improve “representation”, so SME and consumer tokens get public funds to participate in the standard setting process. It is important to check the fundamental premises of governance when you consider these workarounds. Sure, the maxime “to seek, accept, and offer honest criticism of technical work, to acknowledge and correct errors, and to credit properly the contributions of others” looks like the antithesis to a recent ISO process, that is why I quoted it. What role for professional independence in the governance challenge?
@André, In ISO work we’re supposed to be representing a “national position”. But what exactly that means varies from NB to NB. In some cases, like in the US, the determination of the voting position in ISO is delegated to an sector forum of public/private interests, with the view that those active in the sector are best positioned to determine the direction of standardization in a given field. In other countries the votes are directly held by the government. In some NBs is is “whoever shows up”, with the result that some NBs have voting position determined by a single person.
IMHO, public funds are better used to develop and administer an accreditation program for international standardizers. The privileged position of mega-standardizers like ISO and IEC bring little benefit. Compare them in terms of speed, relevancy, quality, openness, etc., to industry standards organizations and I think you will find ISO far behind. Lack of competition is the problem. We’ve made ISO a monopoly. But if instead of having a single organization creating tech standards (ISO/IEC JTC1) you had a dozen more different ones, all accredited by a new “meta-ISO”, all competing on terms of openness, relevancy, quality, etc., then you have a much more interesting system.
Compare today where the W3C all but ignores ISO, because it knows that it can produces standards better and fast by itself. The result is that today you have the embarrassment that the most widely used of all markup standards — XML — is not an International Standard, though every government in the world depends on it. Allow the W3C to apply for and receive accreditation as an International Standardizer, and then you’ll quickly have IS’s for the full web platform.
Clay says
This is a great post. ISO deserves much criticism for its undemocratic approach. What is all that money (from expensive memberships and several-hundred-dollar PDF files) buying, if it’s not paying the people who actually write the standards? Is it providing good value to world?
Today, out of curiosity, I wanted to check out ISO 8879 (SGML) to get a definitive answer about whether the doctype public identifier is case sensitive. (It seems to be, but it’s nice to check the primary source.) What would it cost to satisfy my curiosity? 238 Swiss francs. Good job, ISO.
The global open source software community has created all these operating systems, compilers, browsers, web servers, databases, you name it — that are truly open, truly free (as in speech and beer). But from ISO you can’t even let you download a 25-year-old PDF file for a reasonable price!
Eduardo Gutentag says
Rob, you say “Allow the W3C to apply for and receive accreditation as an International Standardizer” — it should be noted that W3C, like OASIS before it, is now a PAS submitter (keeping to itself the role of maintainer, like OASIS), so it could submit XML to ISO for approval. They may still do it, but for the time being they have decided to submit their web services standards instead (http://www.w3.org/2011/07/wspas-pr.html).
zemon says
I stumbled upon this post a couple of years later, yet it has just confirmed what I am just finding out , that ISO is not ‘open’ at all. I am dumbfounded. I was led here by trying to check the ISO safety standard 12312-1 which is supposed to apply to sunglasses , in making sure they protect the eyes. But since I cant read the standard, how do i know what kind of protection it is offering?
You can be sure that the ISO committees are self-serving and self paying. The EU has hundreds of committees like this already. (Also reminds me of the Olympic committee) . I hope that we go the way of open-source and gradually push the ISO middle-men out of the business
A man’s natural rights are his own, against the whole world; and any infringement of them is equally a crime, whether committed by one man, or by millions; whether committed by one man, calling himself a robber, (or by any other name indicating his true character) or by millions, calling themselves a government.
— Lysander Spooner , No Treason
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Ivan Bibas
Mirtha L. Albeirus
AIA Design Awards
BIM / IPD
North Terminal Improvements
Modifications to the existing terminal building from curbside to security check point. The project includes a new vertical transportation core consisting of elevators, escalators and stairs; expansion of the Level 1 baggage claim areas by moving the rear wall “airside”; increasing the Level 2 departure area sidewalk and enlarging the Level 3 Moving Walkway enclosure. The roof is raised over the vertical components to install clerestory windows allowing for the introduction of natural light. The project includes new floor finishes, wall and column cladding, new exterior walls, ceilings, signage and graphics, lighting and furnishings, new life safety systems such as a fire suppression system, smoke control system, fire alarm system, emergency power system upgrading, increased occupant egress and a paging system with a state of the art public address system. The mechanical and electrical systems are upgraded to include new air handling units and ductwork, new telecommunication rooms, a new building management system, upgrading of the non-emergency power system and provision for the improvements of the air quality of the lower vehicular drive. The remodeling includes work required to achieve ADA compliance. The project is being constructed in sequence with the new North Terminal in order to maintain operations.
Owner: Miami-Dade Aviation Dept.
Size: 380,000 gsf
MIA Mover Station
Retail Concessions Guidelines
Rodriguez and Quiroga is a professional association dedicated to the practice of architecture, urban design and interior design.
Copyright © 1983-2016 • Rodriguez and Quiroga Architects Chartered • All rights reserved
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DACA recipients attending SOTU don’t want their legal status traded for the wall
‘I refuse to trade my community for a status,’ El Paso DACA recipient Senaida Navar says
Posted Feb 5, 2019 7:25 PM
Lindsey McPherson
@lindsemcpherson
Pelosi picks reserved team of impeachment managers who didn’t seek the role Pelosi’s impeachment team represents the diversity of the Democratic caucus House to vote on military force authorizations this month
Rep. Veronica Escobar, D-Texas, far left, brought Deferred Action for Childhood Arrivals program recipient Senaida Navar as her guest to State of the Union address on Tuesday. Navar said she does not want her legal status traded for a border wall. (Photo By Tom Williams/CQ Roll Call)
Several Deferred Action for Childhood Arrivals program recipients attending the State of the Union Tuesday as guests of House Democrats said they do not want their legal status traded for a border wall.
President Donald Trump tried to end the DACA program, which provides young undocumented immigrants brought to the U.S. as children temporary legal status, but federal courts have so far blocked him from doing so. During various times over the past two years, Trump has floated trading statutory protections for DACA recipients — sometimes permanent, other times time temporary — for funding for a southern border wall.
On Tuesday, as Trump may again float such a trade during his State of the Union address, DACA recipients who will be watching from the House gallery say they’re not interested.
“As someone who lives on the border, no,” said Senaida Navar, a DACA recipient who lives in El Paso, Texas. “I refuse to trade my community for a status. ... When you start trading people for people, that’s very problematic.”
Navar is attending the State of the Union as a guest of freshmen Texas Democratic Rep. Veronica Escobar. Navar and other guests, many of whom are DACA recipients, and the members hosting them participated in a press briefing before the speech hosted by the Congressional Hispanic Caucus.
Escobar recalled that in August Nancy Pelosi visited her district and Navar told the soon-to-be speaker, “Do not trade me for a wall.” Pelosi would later share that encounter as an example of why Democrats should not give into Trump’s demands, Escobar said.
Watch: SOTU: A brief history
Jin Park of Queens, N.Y., the first DACA recipient to ever be awarded a Rhodes Scholarship, recalled visiting the State of Liberty as a child and marveling at its symbolism.
“The symbols that a society adopts matters,” he said. “And so when we say to the American people and we say to world that a symbol the president of the United States is going to adopt is a wall, that matters. That changes the structure of reality going forward in terms of what we say to immigrants, what we say to people in the United States.”
Park, who is attending Trump’s address as a guest of New York Democratic Rep. Grace Meng, said that if all undocumented immigrants living in the U.S. were to be deported, “it wouldn’t be America.”
Devani Gonzalez, a DACA recipient attending as freshmen Texas Rep. Sylvia Garcia’s guest, said the wall isn’t the biggest issue.
“The issue is he’s trying to trade us for the wall,” she said.
DACA recipient Ronnie James, New York Rep. Yvette Clarke’s guest, agreed.
“Our lives aren’t supposed to be used as leverage for a piece of architecture,” he said.
Democratic lawmakers also oppose the border wall, whether on its own or in exchange for DACA protections.
“Doing so I think would be a mistake because DACA is not a national security threat,” California Rep. Norma Torres said.
“Democrats have control of the House. This is a bipartisan issue. There shouldn’t need to be a trade for permanent protections for DACA recipients and TPS,” added California Rep. Nanette Barragán.
Topics: appropriations congressional-affairs democrats donald-trump house immigration messaging policy politics state-of-the-union border wall california DACA democrats Donald J. Trump Donald Trump Executive Branch Grace Meng House House Democrats Immigration leadership media Nancy Pelosi New York Norma J Torres President Donald Trump State of the Union State of the Union guests Texas Trade IMGR
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Minor flooding call-outs across NSW
SYDNEY WET WEATHER - AAP
Despite high rainfalls across the state, NSW emergency services have reported a "relatively quiet period" with only a smattering of call-outs for flash flooding and leaking roofs.
NSW SES assistant commissioner Paul Bailey told reporters on Friday there had been 323 call-outs overnight, including some for surface flooding in Parkes and Dubbo in the state's central west.
"We've repositioned some of our teams, our swiftwater teams, to ensure that the flash flooding that's been spoken of will be managed correctly," Mr Bailey said.
Mr Bailey said fire-affected areas may see an increase in tree falls due to weakened soil, debris flowing into creeks and flash flooding due to a lack of vegetation.
"We do ask people to be vigilant but not terribly alarmed about that and, as has been said, this rain is welcomed in those areas so we are expecting there to be only a few issues regarding this rain going forward," he said.
Bureau of Meteorology acting state manager Grahame Reader told reporters widespread showers and thunderstorms across the state will continue into next week.
Boonanghi in the state's mid-north recorded its highest rainfall since March 2017 with 126mm and Bundarra in the Northern Tablelands received 105mm, its best since November 2011.
Mr Reader said heavy rainfall will continue throughout the state on Friday, with fairly similar conditions predicted for Saturday and showers easing on Sunday.
"We'd be looking at cumulative rainfall, in addition to what we've had today until Sunday, of around 30 to 80mm," he said.
The NSW Rural Fire Service on Thursday welcomed the rain on large firegrounds but warned it wasn't the end of the bushfire crisis.
"It won't put all these fires out but certainly it's slowed them right down and I think it's given a significant morale boost," RFS deputy commissioner Rob Rogers told the Seven Network on Friday.
"We've had rainfall on most fires now - at least 10mm - and particularly in the south in areas where it's harder to get to, in the Kosciuszko ranges. They're the ones we're quite happy there's been some rainfall."
On Friday afternoon there were 79 NSW bushfires burning - down from 88 on Wednesday evening - with about 30 still out of control.
‘Devastating’ fish deaths in north NSW
Locals on the NSW mid-north coast have been using a water pump to help put oxygen back in the Macleay River with fears thousands of fish may have died.
Fire species decimation will be ‘brutal’
Conservationists and scientists fear bushfires that have ravaged parts of Australia have had a catastrophic impact on flora and fauna.
Take politics out of climate policy: NZ
Australia would do well to put climate policy in the hands of an independent commission, says a New Zealand parliamentarian.
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HomeSun Palace Building, Beijing
Sun Palace Building is located in Sanyuan Bridge Commercial Circle of Chaoyang District adjacent to the Beijing International Exhibition Center. It integrates shopping mall and office together. From the internal facilities of the building to the traffic threads at outside, all meets the international standard. Therefore, it becomes the landmark in Chaoyang District.
You can arrive the Sun Palace Building in 2-minute by walking through the underground tunnel at the Taiyanggong Metro Station; arrive the World Trade Center in 15 minutes by taking the train; and 20 minutes only to the Haidian Huangzhuang Station (Haidian central area). The most important, there is only 25-minutes ride between the Beijing International Airport and it is connected with airport express. Traffic jam in Beijing is common and cost a lot of time but it is rare in this area. In addition, the passenger flow is much less in Line 10 subway. The convenience of transportation assists you to focus on your business development.
Sun Palace Building, 12 Sun Palace Road, Chaoyang District, Beijing
- Grade A building
- Landmark of Chaoyang District
- 20 minutes between Beijing airport
- 10 minutes between Beijing International Exhibition Centre
- No traffic jam problem
- Banks, hotels and apartment are all around
- Parking facilities
在較大的地圖上查看Sun Palace Building
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News from the Muse: The Muse of Musicology
The Muse of Musicology
My father, the musicologist Edward E. Lowinsky—a difficult and demanding character in my psyche—has been dead for over twenty-five years. Recently he made a major shift in my inner world. No longer is he a demanding and critical inner voice. Instead, he is a brilliant and tragic figure. I feel for him. How did this transformation occur? Not by dream, not by active imagination, not by the intercession of a spirit guide—none of my usual modes of imaginal work are responsible for this deep shift in feeling. It is thanks to an article by the musicologist Bonnie Gordon, recently published in the Journal of Musicology (Vol. 28, #3, Summer 2011) entitled “The Secret of the Secret Chromatic Art.”
I have always known that my father was a controversial figure in his field, a founding father of American musicology who believed that no art can be studied separately from its culture. But I have never understood his story in the larger context of his field. Gordon’s beautifully written, psychologically astute and compassionate portrait of my father helps me feel his influence in a less conflicted way.
Photo of my father by Nikki Arai
Gordon writes of my father’s first publication in America, a “strange but riveting book entitled Secret Chromatic Art in the Netherlands Motet.” It came out in 1946—just a few years after my family had emigrated from Europe, fleeing the Nazis. There is a great deal of difficult technical musicological material in Gordon’s essay, which is way over my head. But the gist of what I understand from her is that my father was convinced that there were secret expressions of protest and heresy hidden in Dutch motets of the sixteenth century. This, remember, was the beginning of the Reformation—the Protestant revolt against the hegemony of the Catholic Church and the Inquisition. On the surface, my father said, the texts and melodies followed the rules decreed by the Church. “Beneath that compliant surface” she writes of my father’s theory “lurked secret chromaticism and seditious meanings that remained hidden from the eyes and ears of the Inquisition.” She quotes my father: ”To the world at large it offers us outward form, reserving for the circle of the initiated its secret meaning.”
Gordon’s thesis is that my father “aligned Nazi Germany with the Inquisition.” She writes: “Beyond its engagement with music theory and cultural history his Secret Chromatic Art delivers a modern narrative of oppressed minorities, ‘authoritarian’ regimes, and the artistic triumph of the dispossessed.”
I know this part of my father. He loved Spirituals. We sang them as a family. The story of Black people and the story of the Jews was the same story in my childhood. As a child I learned that spirituals often hid secret meanings—communications about seditious meetings, information about finding the Underground Railroad.
I knew my father as eloquent and persuasive. I also knew him as arrogant and contentious. It was never easy to have a dialogue with him; he had to have the last word. I often heard him rant about his fellow musicologists. Gordon’s empathic essay puts this in context for me. His Secret Chromatic Art had not been well received; his theory was never accepted. I had not understood the depth of his suffering about this. Nor had I understood his influence on me. I have been obsessed with African American poetry, I have written about spirituals and their secret significations. I have been obsessed with the Inquisition, The Shoah, the Spanish Civil War, issues of tyranny and oppression. I see now how my obsessions follow from those of my father; many of my poems are expressions of his concerns. Here’s one:
YOUR PEOPLE ARE MY PEOPLE
I’m going to be just like you, Ma
& sing from the bottom of hell
up to the tops of high heaven
--Al Young
for Al Young
My people are the people of the pianoforte and the violin
Mozart people Bach people Hallelujah people
My people are the Requiem people Winterreise people Messiah people
who crossed the red sea Pharoah’s dogs at our heels
Your people are the drum beat people the field holler people the conjure people
Blues people Jubilee people people who talk straight to God
Your people are the Old Man River people the Drinking Gourd people
singing the Lord’s songs in a strange land
My family had a Sabbath ritual
We lit the candles sang Go Down Moses sang Swing Low Sweet Chariot
sang slave music freedom music secret signals in the night music
my father said you never know
when Pharoah will be back
I was young
I was American I thought
my people were the Beatles the Lovin’ Spoonful the Jefferson Airplane
singing Alice and her White Rabbit through all
those changes my parents did not understand
That didn’t last
That was leaving home music magic mushroom music
Puff the Dragon music floating off to Never Never land
now heard in elevators in the pyramids of finance
But Old Man River still rolls through my fields
Bessie Smith still sweetens my bowl
Ma Rainey appears in the inner sanctum
of the CG Jung Institute flaunting her deep black bottom
My father’s long gone over Jordan
and I’d hate for him to see
how right he was about Pharoah
but I want you to know Al
every Christmas
in black churches all over Chicago
the Messiah shows up
accompanied by my mother’s
Hallelujah violin
(published in New Millennium Writings)
Until I read Gordon’s essay I did not understand how profoundly my father felt like an outsider. Gordon quotes Edward Said:
Exile is strangely compelling to think about but terrible to experience. It is the unbearable rift forced between a human being and a native place; between the self and its true home; its essential sadness can never be surmounted.
Shortly after he arrived in America (years before the State of Israel was created) my father gave a talk in which he described the Jew as one with “no center of his own, he has no soil of his own, there was no landscape which would smile at him with the assurance ‘I am yours.’” My father had lost his native tongue, his professors at the University of Heidelberg who influenced his thinking and the academic future he had expected to find in Germany.
Until I read Gordon’s essay I did not know that among my father’s professors were Karl Jaspers and Heinrich Besseler. Jaspers was interested in mysticism, Besseler in esotericism. Gordon makes a connection between the secret oral tradition of the Kabbalists and my father’s belief in a secret musical mode of communicating forbidden ideas. So my father’s understanding of the world was influenced by German Romanticism and a fascination with Jewish and Christian mysticism; so is mine.
I did not know until I read Gordon how difficult it was for him to find a position in America. Gordon quotes a letter in which he writes of sending out eighty letters to colleges and universities before, with some help, he finally got his first teaching position at Black Mountain College. I did not know how impossible he found the burden of his teaching, providing for his family while trying to find time to pursue his scholarly work.
I did not know what the big fight with Joseph Kerman, who had been his colleague at Berkeley, was all about, though I remember hearing snatches of my father’s fury. As Gordon puts it:
The story of the secret chromatic art intersects with a larger disciplinary story of generational and ideological divides between scholars who were educated in Europe…and those younger scholars who wanted to “liberate American musicology from the stronghold of German influence in order to create a particularly American tradition.”
For Kerman, my father became the symbol of that conservative tradition. It’s the familiar story of the Prince challenging the Old King—the young buck taking on the old stag. From Gordon’s description I can see how my father’s character flaws deepened the tragedy we all have to face as we age—that we must hand over power to the younger generation. My father was not able to have a dialogue with Kerman. He fell into what my friend and colleague Sam Kimbles calls a “culture complex.” Kerman became a Nazi and a racist in my father’s eyes.
Gordon quotes my father:
Professor Kerman is playing a dangerous game with dangerous words that the older generation has heard before and fervently hoped never to hear again. Nor is Professor Kerman so young or so innocent that he can claim to be unaware of the twentieth–century use and origin of the terms ”alien” and “native” in matters of art and scholarship. One generation ago the Germans talked a lot about “alien” elements in German culture. They also did something about it.
Gordon’s empathy helps me feel for my father in this story. She writes: “The debate with Kerman…situated Lowinsky falsely, I would argue, as the enemy of progress…Lowinsky stood as a straw man.”
I did not know until I read Gordon’s essay, that when his colleague Howard Mayer Brown went to visit my father on his death bed he was still wrestling with the battle over his Secret Chromatic Art. I remember him in those last days, pale and wan in his hospital bed, in denial about his impending death. I still could not engage him in a dialogue: I couldn’t get him to talk about his life, his work, or our relationship. I did not comprehend the tragedy of his life.
Maybe he understood it better than I knew. What he did speak to me about was the opera Eugene Onegin by Tchaikovsky, which was strange because he had never liked Tchaikovsky—claimed his music was kitsch. Now he was telling me the story of Onegin and Tatania at the ball—how radiant she was, how full of love for Onegin. But he, self absorbed, paid her no mind. My father closed his eyes and said: “Onegin has forever lost his chance to love.”
My father’s birthday is coming up, Jan. 12th. He would have been 104 this year. I just received an e-mail, from Bonnie Gordon responding to my thanks to her for opening my heart to my father with her wonderful essay. She wrote me about her presentation of her paper at the AMS (American Musicological Society)…
[It] turned into something of a love fest for your father and his ideas. Former students and indeed former enemies seemed to have come to some sort of intellectual peace with his ideas.
Happy Birthday father.
Here‘s a poem for you:
daled for dad
you never were
a regular dad never
one of the guys
playing American ball
games such a formal
European father a scholarly
Jew you studied Catholic
church music sinned
against my mother
with your students
yet the Hebrew
letter daled is a door
way it is said and daled
was given me to
day your death
day I remember the deep
blue lake how
your delight found
words you gave me that
and the secret
chromatic art
of the Renaissance a music
that wandered
out the church door
into the lyrical
meadow this
one singing
you left me
(published in Earth’s Daughters and in Adagio & Lamentation)
Note: According to the Kabbala each letter of the Hebrew alphabet has an image associated with it, and daled’s image is a door.
Posted by Dan at 9:58 AM
Labels: Adagio and Lamentation, Bonnie Gordon, Carl Jung, Edward Lowinsky, Edward Said, imaginal, inquisition, motet, musicology, Naomi Lowinsky, Reformation, renaissance, Secret Chromatic art
MackTK March 9, 2014 at 12:45 AM
Beautiful post with beautiful poems. The last illustration reminds me of Ruskin... I am looking forward to reading the article you mention. In the mean time, may I refer you to Leo Strauss's Persecution and the Art of Writing? At some time he and your father both taught at the U of C... Your father's article on the concept of space in music was written for the future. Cheers!
Naomi Ruth Lowinsky March 10, 2014 at 8:36 AM
Yes, I remember that Leo Strauss was a colleague of my father's, but don't know the work you mention. I'll check it out. Sounds very interesting.
Thanks for your kind response.
Massimo Privitera December 29, 2018 at 12:39 PM
Dear Ms Lowinsky, my name is Massimo Privitera. I am an Italian musicologist (University of Palermo - Italy). I have done the first Italian translation of some from your father's essays (Edward E. Lowinsky, "Musica del Rinascimento. Tre saggi" a cura di Massimo Privitera, Lucca, LIM, 1997). I had chosen to do this translation because I was fascinated by your father's research method, his intelligence and his deep understanding of music; and I wanted to thank him posthumously by facilitating the reading of his writings to an Italian public. But, getting in touch with his personality through his writings, the polemics with Kerman and conversations with persons who met him, I became aware that living with him was not an easy task. For this reason I have been deeply touched by your testimony, and I thank very much for having published it. My best regards
Dan December 29, 2018 at 4:47 PM
Dear Massimo Privitera,
I am deeply touched by your comment. You are right about my father's intelligence and understanding of music. You are also right that he was very difficult to live with.
He would be delighted to know that you have translated him into Italian. He loved Italy, as do I. I am grateful to you.
News of Naomi
News from the Muse: The Muse of South Africa
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← Audio slideshow flashback: Hukilau 2011 cocktail contest was a Barrel of fun
Got Tiki trepidation? Here’s a Hukilau survival guide →
Mai-Kai cocktail review: The Hukilau is worthy of its famous company
Posted on April 17, 2012 by Hurricane Hayward
Updated August 2018
See below: Our Hukilau review | Tribute recipes UPDATED
Related: Mai-Kai cocktail guide | Latest news on the annual Hukilau event
Like an ugly stepchild, The Hukilau cocktail at The Mai-Kai is often shunned in favor of its more glamorous siblings. But don’t underestimate this newcomer. It’s one of the more accessible strong drinks and worthy of inclusion on the iconic menu.
The Hukilau (right) with the Black Magic (left) and the Mutiny in April 2012. (Photo by Hurricane Hayward)
The Hukilau was added to the menu in the fall of 2006, named in a contest by attendees of the fifth annual Polynesian Pop festival of the same name. But the contest was merely to name the drink. The actual recipe came from an in-house source and was selected by owner Dave Levy.
We’ve been unable to confirm the drink’s exact creator, but it’s obviously a close relative of both the Mutiny and Black Magic (see photo). All three are served in large snifter or goblet glasses, appear on the strong menu and share many of the same ingredients. We like to call them the “Holy Trinity” of Mai-Kai large-format drinks.
The Hukilau, as it appeared on menu from 2006 until 2014.
Recently, however, The Hukilau lost one of the defining characteristics of the trinity. In early 2016, the recipe was tweaked to remove the “splash of coffee” that had been touted on the menu since its debut. This was done to offer guests who prefer a non-caffeinated cocktail a chance to enjoy one of these signature drinks. There were apparently frequent requests to “hold the Joe.”
The Hukilau is also a bit sweeter than its siblings. It’s perfect for those who may not care for the flavor of coffee and who like their drinks more tart than exotic and spicy. And it’s also a fine way to honor an event that has called The Mai-Kai home since 2003.
The official drink of The Hukilau, an event held yearly at The Mai-Kai, is full flavored with a splash of Appleton Rum.
Potency: Strong
The Hukilau, November 2010. (Photo by Hurricane Hayward)
Flavor profile: Passion fruit, tart juices, honey and exotic sweet flavors.
Review: A sweeter and coffee-free alternative to The Mai-Kai’s similar large-format drinks. A smorgasbord of juices and Appleton rum shine through the sweetness to create a perfect balance of flavors.
Ancestry: Added in 2006, The Hukilau is the newest original cocktail on The Mai-Kai’s current menu. The recipe was adjusted in 2016 to remove the coffee and add a secret mix that dates back to the early days of Tiki and Don the Beachcomber.
Bilge: The Hukilau is one of four Mai-Kai cocktails that specifically call for Appleton rum (along with the Shark Bite, Mai-Tai and Special Reserve Daiquiri). No other rum brand is mentioned by name on the current menu.
NEW: Tribute to The Hukilau at The Mai-Kai
By The Atomic Grog (version 2.5, updated August 2018)
The Hukilau tribute by The Atomic Grog, August 2018. Glassware: The Hukilau 10th anniversary snifter glass, produced in 2011, designed by Kevin Kidney.
* 2 ounces fresh-squeezed orange juice
* 1 1/2 ounces fresh-squeezed lime juice
* 1 1/2 ounces fresh-squeezed lemon juice
* 1 ounces fresh grapefruit juice
* 1/2 ounce rich honey mix
* 1 1/2 ounces passion fruit syrup
* 1 1/2 ounces light Puerto Rican or Virgin Islands rum
* 2 ounces Appleton rum
* 1/2 ounce Mariano’s Mix #7 (see below)
Blend with up to 1 1/2 cups of crushed ice in a top-down mixer for at least 8 seconds, or until frothy. Pour into a large snifter glass or goblet with more crushed ice to fill.
* 2 ounces passion fruit syrup
The Hukilau tribute by The Atomic Grog, February 2017. Glassware: The Hukilau 10th anniversary snifter glass, produced in 2011, designed by Kevin Kidney. Mugs: The Hukilau 2016 Mai-Kai Mug (left), The Hukilau 2016 Pier 66 Tower Barrel Mug, both by Eekum Bookum.
In the absence of coffee, the addition of Mariano’s Mix #7 in version 2.5 fills the void to keep this cocktail near the top of our rankings. The secret mix adds a sharp anise flavor and exotic richness to temper the sweet and sour elements in this refreshing drink. Version 2.0 is similar to The Hukilau before the reintroduction of the mix and after the removal of coffee. Our original tribute recipe (version 1) is also featured below.
August 2018 updates
This completes the updates of the trinity of strong cocktails served in 24-ounce snifter glasses. Note that in April 2018, The Mai-Kai started using new, heavier goblet-style mugs instead. They’re much less breakable but have the same capacity.
The Mai-Kai now serves The Hukilau (along with the Mutiny and Black Magic) in a large goblet, replacing the more fragile snifter glass. (Photo by Hurricane Hayward, August 2018)
The earlier tribute recipes fell short of filling our similar glasses, so I adjusted all three to feature around 12 ounces of ingredients, similar to the Barrel O’ Rum. When mugs or glasses were unavailable, these drinks routinely swapped vessels, so it follows that they all contain the same volume.
As for the ingredients, the addition of Mariano’s Mix #7 and removal of coffee weren’t the only tweaks. We were forced to remove cinnamon syrup from all of our tribute recipes after learning that this old Don the Beachcomber secret weapon was nowhere to be found at The Mai-Kai. It’s not really missed here, especially in the version that features the spicy #7.
The Hukilau is more accessible than the Black Magic or Mutiny, so we’ve created this tribute as a more mainstream version of those two iconic cocktails. It’s not an exact duplicate, but it’s definitely in the ballpark.
Bob Roth’s New River Groves in Davie. (Photo by Hurricane Hayward, October 2016)
* There’s a lot of juice in this cocktail, so make sure you use quality, fresh-squeezed versions. As we’ve pointed out in other reviews and this deep dive on Tiki Central, The Mai-Kai looks to South Florida’s Kennesaw for its fresh orange and grapefruit juices. These are fresh-squeezed, pulpy, unpasteurized juices that come straight from Florida citrus groves. Kennesaw juices are sold at old-school South Florida fruit stands, including my favorite, Bob Roth’s New River Groves in Davie, not far from The Mai-Kai. I’ve also seen them pop up recently at area Whole Foods stores. There are other fine orange juice brands, but look for non or lightly pasteurized. Note that Kennesaw rarely offers white grapefruit juice, at least for the retail market. At The Mai-Kai, the style of grapefruit juice changes with the season. The freshest juice is stocked, whether it’s white or red (or sometimes both). Though white is typically preferred in classic cocktails, the Kennesaw red grapefruit juice is the best I’ve tasted and preferable to any canned or bottled white version. One new find, as detailed in that same Tiki Central link, is a fresh white grapefruit juice on the shelf at a local Fresh Market store. Availability seems to be sporadic, unfortunately. The Mai-Kai uses a distinctive, tart Key lime juice (possibly a blend from another food service provider). Squeezing Key limes is not a viable option, so I’ve found that blending a bottled Key lime juice with fresh-squeezed “regular” (aka Persian) limes yields the best result. The Tiki Central post goes into much detail on the types of bottled Key lime juices as well as the recommended blends. If you’re in Florida, look for the 100% natural Terry’s Homemade Key Lime Pie juice. It’s sold by the gallon at New River Groves. It’s by far the best. Finally, it’s fine to use standard fresh-squeezed regular lemons. I’ve been toying with a blend featuring Key West lemon juice, but that may be too tart for some palates.
Honey, Key Lime juice, grapefruit juice and orange juice from Bob Roth’s New River Groves, January 2017. (Photo by Hurricane Hayward)
* Honey mix is another one of those nods to Don the Beachcomber, a historic ingredient that The Mai-Kai features in more than 20 cocktails. To get the proper amount of sweetness, we recommend a rich syrup (2 parts honey to 1 part water). Shake until thoroughly combined, then refrigerate. It should last for a while. And always use Florida Orange Blossom honey. Commercial brands can be found everywhere, but if you’re in Florida, we recommend seeking out locally produced varieties. I always pick up a bottle of the raw, unfiltered honey from McCoy’s in Loxahatchee when I make a juice run to New River Groves (see above). But any good Florida Orange Blossom honey should work fine.
* Passion fruit syrup is another key sweetener, used in more than a dozen cocktails at The Mai-Kai. There’s a hefty amount in this drink, so you’ll want to make sure it’s not too cloyingly sweet. I like to make a homemade syrup following the recipe I first saw in 2007 in Beachbum Berry’s Sippin’ Safari. Monin makes a bottled syrup that’s similar in flavor to The Mai-Kai’s house-made version. There are many other choices, from premium (Small Hand Foods, B.G. Reynolds, Aunty Lilikoi) to budget (Real Syrups, Finest Call) brands.
Appleton Special gold Jamaican rum hasn’t changed, but it’s been rebranded as J.Wray gold. (Photo by Hurricane Hayward, June 2017)
* Jamaican rums are featured in as many as 40 cocktails at The Mai-Kai, and Appleton (from the J. Wray & Nephew distillery) is the brand of choice. [Click here to see our full guide to Appleton rums at The Mai-Kai] The menu description is misleading, as I believe there’s more than a “splash” of Appleton in this drink. You can clearly taste an ounce or two. The original menu description (see above) described a “splash of coffee and Appleton Rum,” then was shortened to remove the coffee. It’s our guess that the splash referred to the coffee, not the rum. In any case, there’s likely 3 1/2 ounces of rum in this drink, similar to the other large snifter/goblet drinks. A light Virgin Islands or Puerto Rican rum (such as Cruzan, Bacardi or Don Q) forms the base. Appleton brings the flavor, and we’re recommending 2 full ounces. It’s unlikely that the premium Appleton Estate Rare Blend is featured here, but feel free to use a splash, up to 1/2 ounce. Our guess is that J. Wray Gold, which was formerly known as Appleton Special, is used here. It’s a lighter bodied gold rum but still has plenty of flavor and just a hint of Jamaican funk. I don’t believe that Signature Blend (formerly known as V/X) is featured, as that is now the substitute for the defunct Kohala Bay in many other cocktails. The Hukilau was never on the list of funky Kohala Bay drinks. And we’ve been told that Reserve Blend is not in stock behind the bar. Therefore, our recommendation would be 1 1/2 ounces J. Wray Gold and 1/2 ounce Appleton Estate Rare Blend. But feel free to use any combination of Appleton rums. You can’t really go wrong.
The Mutiny and The Hukilau in The Molokai bar, February 2017. (Photo by Hurricane Hayward)
* Finally, there’s Mariano’s Mix #7, named for The Mai-Kai’s original mixologist, Mariano Licudine. He was head bartender from 1956 until he retired in 1979 and brought many secret recipes from his 16 years at Don the Beachcomber in Hollywood and (for the majority of those years) Chicago. The Hukilau was created decades after Licudine’s tenure, of course. He passed away in 1980, but his influence can still be felt. The Hukilau originally didn’t contain this mix and was for many years similar to the second tribute recipe above, with the addition of coffee. From time to time, you’ll still get this older version (sans coffee) if the mix is unavailable. Secret mixes were Don the Beachcomber staples, created to both streamline the mixing process and keep his bartenders from stealing his recipes when they moved on to other bars. A few trusted barmen, such as Licudine (and Ray Buhen, who opened the Tiki-Ti in Los Angeles in 1961), either had access to how they were made or reverse engineered their own versions. As the years went by, a few of Licudine’s more obscure syrups disappeared from use when the ingredients became unavailable. Then, in the summer of 2016, we started noticing new flavors in several drinks, such as the Bora Bora. Owner Dave Levy confirmed that indeed these old syrups were being re-created with the help of an old bartender who used to work with Licudine. They’re not exact, but they’re close enough to bring back the historic flavors from the early days of Tiki. Mix #7 tastes like falernum but with floral and anise flavors standing out. In fact, as Beachbum Berry revealed in the new 10th anniversary edition of Sippin’ Safari, Donn Beach had multiple falernum variations. You’ll also find #7 in the Black Magic and Mutiny, used to similar effect to add some extra sweetness and spice to those large cocktails. Though we have no idea what actually goes into the mix, we’ve come up with our best guess at a tribute:
* 1/4 teaspoon of Herbsaint
* 1 tablespoon falernum (Fee Brothers brand preferred)
Combine and keep at room temperature in a glass bottle. Simply increase the proportions to make larger batches. If Herbsaint is unavailable, use Pernod but scale back slightly. The anise flavor should be a background note and not dominate. Herbsaint is slightly more mellow and floral, making it better for this mix. Fee Brothers is the brand of falernum employed by The Mai-Kai. Substitute only rich, non-alcoholic versions such as Beachbum Berry’s Latitude 29 Formula Falernum from Orgeat Works. Both are made in the old style used by Don the Beachcomber (and The Mai-Kai).
It’s very difficult to get the balance of this drink correct, but when you do it’s one of the best, hence the high rating.
Our original tribute recipe containing cinnamon and coffee remains below for reference. It’s arguably just as good, if not better, than those above even though it’s no longer accurate. Enjoy them all.
Tribute to The Hukilau at The Mai-Kai, v.1
The Hukilau tribute by The Atomic Grog, April 2012. Glassware: The Hukilau 10th anniversary snifter glass, produced in 2011. Mug: The Hukilau 2009 by Munktiki. Both designed by Kevin Kidney.
* 3/4 ounce fresh-squeezed orange juice
* 3/4 ounce fresh-squeezed lime juice
* 3/4 ounce fresh grapefruit juice
* 1 ounce passion fruit syrup
* 1/2 teaspoon rich cinnamon syrup
* 1/4 ounce strong Kona coffee, chilled
* 1 1/2 ounces Appleton rum
Blend with up to 1 1/2 cups of crushed ice in a top-down mixer for 3-5 seconds. Pour into a large snifter glass with more crushed ice to fill.
* The amount of orange juice required may depend on whether you use fresh-squeezed (preferred) or a bottled brand. If you’re tasting too much OJ in the final mix, just reduce to 1/2 ounce. You also may need to slightly adjust the coffee, depending on its strength.
* Kona coffee was our original recommendation, and it works fine if you brew it strong (up to double strength). The Mutiny and Black Magic reviews go into much detail on chilled coffee in The Mai-Kai’s cocktails, including the recent revelation that Colombian coffee is actually the style of choice. It features a heavier, darker flavor and can be used at standard strength.
* B.G. Reynolds makes the intense, rich cinnamon syrup that you’ll need in this version. Feel free to use your own homemade syrup. There are many recipes online or in Beachbum Berry’s books. If it’s on the lighter side, just increase to taste.
Mahalo to the Tiki Central members and bloggers who took a liking to our original tribute and shared their photos and reviews online. The most recent was Joe Garcia, who posted his take in February 2018 as part of The Pegu Blog’s annual Tiki Month blogging extravaganza.
We hope you’ll find our latest versions above just as compelling (and delicious).
This entry was posted in Cocktail reviews, Cocktails, Cocktails, Hukilau, Mai-Kai, Recipes, Rum and tagged Appleton, coffee, falernum, honey, Hukilau, Jamaican rum, Mai-Kai, Mariano's Mix #7, recipe, rum. Bookmark the permalink.
2 Responses to Mai-Kai cocktail review: The Hukilau is worthy of its famous company
This drink is basically the same as Mutiny, both are in your top 4/5 list. How do you feel about them?
I prefer the Mutiny, but The Hukilau is a nice alternative. Slightly different rum profile and a bit sweeter.
There will be some updates coming soon. The Hukilau no longer features coffee, so that separates it from the Black Magic and Mutiny a bit.
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Difference between revisions of "Yume Penguin Monogatari"
[[Image:Yume Penguin Monogatari - FC - Japan.jpg|thumb|256x256px|Famicom cover.]]
'''''Yume Penguin Monogatari''''' is a multi-genre game developed and published by [[Konami]] for the [[Famicom]] on 1991-01-25. The game combines elements from a traditional [[platformer]], a [[platform shooter]], and a [[scrolling shooter]] into a single action game. You play Penta the penguin from earlier Konami titles like ''[[Arctic Adventure]]'' and ''[[Penguin Adventure]]'' who, after binging on candy, has become obese, and your girlfriend Penko has left you for the debonair Ginji. Penko gives Penta an ultimatum to lose weight if he wants to see her again, and you have to try and collect diet drinks across several stages in order to slim down and win back the affection of Penko. Unfortunately, Ginji's minions are trying to trick Penta into eating more food and staying fat. The game has only ever been released in Japan in Japanese, but a translation hack for the ROM has been made.
'''''Yume Penguin Monogatari''''' is a multi-genre video game developed and published by [[Konami]] for the [[Famicom]] on 1991-01-25. The game combines elements from a traditional [[platformer]], a [[platform shooter]], and a [[scrolling shooter]] into a single action game. You play Penta the penguin from earlier Konami titles like ''[[Arctic Adventure]]'' and ''[[Penguin Adventure]]'' who, after binging on candy, has become obese, and your girlfriend Penko has left you for the debonair Ginji. Penko gives Penta an ultimatum to lose weight if he wants to see her again, and you have to try and collect diet drinks across several stages in order to slim down and win back the affection of Penko. Unfortunately, Ginji's minions are trying to trick Penta into eating more food and staying fat. The game has only ever been released in Japan in Japanese, but a translation hack for the ROM has been made.
I heard about this game from my friend Ryan who suggested it after I posted on Facebook about beating two penguin-themed games back to back. Assuming I was purposely playing penguin games, he told me about this game, and, I was glad he did because it's really a gem that I probably wouldn't have consider playing otherwise. I played and beat the Japanese game on my first attempt, but, unable to read Japanese, I didn't know there was an [[unlockable difficulty levels|unlockable hard mode]] afterward. So, I got and English translation patch to play it through again and then beat the hard mode, also on my first attempt on 2019-11-24, enjoying it more since I was able to read the actual story.
{{Video Game Review|8|6|8|7|4|66%|Famicom}}
{{Video Game Review|8|6|8|7|4|Famicom}}
Yume Penguin Monogatari - FC - Japan.jpg|The Famicom box uses a cutout paper medium with the game's lovely cartoon characters. The effect is wonderful, and it really gets the theme of the game across.
Yume Penguin Monogatari - FC - Japan - Back.jpg|Back of the box.
===Documentation===
Yume Penguin Monogatari - FC - Japan - Manual.pdf|Famicom manual.
* [https://www.spriters-resource.com/nes/yumepenguinmonogatari spriters-resource.com/nes/yumepenguinmonogatari] - Graphics.
===Videos===
* [https://www.youtube.com/watch?v=g9lfRs48lGE youtube.com/watch?v=g9lfRs48lGE] - Longplay (first run only).
* [https://www.youtube.com/watch?v=v3yN-9fDNdk youtube.com/watch?v=v3yN-9fDNdk] - Longplay, Japanese (first run only).
* [https://www.youtube.com/watch?v=g9lfRs48lGE youtube.com/watch?v=g9lfRs48lGE] - Longplay, English translation (first run only).
==Titles==
! Language !! Native !! Transliteration !! Translation
| Japanese || 夢ペンギン物語 || Yume Penguin Monogatari || Story of the Dream Penguin
| Japanese || 夢ペンギン物語 || Yume Pengin Monogatari || Story of the Dream Penguin
Famicom cover.
Yume Penguin Monogatari is a multi-genre video game developed and published by Konami for the Famicom on 1991-01-25. The game combines elements from a traditional platformer, a platform shooter, and a scrolling shooter into a single action game. You play Penta the penguin from earlier Konami titles like Arctic Adventure and Penguin Adventure who, after binging on candy, has become obese, and your girlfriend Penko has left you for the debonair Ginji. Penko gives Penta an ultimatum to lose weight if he wants to see her again, and you have to try and collect diet drinks across several stages in order to slim down and win back the affection of Penko. Unfortunately, Ginji's minions are trying to trick Penta into eating more food and staying fat. The game has only ever been released in Japan in Japanese, but a translation hack for the ROM has been made.
I heard about this game from my friend Ryan who suggested it after I posted on Facebook about beating two penguin-themed games back to back. Assuming I was purposely playing penguin games, he told me about this game, and, I was glad he did because it's really a gem that I probably wouldn't have consider playing otherwise. I played and beat the Japanese game on my first attempt, but, unable to read Japanese, I didn't know there was an unlockable hard mode afterward. So, I got and English translation patch to play it through again and then beat the hard mode, also on my first attempt on 2019-11-24, enjoying it more since I was able to read the actual story.
I don't own this game, but I have beat both passes and had a prefect weight at the end.
Best Version: Famicom
The game is quite creative. The story is certainly original, and the different settings and bosses in each stage are unique.
The weight mechanic is quite interesting. When Penta is chubby, he's more difficult to control and bad at attacking, but, as he slims down, he becomes faster and more powerful.
The game uses wonderful cartoon art which has been very competently converted into graphics by Batten Takaki and Gonzalez Shindo.
The music by Katsuhiko Suzuki and Atsushi Fujio is enjoyable and perfect for the game and makes great use of the DPCM channel.
It was certainly an enjoyable change for Konami to make a game that doesn't kill you every few seconds.
Although I like the fact that the only way to "die" in the game is by running out of time, and you have infinite continues, this means a dedicated player is pretty much guaranteed to beat the game after only a little effort. I would have liked it if there was a bit more challenge to the game.
The hard mode run doesn't add anything new to the game. It just weakens the power-ups and increases the damage. I would have preferred if the developers either added more content to the second run or simply made the first run longer and more difficult. Also, by showing the complete ending on the first run, there's nothing left to show for the players who beat the hard mode run. The designers should have made a simple ending for the easy victory and moved the complete ending to hard mode.
The hit box for Penta seems to be a bit too large. I guess you could argue that he reaches out to try and grab food because he's so hungry, but it does get a bit frustrating when you're pretty confident you're going to avoid an apple only to have it hit you.
Rather than have apples make you fat, the game probaly should have used junk food instead.
The game is too short and too easy. I'm not even that good at platformers, but I beat it in about 20 minutes on my first attempt, and around 40 minutes total for hard mode, also on my first attempt.
The game is certainly unapologetic in it's fat-shaming, which sends a pretty terrible message to children. I do like the play mechanic of the game, but I think they could have been a bit more sensitive about it.
The Famicom box uses a cutout paper medium with the game's lovely cartoon characters. The effect is wonderful, and it really gets the theme of the game across.
Back of the box.
Famicom manual.
spriters-resource.com/nes/yumepenguinmonogatari - Graphics.
youtube.com/watch?v=v3yN-9fDNdk - Longplay, Japanese (first run only).
youtube.com/watch?v=g9lfRs48lGE - Longplay, English translation (first run only).
Japanese 夢ペンギン物語 Yume Pengin Monogatari Story of the Dream Penguin
romhacking.net/translations/678 - English translation patch.
Retrieved from "http://www.thealmightyguru.com/Wiki/index.php?title=Yume_Penguin_Monogatari&oldid=29062"
Video Game Rank - 8
Links to GameFAQs
Links to TVTropes
Video Game Genre - Multi-Genre
Video Game Genre - Platformer
Video Game Genre - Platform Shooter
Video Game Genre - Shooter
Game Mechanic - Unlockable Difficulty Levels
Media Theme - Fantasy
Trope - Damsel In Distress
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The 100 Reactions: "Fallen" (3x10) + "Nevermore" (3x11)
Monday, April 18, 2016 / The Fangirl Initiative / No comments
"What do you do when you realize you might not be the good guy?"
I'm reeling. After six or seven disappointing, sloppy episodes, The 100 might be attempting to redeem itself. In fact, it's putting in a valiant effort to do so, giving us two good episodes in a row. Notice I use the word 'good' - not just decent. They were actually so good I had to check and make sure Shumway was still writing the episodes. (The credits claim she is; but my inside sources say the Powers that Be have replaced Shumway and Rothenpill with a clone and a cyborg, respectively. Said clone and cyborg have been given orders to fix what the originals broke. I don't know where the originals are and frankly, my dear, I don't give a diddly-darn.)
Apparently, the outrage in the fandom has reached the ears of the Powers That Be in ways I never thought possible. When ratings dip and once-enthusiastic fans grow cold shoulders, I guess you have to listen or risk losing your jobs.
Bellamy has made many bad decisions this season in the name of protecting his sister Octavia, but in 'Fallen' we finally see a good decision where he leads Pike into a trap and hands him over to the Grounders. Kane feels the need to accompany the Grounders and Pike to Polis, but before he leaves, he asks Bellamy, "Did you do it because it was the right thing or to save your sister?" Bellamy hesitates before saying flippantly, "You're welcome," in an attempt to end the conversation, but Kane grabs his arm and says intently, "It matters. Until you figure that out, you'll be lost."
It was such an unexpectedly good line from a show that's been rapidly descending in my esteem that my mouth actually fell open. I thought, could this be a turning point? Will the next episode live up to this one?
In 'Nevermore,' we see some beautiful moments for several characters I'd nearly given up on. Jasper is downright heroic for the first time in…oh, fifteen episodes, we see Sinclair caring deeply for Raven, we see Monty killing his mom to save Octavia, we see Clarke and Bellamy having some tender moments (boy, did we fans need that) and we had an excellent exchange between Clarke and Niylah.
"I'm sorry I lied to you about Bellamy," Clarke tells her as they're preparing to leave the trading post. "You wouldn't have helped us if you knew." Niylah calmly responds, "You didn't give either of us the chance to find out.
Let me tell you - if this show keeps delivering like this, it may find a strong fan in me again (at least until the next time it slides downhill). Granted, there were still a few scattered, 'we're trying very hard to be Game of Thrones and still retain our fanbase' moments (such as when Ontari coaxes a chained Murphy into sexytimes), but overall, the last two episodes showed me why I ever loved the show in the first place. It gave us complex questions, questionable decisions, three-dimensional characters, and actual, cohesive plot development for the first time in what feels like forever. I, for one, am excited to see if the show keeps climbing back up toward previous heights.
Did you catch the last two episodes? Are you excited for the next horror-themed episode (and do you want to bet it's just Roan and his men pranking the kids? Okay, so that won't be what's happening, but it's funny to think about)? IS THE MUTANT WE SAW IN SEASON ONE RETURNING?
Mirriam Neal, reactions, The 100
The Fangirl Initiative
The Fangirl Initiative is a collection of contributors dedicated to talking about the things we love. From TV recaps to gif-filled lists, this is your daily dose of stories and fandom.
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Up to 50% Off Wine Tasting and Stand Up Comedy
The Tasting Room at River Ridge Ventura County MoreLess Info
McGrath State Park
National & State Parks Ventura, CA 93001 MoreLess Info
McGrath State Park is a beachside state park and campground. The beach runs for two miles and is suitable for fishing and surfing. Swimming is allowed but swimmers are cautioned to be vigilant of strong riptides.
Regency Theatres
Movie Theaters 1440 Eastman Avenue, Ventura, CA 93003 MoreLess Info
Showing older movies, Regency Theatres offers tickets at $3 each. Every Wednesday night the theater offers a date night special that includes two hot dogs and drinks. They also have special screenings of cult classics like Rocky Horror Picture Show.
WWII Aviation Museum
Aviation Museums 455 Aviation Drive, Camarillo, CA 93010 MoreLess Info
At the WWII Aviation Museum, guests will be able to learn about the role of the Air Force during World War II. The location offers information about the pilots, the introduction of women into the workforce, and aircraft designers and builders.
Commemorative Air-Force Southern California Wing
Filled with aircraft memorabilia, Commemorative Air-Force Southern California Wing features artifacts and planes used in major American wars, such as WWII and Vietnam. The museum offers air rides in a WWII Warbird plane.
Springville Dog Park
Dog Park 801 Via Zamora, Camarillo, CA 93010 MoreLess Info
Springville Dog Park consists of a large fenced-in area for dogs to roam freely and a smaller fenced-in area for more passive dogs. They have lots of grass, a dog drinking fountain and poop stations.
Parks 480 Skyway Drive, Camarillo, CA 93010 MoreLess Info
Featuring 5 baseball diamonds, Freedom Park offers visitors an area to play baseball or attend community events. In addition to the fields, there are also picnic areas, horseshoe pits, running tracks, a gymnasium, and a hockey rink.
Ventura Harbor Village
Restaurants 1583 Spinnaker Drive, Ventura, CA 93001 MoreLess Info
Located in Ventura, California, the Ventura Harbor Village is an indoor-outdoor commerce and recreation area on gorgeous waterfront property. It features a bevy of shops and restaurants, plus plenty of open space dotted with shady trees.
The Robert J. Lagomarsino Visitor Center at Channel Islands National Park
Visitor Centers 1901 Spinnaker Drive, Ventura, CA 93001 MoreLess Info
Visitors to The Robert J. Lagomarsino Visitor Center at Channel Islands National Park have access to information, maps and other materials that make it easy to get the most out of each visit. Friendly staff members are always available to answer questions.
Parks 1901 Spinnaker Drive, Ventura, CA 93001 MoreLess Info
Accessible by ferry, the Channel Islands National Park consists of five small islands and offers a variety of outdoor activities like kayaking, hiking, and camping. Oftentimes visitors can spot whales, foxes, and other wildlife on their trip.
Santa Cruz Island Channel Islands National Park
Islands Ventura, CA MoreLess Info
As the largest of the eight channel islands, Santa Cruz is home to the Santa Cruz Island Channel Islands National Park. The park offers breathtaking ocean views and wildlife sightings. The park also houses historic structures from the 1800's.
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Bushfires and Wine Regions
Our Bushfires and Wine Regions Map of mainland Southeastern Australia is published as a public service. The bushfires data was updated on 15. January, 2020.
vwmaps.com/winefires
Bushfire data are sourced from
Australian Capital Territory Emergency Service Agency (esa.act.gov.au)
New South Wales Rural Fire Service (rfs.nsw.gov.au)
South Australian Country Fire Service (cfs.sa.gov.au)
Tasmania Fire Service (fire.tas.gov.au)
Emergency Management Victoria (emv.vic.gov.au)
While the data are sourced from reliable sources, the map is not updated on a daily basis and should not be used for emergency management purposes. No intellectual property claims are made for the map data and no liability is accepted.
Wine Regions are from Wine Australia
The Definitive Encyclopedia of Sparkling Wine
Christie’s World Encyclopedia of Champagne & Sparkling Wine is by Tom Stevenson and Essi Avellan with maps by vW Maps
We contributed maps and information graphics to the new edition of the National Geographic Atlas of the World. The spread on human migration explores various forces that cause people to flee hardship and crisis.
We Map Wine Regions
In addition to the G.I.S. services we provide to the wine industry, we can design 3D terrain models for your visitor centre or cellar door, or printed maps of a wine region’s terroir to leave a vivid, lasting impression.
Shedding Light on Geographic Knowledge
National Geographic needed new interactive maps for a website and an app.
For the Conservation of Marine Life
A map of Antarctica focuses on the water in which the organisation’s interests lie.
A Walking Tour of Melbourne
A delegation from overseas needed a simple map of the city and they needed it NOW!
Raised Relief Map is a Terroir Explainer
A premium Mornington Peninsula wine producer commissioned a terrain model for use at their restaurant to illustrate the factors that contribute to a vineyard’s terroir.
Obesity in Australia
Australia has the fastest-growing rate of obesity in the world. The map of Australia shows the geographic trend of adult obesity in Australia.
Siting vineyards for sparkling wine
vW Maps is proud to have made many maps for Christie’s Encyclopedia of Champagne and Sparkling Wine.
Three-dimensional model of a beautiful Australian National Park
The dramatic landscape of a national park is a fascinating subject for a model printed with GIS-technology and meticulously painted by hand.
A Movie Map of the Beechworth Vignerons
An animated map movie of the vineyards of the Beechworth Vignerons. “It’s brilliant”, said Tony Keys, TKR, 15 November 2012.
Bicycling around Bayside
The Bayside Cycling trail map shows the on-road and off-road bicycle paths plus amenities of interest to cyclists including bike shops.
Vines of Tasmania: a website to strengthen the industry
The Vines of Tasmania is a browser-based application that allows grape growers to update the status of their grapes so that fuel-reduction burns can be avoided in the vicinity of susceptible grapes.
A Truly 3-Dimensional Map
Topographically-accurate 3d models bring the geography of a region to life.
A Virtual Tour of a Wine Region
A fly-through of one of Victoria’s finest wine regions reveals the geography behind a leading Australian winemaker.
Overlaying vineyard locations on a map of Bureau of Meteorology climate data provides insights into wine qualities. The climate maps from the Tasmania Wine & Gastronomy Map have been reproduced at one square metre each on the walls of a noted winery restaurant in the Tamar Valley.
A 19th Century journey through Arabia
A map of an adventurer’s travels in Egypt, Palestine, and the Arabian Peninsula, made using design elements from the period.
Wine Region Maps
The success of the Australian Wine Maps publications from vW Maps has led to the commissioning of maps of various regions and subregions by winemakers, regional winegrower associations, and Australia’s statutory authority on wine regions.
Using cartography to produce more accurate data
An essential function of GIS is to help us understand ‘where’, ‘what’s close’, and ‘how far’? vW Maps processed spatial information quickly to create climatological summaries for hundreds of sites.
Overlaying vineyard locations on a map of Bureau of Meteorology climate data provides insights into the qualities of the wines. A map makes the case for Tasmania’s standing on the world stage by revealing similarities with the climates of famous wine regions in Europe, North and South America and New Zealand.
Visualising grape production in Australia
Complex data should be represented so that they’re easy to grasp, not stupefyingly confusing. Making the difficult look effortless is the essence of good information design and the aim of vW Maps.
The geologic forces behind a prized grape
Simplifying many classes of geologic data and overlaying the vineyard locations reveals how erosion has produced the highly-valued terra rossa of Heathcote
Better maps. Better workflow.
Streamlining an archaic information transfer system while improving the look of the map
A new map for a fledgling wine region
vW Maps understands the geography of wine in Australia.
Maps for Books
Our Australian Wine Maps have recently been adapted for book publications by Hardie Grant and Penguin Australia.
Visualising Ecological Fragility
A map for Australian Geographic magazine required a layering of different data sets to show the increasing stress that human activity is bringing onto areas of environmental sensitivity.
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You are here: Home / Business / Sandy Hook Teacher Kaitlin Roig-DeBellis on Finding Hope After Tragedy
Sandy Hook Teacher Kaitlin Roig-DeBellis on Finding Hope After Tragedy
October 3, 2018 By Susan Michel
When a gunman opened fire inside the friendly, peaceful Sandy Hook Elementary School on December 14th of 2012, lives were changed forever. First-grade teacher Kaitlin Roig-DeBellis, whose classroom was only a few feet from where the attack began, immediately sprang to action by hiding her 14 students in a 3×4 foot bathroom and keeping them quiet. Although she and her students survived, others did not, and the tragedy left the community frozen with dismay and unanswerable questions. In an effort to overcome the darkness and chaos, Kaitlin created an organization to promote kindness in the classroom and wrote a novel, Choosing Hope, to guide others who are suffering through hardship to find their light, one day at a time. From her heroic actions as a teacher, philanthropist, writer and speaker, Kaitlin was chosen as a 2013 Glamour Woman of the Year.
Join us every other week on “Women’s Wealth: The Middle Way,” a radio show aimed at helping women navigate questions about work, money, and family. You can find us on http://www.womensradio.com/author/lhurd, and https://womenswealth.podbean.com, on the SoundCloud Apps for iPhone and Android, https://soundcloud.com/womenswealthmiddleway and Spotify. See you in two weeks!
Filed Under: Business Tagged With: advice, change, community, confidence, courage, Faith, family, Glen Eagle, grief, guidance, hope, mom, pain, suffering, support, Susan Michel, teacher, The Middle Way, Tragedy, woman, women
About Susan Michel
Susan Michel, CEO & Founder – Glen Eagle
Susan Michel is the founder and Chief Executive Officer of Glen Eagle, a full-service Registered Investment Advisor and Broker-Dealer. Susan founded Glen Eagle in 2002. Glen Eagle is a WBENC-Certified Women’s Business Enterprise.
What differentiates Glen Eagle is the culture Susan has created. Her approach is summarized in the firm’s vision statement, “Faith, Family, Firm, in that order.” Everyone at Glen Eagle internalizes this statement in their day-to-day interactions with each other and with the firm’s clients.
Today, under Susan’s principled guidance, Glen Eagle has grown to become a national financial services firm providing corporations, family offices, business owners and multigenerational families with trusted stewardship and transparent access to their wealth. Glen Eagle serves clients in 32 states and manages over $4 billion dollars in assets.
Susan’s business leadership has been recognized by numerous awards, including the Brava Award by Smart CEO and the National Enterprising Woman of the Year Award. She has also been named one of NJBIZ’s Best 50 Women in Business and one of the Top 25 Leading Women Entrepreneurs and Business Owners of New Jersey.
Susan has a national presence as a speaker and writer. Susan has spoken to a wide variety of audiences, including FINRA’s National Annual Conference, Financial Advisor’s Invest in Women Conference and the Enterprising Women Conference. Susan also hosts a national podcast, Women’s Wealth: The Middle Way®. She has been featured in Fortune, Forbes and Newsweek.
Susan believes it is important to give back to others through service. She currently serves as Vice-Chair of Board of Trustees of The Hun School of Princeton, as a Trustee on the Board of the College of St. Elizabeth and as a board member of the New Jersey Chapter of the Entrepreneur’s Organization (EO).
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Lydia Marrs
Spouse: Robert Kelley
Marriage: 5 Sep 1770, Warren, MA
Records of Frances Porter, Mar 2001.
Ruth Kelley, born calculated 1770
Mary Kelley, born 1772
Lydia Kelley, born 1774
Robert Kelley, born 1776
Henry Kelley, born 1778
William Kelley, born 1778
Abner Kelley, born 1783
Birth: about 1780, Long Island, NY
"Rutland County, Vermont, Cemetery Inscriptions", by Margaret R. Jenks, Privately Published, 1995; age 74 at death.
"Rutland County, Vermont, Cemetery Inscriptions", by Margaret R. Jenks, Privately Published, 1995.
Burial: Evergreen Cemetery, Rutland, VT
Spouse: Hepzibah Wheelock
Marriage: 20 Sep 1803, Rutland, Rutland Co, VT
Vermont Vital Records to 1870, Microfilm Collection, New England Historical and Genealogical Society, Boston, MA.
Florina Wheelock
Birth: 4 Feb 1821, Calais, VT
"Samuel Davis, of Oxford, MA, and Joseph Davis, of Dudley, MA, and Their Descendants", by George L. Davis, published by the author, North Andover, MA 1884.
Father: Gideon Wheelock
Mother: Sally Davis
Spouse: Azro L. Silloway
Marriage: 7 (?) SEP 1846
Thomas Benton Silloway, born 25 Sep 1847
Monroe Silloway, born 31 Jan 1851
Waldo O. Silloway, born 8 Oct 1855
Alverne C. Silloway, born 1 Jun 1859
Jotham Wheelock
Birth: 26 Aug 1763, Shrewsbury, Worcester, MA
Shrewsbury Vital Records
Death: 27 Apr 1831
"Cemeteries of Cavendish, VT", compiled by Mrs. Gordon W. Churchill, Printed by Hurd's Offset Printing, Springfield, VT, 1976.
Burial: Pesthouse Cemetery, Cavendish, VT
Mother: Anna Drury
Spouse: Relief Harris
Marriage: 11 Nov 1802, Cavendish, Windsor Co, VT
"Vermont Vital Records, 1760-1954", online at www.FamilySearch.org, retrieved Sep 2017.
Benjamin Harris Wheelock, born 3 Sep 1809, Cavendish, Windsor Co, VT
Jothan served in the Revolutionary War. He entered service in 1781, at the age of 18, as a private.
There is an 11 Nov 1802 Vermont marriage record for Jonathan Wheelock of Cavendish and Relief Harris. Some have claimed this was Jotham; supporting evidence is found in a 1809 Cavendish, VT birth record for Benjamin Harris Wheelock, son of Jotham and Relief. Additional supporting evidence is found in the 1810 Census record for Jotham Wheelock (indexed under Latham Wheelock at www.FamilySearch.org and www.Ancestry.com). The census indicates that Jotham (age 45 or older) lived with a woman, age 16-25, and a young boy, age under 10 (presumably Benjamin Harris Wheelock).
Guardianships were drawn up for Jotham in 1817, and 1831, on file in Volume 3 of the Windsor County Probate office, VT. The probate index refers to him as "insane".
Jotham is buried on the "old Saunders farm", on the upper end of the so-called Town-Farm Road. His monument, the only one in the cemetery, was erected by Col. William Wilgus, a descendant. (Source: "Cemeteries of Cavendish, VT", compiled by Mrs. Gordon W. Churchill, et. al., Copyright 1976, printed by Hurd's Offset Printing, Springfield, VT).
Rachel Edith Wheelock
Birth: 31 Aug 1897, Berlin, Washington Co, VT
Vermont Vital Records 1871-1908, Microfilm Collection, New England Historical and Genealogical Society, Boston, MA.
Father: Martin W. Wheelock
Mother: Julia A. Miles
Mary _____
Partner: Albert J. Wheelock
William Wheelock
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Tag Archives: solar on boats
Solar Power Rangers
Viktor and Ivo installing solar panels.
We sailed back to Florida all the way from Guatemala, braving currents and winds, risking our lives, in pursuit of one thing and one thing only: energy. Turned out we need more solar panels and more batteries in order to produce enough electricity for the fridge, lights and ventilators, watermaker, electrical heads, and electronics without using the engines or a generator (which we don’t have anyway), or any other fuel-consuming machine. It also turned out, that outside of the United States everything is a lot more expensive if you find it at all. So here we are, back in Key West, installing solar panels.
Our fridge, which has two compartments: one is a fridge and the other a freezer with two cold plates, is the biggest consumer of electricity on board; it draws somewhere between 8 and 10 amps per hour (Ah).
The electronics: GPS, autopilot, radar, sonar, wind vane, AIS, and VHF radio take roughly somewhere between 10 and 15 Ah when in use while sailing. When at anchor, they are tuned off.
The lights: salon, cabin, anchor, cockpit, and deck lights are all LED and consume very little electricity, using one tenth the power of conventional lighting. For example, the anchor light will take 3 amps, not per hour but for the entire night.
Our watermaker, Catalina MK II, takes 16 Ah producing 16 gallons of water per hour, 1 amp-1 gallon. But we use it very rarely, as we also collect rainwater every time it rains through an extremely efficient system Ivo came up with: two hoses attached to the hard top (the roof of the boat) run down to the water tanks. When it rains hard all night, we fill up the two tanks: 220 gallons of pure rainwater. But when it doesn’t rain for a while, then we turn on the watermaker which we bought and installed ourselves. This is a fun little contraption that takes the salty water from the sea and separate’s the liquid from everything else thus producing pure drinkable freshwater without any salts and minerals in it.
Maya collecting rainwater in a bucket. When we want to fill up the water tanks we plug hoses to the opening on the hard top.
The electrical heads, two of them, which we installed first thing after we came back from Guatemala replacing the old regular ones, consume 16 Ah (but of course, we don’t use them constantly).
The air conditioning system which came with the boat went in the garbage with all its bulky tubes and insulations as soon as we moved in. ACs on boats need lots of electricity and the people who use them are usually those who stay plugged at the marinas and pay marina and electricity bills. We are not such people. Except in Havana Cuba where we had no choice, we have never stayed at a marina; always at anchor. And when it gets too hot, we turn on the small ventilators which consume 0.5 Ah, or jump in the water.
When we bought the boat she came with two solar panels 170 watts and 3 AGM house batteries 300 Ah. Initially, we bought and installed 3 more Kyocera solar panels, adding 750 watts, and we replaced the 3 AGM batteries with 10 deep cycle led acid batteries 6V, 370 Ah. Thus, when we started cruising, we were producing almost enough electricity for our needs, but had to be very cautious about it, constantly monitoring the amperage in the battery bank. What’s more, after two or three overcast days and when sailing and using all the electronics, we had to turn off the fridge or we risked the battery bank dropping below 50%.
Now, we solved our electricity shortage problem by buying two more humongous solar panels, 320 watts each, and replacing the 10 deep cycle batteries with four lithium batteries, all together 700 Ah. Total of 7 solar panels: 1390 watts of pure solar energy. That should be enough! Seen from above, Fata Morgana looks like a solar panel field floating in the sea. With so many panels, we produce electricity even at night, when the full moon illuminates the liquid world around us.
Fata Morgana from above
We got the new panels from eMarine Systems located in Miami Florida. They specialize in alternative energy systems and have some of the most competitive prices on the market. After spending much time answering our questions and helping us take the right decision as to which panels, how many to buy, and how to install them, Bob Everhard the sales manager of eMarine Systems, agreed also to become one of our sponsors by giving us a bit of a discount from the price. Thank you, Bob, for supporting our journey and our goals: to achieve self-sufficiency, to travel without polluting the environment, to live off the grid entirely.
A BIG thank you goes also to Balqon and their staff for all the patience and professional service in dealing with us; corresponding with Ivo via E-mail over a thousand times, answering all his questions. These are the guys who have the best and the cheapest lithium batteries in this part of the world.
And finally, we would not be able to do so much work on the boat in so little time without the help of the guys at the new West Maine store in Key West. Thank you all!
Next stop: Bahamas!
Tagged alternative energy, catalina mk II, fitting the boat, lithium batteries, off grid, sailing, solar energy, solar on boats, solar panels, solar power, solar systems, watermakers
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The Newest Rant
All the news that's unfit to print
"Rick and Mortry Presents: Sleepy Gary #1," False Memories and Sexual Fluidity Make for a Fun Read
I am of course a big fan of the, "Rick and Morty," television show. I also have at times dabbled in comics published by Oni Press related to the characters. When I heard there would be quarterly-comics spotlighting particular secondary characters I was intrigued to hear about, "Sleepy Gary," for a number of reasons, one being he introduces an interesting element of sexual fluidity to Jerry on the show, and the other being he technically doesn't really exist. You see, we met and saw the end of Sleepy Gary in the season 2 episode, "Total Rickall," where a mind-altering parasite invades the house and has the ability to pose as various people then convince others through false memories it is a longtime friend, relative, or lover. In that episode the Smith household was able to defeat the parasite as it rapidly reproduced itself through more and more false memories, but not before some interesting concepts were introduced.
Viewers of the show know that Jerry is of course Beth's husband--usually (they separated at the start of season 3 but reconciled at its end). He is the Farther of their two children, Summer & Morty, and hates how Beth's father, Rick, lives with them and otherwise belittles him. However, in the episode, "Total Rickall," the alien parasite was able to make the house believe that, "Sleepy Gary," was Beth's husband and the father of the kids, with Jerry simply being a family friend. It also however made Jerry think that at one point he and Gary began a secret relationship. This is interesting, as the show has never really discussed Jerry being at all bisexual, and resulted in some fan discussions of if Jerry was in fact also attracted to men, "tricked," by the alien, or what the case was. Most folk seem to agree the alien parasite preys upon what people most desire, and Jerry desires someone, anyone, to pay him attention and give him affection, with that person's sex being secondary. In other words, Jerry is sexually fluid.
The parasite never, "tricks," anyone else into finding someone attractive they otherwise would not be sexually interested in, so it is therefore quite likely that Jerry is indeed bisexual, pansexual, or simply sexually fluid in general, willing to fall in love with any person who is willing to give him attention, regardless of what kind of genitals they may have. Jerry is just simply is open to love. It's both sweet and ultimately tragic because Jerry is of course a loser who very few people--male or female--would consider worth dating. Hence, in this comic when Rick is attempting to figure out better ways to combat the parasite, he creates a version of a past kind they encountered--Sleepy Gary--and upon its breaking-out it realizes one thing that was a constant for it, loving Jerry (whether truthfully, or simply to assist in propagating itself is left open to interpretation), and it proceeds to find Jerry and convince him of the same.
Much of, "Sleepy Gary #1," is then spent with Rick and Morty working to track down Sleepy Gary once he escapes and proceeds to abduct Jerry, flees to Mars, and creates an elaborate bunch of false memories for he and Jerry as a happy and loving couple of an adopted alien baby on Mars. It is all fake of course, with Jerry angrily exclaiming how he and Gary should be allowed to spend their years in peace before Rick points out its actually been all of, "27 hours," since Gary escaped and kidnapped Jerry to Mars with their paper-thin facade of a happy life. The saddest thing is that this version of the parasite/Gary truly seems like it is trying to create a happy life, no matter how much of sham, with the little bits of false memories that the parasite itself seems to believe--it truly thinks it loves Jerry and may very well not understand it is simply a reproduction of a malevolent parasite that previously used Jerry as an end to its means of taking over the Universe. Sleepy Gary is himself a fictional construct that its own parasite wants so desperately to be real it builds its own false life that is little more than a metaphorical house of cards barely two days-old. It is both as clever as it is sad and hilarious.
Eventually Rick manages to kills the parasite, Jerry realizes just how much was faked again as in the, "Total Rickall," television episode and is quite mad at the parasite for tricking him into thinking they had a special romance--because again, Jerry is a loser desperately seeking love and affirmation. It is a really great comic for how it handles these ideas of sexual fluidity, false memories, and of course is an absolute riot as all the better, "Rick and Morty," shows and comics manage to be. Magdalene Visaggio is a stellar writer (I've read some of her work with Black Mask and enjoyed it) and I appreciate the skill with which she juggled so many concepts and ideas. CJ Cannon makes everything, "Look," like, "Rick and Morty," superbly as well, so a fantastic issue all-around I eagerly rate...
Posted by David Charles Bitterbaum at 9:31 AM
Labels: CJ Cannon, comics, funny, Magdalene Visaggio, Oni Press, rant-reviews, Rick and Morty, Sexuality
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David Charles Bitterbaum
I like comic books, videogames, music, television, movies, politics, and pop-culture in general--so I'm going to talk about it all. Email me at davidbitterbaum@gmail.com to say hello, insult my opinions, or otherwise share your thoughts.
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Instantaneous Baboonery: a Proven Given
Fergu’s Son:
So…for more than four hours Michael Brown lay on a Ferguson street with no one allowed to check a pulse or any vital signs…his body simply laid there in a pool of his own blood.
In the very beginning as news of the Ferguson killing unfolded of an unarmed black male teen gunned down shot six times in the street with his hands held up, right-wing blog groups were initially attacking police actions, but wholly for the wrong reason. They were attaching it to their so called government takeover conspiracy beliefs in beefing up the idea of stocking homes with all sorts of lethal ammo. But once they found out they were on the side of liberals and Democrats denouncing the act, they quickly changed route.
Of course when it became a race issue they certainly didn’t want to appear they were rooting for minorities now would they...not that they don’t deny being racist though, as they indeed continually point out they are not. In fact, as they have done all along such as causing the fiscal cliff, sequestration, the government shutdown…what they inevitably follow up with is blame the other side for it. Without hesitation, they are attempting to portray that it is American blacks and Democrats who are by and large the racists.
When I’m in argumentative mode with a Republican and he gives out claims that right-wingers are not prejudice, I always ask him who ya think the Ku Klux Klan votes for…the Klan certainly doesn’t pull the lever for any Democrat or liberal Independent. The reason being is that Republican platforms simply resonate more with them.
Ya know, it’s been a long time now that I’ve stated to right-wingers concerning conspiratorial theories of a federal government takeover to forget about it…you need to be looking closer to home at local police departments. They are the ones who more than likely will take away individual liberties and rights.
Militarizing community police departments is asinine…what are local sheriffs thinking they will encounter in their own communities fully equipping themselves to the hilt with battle zone military weaponry? Police forces, urban and rural are now equipped with tanks, heavily fortified personnel carriers, AR-15s, laser point sniper rifles and night vision goggles. All this military hardware and accessories is for what…to drive into a neighborhood and up some citizen’s driveway?
The photo below comes from my hometown stomping grounds in Fort Worth, Texas…awesome to some, alarming to most.
In my opinion only, I feel if someone is accepting a job knowing full well it involves a high possibility they will kill someone in their respective duties that mentality correlates with the criminal mind. Then add all this Rambo wannabe mindset with the military toys, incidents like the following will occur.
This past May in rural Habersham County, Georgia, the Phonesavah family had just arrived from Wisconsin to stay with the mother’s sister for a while after their home had burned down in Wisconsin. Police in the county, felt they had a concrete tip that the family were low level drug dealers. During the dark of night dressed up in battle gear garb and without a knock on the door, they broke into the home and immediately threw a stun grenade into the front room. It landed into the playpen where little 19-month-old toddler, Bounkham Phonesavah was sleeping. The grenade went off right beside his head causing severe burns and physical trauma. The military, err ah, police continued on in assaulting the residents before assisting the critically injured child.
Once arriving at the hospital, the toddler had to be placed into a coma paralyzing his little body where doctors could perform the necessary surgeries and administer the urgently needed medical assistance.
Traumatized, the mother stated to Atlanta’s WSB-TV 2, “There’s nothing we can do to change the situation; my husband and I would gladly both give up our lives just to see him not like this. He’s such a happy little boy, and to see him like this laying there, not moving, it’s heartbreaking. We just want to hold him and we can’t.”
To make things even worse, the family had no connection to the suspect police were after. Unfortunately, it worsens more. The police force, as expressed by their spokesman and police chief, Rick Darby were sorry it happened. But apparently not enough, as they refuse to pay for the medical expenses that have overwhelmed the family. This child with severe burns to the face, head and body along with a gashing wound in the chest will be scarred for life.
If this were a street gang that did this, they would promptly be arrested, jailed and responsible for all medical expenses drug money or not. The gang members would be looked upon as wild animals.
In Ferguson, Missouri on August 09, 2014, 18-year-old unarmed Michael Brown (who was black) was shot down in the street and as multiple witnesses testified, with his hands up in surrender. He was shot by Ferguson police officer, Darren Wilson (who is white) for allegedly jaywalking. Brown lay dead in the middle of the street in his own pool of blood for hours.
No one from the public, not even Brown’s mother was allowed access to her son’s body lying in the street. He was in plain view for her to see, but she was banned to go near his lifeless body. For more than four hours Brown laid there in the street, not even medics were called in to inspect the body.
Without giving an incident report Ferguson police chief, Thomas Jackson only gave an initial accounting that Brown was a suspect in a convenient store cigar robbery in attempts to vilify the victim and that Brown was shot only a couple of times as he charged the officer. He refused to give out the offending cop’s name. The autopsy report however supported the eye witnesses as opposed to Jackson’s statements showing that the wounds indeed correlate to hands held up and in entering the backside of Brown, therefore he could not have been grabbing for Wilson’s gun.
With the community’s call for answers going unanswered for a week, they organized and began protesting peacefully and remained peaceful even with police snipers on ceilings with pointed high powered rifles targeting the crowd. Even with the tear gas canisters being launched by policemen in full military garb with fingers trained on assault automatic weaponry, protesters were still acting peaceful, but looting and destruction of property eventually did take hold.
According to a recent University of California 2011 case study of 192 cities titled, ‘Designing Force Project’ researchers found that events begin to sour in a hurry when the police force begins turning out heavily armed in multitudes during assembled peaceful protests. This intimidates, giving the impression of you against them. It damages any positive relations and degrades into violence. Overwhelming aggression reaps aggression.
Professor Nick Adams, the acting fellow at UC Berkeley’s ‘Institute for Data Science’ states for the most part, militarized police showing up in force sets the tone of peaceful protest to devolve into inflaming the crowd.
Adams said, “It just upsets the crowd. Once police departments come out with overwhelming force, they put themselves in a hole. It may work out in the end, but they’re going to be sidelined until that trust is earned again.”
Even that being the case, it turns out that during the Ferguson looting, it was three-quarters conducted by ill-willed outsiders. The majority of Ferguson citizens that are 63% black only participated in the peaceful marches and speeches.
The event quickly turned into a racist issue and for very good reasoning…it is a racist issue.
Brown’s death while unarmed at the hands of an armed policeman was just about all America’s black communities and Americans in general could sustain. There’s been a string of them as of late and as always, the black victim is portrayed as the villain while conservatives promote police reports in that the officer was legitimate in his actions.
There are plenty of records on good cops being killed in the line of duty and that is a good thing. There are even records of cops committing ‘justifiable homicide’ but unfortunately there are no records, whether on the federal, state or local levels of cops’ ‘unjustifiable’ homicides in killing someone unarmed or not posing a life threatening gesture to the cop.
From: HTTP://quickfactscensus.gov/qfd/states/ 2012 statistical data, I’ve picked at random three cities from the site’s city list. Here are the figures:
Chicago, Illinois ~ percent black population – 32.9%; percent of population killed by police who were black – 91%; percent white population – 31.7%; percent of population killed by police who were white – 4%.
New York City, New York ~ percent black population – 28.6%; percent of population killed by police who were black – 87%; percent white population – 33.3%; percent of population killed by police who were white – 4%.
Saginaw, Michigan ~ percent black population – 46.1%; percent of population killed by police who were black – 100%; percent white population – 37.5%; percent of population killed by police who were white – 0%.
Of course, Republicans will claim that this type of data is due to the fact that blacks commit more crime, but that simply is not true…poverty commits crime, for any area where there is dire poverty in overall poorer white communities crime is high there too. Crime doesn’t even rest in poor communities for the affluent in financial crime schemes also occur and leading up to the ‘Great Recession’ financial and commercial crimes were rampant, especially as going unabated due to deregulation.
A major aspect of crime is racism and it is practiced by police forces and at times largely ignored by the U.S. populace with an engrained thought that blacks are more prone to police run-ins. I could give examples of this all across America and we’ll give one here below, but stick to and concentrate further on Ferguson and the surrounding St. Louis area.
Take for instance, Alex Landau’s case who is black. Alex was adopted and raised by white parents and speaks better English than I do as a white West Texan. In 2009, he was a college student driving around the Denver suburbs with his white friend sitting in the front passenger side when cops pulled him over. What happens next unfolds on the audio below. Play and listen.
Landau after the police encounter
First-off, there is a law, the ‘Missouri Sunshine Law’ that unequivocally states, “must promptly provide an incident report during a police shooting including detail of the incident and all its circumstances surrounding the cause to shoot to kill.” It was over ten days before the incident report was made public and information was heavily redacted, giving only the date, time and location.
For that matter, until 2012, use of force reports weren’t kept in a Ferguson officer’s personal file, therefore the fact that Darren Wilson migrated from a former corrupt police department fraught with racial tension in the nearby town of Jennings, Missouri, nothing was on file of what he might have done there or at Ferguson.
But one woman, who had a previous run-in with Wilson, tells a story of a foul-mouthed uncaring officer. Interviewed by Don Lemon of CNN a woman who preferred to remain anonymous stated that Wilson once told her to “shut the fuck up” and “sit the fuck down” as she was trying to flush mace out of her eyes.
She explained that, “I came outside and I was trying to pour milk in my eyes and Wilson told me if I poured milk in my eyes, I was going to be arrested and I was trying to tell him that my eyes were burning because I was maced, but he told me to ‘shut the fuck up.”’
The Ferguson police department stopped a black motorist for accidentally driving down a one way highway ramp accidentally. Once giving them his identity as Henry Davis, they promptly arrested him mistaking him for a Henry Davis with a warrant out.
Once in police custody, they knocked him to the floor with four cops beating him and kicking him in the head. Oh, did I mention this occurred the whole time he was handcuffed? The woman cop who straddled him and cuffed him while on the floor before the beating was police officer Kim Tihen who is now sitting on the city council board. If it couldn’t get any worse, the Ferguson police charged Davis, a totally innocent bystander who made a wrong turn at the wrong time, with damaging police property because during the beating, some of his blood splattered onto the cops’ uniforms.
During the protest, St. Ann Missouri patrolman shouts to the crowd “I’m going to fucking kill you” while pointing his assault rifle at the protesters. See the below video:
Even direr, the 35 year veteran of the St. Louis county sheriff department, Dan Page purports that he is not prejudice in that he will “kill anyone.” See the CNN video below.
Would like to point out that the St. Ann unidentified patrolman was suspended from performing county duties and Dan Page was forced to resign after the video revelations were exposed.
Sean Hannity points out that when he’s stopped by police for speeding, he tells them he had a license for a concealed weapon, promptly puts his hands to his hips, lifts his shirt and shows them the gun…no problem. This dorkhead doesn’t even get what it means being black stopped by police. Now can you imagine Michael Brown doing the same thing…he’d be shot then and there before ever reaching the bottom of his shirt to lift. Jon Stewart on a video discussing Ferguson, so poignantly includes Sean’s passive experience with police.
Below is a video take of Stephen Colbert peeling the crust off of Fox News’ slanted Ferguson reporting.
Ben Stein whom I normally respect as far as Republicans go, really got caught off base though in this comment of his. Concerning Michael Brown, on a recent Newsmax’s conservative Steve Malzberg Show, Stein had this to say, “He was 6’3”, 300 lbs, and according to what I read in the New York Times on marijuana. To call him ‘unarmed’ is calling Sonny Liston unarmed or Cassius Clay unarmed.
First off, the man hasn’t been Cassius Clay in generations; it has been now for generations Mohammed Ali. Secondly, how many folks black or white have a little marijuana in their system…it doesn’t make them lethal and it certainly doesn’t warrant being shot by a cop. Lastly, size should have no bearing on how many times an unarmed person can be lethally shot multiple times. If you’re that fearful, shoot out a leg. Have ya ever been shot in the leg; I haven’t been either, but I hear tell it’s very debilitating.
Representative Paul Ryan (R-WI) decided to throw his couple of cents worth in on Michael Brown’s demise by saying this on August 19, “We should take a deep breath, sit back and let law enforcement do their job.”
In other words, let the police resolve this through their internal reporting and investigating and simply accept their explanation. So, as in every previous case of unarmed victims being gunned down by cops with intent to kill, suspend them with pay for a couple of weeks while the process of vindicating them is insider conducted.
Let’s see what we actually know now, since this last straw of unarmed black killings has put a heat load of pressure in digging out the needle’s truth in that initially doctored and reported Ferguson police department haystack.
The initial report filed by Officer Wilson, stated that Brown was inside the patrol car where he beat Wilson and that is why Wilson shot him “a couple of times” in defense of his life. As the below video of a credible eyewitness details, Brown never entered the squad car and was tugging to pull away from Wilson’s grabbing of him. Once loose, Brown began running away from the car when Wilson began shooting at him. Brown stops running, turns around with his hands up where Wilson fires at him again. This happened about 20 feet from the squad car.
The right-wing blog sites began running with the false story that Wilson was beaten by Brown, it even degraded as long as the truth goes into Wilson being “savagely beaten,” and Fox News ran with that bogus story over and over.
The right’s false story telling elevated even higher, reporting that Wilson suffered a fractured eye socket in being beaten by Brown. As one can plainly see in the above video, Wilson never appeared concerned about a fractured eye socket that would’ve been extremely painful. He never lifts a hand to his eye in the video to cover his supposed severely injured eye, much less seeking medical aid or a compress. He didn’t even have a swollen eye and sorry right-wingers, a puffy eye just doesn’t cut mustard in justifying what Wilson did to Brown.
Also, on a video chat an accidental audio (hear below) of the encounter recorded the shooting corroborating what eyewitnesses are stating. This audio has just recently been authenticated by the FBI and clearly there are more than just 6 shots, much less “a couple.” At first 2 shots are fired with the last 4 in rapid succession and then there’s a two or three second lull. These rounds are apparently shot as Brown was running away. When Brown stops and turns around with his hands up, 5 more shots are heard in which assuredly are the rounds that killed Brown with two hitting him in the face. By August 20th the Ferguson Police Department has since admitted Wilson fired as Brown was running away.
As falsely reported, the owner of the Ferguson convenient store, nor any of his employees never dialed 911 reporting the theft of a few cigarillos. The owner is adamant on this as expressed by his lawyer Jake Kanzler. The video only shows Brown shoving a customer as he’s walking out of the store. Perhaps a customer phoned in, but regardless, this is not why Brown was accosted by Wilson. Brown was walking in the street where Wilson shouted, “Get the fuck on the sidewalk,” while driving up in his patrol car. This was the initiation of the confrontation.
The Ferguson Police department seems to have a lump on their shoulder to begin with. As cited by the ‘ArchCity Defenders,’ a St. Louis area defense group for unfair local governance fees and fines, cites that in 2013 Ferguson police issued 32,927 warrant arrests for non-violent crimes. That is 10,000 more than the population of Ferguson at 21, 135 citizens. In fact it’s the area St. Louis police departments that seem to be a bit on the gun-ho side in charging exorbitantly high court fines and fees in half the region and jailing those who don’t pay up. Little Ferguson collected $2.6 million in fines and fees while the $20 million collected by the city of St. Louis was its second highest revenue source. ‘ArchCity Defenders’ spokesmen insist this is unlawful. For ya see, you don’t get $321.00 in fines and fees and 3 warrants per household from an about-average crime rate. You get numbers like this from frivolous arrests like jaywalking and constant “low level harassment involving traffic stops, court appearances, high fines, and the threat of jail for failure to pay,” as the defenders organization has pointed out.
In regards to the St. Louis police force, they were the ones guarding the street Brown was gunned down on. A memorial had been set up honoring Brown with the usual flowers, mementos, and candles. Brown’s mother even laid flowers and spelled out her slain son’s name in petals covering up his blood stains. One canine cop took his dog over to the memorial instructed him to pee on it and allowed him to do so until the dog finished. Then after the cops were called off, they ran over the memorial with their exiting squad cars. This in itself would, in my opinion make the affected want to forget peaceful protesting and incite an urge to riot.
Speaking of Brown’s mother, it is hauntingly familiar how Brown’s parents have reacted much like Trayvon Martin’s parents in insisting they want peaceful outcomes to their unarmed sons’ needless deaths.
Sides have been chosen, it’s not just a nation of red and blue divisiveness, the U.S. is also saddled in comparable black and white as well…blue/black vs. red/white. This must be why the right is always so frustrated and angry…they always choose the wrong cause and that applies with Ferguson as well. To side with the cops, in this case of an unarmed black man being shot multiple times, an event that keeps repeating itself, you’re going to lose if America has any compassion left to individual rights to liberty and justice.
As there have been crowds protesting for Brown, Wilson has a growing following of protesters from the right. Various right-wing groups have raised approaching a half million dollars for Wilson.
In St Louis on August 23rd, around 100 virtually white protesters in support of Wilson began demonstrating. One woman, there with her daughter said she came out to set things straight and quizzed, “They are saying it’s murder because a white officer killed a black man. I don’t know where that comes from.” She is totally oblivious to the plight concerned here.
How someone can be in support of a cop who gunned down a running and surrendering unarmed man, I’ll never know, but apparently there are those that share my sentiment. The pro Wilson demonstration attracted others as a mixed black and white crowd in defense of Brown and began forming in setting up a spontaneous counter protest. They began to shout in unison, “Hands up, don’t shoot!” in reference to witness statements and autopsy reports. But in response to the Brown chant, the Wilson crowd began chanting “Shoot, shoot, shoot!”
All I can say to this is…sick animals…
One Ferguson storefront owner would have nothing to do with these right-wing loons protesting in favor of Wilson. He wanted the agitators out of there and go home where they belong. Watch the following video; it’s self-explanatory on right-wing racist bigotry that got the owner so upset.
Debating a right-winger on a Tea Party website, he insisted cops shouldn’t be persecuted “for doing their job.” I get that all the time. I can guarantee ya though that if it were the other way around…a rash of black cops shooting unarmed whites, right-wingers would be enraged with Fox News broadcasting it mornings, noon and nights as racist demanding something be done.
There are some heroes emerging out of this and it is not on the side of law officers or the right. As is the case though, there is always an exception to the rule. Missouri Highway Patrol Captain Ronald Johnson, who is from Ferguson and was put in charge of police response, has performed exceptionally well in quelling violent tendencies in proactively speaking to folk’s concerns.
All the right really has is their attempts at trying to vilify the victims. News reports constantly reminding us that Brown was a pot smoker and “might” have had some in his system during the incident appears, in some minds, to justify Wilson’s killing actions. Again, if that is the case, I would dare say that a rough estimate of three-quarters of black or white or brown or yellow marijuana toting Americans line up in front of Wilson for their just due whether the plant is legal in their state or not.
Calling the peaceful protesters “hooligans,” “fools,” “looters” and “agitators” isn’t receiving too many brownie buttons either. If they can’t understand why this incident hasn’t created an outrage through built up frustration, then they are so blind by bias they cannot see, or…they are merely the “fools.”
Peaceful protesters the real heroes
Even the moral majority right wants to set their political views straight on the Ferguson incident. Televangelist Pat Robertson waffled in to say on his Tuesday August 19, 2014 edition of the ‘700 club’ that, “On the strength of one man who robbed a store and was shot, all of these thousands of people start tearing the city of Ferguson apart. What is wrong with people who would destroy the city where they live?” I don’t know, why don’t he ask Sodom and Gomorrah. He also elaborated on unsubstantiated reports Brown was high on drugs and a cigar robber.
One can plainly see where Robertson stands and I can see all his viewers nodding their heads yes in unison as he preaches his vermin. This is a style of preaching that black eyes’ Christianity.
You should read some of the Breitbart blog site comments. Here are a representative few:
“Oh da pain!” “Oh da pain o’ bein’ a black man in a white man’s world!” “Whut am I gonna do?” “I jus’ can’t take dis anymo’ ” “Lordy, lordy!”
My comment to this is if ya want to whine so much about blacks protesting about an unarmed man being shot down in a Missouri street or choked to death on a NYC sidewalk by cops, then shut up about your petty Tea Party feelings getting hurt over the IRS picking on little ol’ you…
Besides, in his comment’s wording, he expressed his prejudiced low-level mental aptitude loud and clear.
“All this over a reefer smoking thief with a penchant for violence makes me sick. I really think we have crossed the line to societal suicide.”
My reply…proceed to puking you pukehead…
“As one gentleman pointed out, if the best you can come with as the model for your race is a thug who steals from weak shopkeepers and then blasts out the eye of the arresting cop, there isn’t too much value in your race to begin with.”
In response: If ya want to promote your agenda, embellishing upon lies gets ya nowhere…
These comment threads were from a Breitbart article titled, ‘6 Funerals Obama Cared Less About Than Michael Brown.’ It was complaining about Obama sending WH representatives to Brown’s funeral, while sending none to six others. The others were Margaret Thatcher, Chris Kyle, Nicholas Oresko, Lech Kaczinski, Aunt Zeituni and James Foley.
To recall, Thatcher was prime minister to the UK and is identified warmheartedly by the right with the Reagan era. Delegations of U.S. representatives were sent to Thatcher’s funeral comprised mostly of diplomatic personnel and former cabinet members while sending three aides to Brown’s.
Lech Kaczinski was the fourth president of the Republic of Poland and died along with his wife in a plane crash on April 10, 2010. Along with other foreign country dignitaries, the U.S. could not attend the funeral because the eruption of Iceland’s volcano, Eyjafjallajökull had grounded all flights over Europe. Obama himself was scheduled to attend, but his flight had to be cancelled.
Kyle was the former SEAL sniper that was killed by a gun crazed friend at a shooting range. Orseko was a WWII Medal of Honor holder amongst over 1,000 others, so I s’pose we shouldn’t condemn “Barry Sotero” for not attending all of them. Aunt Zeituni was Obama’s father’s sister whom he had no contact or relationship with, but it’s nice to know that Brietbart is concerned enough to research the president’s relatives.
As for James Foley, the freelance journalist that was beheaded by ISIS recently, no one has gone to his funeral for the mere fact it is not until October 18th.
As far as Breitbart goes in seeking anything to promote their bigoted cause they also claim that Captain Johnson was photo’d amongst the protesting crowd flashing a gang sign. Actually Johnson was expressing a hand sign but it was the greeting insignia of his college fraternity. Ya know, to try and induce propaganda by associating Johnson with a hoodlum gang because they know their readers all identify blacks with gangs is hopeless grappling in itself, but is also merely pathetic pomp much less journalism.
The above photo by ‘St. Louis Post-Dispatch,’ Robert Cohen that went viral, surely portrays an individual of heroism. The person throwing the tear gas canister has been identified and has related his story. He is Clarence Bledsoe a true hero out of all this if there was one. His image wearing an American flag shirt throwing a tear gas canister back where it originated in one hand while holding a bag of potato chips in the other has become an icon all over the globe.
Bledsoe’s explanation of his actions that night goes like this as reported. “The tear gas canister landed near Clarence Bledsoe’s feet at about 10 P.M. Sunday night. He hadn’t been looking for a fight with officers, he said, but was simply walking home after a long day of work and had little choice but to wade through all the pandemonium to get to his apartment. But when the hissing projectile narrowly missed him with children nearby, all of the anger of the past week welled up within him. Bledsoe bent down and picked the canister up, ignoring the searing heat burning his right hand.”
In his own words, “I felt like, Y’all shooting at me? I’m just trying to get home. I picked it up and threw it back. I never, ever, ever pictured myself throwing something at the police.”
To downplay the heroism, what was perceived in reporting through Breibart eyes was that this was proof that the angry demonstrators were lobbing Molotov cocktails at the police.
The photo below was taken by photojournalist, Scott Olson who was arrested for going beyond a cordoned off area even though he was wearing credentials. Now the right will profusely argue that he should not have gone into the cordoned off area, but let me remind them that there was a signed documented agreement that police would not arrest journalists. Complaining about we need to allow police to do their job, while at the same time arguing not to allow journalists to do theirs is a tad hypocritical don’t ya think…
Olson, I’m sure will win a Pulitzer for this image for it portrays all that is wrong between the U.S.s enforcement in minority communities. With the fully militarized garbed police pointing assault weapons at one unarmed man with his hands held high, the graffiti sign on the mailbox is emblematic in saying what all is wrong with this picture.
Below is a video of another jaywalking encounter, but the culprit is white and armed. Do ya think that the same scenario played out as it did in Ferguson? Did the officers bark out swearing orders? Do ya think that the arriving officers instantly began shooting, or tried and tried to talk with and calm the suspect? When ya get the chance, play it and find out.
Many unarmed blacks have been shot down by police forces. Below I give an example of five from a list by journalist Shirin Barghi with their last words then follow with a description of what happened.
“I don’t have a gun. Stop shooting.”
Michael Brown; Age: 18; Aug. 09, 2014; Ferguson, Missouri
Brown is the last in a recent rash of unarmed black men being killed by police. His cause has stirred action to counter the trend.
“It’s not real.”
John Crawford III; Age: 22; Aug. 05, 2014; Beavercreek, Ohio
Holding a BB gun he pulled from the shelf while in the Wal-Mart toy section, Crawford was leaning on the butt-end of the unloaded gun with the barrel pointed to and resting on the floor while dialing his cell phone. Police entered and opened fire without any warning.
“I can’t breathe.”
Eric Garner; Age: 43; July 17, 2014; Staten Island, New York
While selling loose untaxed cigarettes illegally on a street corner, he was put into an illegal choke hold by a non-uniformed police officer and once thrown to the ground died three minutes later.
“Please don’t let me die.”
Kimani Gray; Age: 16; March 09, 2013; Brooklyn, New York
Allegedly suspecting Kimani was armed, NYPD policeman opened fire and killed him in the street with seven bullets as he was running away. While patrolling the streets in an unmarked car, the two cops spotted Kimani adjusting his trousers in a manner they felt suspicious of.
“Why did you shoot me.”
Kendrec McDade; Age: 19; March 24, 2012; Pasadena, California
Responding to a backpack robbery two Pasadena policemen while approaching the area caught sight of college student Kendrec walking down the street where one officer fired at him, missed but made Kendrec flee, The other officer claims the shot fired by his partner was mistaken as Kendrec who fired the shot, so that is why he began firing at Kendrec. After the teen fell to the ground, they handcuffed him even though he was at the time unconscious. He died ninety minutes later.
These five young men had lives with a face and story. No matter the pettiness of those in attempts to vilify and dehumanize these five along with all the others, they were human beings, were born, were nurtured by a loving mother and unfortunately were killed needlessly at the hands of those sworn to protect them. We are speaking of human lives here.
For sure, most cops are decent, have earned their respect and became policemen to serve and better the community. However, this silent killing trend cannot remain invisible and the public needs to pull the reins. Initial police reports need to be accurate and certainly not serve as cover for an unjustified act. The mentality of ‘us versus them’ has to end, for if any enforcement is to be successful there must be solid connection and that only unfolds through mutual trust.
American communities are becoming more policed but underserved. Militarizing community police has got to go. Policemen have an obligation to be more than the average man, not less; their sworn oath demands it.
To sum all this up I have to give way to actor, Jesse Williams. When recently interviewed on CNN by Candy Crowley, Williams puts it into a perspective that cannot be compared. When you get the chance watch and listen.
Denigration:
“Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.” ― Franklin D. Roosevelt April 21, 1938
If listening only to Republicans in congress and on the streets, one would think that this current mass exodus of Central American children crossing our borders in fleeing violence and dire poverty in their homelands is all due to Obama. Actually though, any person of reasonable mind realizes that illegal immigration has a long history here in the states and in particularly from the last portion of the twentieth century to the present.
Americans have always tingled and cringed a bit at an influx of immigration even though they themselves come from families of immigrants. It appears Republicans have decided to take up the responsibility in promulgating that tradition. Long before this current hostile sentiment against Hispanic immigration, it was Italians and the Irish that were persecuted while later, it was the Oriental’s and Hispanic’s turn to be shunned.
As a nation of immigrants, America’s history is shaded much darker than what we would want to admit when it comes to immigration. When the Irish potato famine forced Irish immigrants to immigrate, local businesses shunned them. The Italian immigrant was looked upon as scum, so treating them as such had merit.
In 1891, nine Italians were tried and found not guilty of murdering New Orleans Police Chief David Hennessy, but a mob dragged them from the jail, along with two other Italians being held on unrelated charges lynching them all. The lynchings were followed by mass arrests of Italian immigrants throughout New Orleans, and waves of attacks against Italians nationwide. This mindset was promoted even through respected journalism and individuals.
Teddy Roosevelt, not yet president, famously said the lynching incident was “a rather good thing.” As for the response in The New York Times, it was worse. A March 16, 1891 editorial referred to the victims of the lynchings as “sneaking and cowardly Sicilians, the descendants of bandits and assassins.” An editorial the next day argued that, “Lynch law was the only course open to the people of New Orleans.”
John Parker, who helped organize the lynch mob was later voted in to be Louisiana’s next governor. In 1911, he said of Italians that they were, “Just a little worse than the Negro, being if anything filthier in [their] habits, lawless, and treacherous.”
Prejudice against Chinese and Japanese immigrants out West became atrocious. They were pelted with hate crimes and the passage of numerous discriminatory laws. In 1882, President Chester A. Arthur signed the first illegal immigrant law that made any Chinese or mentally ill newly arriving immigrants as illegal. Since the anti-immigrant torch has been passed onto Republicans, now it’s been the Hispanic’s turn, but surely soon to be overtaken by Islamic anti-sentiment.
Mass immigration has always had a link tied into U.S. economic and business decisions in cheap labor. The first wave of Irish became indentured servants, In the latter half of the nineteenth century southern Italians, primarily from Sicily began to pour in only to find squatter conditions waiting for them. Of course America needed a transcontinental railroad, so Chinese immigrants were utilized for hardly any wages at all; just rank room and board.
Mexican immigration to find work was really taken advantage of. After the 1920s strict passing of immigration laws, the doors were left open to Mexico. They were desired by American employers for their hard work and low income pay. In the 1940’s during the war years, with a shortage of labor, the federal government actually imported Mexicans to work the agricultural fields under the ‘Bracero Program.’ Of course it was temporary for once the war ended and the U.S. no longer needed their labor they were to be shipped back home to Mexico. But employers brought their Mexican cheap labor back to work illegally until President Dwight Eisenhower launched, “Operation Wetback” setting up the first federally funded border patrol with 1,075 border agents that have been increased ever since, but to no avail as it is not the sole answer.
Under President Obama more deportations have occurred than under any other president, while under the eight years of President George W. Bush saw a marked increase in illegal immigration and a drop in immigration enforcement. Still though, Republicans put all the weight of the immigration monkey on the back of Obama’s administration.
The GOP semi-deity President Ronald Reagan signed into law the ‘Immigration and Reform Control Act’ (IRCA) in 1986; a blanket amnesty for over 2.7 million illegal aliens. Can ya just imagine if Obama were hinting to conducting anything remotely similar to this…he would be crucified by the right.
Now you may be involved with a Republican debating immigration when ya remind them, their own family backgrounds were immigrants. They might reply back true, but they came here legally. Well, they came here perhaps when there were no immigration laws since the first immigration law wasn’t enacted until 1882 as explained above and only involved Chinese or mentally handicapped immigration.
So, if they want to go by laws, it was the signing into law the ‘William Wilberforce Trafficking Victims Protection Reauthorization Act’ in 2008 by President W. Bush that Obama must now abide by. The law states other than Mexican or Canadian children, all other children cannot be deported until a hearing is held on their behalf before an immigration judge. Those Central American kids are here legally under that law. Now since we are a nation of laws as Republicans always proclaim, they wouldn’t want Obama to break no law in rounding up these children and sending them back to harm’s way, now would they?
There was also another immigration push by W. Bush in the winter of 2004 with an initiative proposal for illegal workers to be treated as guest workers here in the states to have temporary three year status in two consecutive sets for a total of six years to be allowed to work here but travel abroad and reenter the states to go back to work.
Just listen to how childish, callous and irresponsible Republican politicians respond to this latest wave of child immigration.
Representative Steve King (R-IA) on the Dream Act ~ “For everyone who’s a valedictorian, there’s another hundred out there who weigh 130 pounds — and they’ve got calves the size of cantaloupes because they’re hauling 75 pounds of marijuana across the desert. Those people would be legalized with the same act.” (07/18/13)
No matter if you’re as smart as they come and have a lot to offer to your country, you’re out of here because of those dastardly cantaloupe calves.
Representative Mo Brooks (R-AL) on Dream kids ~ “How do you ensure that illegal aliens are loyal to America and not another country? Is it wise to entrust illegal aliens with questionable loyalties with America’s military secrets and weapons, including weapons of mass destruction? Is it enough that illegal aliens join America’s military, or should they be required to be honorably discharged or serve in combat before receiving amnesty for past illegal conduct? These individuals have to be absolutely 100 percent loyal and trustworthy.” (04/02/14 & again in mid-July 2014)
Yeah Dreamers will have to be constantly watched even though they are some of the most trustworthy servicemen; ask any military personnel. Yeah, it’s not just a war from within that’s occurring; Brooks claims there is also “a war on whites” as well.
Representative Michelle Bachmann (R-MN) ~ “What I believe we should do is have a 100 percent tax on remittances, the money that illegal aliens send back to these countries. What we have to recognize is that this truly is a war against the American people and if we don’t act like it and take this border seriously, we’re going to have even more gangs.” (08/05/14)
What war with what type of Americans? The only war and bombing going on is inside Bachmann’s head.
Representative Louie Gohmert (R-TX) ~ “Even with $3.7 billion that’s requested, there’s no way for what’s being called for is going to stop the invasion that’s occurring. That’s why I’m hoping that my governor will utilize Article 1, Section 10, that allows a state that is being invaded — in our case more than twice as many just in recent months, more than twice as many than invaded France on D-Day with a doubling of that coming en route, on their way here now under Article 1, Section 10, the state of Texas would appear to have the right, not only to use whatever means, whether it’s troops, even using ships of war, even exacting a tax on interstate commerce that wouldn’t normally be allowed to have or utilize, they’d be entitled in order to pay to stop the invasion.” (07/11/14)
Never mind that Article 1 Section 10 was framed into the constitution most likely with thoughts in mind for action against an adult military “invasion” and not an unarmed child one.
Representative Todd Rokita (R-IN) ~ “He said, look, we need to know just from a public-health standpoint, with Ebola circulating and everything else. No, that’s my addition to it, not necessarily his, but he said we need to know the condition of these kids.”
Even after Rep. Phil Gingrey (R-GA) had been ridiculed earlier for suggesting to the CDC that Ebola could be carried by these immigrant children, Rokita still goes for it pulling his colleague, Rep. Larry Bucshon’s (R-IN) comments in on it and embellishing after the radio host questioned him since Bucshon is a heart surgeon and should know better. No Ebola breakout has ever occurred in the Western Hemisphere. Besides, no one with Ebola could have made the trek from Central America to the U.S. and live through it. Rokita was merely placating the fear factor into the fold and believe me, I caught the wrath on the right-wing blog sites as they all believed it and were using it as fodder.
Now for the winning comment for all this conspiratorial and false Republican ideology goes to; drum roll please…Michelle Bachmann.
During a July 30, 2014 interview on debunked Christian historian, David Barton’s ‘Wallbuilder’s Live’ radio show, this is what Bachmann had to say.
“Now President Obama is trying to bring all of those foreign nationals, those illegal aliens to the country and he has said that he will put them in the foster care system. That’s more kids that you can see how…we can’t imagine doing this, but if you have a hospital and they are going to get millions of dollars in government grants if they can conduct medical research on somebody, and a Ward of the state can’t say ‘no,’ a little kid can’t say ‘no’ if they’re a Ward of the state; so here you could have this institution getting millions of dollars from our government to do medical experimentation and a kid can’t even say ‘no.’ It’s sick.”
Here’s a copy of the audio:
Now actually on her err-head behalf, there was some controlled research conducted on HIV-positive foster children with new AIDS drugs with the support and monitoring of NYCs child welfare department. But if Bachmann and other right-wing conspiracy groups still want to go down this route, this research was conducted by the drug giant GlaxoSmithKline beginning in the late 1980s and ending in the early 1990s…all under Ronald Reagan and George H.W. Bush’s watches.
It just seems that to the overall Republican’s eye of things, Americans’ discomfort (whether it be through fear or greed) with cultural differences translates into racial angst that further degrades into intolerance is a pushed implanted fact and that’s just the way the GOP politician likes it to be when it comes to his/her constituent base.
Broken policies and using reform as a political wedge is just not working anymore for Republicans. Why…because today the majority of Americans do indeed want bipartisan comprehensive immigration reform. Even a recent poll conducted this past June by the center-right group, ‘American Action Forum’ showed that 78% primary voter Republicans support immigration reform nationwide.
Still, out of fear of their Tea Party extreme right base, Boehner and his House of Republicans prefer to continue sitting on the senate’s passed immigration reform bill.
On top of all this, in usual GOP fashion to blame Democrats for what Republicans are actually doing, Rep. Dan Marino (R-PA) stated on the House podium on August 2nd that Democrats have not done anything on immigration. Minority leader, Nancy Pelosi (D-CA) was not going to have any of that and confronts Marino and his statements. He then claims, “I did the research on it. You might want to try it. You might want to try it, Madam Leader. Do the research on it. Do the research. I did it. That’s one thing that you don’t do.”
She followed him off the podium and gave him a good spanking concerning the facts. Later, Pelosi’s office said that Marino had apologized, but a little later than that a Marino spokesman said that no, Marino did not apologize. Whatever…he still got his bells retuned.
In July of this year, Obama asked Congress for $3.73 billion in emergency appropriations to address the influx of child migrants crossing Southwest borders from Central America.
First, John Boehner puts out a feeder thread comment in blaming President Obama, “This is the problem of the president’s own making. When is he going to take responsibility for something?” See, again…the lay all the blame on the president game play.
But once again, it is Boehner who fails to act, instead letting the Tea Party run wild and ram through an outrageous plan to deport 550,000 dream kids living in the U.S. and whittled the $3.73 billion down to $659 million to deport the newly arrived child immigrants. Even this fails in not mustering up enough Republican votes, as Republicans still didn’t want to move on any immigration legislation. Boehner was forced to pull his own Republican bill. One of the architects of the bill, Rep. Kay Granger (R-TX) said, “There are people [GOPers] who just don’t want to do anything.”
Out of frustration to even get his Republican House to act, Boehner then announces hours before the August recess through a press release demanding Obama act alone to secure the border by executive order. Chiming along, other Republican House leaders through their own press release insisted Obama can address the child immigrant ordeal “without the need for congressional action.”
Do you see the utter nonsense in this? This is beyond ironical, it even surpasses being hypocritical; it is simply barmy. Just the day before, the Republican House nailed Obama with an asinine lawsuit for doing just that…exercising his rights to executive orders.
This recent rash of Central American children crossing the U.S. border is more than posturing theatrics and political games; it is an ethical one primarily. Apparently ethics is not a right-wing trait, for to say that the answer to all this is too simply send them back to harm’s way is low thinking in the humanities. Mothers’ there truly do not want to separate from their children, but they would rather do that than watch them die and collect their body in some street. I think that a mother from anywhere would do what they could to seek refuge for their child. If we really want them to stay home, then we need to forget borders all together and aid these countries in coming up with safer environments where mothers feel more secure.
On one Tea Party blog site a woman was saying that God was on her side with the invasion of illegals crossing our borders. I replied if you are truly Christian, you have to realize that in being ‘Christian’ means to be a follower of ‘Christ’ and his teachings and surely you don’t suggest that Jesus would preach to ignore these hurting children simply because they originated from the other side of some border. Can’t ya recall that song you learned in Sunday school that went, “Jesus loves the little children of the world?” It doesn’t just say the children of Tea Party America…“it says of the world.” I never got back a reply.
I only have one question to ask Republican politicians when it comes to their desire in voting no for the ‘Dream Act’ and deporting the entire dream act children out of the country and it is the following…
How can you consider a child born and raised here an illegal immigrant when it is a beholden constitutional right and then deport them from the only country they’ve ever known?
Lonestar Red Dripping:
When the cloud bursts it begins raining. What’s raining down in Texas right now would be the death knell for any rational political environment. But this is Texas and the Republican stranglehold is mighty in its tight grip. Nonetheless, damage is indeed filtering in.
Attorney General Greg Abbott running for the governor’s seat is an upright Republican rising up through the GOP ranks while avoiding any meat grinders along the way…until now. And though his past record may have been quiet it most certainly isn’t squeaky clean. Abbott is apparently by nature quiet, but he keeps surrounded by his henchmen to do the bullying and dirty excuse talking for him.
When asked a question, he really won’t say much and when pressed, he will totally avoid the issue leaving the topic open until later when an office spokesman will come out.
Abbott as any Republican is strong on tort reform and in his position, has pushed many bills through legislation in passing laws to greatly curtail lawsuits due to personal injury. In backing corporations and insurance companies, Abbott’s argument was, “Our legal system was abused in this state. There were many invalid claims that were filed in court that clogged up the courts…” But the fact remains that his being bound to a wheelchair resulted in a personal injury lawsuit he filed and has greatly benefitted from.
In 1984, while jogging down a ritzy neighborhood sidewalk, an old oak tree fell on him crushing his spine. Unemployed with no money, no health insurance and an ever increasing medical bill, he did what most would in his situation…he sued the homeowner.
He won the law suit and Abbott was granted $5.8 million to be paid out in monthly payments for the rest of his life. Most of that settlement was not to cover the $82,811.85 medical costs but was for noneconomic losses in pain and suffering from mental anguish.
It’s been 30 years now and he is still receiving payments. Abbott would never discuss the lawsuit until this summer when he made a simple statement saying that he “sued the insurance company.” But that is not so. Roy W. Moore the property owner the tree was on claims he had no property liability insurance.
Abbott was confronted as to the reason he would want Ted Nugent to campaign for him after exchanging praises for one another in front of a February 2014 Denton campaign crowd with Abbot calling Nugent his “blood brother” and “a fighter of freedom in this country,”
At a Las Vegas January 2014 gun expo, Nugent had just recently described Obama as “a communist-raised, communist-educated, communist-nurtured, subhuman mongrel,” During a 2008 Fox News interview when it was pointed out the vast majority of illegals are merely crossing over the border unarmed, what would you do to fix the situation, Nugent replied, “In an unauthorized entry, armed, like they are right now, invading our country, I’d like to shoot them dead.”
Once told of that Abbott simply stated he was unaware of Nugent’s remarks in stating, “I know nothing of that,” and cut off the reporter. As in normal step, through his campaign office he later issues a statement, “This is not the kind of language I would use or endorse in any way. It’s time to move beyond this, and I will continue to focus on the issues that matter to Texans.”
There ya have it; an old and new whacko Nugent statement and Abbott was never, quote unquote, aware of either. Honestly…he knew, he just likes making appearances with the rocked-off rocker because Nugent’s nonsense attracts good ol’ bubbas.
On August 29, 2014 Abbott porked out of the debate between him and Wendy Davis, the Democrat candidate for governor that was to be held on September 02, 2014. Again, Abbott does not announce it; it comes from his campaign office release stating, “Due to our inability to agree on specific details of the format, Attorney General Greg Abbott will regretfully not be participating in the WFAA debate.” This said by Robert Black, senior campaign adviser on that Friday morning.
No consideration at all in the late announcement. I’m sure Ms. Davis could have made rearrangements to fill that day as more productive if she had been notified at least a week earlier. Instead she most likely was still preparing for a debate that was not going to happen because some cluck, cluck sounds were emanating from Abbot’s campaign headquarters.
Even worse, the pretext from recusing themselves from the debate is an awful big rotten watermelon hanging out there, for the excuse they gave is a fib. Abbott’s campaign manager, Wayne Hamilton on May 28th wrote and sent a letter to WFAA expressing that Abbott and his campaign accepted all terms of the debate. WFAA has posted that letter for all to see.
Now just days later from weaseling out of the debate, another news report comes out concerning Abbott’s more devious side.
News media outlets have just learned that Abbott as attorney general officiated a raid on a charity organization in 2010 under the presumption of voter fraud.
Police officers in bullet proof vests and guns drawn raided a house that was headquarters for ‘Houston Votes’ a nonprofit organization that caters to poor districts registering folks to vote. After serving a search warrant, the officers took away all the organization’s computers, hard drives and documents.
This devastated ‘Houston Votes’ works and had to shut down until they could get there records back. Finding no proof of fraud, the case was closed after one year of the raid. So could ‘Houston Votes’ get back the belongings…nope…Abbott had all their documents and computers destroyed through a court injunction order.
Now the blind, back Abbott in saying “he is duty bound to preserve the integrity of the ballot box.” But where’s the fraud and where is ‘Houston Votes’ personal equipment and documents that were stolen? No ma’am, what Abbott is preserving here is the power of the Republican Party in Texas. This was strictly a political move to stymie poor folks from voting.
Boy-howdy, do we have a lot of Republican governors in hot water. Former Republican governor of Virginia, Bob McDonnell and his wife Maureen were found guilty by an impartial jury on several counts of public corruption and falsifying loan documents.
North Carolina Republican, Pat McCrory has been subpoenaed by a grand jury with his ties to ‘Duke Energy’ that attempted to cover up details of a toxic sludge coal ash spill into the Dean River; the third largest spill of its kind. McCrory had been an executive employee of the energy company for 28 years and received $1 million in donations from ‘Duke Energy’ in his bid for the governorship. McCrory’s NC EPA didn’t even give a hand slap when they fined the $50 billion energy company a mere $99,111.00 for this and other spills which they have not yet paid. McCrory sold his $10,000.00 Duke Energy stock shares just after the spill and did not disclose the sale in state ethics filings. May be a rub my back and I’ll rub yours kind of thing going on here with McCrory and ‘Duke Energy.’
Republican governor of Kansas, Sam Brownback is under FBI investigation along with three of his former staff for influence peddling in a Medicaid scheme for financial gain. Yeah, Brownback is also the governor who blames Obama for his state’s poor economy and job opportunities insisting it is not his tax “theory” implementation that is tanking the Kansas budget.
Florida Republican governor, Rick Scott who prior to winning the governorship, was involved in the largest Medicare fraud by Columbia/HCA when he was CEO there, has taken his fraudulent behavior into Florida’s governor’s mansion. In court depositions concerning his shady business dealings he has invoked the 5th seventy-five times. It’s been found that Scott routinely skirts state record public laws by using private e-mails to discuss state business, shielding himself and associates from Florida’s internal ‘code of conduct’ ethics laws. Scott has been sued by Tallahassee’s attorney, Steven Andrews. Chief Circuit Judge Charles Francis ruled Google and Yahoo will have to turn over information about private email accounts used by Scott and staff.
Maine’s Republican Governor Paul LePage loaded his offices with lobbyists to promote environmental deregulation, has been attempting to gut the state’s open records act and fired a state employee favoring policies LePage wanted repealed. Currently, from results of a FBI investigation, LePage has been found guilty of bias towards employers and prejudice against the jobless in unemployment claims.
Ohio’s Republican Governor John Kasich’s ‘Frackgate’ controversy has him in hot water as it touched off an exposure of a public relations scheme between his governorship and Halliburton, while Michigan’s governor, Rick Snyder’s implementation of ‘Martial Law’ taking over city properties after firing elected officials replaced by his so called emergency management and his quiet ‘Aramark’ prison privatization scandal is gaining attention from the eyes of justice.
Georgia Republican Governor Nathan Deal, who prior to the governorship resigned from Congress to avoid an ethics investigation, a new investigation is underway for nepotism when Deal doled out $240,000.00 to Magnolia Capital LLC from his campaign funds. The company is owned by his daughter. The chairman of the Georgia State Ethics Committee appointed by Deal obstructed investigations into the Deal campaign donations to the daughter’s company.
Lest we not forget New Jersey Governor Chris Christie’s ‘Bridgegate’ and all the other scandals the investigation has uncovered such as financial schemes utilizing Pennsylvania state money and his use of the $1.8 billion in federal Hurricane Sandy relief/recovery money slipping $6 million of it out to an unrelated development project. Then there’s Scott Walker, Republican governor of Wisconsin who’s under a state investigation for cronyism, mismanagement, self-enrichment, avoiding public archiving and illegal campaign coordination in the ‘John Doe’ probe.
Now we have Texas governor, Rick Perry who just got indicted by a grand jury over his veto of funding the ‘Texas Public Integrity Unit’ (TPIU) for criminal abuse of power. Perry did the veto in protest to Austin’s district attorney, Rosemary Lehmberg’s conviction to drunken driving. It’s strictly a political move to disrupt the more liberal Austin government lawyers.
Lehmberg was in the process of conducting an investigation of the Cancer Prevention and Research Institute of Texas (CPRIT). The institute received a ton of money from the Republican Texas Legislature to award grants to high-level medical research projects. The problem…a lot of the money went to people who didn’t qualify for it. Some of those folks had close ties to Perry. Just a few months ago, Lehmberg’s office indicted CPRIT’s former director over his allegedly improper disbursement of an $11 million grant. Essentially, Perry was funneling state money to campaign contributors.
Lehmberg was pulled over by police in her car last spring while the investigation was just underway. It was a golden opportunity to get her meddling off the case. Besides, under the helm of Perry’s stretched governorship, two Republican district attorneys, Terry McEachern and Rick Harrison were arrested for DUI. McEachern was aggravated DWI and Harrison’s DUI involved a collision with him driving the wrong way down a one way street. Perry said or did nothing on both cases.
Perry is claiming being the victim. This is always a bully’s move when he feels bullied. He even said, “Some would use partisan political theatrics to rip away at the very fabric of our state’s constitution. This was exactly what he was doing to Ms. Lehmberg; a public official bullying another public official and the TPIU to get them off his back from investigating his contribution ties to CPRIT.
Perry, among a slew of other Republicans are claiming this indictment is strictly political theatrics on Democrats’ part. But lo and behold the judge in charge of the indictment proceedings, Bert Richardson is a very conservative Republican. No nonsense San Antonio lawyer, Michael McCrum, appointed by Richardson to be the special prosecutor, will not take a case if he feels it is unwarranted. McCrum has accepted after review. His peers describe him as apolitical, steadfast and a straight shooter and although he has Republican affiliations, he is bipartisan.
The governor does not dispute the facts of the case. He’s actually bragged about them. No one disputes the governor's power to veto. These indictments don’t charge Perry for doing so; they charge him with an abuse of official capacity and coercion of a public servant. Until the trial starts, there’s a lot we don’t yet know.
Now that Perry has been indicted, he cannot carry a gun. So now on his little jogging forays he cannot shoot a coyote…it’ll now be hand to paw combat…the coyote’s revenge…
Cyclo-Mono:
You like this segment title? Chemists use these affixes in referencing a particular chemical structure. Cyclo refers to a structural formula that’s cyclic while mono refers to only one component like carbon monoxide. I like to incorporate cyclo-mono also into the political arena, for to me, it conveys a one way cycle. That cycle could be broken down into both dominant respective parties, but it really fits nicely in describing the Republican obstinacy. Anywhere Obama wanted to drive the nation, it was a resounding Republican one way street in the opposite and wrong direction over and over in their record busting filibusters, their incessant desire to drastically cut debt by defunding social programs at a time of economic duress, their 55 repeals of the ACA law and their sequestration, debt ceiling hostage taking, partisanship, fiscal cliff antics and shutting down the government. Going into the off season elections this fall, this is all they offer on what they stand for…anti Obama. No mandate of principle or platform of policy.
Impressions in themselves are like assumptions and can be misleading. Take the word vegatarian for instance. Since a vegetarian primarily eats plants one would assume the word comes from vegetable, but that is not so; it is from the Latin vegetus meaning ‘full of life.’
The impression one gets with the Ferguson incident is that the right is pro militarized police enforcement, but that is only for today. Since it is temporarily the side they’ve jumped into the pit with without even questioning its glaring examples of racial injustice, they applaud the militarization of U.S. police forces. But it is these same folks that still decry foul for the ATF using tanks against the ‘Branch Davidian’ cult during the 1993 government para military siege of the Mt. Carmel compound just outside Waco, Texas.
Racism today is not in a traditional format where it ended in a lynching, but for sure metaphorically, the noose is still set.
Right-wing pundits or politicians will use conspiracy theories to embellish or contradict factual data, or at times even their own previous rants with manufactured stories to rally their gullible base. Senator Ted Cruz is a master at this, but he had better watch out, for the table could turn on him.
A conspiracy theory could easily develop concerning him. With his Cuban background, his father once fighting for Fidel Castro and his actual foreign born status, one could easily create a conspiracy scenario of him infiltrating American politics to implant division and mayhem to bring down the U.S. government making it vulnerable to a takeover. His attempts to divide the Republican representatives in shutting down the government even alludes to support in this little tidbit conspiracy ranting.
The left has to be cautious though in hating those who hate. Cruz in the mid run will be a failure, for he goes by false conspiracies and untruths that is dumbing down his already shrinking base. He lands with no iron heels; he only has powder puff toes.
Speaking of powder puffs, I got hold of one on the News Max conservative blog site. The thread is listed below. It does indeed show they like to talk, but will avoid the walk.
MilitiaMan to OldWhiteGuy
You are one stupid MF’er! You’re right, it’s only children crossing our borders. Bring on the next American Revolution so we can get rid of all the pagan Libtards like yourself!
BJA to MilitiaMan
Wow MilitiaMan...don’t really know how to express yourself except through cursing and slurring defamation...what are you...some kind of big boy with little britches.
Mr. Oldwhiteguy is quite the intelligent fella, far beyond your low rank. I’m more in line with your ranking...I’m not just a libtard, I’m one heck of a redneck liberal and instead of starting up a revolution as your empty rhetoric suggests, why not you and I go one on one...
What do ya say cowpunch...
MilitiaMan to BJA • a month ago
Hi BJA or Liberal POS,
What you consider intelligent does not concern me in the least. I would gladly end your life anytime you Liberal POS:-)!
BJA to MilitiaMan • a month ago
Talking trash gets ya nowhere...
Do we need to set up an appointment...your call...
Please set up an appointment you sorry mf’er:-)! I would love to introduce myself!
Let’s get this rolling, ya want to swap emails then we’ll go from there...
Yes please! I think you’ll find that I can be very persuasive. You will be sorry you ever were a Liberal POS.
Good, I accept any and all challenges and you have definitely challenged...I fully accept...
My e-mail is texan@windstream.net where’s yours...
It’s easy to hide behind a screen while talking trash...I think that we all feel we can respect those that back up their words with action.
I have been sorry for many things, but this most certainly is not one of them.
It’s on...
Hi Liberal POS,
Don’t think I’ve forgotten about your sorry ass! As soon as I verify that your email is legit, I will be making contact with you very soon! And respect is one of the many things you will feel for the time that I allow you to:-). See you soon you scumbag POS!
Waiting on you...
After that, I never heard back from the MilitiaMan.
Ya know, both parties use fear tactics, I get e-mails all the time from Democratic campaigns that if you don’t help and send money, tis very likely the Republican opponent will win, but Republicans have it down to an art form in a constant wave of stressing their base through fear tactics. That is why the typical Republican, but in particular the more extreme always seems mad. Allow me to explain…
Human beings naturally use anger to cover fear. That fear emanates through insecurities and those insecurities are what the right-wing politician, pundits and conservative radio shows espouse upon. Anger, fear and insecurities are all tied into emotion rather than factual reasoning. That is why the right-wing will always trump truthful facts with belief.
Through these divisive tactics, comes the Republican’s modus operandi of fueling that insecure void of their slipping power hold to blame the traditionally less powerful such as the poor, ethnic and immigrant. It is all their fault. This is a sad route in vain attempts to compensate those insecurities, for the end result is fomented hate, irrational conspiracies and a worsening of their own inadequate conditions.
This nation’s core value is based on unity, not division. This diversity exemplified in America’s populace has borne the best of ideas and innovations that the world over has benefitted from. Imagine if every American citizen, no matter race, creed, color or social standing had equal access to proper education and upbringing in what could be realized.
Translation is a true art form and opinion; it is not necessarily factual works. Human beings have done their fallible best to translate, but an opinion derived conclusion only supports a base system and not basic truths.
So goes religions as picked apart to support a belief. No matter what Republican’s self-righteousness leads them to believe, the world as yet still has room for all…even for them…
In Serving Discourse,
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Watch the eclipse at the Royal Observatory Greenwich
There's a partial solar eclipse this morning, which, we are told, will reach it's peak at about 9.30am, when 84 % of the sun will be gone. We're not supposed to look at it with the naked eye, but thanks to Londonist's Where To Watch The Partial Solar Eclipse In London article, it's easy to find some people with telescopes and the like to help us look.
The eclipse continues from 8.25am to about 10.40am and Londonist's M@ tells us that the Royal Observatory in Greenwich will be opening at 8am to allow us to see the eclipse, whilst the Flamsteed Astronomy Society will have their big telescopes out in front of the General Wolfe statue in Greenwich Park.
For more, see http://flamsteed.info/event/solar-eclipse-viewing-event/
Buy 'London, The Weekends Start Here: Fifty-two We...
Go late at the V&A
Listen to jazz on the Golden Hinde II
Visit King's College London Chapel
Drink at the Old Red Lion, Kennington
See the Hitchcock Mosaics at Leytonstone Station
Celebrate Norouz at the V&A
Come and see me at Watermark Books
Watch the eclipse at the Royal Observatory Greenwi...
Drink at the Colton Arms
Do life drawing at the Zabludowicz Collection
Listen to young people's music at Rich Mix
Buy junk at The Junk Shop, Greenwich
Attend the St Patrick's Day Parade & Festival
Attend the Affordable Art Fair in Battersea
Come to the launch of 'London, The Weekends Start...
Buy books at Stanfords
See History Is Now at the Hayward Gallery
Attend a lunchtime lecture at the Museum of London...
Attend the Crossbones Garden fundraising launch
Celebrate International Womens Day at the Museum o...
Go late at the Wallace Collection
Remember the Cornish Rebels who marched on London
Attend the GLA Housing Committee
Talk to Strangers at The Globe
Attend the London Bloggers Meetup
Attend the Reel Islington Film Festival
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French Montana returns to Morocco.
Home / Entertainment / French Montana returns to Morocco.
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Outside Casablanca’s Mohammad V airport, there are dusty palm trees and low bushes prickly with violet flowers.
Vapor from the nearby Atlantic Ocean spreads out in a haze across the sky, diffusing the morning sun to a glare. It’s Ramadan, and the city is asleep. French Montana, wearing sweatpants and slippers, a tattoo that reads “Pray For Me” on his neck, scuffs the parking lot pavement.
“I was gonna come down and kiss the ground,” he says apologetically. “But it’s too dirty.” Instead, he climbs in the back of a black van, and heads for the city he used to call home.
Born Karim Kharbouch, French Montana spent his first 13 years on a sprawling family estate just outside Casablanca. He left with his mother, father Abdela and little brother Zack Kharbouch for the South Bronx when he was 13 and, until today, has never been back. The young Karim learned English in the streets and in the Bronx high schools—Lehman, then Roosevelt—that he attended before dropping out. His father lasted two years in New York before returning to Casablanca. His mother was on welfare. Whatever other money they had came from Karim, and he did what he could to provide, legally and illegally, risking not just jail but deportation. Today he’ll show you the twin scars on the back of his head where the bullet that nearly killed him entered and exited. “You do dirt to people and people try to do dirt to you,” he says philosophically, and that’s about as specific about that day as he’s willing to get.
Karim Kharbouch became French Montana sometime around 2002, when he and a friend noticed the growing market for street DVDs and began making their own. They knew plenty of former and current drug dealers and a handful of rappers, so they enlisted, he says, “whoever was legendary” to star in a series of DVDs they decided to call Cocaine City. French Montana made sure to get on camera too. “By the fourth volume, everybody knew who I was,” he says. That may or may not have been true then, but it’s pretty close to true now. Today, French Montana has a joint deal with Diddy’s Bad Boy Records and Rick Ross’s Maybach Music Group and a debut album, tentatively titled Excuse My French, due out this fall.
There are artists who come along from time to time that seem to embody a moment, and in 2012, French Montana is one of them. He is a New York rapper with a vaguely Southern cadence, a man of a few simple words from a city that continues to idolize complexity, even as the genre as a whole has long since turned towards unhinged ad-libs and non-sequitur boasts. There is a kind of blunt efficiency to what he does: rap reduced to exclamation points and full-stop periods. He makes up for what he lacks in finesse with a keen sense of timing and purpose. His slurry, amiable voice is a rap radio constant—that’s his sleepy drawl on the hook of Rick Ross’s “Stay Schemin’,” on last year’s Lords of the Underground-checking “Shot Caller,” on the lilting, menacing Waka Flocka Flame collaboration “Choppa Choppa Down.” “Pop That,” Excuse My French’s antic strip club anthem featuring Drake, Lil Wayne and Rick Ross, recently landed in the Top 40. French’s 2012 has been charmed: his recent habit of wearing colorful Versace scarves as headgear led to an invitation from GQ to come style the magazine’s editors; “fanute”—an inadvertent slang term he slurred into existence on his “Stay Schemin’” verse—was subject to an exegesis in The New York Times Magazine. He’s in that fleeting zone where just by doing things they become news.
Coming into Casablanca
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Coming into Casablanca, the road is fast and empty and lined on both sides by a pale, straw-colored landscape. We speed through gendarme checkpoints, uniformed guards waving us on. Ahead of us the city comes into focus, thousands of low, white buildings stretching flatly in the haze. French Montana looks out the window, taking it all in. He’s grinning.
What he mostly remembers about Morocco is leaving it. What-ever his father had in mind when he moved his family to New York didn’t work out. “He had a lick over there,” French says, meaning a plan, a hustle. “But that lick went wrong. He was trying bring us back [to Morocco] with him, but my mother wouldn’t let him. She was like, I’m not letting them go back over there, ain’t no opportunity over there. So he went back, and she stayed with us.” When he returned to Casablanca, Abdela left behind a newborn son, his third, and little else.
French has not told his father he’s coming to Morocco, though he plans to see him. He has, however, told most of his mother’s side of the family, and they are eager to reunite. Muhammad, French’s mother’s brother, arrives in the lobby of our hotel, the Royal Mansour Meridien—a quiet oasis of marble floors, gold trim and colonial splendor near the water—moments after we do. Muhammad is a tanned, fit 62-year-old, a cheerful, boisterous man with a pinky ring like a paperweight, olive-green dress pants and sandals. In the hotel lobby, he wraps his arm around his nephew, and for a moment French Montana—who generally maintains the friendly but distant vibe of a rapper whose daily life consists of one long performance—looks like a child. “We’re going to do a great tour of all the things he’s lost in the 16 years since he left Morocco,” his uncle says, winking. And with that we are off, piling into the backseat of his black Mercedes sedan and flying down La Corniche, the beachfront section of the city, Muhammad pointing out landmarks as we go.
French has brought his youngest brother, Ayoub, here to meet his father for the first time, and his manager, Gaby Acevedo, a charismatic giant of a man. They’re trailing in a second car behind us, so they can’t hear the increasingly fantastic and profane monologue Muhammad launches into as we drive, a torrent of words about Jimi Hendrix, money, family, alcohol and his fading but apparently still formidable sexual prowess. We pass the startlingly graceful 700-foot minaret of the Hassan II Mosque and the sprawling, leafy palace of the king of Saudi Arabia. “I remember coming down this hill!” French says excitedly, with a kind of relief on his face. “If it would have went any longer,” he says of his absence, “I wouldn’t have known how to act coming back.”
We detour away from the coast when we reach the city’s newly built Morocco Mall, the largest in Africa, which houses several football fields-worth of Bellagio-style fountains, high-end retail and a million-liter aquarium that people pay to climb into and, in full view of their fellow shoppers, swim with sharks. “We have too many rich people in Morocco,” says Muhammad, apologetically.
French is hoping to become one of them, he explains, as we continue south along the coast. He’s looking to buy property here, a move toward remedying his long absence. “Most of my family is here,” he says. “I feel like this is a place I will definitely be back and forth from.” Muhammad has brought us to the city’s border, where the buildings run out and the ground turns to weeds and rocky fields. He wants to show his nephew a development out here—private, and by the water. “All this land has been sold,” Muhammad says, gesturing at the empty landscape. I ask where all the money comes from. “God opened the sky,” Muhammad replies.
Soon we emerge onto a surreal expanse of newly built homes, pale mansions in the middle of nowhere. French looks out the window, apparently trying to picture himself in one of these desolate houses, in this place that was just rocks and rubble when he was here last.
In an alternate reality, Karim and Ayoub, along with their middle brother, Zack Kharbouchk, would’ve grown up in Casablanca. Ayoub is certain that this would have been a catastrophe. This is his first trip outside of America, and he’s sure we’re in the third world—he keeps asking if Europe is also this bad. He’ll start high school in New Jersey in the fall. “After that,” he says, turning to his older brother, “you’re gonna pay for Harvard.”
What would have become of Karim Kharbouch if he’d never left Morocco? French Montana’s success is actually not atypical for a member of his mother’s family, though his path to it has been unusually difficult. “I thought you were a drug dealer,” one of his uncles says at one point. It’s a joke with a melancholy edge to it. Muhammad’s son, Sufjan, is a charming, shaggy teenager who has just returned from two weeks outside of Nice, in France, where Muhammad and his wife also have a home. He speaks English, French and Arabic, lives part-time in two countries, and is applying for an internship in supply-chain management in Spain. Later I’ll meet Miriam, daughter of French’s uncle Mustafa. She’s 24 and dauntingly pretty. On her wrist is a pink Rolex. She says she used to work with Megaupload—“We were making billions a month,” she says, indicating the size of the amount with her hands. Now she works selling advertising in online gaming. She describes herself as “an independent woman.” You get the sense Sufjan and Miriam are happy to see their cousin but don’t entirely know what to make of him.
The feeling is mutual. “I remember me as a kid, just being raised around people in a third world country and not having the oppor-tunity to become what I became today.” French says. “It’s so crazy how I ended up in the States and made it happen.” His whole life since leaving has been predicated on the belief that he escaped, but in Morocco, it’s clear that the reality is more complicated. In Casablanca, Karim Kharbouch might’ve become one of his cousins: a young, successful citizen of the world. Instead he went to America, was abandoned there by the man who was supposed to take care of him, and became French Montana. “Whatever he did has made me who I am,” he says about his father. For that he’s both grateful and more than a little sad.
At twilight that evening, after our tour, we drive to the house of Muhammad’s sister, A’isha, who bursts into tears of happiness when French and Ayoub appear. She yanks her older nephew’s shorts up from their fashionably low-slung position and tries on his sunglasses. The courtyard erupts into laughter. Inside, a feast is laid out on a table in the living room: triangles of shrimp fried in dough, Moroccan soup, tiny, crunchy white fish, soft-boiled eggs, brownies, pita, loaves of bread and shiny, slick, delicious pastries. The women serve tall glasses of blended fruit and strong tea. The sound of evening prayers comes drifting in through the window. “This is unconditional love,” French Montana says. The South Bronx could be another planet right now. He gestures around the room as if to say, See what we’ve all been missing?
French Montana is an invention, of course, born of necessity and ambition and perfected over the course of a decade. This is true for any artist, but it’s particularly complicated for him, a self-described “real life rapper” whose art is supposedly a slightly
edited version of his daily routine. “I wake up, I got two bad bitches next to me,” he says to me in the lobby of our hotel one day. “I’m going to tell you about it.” But tearfully reuniting with his aunts, or talking soberly with his extended family about the difficulties of his personal life—these things do not exactly fit the French Montana character, and it’s clear he’s struggling, over the course of our three days in Morocco, to figure out how to reconcile those realities. It’s sometimes hard to tell if he’s having trouble expressing his emotions or whether, as seems likely, he’s simply hiding what he’s feeling in front of a reported. When we part on the final day of our trip, the last words he says to me are “Make sure the people know French Montana is real.” It is as bizarre a summation of our time together as I can imagine.
Somewhere in Casablanca is his father, a man French has spoken to only once in the 14 years since he’s seen him last. But he doesn’t seem overly concerned with tracking him down: each morning we’re in Morocco, we make a plan to visit Abdela later in the day, and by each evening French has found a reason to put it off. On the afternoon of our second day in the city, we meet in the hotel lobby and talk for a while at a corner table. As a teenager, French tells me, he spent a lot of time angry wish his dad, but lately he’s been reconsidering. He has a three-year-old son of his own now, and he and the child’s mother don’t speak much. “Before I had a son, I used to look at my father’s example: he left me, he left my mother,” he says. “When I had a son, I got caught in the same situation that his mother don’t want me to see him. I started looking at my father in a different light. Like, damn—my father went through this.” We resent the holes the people we love leave in our lives. Then we fill them in, turn around, and create new ones.
As he speaks, other hotel guests stare, sometimes openly. After our conversation, we’re scheduled to go shoot the cover of this magazine, and he’s already dressed for it, in a vintage and fulsomely-patterned Versace garment of fine Egyptian cotton, white pants, white sneakers and sunglasses. The shoot takes place outside the Hassan II Mosque. Later, in the evening, we drive to the Moroccan Mall, where French Montana loiters for a while, hoping to be recognized. Hundreds of Moroccans and European tourists file by, unaware of the ascendant star in their midst. So we leave the mall, and begin to walk the cement boardwalk that runs along the Corniche. At night, the path is lively and full of Moroccans enjoying their reprieve from Ramadan’s fasting and prayer. There are tents on the beach full of people singing and dancing, posters advertising the immaculately bearded entertainers performing inside. To the extent French Montana is recognized in Casablanca, it happens here, on the grittier and less posh Corniche: teenagers chanting MON-TANA out car windows, shy hipsters coming up to pose for photos. This is what French is doing when he spots the camels, two shattered-looking beasts hunkering in the dark on the sand, a lure for passing tourists. “Yo!” he says. He’s already counting the money out in his hand.
Gaby, French’s manager, goes first, a terrified 300-pound man mounting a sickly camel. “It’s gonna go sideways!” he shouts, as the camel struggles to rise. Finally the animal gathers itself, standing up on its hind legs first, and then, shakily, on its front legs as well. Gaby, petrified, is frozen on the camel’s back. It trembles in place for a few gravity-defying moments before buckling back to its knees, Gaby tumbling gratefully out of the saddle. Then French, still in ersatz traditional Versace garb, his white pants glowing in the moonlight, mounts up. The camel’s minders grab the reigns and lead French off across the sand toward the water, disappearing as the animal walks away from the light. When he comes back out of the shadows he holds his arms out sideways, looking like royalty or an extra in Lawrence of Arabia, sunglasses still on in the midnight darkness, soaring to the end of his short ride.
On our last day in Casablanca, we gather outside Muhammad’s home. It’s a particularly gorgeous afternoon, sunny and cool. Muhammad emerges with one of his brothers, and Sufjan, Ayoub and French get in the backseat of his car. “We are going to visit their grandmother, my mother,” Muhammad explains. It is traditional to visit dead relatives during Ramadan. “So you will see the living”—Muhammad holds his hand out, about chest high, and then lowers it below his knees—“and the dead.”
The cemetery is nearby, just up the hill from some government housing. From the far end of the street you can see the Moroccan Mall and past it, the ocean. The family asks Gaby, our translator, the driver and me to wait outside, so we loiter on a far corner as French walks through the cemetery’s green gate. After a while, he and his brother and the rest of his family come back out, looking sober. French says he gave the attendant in the cemetery 300 dollars to look after his grandmother’s plot. It’s unclear if he’s buying good will or peace of mind. He says he cried at the grave. “You just get that feeling in your chest, you know?”
It’s evening on the last day of our trip and the visit to see French’s father can’t be put off any longer. French says he’s ready to go now. I ask if we shouldn’t call his father first, let him know that we’re on our way. But French says he just wants to do it, get it over with, surprise him. One of the uncles knows where his father lives; we’ll follow him there.
We get on to the motorway that circles Casablanca and drive for a while, exiting onto a busy road. It’s densely populated, more city-like than where we’ve been. This is Hay El Farah, a bustling, working class section of Casablanca. Ahead of us, French’s uncle pulls over in front of a nondescript apartment building, and our van pulls up beside him, everyone getting out into the evening sun. French Montana takes a deep breath, looking at his brother. “Give us a sec,” he says. He and Ayoub walk in the building’s entrance, and disappear up the stairs. The building is dirty white, five stories of blue shutters and laundry lines. On the ground floor are a convenience store and a mechanic’s shop; the street behind it has four lanes of traffic going each way, palm trees and bright flowers on the median. We wait a while and then French, his brother and his father come down.
Karim Kharbouch’s father turns out to be a handsome, leonine man, tall, grinning widely, curly hair coming out the back of a New York Yankees cap. He’s wearing a checkered shirt and track pants. He looks a little worn and a lot surprised. While he shakes hands with the rest of our party, French urgently pulls Gaby aside. He’s almost short of breath.
“Yo, get that whole stack,” he says. Gaby asks him if he’s sure and he says, “Yeah, come on man, yeah.” Gaby goes back into the van and closes the door halfway. He reaches into his pocket, extracts a handful of money, and begins laying out cash, one hundred after the next—ten thousand dollars, French Montana will later tell me, in rubber-banded bills.
French and his dad lean against a car and talk quietly. French asks him what he’s doing now—is he working? His father says he isn’t. He introduces French to the men hanging around the convenience store downstairs. “This is my son from America,”he says. They all gather around, leaning in to shake hands.
“He’s got so many pictures of me and Karim in there,” Ayoub says, appearing at my shoulder, looking shaken. He says the apartment upstairs had seen better days. There were only a few rooms, but it was eerie how much of the wall space was devoted to him and his brothers. Here was this man he’d never met but who knew him anyway. Neither Ayoub nor French have the vocabulary for the moment. In spite of their father, they’ve finally made it to the point where they can afford to return to Casablanca. But can they blame him for what they’ve had to endure, growing up without him? One hustle ends in fame and fortune. The other ends in a lonely apartment far from the water, your kids’ pictures gathering dust on the wall.
A few feet away from us, French Montana is whispering something to his father, gesturing toward the apartment. His father walks back toward us, excuses himself, heads inside. Gaby comes out of the van. He’s grinning. A rubber band dangles loosely from his wrist. He nods. And then French Montana goes back upstairs, to give his father the money.
FROM THE MAGAZINE ISSUE 82: STORY BY: Zach Baron , PHOTOGRAPHY: Michael Schmelling
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Board index ‹ Main Forum ‹ Movie News
Universal's Classic Monsters Universe!
All the dirt. All the top secret stuff. Anything that has to do with the process of getting us to sit and watch something projected on the big screen.
by TheButcher on Wed Dec 21, 2005 8:52 am
CREATURE FROM THE BLACK LAGOON script review:
The Creature From the Black Lagoon... think about it for a minute — do you think it's a good idea? Is this just some producer pulling an idea out of the vault saying, "Hey Peter Jackson is reviving King Kong and horror pictures are in... This is a cherry idea"? How would you write the Black Lagoon concept into an interesting one for today's audiences?
Stop there, because you're lying to yourself if you think you can. Make this film — unless you change it completely and it'll gross (tops) 15 million... worldwide. That's 15 million assuming you don't cast Kevin Dillon, Jamie Foxx, and Paris Hilton. This means that if you're going to make a profit, you'll need to shoot it for 1 million. And that means, you'll need to hire that 'My Date with Drew' guy to direct it.
source: http://www.latinoreview.com/scriptreview.php?id=6
http://latinoreview.com/news.php?id=96
Last edited by TheButcher on Wed Feb 22, 2017 11:16 am, edited 4 times in total.
ZONE NEWS DIRECTOR
Location: The Bureau of Sabotage
by buster00 on Wed Dec 21, 2005 9:07 am
I recently rewatched the original Creature and was reminded by how effective a horror movie it was, by 50's standards AS WELL AS today's standards.
And is that a classic monster design or what?
Yeah, lots of elements are gonna have to be tinkered into the year 2006, but the basic shape of the movie works fine. Hell, it's BEEN working fine for 90% of horror movies ever released.
by DinoDeLaurentiis on Wed Dec 21, 2005 10:34 am
Heheh... what a lot of a you young goddamn know-it-alla putzes donna realize is a that a the original, she done inna the 3D, eh? Holy crappa! I remember seeing the original inna the theater anna I had onna those a funny-looking glasses, eh? Anna when a we go under a the water, it's a like a giant pool of a water sitting right inna front of a you, eh?
Iffa they gonna to do it again, then a the Dino says a they should a do it inna the IMAX 3D!!!
by havocSchultz on Wed Dec 21, 2005 10:38 am
DinoDeLaurentiis wrote: Heheh... what a lot of a you young goddamn know-it-alla putzes donna realize is a that a the original, she done inna the 3D, eh? Holy crappa! I remember seeing the original inna the theater anna I had onna those a funny-looking glasses, eh? Anna when a we go under a the water, it's a like a giant pool of a water sitting right inna front of a you, eh?
dino - i would love to see you in those 3d glasses - maybe you should change your Av to include them for a little while - i think it would be the cat's pants...
havocSchultz
is full of stars...
Location: living amongst a hazy nothing...
The Dino's AV is a sacred, eh? I would a never stoop a to such a gimmicks as a the 3D, eh?
I think a you have a me confused with a that putz, William Castle!
DinoDeLaurentiis wrote: The Dino's AV is a sacred, eh? I would a never stoop a to such a gimmicks as a the 3D, eh?
IPAMPILASH... aww... and i was gonna ask for a little bit of The Tingler in my Av... alas...
Re: Creature From the Black Lagoon Remake
by TheButcher on Fri Dec 05, 2008 2:13 pm
From AICN: Updated: CREATURE FROM THE BLACK LAGOON Remake Moving Forward Without Breck Eisner? Not So Fast Mr Beaks!
by MacCready on Fri Dec 05, 2008 2:39 pm
Talk about a thread rising from the dead....
MacCready
MAN IN SUIT
by Tyrone_Shoelaces on Fri Dec 05, 2008 5:08 pm
Still annoyed that I don't get to make this. I have no faith in Eisner but here's hoping that Gary Ross can exert some influence.
by Nachokoolaid on Fri Dec 05, 2008 5:56 pm
See, this is one where I think I wouldn't mind a remake.
by The Vicar on Fri Dec 05, 2008 8:39 pm
Other than the classic scene of the gillman swimming underneath the herione and mimmicking her,
the original wasn't all that scary. The gillman was undeniably cool, however.
I'm willing to bet there's a definative Creature from the Black Lagoon film out there.
by Tyrone_Shoelaces on Sat Dec 06, 2008 6:44 am
I saw the original in 3D in college and it was pretty cool. I wouldn't be surprised if they weren't thinking of doing this one in 3D, you know, just because someone said that's what everyone is doing.
by The Vicar on Sat Dec 06, 2008 9:42 am
Tyrone_Shoelaces wrote: I saw the original in 3D in college and it was pretty cool. I wouldn't be surprised if they weren't thinking of doing this one in 3D, you know, just because someone said that's what everyone is doing.
The 3d aspect was very cool at the time. Hell if the NFL can fart around with 3D, why not?
by Tyrone_Shoelaces on Sat Dec 06, 2008 2:05 pm
The Vicar wrote:
Did you know the Janet Jackson Superbowl was shot in 3D? Think that footage will ever surface?
by The Vicar on Sun Dec 07, 2008 2:14 am
Tyrone_Shoelaces wrote:
The famous Boobbowl? In 3D? Better than listening to her music......
by buster00 on Mon Dec 08, 2008 1:41 pm
The Vicar wrote: Other than the classic scene of the gillman swimming underneath the herione and mimmicking her,
It's not all that scary, but there is some suspence in the film that still holds up pretty well. Compared with most of the horror films from that period, the original Creature really is damn fine stuff.
And releasing the remake in 3D is a GREAT idea!
by Chairman Kaga on Mon Dec 08, 2008 5:25 pm
Ditto on the 3D idea. Now the question becomes period piece or contemporary? My vote would be with a period piece.
Go fuck yourself.
by TheButcher on Tue Apr 14, 2009 11:55 pm
From /film:
Breck Eisner wrote: I want it to be scary. It’s a bigger movie, so it’s not an R rated scary, it’s gonna be a PG-13 scary. Creature takes you to a place you’ve never been before, it’s one of the last untamed places on the edge of the Earth where you find this creature that has been living and hiding there forever, basically. It’s definitely going for a dark adventure tone, but I want it to be scary.
by instant_karma on Wed Apr 15, 2009 4:37 pm
TheButcher wrote: From /film:
How can somebody actually use the phrase 'PG-13 scary' without feeling like a complete gentleman?
by Tyrone_Shoelaces on Wed Apr 15, 2009 9:40 pm
instant_karma wrote:
Ask Breck Eisner whenever you run into him. He'll be the guy behind the counter at 7-11 after he fucks up this and Flash Gordon.
by TheButcher on Thu May 28, 2009 3:13 am
From Bloody Disgusting: 'Creature from the Black Lagoon' Loses Eisner
by buster00 on Thu May 28, 2009 10:40 pm
TheButcher wrote: From Bloody Disgusting: 'Creature from the Black Lagoon' Loses Eisner
That's probably for the better, given that "PG-13 scary" comment. Then again, that PG-13 bullshit is probably Universal's idea. They want another franchise to milk now that The Mummy series has pretty much run its course.
by papalazeru on Fri May 29, 2009 7:34 am
Gary Ross wrote Pleasantville and Big - I got to say, it's not bad. And does this movie have to be an R? Does it have to contain loads of bloodshed?
Papa: The musical!
Padders: "Not very classy! Not very classy at all!"
So Sorry "I'll give you a word to describe it: classless."
Cptn Kirks 2pay: ".....utterly unclassy....."
DennisMM: "...Decidedly unclassy..."
papalazeru
Not very classy! Not very classy at all!!
by buster00 on Fri May 29, 2009 10:17 am
papalazeru wrote: Gary Ross wrote Pleasantville and Big - I got to say, it's not bad. And does this movie have to be an R? Does it have to contain loads of bloodshed?
I doesn't have to contain loads of bloodshed, no. You can get away with just enough gore in a PG-13.
This whole picture just smells like another Indiana Jones wannabe waste of time.
by TheButcher on Sat Jul 25, 2009 10:28 pm
From IGN:SDCC 09: Robert Rodriguez Panel
Rodriguez said that he's producing the remake of The Creature From the Black Lagoon now, which he said was as fun as any of the family films he's made.
by TheButcher on Tue Dec 15, 2009 12:54 am
From Variety:
Creature to Feature Rinsch?
Mike Fleming wrote:
Universal Pictures is in early talks with Carl Erik Rinsch to direct “Creature From The Black Lagoon,” the remake of the 1954 U film about an undersea creature that terrorizes a scientific expedition.
Strike Entertainment’s Marc Abraham and Eric Newman produce with Gary Ross.
Deal would be the second big U picture for Rinsch, who will make his feature directing debut on “47 Ronin,” the epic period samurai swordsmen tale that takes place in 18th Century Japan, and will star Keanu Reeves. That picture is expected to begin production next year.
Rinsch shoots highly visual commercials for RSA owners Ridley and Tony Scott. The Scotts once courted Rinsch to direct a prequel to “Alien,” until Ridley Scott decided to helm that film, returning to a franchise he originated.
Universal has been keen to reprise “Creature,” one of its most famous monster franchises. In a previous incarnation, the studio had Breck Eisner attached to direct a script by Ross, whose father, Arthur A. Ross, co-wrote the original.
Rinsch is repped by CAA.
by TheButcher on Tue Dec 15, 2009 1:26 am
From Hero Complex:
'Creature From the Black Lagoon' emerges
Steven Zeitchik wrote: When director Breck Eisner parted ways with Universal's remake of "Creature From the Black Lagoon" earlier this year, fans of the 1950s camp classic wondered if and when the new film would ever see the light of day.
But now the story of Gill-Man and his victims is getting a new director -- and possibly some new momentum. Carl Rinsch, the hot commercials director who recently signed on to direct the samurai adventure "47 Ronin" for Universal, is now also in talks to direct "Creature From the Black Lagoon" for the studio.
The movie, which was originally shot and shown in 3D -- a very primitive, 1950s kind of 3D -- revolves around a mythic monster who spooks scientists (and the requisite beautiful damsel) in the Amazon.
Meanwhile, Eisner has signed on to a film that's kind of new but kind of familiar (and scary): "The Brood." That's the David Cronenberg horror flick about a woman who telepathically communicates with her group of mutant children, instructing them to act out violently. Eisner's on board to direct the new version, which is written by Cory Goodman for financier Spyglass Entertainment.
Cronenberg's early film (it was released in 1979, part of his own brood of '70s horror movies, two years before his landmark "Scanners"), is regarded as one of the scarier in the supernatural-horror genre. And Eisner knows scary: He just finished directing the remake of the George Romero military-experiment-gone-awry film "The Crazies," which is coming out in February.
As for "Black Lagoon," it wouldn't be the first time the sea-monster movie was brought back to life. Universal has tried several times over the past three decades, with everyone from John Landis to Peter Jackson contemplating a stab. (Jackson chose "King Kong" instead. Hey, you can't be right all the time.)
More recently, Gary Ross of "Seabiscuit" fame wrote a draft of the screenplay (in a nice bit of continuity, he's the son of Arthur Ross, who co-wrote the original). And Eisner had done a rewrite. But the studio is apparently back to the drawing board on the script.
All of these movies are part of a new crop of horror films -- Universal has "The Wolfman" with Benicio Del Toro set to come out early next year, and also is developing a new version of "Bride of Frankenstein." The tagline for the original "The Brood" is "They're waiting for you." You could say the same for monster remakes.
by TheButcher on Wed Oct 17, 2012 12:52 am
'Creature From the Black Lagoon' Nabs a Writer (THR Exclusive)
Borys Kit wrote: Dave Kajganich, who wrote the Daniel Craig-Nicole Kidman thriller The Invasion several years ago, has been tapped to pen Universal’s remake of Creature From the Black Lagoon
Eric Newman and Marc Abraham of Strike Entertainment are producing as well as Gary Ross and Allison Thomas via their Larger Than Life Productions. (Ross’s father was one of the writers on the original.)
Despite earlier reports, Carl Rinsch is not attached to direct.
The 1954 movie centered on a prehistoric water-breathing humanoid monster that lived in a remote Amazonian river and a group of scientists that want to study him.
The studio has been trying to remake the title since the early 1980s and Kajganich is starting from scratch.
The scribe is known for his horror scripts. Invasion was a remake of Invasion of the Body Snatchers and while the movie production was troubled, it paved the way for him to work on the remake of Pet Sematary. Recently he worked on high-profile adaptation of Stephen King’s It and The Stand, which are in development at Warners.
He is repped by UTA, Madhouse Entertainment and Jackoway Tyerman.
Universal’s vp of production Anikah McLaren and creative exec Sara Scott are overseeing the project for the studio. Kristel Laiblin will exec produce for Strike.
Universal's Classic Monsters
by TheButcher on Thu Jul 17, 2014 3:58 pm
Screenwriters Alex Kurtzman and Chris Morgan to Create Crossover Universe for UNIVERSAL MONSTERS Starting with THE MUMMY
Universal Taps Alex Kurtzman, Chris Morgan To Relaunch Classic Movie Monster Franchises
MIKE FLEMING JR wrote: EXCLUSIVE: In recent years Universal Pictures has become defined by its The Fast And The Furious, Despicable Me, Bourne and Jurassic Park franchises. But the studio’s most enduring legacy is its library of classic movie monsters that include Frankenstein, Dracula, The Wolf Man, Creature Of The Black Lagoon, The Invisible Man, Bride Of Frankenstein, and The Mummy. Universal is now dedicating renewed resources and an unprecedented, far-reaching commitment to revitalize its monster heritage.
The studio is in early stages of developing a substantial new production endeavor that will expand and unify a network of classic characters and stories. The architects of that narrative will be Alex Kurtzman and Chris Morgan. Kurtzman recently broke with partner Roberto Orci, but his big-scale projects have included Transformers, Star Trek and The Amazing Spider-Man. Morgan is the writer behind five installments of The Fast And The Furious, which has been Universal’s most reliably lucrative franchise. It’s not set in stone yet if either will write, but they will soon be going around town enlisting talent to bring new cinematic life to these enduring characters from lore, literature and Universal’s own library. While Universal has selectively tapped its Movie Monster library for The Mummy, Van Helsing, The Wolfman, and the upcoming Dracula Untold, this will be the first time that the studio has formalized an approach to these classic characters in a cohesive, connected way rather than as a series of stand-alone projects by disparate filmmaking teams.
They’ve begun the meetings to put together an interconnected slate of Monster films, and the first will be a reboot of The Mummy, which will be released April 22, 2016. Part of their duty will be to work closely with production, marketing, promotions and consumer product to support the revival. They will also reevaluate projects which have preexisting attachments, and bring it under one cohesive strategy.
While some of those monster pictures haven’t panned out, this seems like a smart move. If Marvel Studios and Disney can build a billion-dollar business relying on the Marvel Comics superhero character library, why shouldn’t Universal redouble its efforts to dust off and modernize the classic movie monsters that inspired many of the movie monsters we see today?
TheButcher wrote: Roberto Orci and Alex Kurtzman Planning Universal Monsters Cinematic Universe
Matt Goldberg wrote: In a recent interview with IGN, Orci says they’re looking to go make sure their lead characters move over into other movies [via CS]:
“There’s an interesting thing that could happen at Universal where they have this amazing library of their old monsters and these kinds of heroes, and the idea of trying to create a universe. Van Helsing, and we’re also producing The Mummy for them. We’re kind of imagining updating these kinds of things. You don’t want to just make remakes when you’re doing a thing, unless it’s worthy of being a remake, but when you have an idea for something that can actually be made different and yet be true to what it was. We just had a notion of how to make it modern and have a slightly different tone. It’s not going to be just a remake.”
Re: Universal's Classic Monsters
by TheButcher on Fri Jul 18, 2014 1:07 am
Collider:
Alex Kurtzman Gives Updates on AMAZING SPIDER-MAN 3, SINISTER SIX, and VENOM; Talks Universal Monster Universe Plans
Christina Radish wrote: On the cinematic side, what’s front and center on your plate, right now?
KURTZMAN: Front and center right now is Chris Morgan and I working on getting The Mummy off the ground and building up our Monster Universe. That’s where I’m spending my time. And working with Drew Goddard on Sinister Six.
Guillermo del Toro has always loved Frankenstein. Would you want to get him involved, in some way?
KURTZMAN: Nothing would make us happier. We’re only at the beginning exploratory phase of all of it, but I’m a crazy huge Guillermo del Toro fan. So, anything he wants to be involved in, we’d be honored.
What is your big picture view of the Monster Universe that you’re working on?
KURTZMAN: I think it’s incredibly important to all of us to start focusing on each movie, and make each movie great, rather than thinking, “Okay, we want to do The Avengers next.” If that comes along, it will come along organically. When I was a kid, going to Universal Studios, which was all I wanted to do, all the time, there was a show that was all the monsters, and I loved that show. I was obsessed with Dracula. I was obsessed with Frankenstein. I was obsessed with the Wolfman. This guy used to get stretched on a rack, live and in front of the audience. It was so cool. It’s very exciting. It’s like being a kid in a candy store, getting to play with all those things again, at the very studio that birthed these monsters, in the first place. Most importantly, we’re really wanting to just do each one right. I think the world will come to us, if we build them correctly.
Is there a lesser one in the monster pantheon that you’re hoping to make an A-lister?
KURTZMAN: Some monsters will get their own movie. Other monsters will appear in other movies, as secondary characters. The balance of that is what we’re working out right now.
by TheButcher on Thu Sep 25, 2014 5:32 pm
VAN HELSING Storyboards Reveal Unused Creature From The Black Lagoon Scene
2004's Van Helsing, which was written and directed by Stephen Sommers ("The Mummy"), planned on including the Creature from the Black Lagoon. Come see storyboards for the unused scene.
by TheButcher on Tue Nov 04, 2014 9:41 pm
Universal Dates Second Monster Universe Movie for 2017
Universal has staked out the date of Friday, April 21, 2017, for its second monster franchise film.
Re: Creature From The Van Helsing Reboot
by TheButcher on Wed Nov 05, 2014 9:44 am
‘Fargo’s Noah Hawley To Adapt His Novel ‘Before The Fall’ In Sony Pic Deal
Mike Fleming Jr wrote: Hawley, while readying another season of Fargo, is separately scripting an untitled project at Universal that will be part of that studio’s classic monster franchise push.
Universal Monster Shared Universe Movie Set for Spring 2017 Release
Van Helsing is a strong possibility for the 2017 date
by TheButcher on Sun Aug 09, 2015 6:04 am
{TB EXCLUSIVE} JEFF PINKNER WILL CONJURE UNIVERSAL’S “CREATURE FROM THE BLACK LAGOON”
Pinkner served as showrunner for ABC’s cult sci-fi series Fringe
Josh Lyons wrote: The Amazing Spider-Man 2 writer Jeff Pinkner has been brought on to rewrite Universal’s CREATURE FROM THE BLACK LAGOON. Akiva Goldsman is overseeing the project for Universal.
Given his credits, Pinkner seems well-suited to the task of resurrecting the sci-fi horror classic. Pinkner was a showrunner for ABC’s cult sci-fi series Fringe, and he’s currently adapting Stephen King’s The Dark Tower. He’s also one of a dozen writers involved in Paramount’s Transformers writers’ room experiment, having recently submitted a treatment for Transformers 5, and serves as a showrunner for CBS’ summer series Zoo.
Re: Universal's Classic Monsters Family
by TheButcher on Wed Nov 18, 2015 10:57 am
Universal to Release a Monster Movie Every Year; Films Will Explore “Family Identity”
Universal hopes to give Marvel and 'Star Wars' a run for their money with their stable of old school heroes: Dracula, Wolfman, and The Mummy.
How Universal Plans to Bring Its Monster Movies Back to Life (EXCLUSIVE)
Brent Lang wrote: At a time when other studios are furiously raiding the vaults of comic books and graphic novels, trying to find the next Marvel and DC Comics, Universal is deviating from the superhero movie playbook — at the same time it mimics some of its strategies.
The studio has tapped Alex Kurtzman (“Transformers”) and Chris Morgan (“Furious 7”) to revive the monsters that were the studio’s stock in trade during the golden age of Hollywood. Together, they’re overseeing a team that’s busy mixing in elements of those classic films, such as the bolts in Frankenstein’s neck, with a modern setting tied to contemporary themes.
“This is not a heightened world,” Morgan says. “We’re exploring issues of family identity and questions of, ‘Where do I belong in the world?’ ”
The films are taking a page from Marvel in certain ways, however. Just as the comic book label launched its onscreen group of heroes in interconnected films before teaming them in one big superstream adventure with “The Avengers,” Universal is planning to create a shared universe for its creatures. “The characters will interact with each other across movies,” says Donna Langley, chair of Universal Pictures. “We’re incubating it at the moment, and we’re taking the time to get it right.”
The plan is for a new monster movie to come out every year. The first of these, based on the character of the Mummy, will begin shooting in early 2016, with other pictures centered on Dracula, Van Helsing, Bride of Frankenstein and the Wolfman following in short order. To prepare, Kurtzman and Morgan obsessively watched Universal monster films made with the likes of Boris Karloff and Bela Lugosi, and to broaden the sense of genre, augmented that with a diet of Hammer Horror pictures and other creepy works.
“We’re creating a mythology, so we’re looking at this canon and thinking, ‘What are the rules?’ ” Kurtzman says. “What can we break and what are the ones that are untouchable?”
Storyboard artists and designers are creating the look and feel of the various productions, and each of the 10 writers working on the project has been assigned a monster to oversee.
“The idea is that we have a deep bench of brains to consult with about how their monster fits into our world as we go forward,” Kurtzman explains.
To head its team, Universal brass has found two self-confessed horror geeks who credit pictures like “Dracula” and “Abbott and Costello Meet Frankenstein” with inspiring their love of film.
“I was raised on monster movies,” Morgan says. “I used to make my own fake puke, so I wouldn’t have to go to school and could stay home and watch things like ‘Cat People’ on TV. I can still tell you what I used — orange juice, Saltines, Pepsi and milk.”
Both men think that after more than a decade of seeing Captain America, Batman and other heroes routinely save civilization, moviegoers are ready for a change of pace.
“Heroes tend to be perfect, but most people in an audience aren’t ever going to know what it’s like to be the smartest, strongest or fastest person alive,” Morgan says. “But there’s a darkness inside everybody. And everyone wants to be able to turn a curse into empowerment. The monsters have been in the shadows, and now it’s time to bring them out into the light.”
Re: The Wolf Man Reboot
by TheButcher on Sat Dec 05, 2015 9:53 am
‘The Wolf Man’ Reboot Will Kill a Bunch of Villagers and Feel Really Bad About It in 2018
Jacob Hall wrote: We have written about our trepidation over Universal’s plans to revive their classic monsters several times now. Sure, the “shared universe” approach works wonders for the likes of Marvel, but is it really the right way to approach classic characters like Frankenstein, Dracula, and the Mummy? Do we need Van Helsing to brush shoulders with the Creature from the Black Lagoon? Will he have to endure jokes about Samuel L. Jackson showing up after the credits to recruit the monsters for a secret team? It’s enough to cause Universal monster fans to break out in an icy sweat.
But enough of that for now. These movies are happening! And while The Mummy is happening first, it looks like The Wolf Man reboot will be next in line. It has a release date and everything.
According to JoBlo, The Wolf Man will open on March 30, 2018. That’s approximately one year after The Mummy‘s March 24, 2017 release date. In other words, it looks like Universal knows that these characters probably can’t tussle with the superheroes and dinosaurs that usually populate the summer months, so they might as well try to own the spring instead. Why Universal is not pushing for their classic monsters to arrive in theaters close to Halloween is a question beyond our pay grade.
The screenplay for the new Wolf Man was written by Aaron Guzikowski, who is best known for writing the intense (if occasionally ludicrous) thriller Prisoners. Apparently, horror is his thing now since he’s just been hired to rewrite the next Friday the 13th movie.
Since director Alex Kurtzman and Universal are pursuing Tom Cruise to star in The Mummy, we imagine that they’ll also go after some big name talent for The Wolf Man. And they should: it’s one helluva part. All of the Universal monsters are tortured souls, but Larry Talbot is tragedy personified. Here is a good man who, despite resisting it with every fiber of his being, transforms into a monster when the moon is full and wreaks havoc, targeting anyone with a pulse. This is a part for a movie star.
It’s interesting that the first two films in Universal’s new monster universe revolve around characters that they’ve revived in relatively recent history. The Mummy was reimagined in 1999 as an Indiana Jones-esque action series and until the desperate and sad third movie, the franchise proved lucrative. And then there’s 2010’s The Wolfman, a noble misfire whose disastrous production is the stuff of legend. Although well-intentioned (it was a proper, classical horror movie by design) and perfectly cast (Benicio del Toro, Anthony Hopkins, Emily Blunt, and Hugo Weaving do everything they can), the film is is really just one-jaw-dropping disaster of a scene after another. Who can forget the grand climax, where two CGI werewolves punch each other for all kinds of stupid reasons? Or the scene where a CGI werewolf leaps from rooftop to rooftop like he’s Spider-Man?
Then again, the worst of the Mummy movies and The Wolfman have nothing on the embarrassing heap that is Van Helsing and Universal is also planning to reboot that as well.
With The Mummy arriving in 2017 and The Wolf Man in 2018, it is time to start pondering which character gets 2019. With scripts centering on Van Helsing, the Bride of Frankenstein, and the Invisible Man currently in the works, your guess is a good as ours.
Last edited by TheButcher on Fri Jun 24, 2016 4:59 am, edited 1 time in total.
Re: Son Of Shaolin/The Wolf Man Reboot
by TheButcher on Fri Jun 24, 2016 4:56 am
Dwayne Johnson Sets Jay Longino Graphic Novel ‘Son Of Shaolin’ At Sony
Mike Fleming Jr wrote: EXCLUSIVE: Sony Pictures has acquired Son Of Shaolin, a feature pitch based on the soon to be published graphic novel created and written by scribe Jay Longino. Dwayne Johnson, Dany Garcia and Hiram Garcia from Seven Bucks Productions will produce, and while I’m told his commitment is only that, I’ve heard there’s an eye toward The Rock potentially being involved in some onscreen capacity. That’s being understandably downplayed for the moment, given Johnson’s numerous starring commitments: beyond those, there are persistent rumors Universal wants him howling at the moon when it gets around to the Wolf Man movie that is part of its classic monsters franchise revival plans. Script will be written by Longino, who co-scripted the Renny Harlin-directed Jackie Chan-Johnny Knoxville team up Skiptrace that Saban Films will release in the fall. He will also be executive produces alongside Ryan Kalil, the perennial All-Pro center for the Carolina Panthers. It was Kalil who financed production of the graphic novel through his Strange Turn Entertainment banner.
They are keeping the plot under wraps, but I’m told the hope is it has the recipe to start a global franchise, a contemporary Kung-Fu story that intertwines Shaolin mythology with many of the current issues faced by teens growing up in a gentrifying neighborhood. Matt Milam brought the project in to the studio and will oversee. Aside from the China-set Skiptrace, Longino last year sold a China-set sports drama to Fox 2000 with Temple Hill producing. The scribe is repped by Verve, ROAR and attorney Todd Rubenstein. Johnson is WME.
by TheButcher on Mon Jul 11, 2016 9:57 pm
Javier Bardem Eyed for Frankenstein Role in Universal’s Monster Universe (EXCLUSIVE)
by TheButcher on Sat Oct 08, 2016 7:44 am
TCM PRIMETIME - WHAT'S ON SUNDAY, OCTOBER 09, 2016
The Ghost of Frankenstein (1942) @ 8:00 PM
Frankenstein Meets the Wolf Man (1943) @ 9:15 PM
House of Frankenstein (1944) @ 10:45 PM
Re: Universal's New Classic Monsters
by TheButcher on Thu Oct 13, 2016 9:47 pm
Universal Taps 'The Expendables' Writer to Pen 'The Wolf Man' (Exclusive)
Dave Callaham will work on the script for a new film based on the 1941 Universal movie.
by TheButcher on Sun Dec 04, 2016 11:19 pm
‘The Mummy’: Alex Kurtzman Confirms ‘Dracula Untold’ Is Not Canon, Teases Jekyll’s Role
Plus, whether or not Universal aims to bring back the 'Creature from the Black Lagoon.'
Re: "Show me the Mummy!"
by TheButcher on Tue Dec 06, 2016 10:58 pm
‘The Mummy’ Featurette: Tom Cruise Gets the Crap Kicked Out of Him
by TheButcher on Thu Dec 08, 2016 7:28 am
The Big Change The Mummy Had To Make Because Of X-Men: Days Of Future Past
I'll let you in on a secret. There was a moment when I had sort of rendered a design that I liked for a male version of The Mummy. And in that version of The Mummy, the Mummy had been born with a skin pigmentation that at the time would have made him really sort of an outcast. And I thought it was an interesting backstory, because it began to tell the story of someone who had been bullied, which I found topical. I was reaching for a way to make the Mummy a character who is relatable, understandable, and that spoke to issues that we're dealing with now.
I was going down that road, and then I saw the end of Days of Future Past. And they had the character that Oscar Isaac wound up playing as a boy, and it was, I kid you not, the exact same design. And I was like, 'Oh, man! That is not good!' And actually it was the catalyst, it was the moment of, 'Okay, not only is this not going to be different enough, Bryan Singer just did it, I definitely don't want to go down that road.' I had had that voice in my head for some time to make it a woman, and that was the moment where, the minute I saw that post-credits scene, I went, 'We have to start over.' I don't want to mess around even remotely with anything that feels familiar or feels like it's been done. I have to go in totally new territory.'
Re: GDT's Creature From the Black Lagoon Remake?
by TheButcher on Thu Jan 05, 2017 6:13 am
‘The Shape of Water’: Doug Jones Reveals Story Details for Guillermo del Toro’s Next Film
The 'Hellboy' actor plays a fish-man in the Cold War-centric drama, and he has a bold prediction for how the film will be received.
Alexandre Desplat is scoring Guillermo del Toro’s The Shape of Water
Re: Universal's Classic Monsters: Hellboy 3?
by TheButcher on Wed Jan 18, 2017 9:48 pm
Frankenstein or Frankenstein's Monster?
by TheButcher on Fri Feb 10, 2017 11:34 am
‘Van Helsing’ Co-Writer Eric Heisserer Teases His Explicitly Non-Superhero Take on the Character
"I don’t like the idea that we’re infusing our public and our pop culture with the idea that only super people can solve the world’s problems. I like the idea of the everyday hero stepping up to the plate and getting things fixed.”
Re: Universal's Classic Monsters Universe!
by TheButcher on Wed Feb 22, 2017 11:26 am
TrackingBoard:
DAN MAZEAU TO WRITE “VAN HELSING” MOVIE FOR UNIVERSAL’S CLASSIC MONSTERS UNIVERSE (EXCLUSIVE)
Lee Rosenbaum wrote: Universal has hired Wrath of the Titans scribe Dan Mazeau to write the VAN HELSING reboot that is part of the studio’s classic monsters universe, the Tracking Board has exclusively learned.
As the architects of the universe, Alex Kurtzman and Chris Morgan will produce the film, though plot details remain under wraps somewhere in Transylvania.
Mazeau was part of Universal’s writers room for the monsters universe, which also included Noah Hawley (Legion), Aaron Guzikowski (Prisoners) and Ed Solomon (Men in Black). His hiring isn’t exactly recent, as Van Helsing has been Mazeau’s baby since as far back as September, but his involvement had never been reported until now.
Oscar nominee Eric Heisserer (Arrival) and Jon Spaihts (Doctor Strange) previously worked on Van Helsing. Spaihts also co-wrote The Mummy, the Tom Cruise movie that kicks off the new monsters universe this summer.
The character of Van Helsing first appeared in Bram Stoker’s Dracula as a vampire hunter, though he also chased Frankenstein and the Wolf Man in the 2004 movie starring Hugh Jackman. The Invisible Man, the Bride of Frankenstein and Dr. Jekyll/Mr. Hyde are also rumored to play parts in Universal’s monsters universe.
Guzikowski is currently running point on The Wolf Man, while David Koepp has been tasked with writing a present-day Bride of Frankenstein, though Kurtzman, Hawley and Jenny Lumet worked on earlier drafts. Angelina Jolie has been courted to direct the latter film, which like The Mummy, will be set in present-day.
Universal executives Jon Mone and Jay Polidoro will oversee Van Helsing for the studio.
Besides Wrath of the Titans, Mazeau has written Lunar Park for producers Tom Cruise, Doug Liman and Simon Kinberg, and rewrote the spy movie Section 6 for Universal. He also adapted the sci-fi novel Yukikaze for Warner Bros. and wrote a draft of the action-thriller World’s Most Wanted for Fast & Furious producer Neal Moritz.
by TheButcher on Fri Feb 24, 2017 3:41 am
Author Chip Zdarsky has found Mary Shelley's secret "director's cut" of Frankenstein
It's Okay to Call Frankenstein's Monster Frankenstein | The Mary Sue
by TheBaxter on Fri Feb 24, 2017 12:49 pm
it's common knowledge that Frankenstein's Monster's actual name was Neville.
by Ribbons on Fri Feb 24, 2017 3:25 pm
I thought his name was Herman Munster
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Vegas attack, terror threat put Chicago on 'Summer Defensive'
An ABC7 I-Team Investigation
By Chuck Goudie and Ross Weidner
CHICAGO (WLS) -- The FBI task force that runs counter-terrorism operations in Chicago will now also handle a new, and threatening, menace to urban centers: mass shootings.
More than 100 law enforcement officers including federal agents, Chicago police and Illinois state troopers assigned to the Joint Terrorism Task Force have taken on the new "Summer Defensive" role in time for the customary start of the season next Friday with the Memorial Day weekend.
The task force will mobilize officers, assets and intelligence to protect concert-goers, festival fans and tourists who will flock to Chicago during the next few months.
What happened last fall in Las Vegas is a driving force behind the Chicago summertime protection plan.
On Sunday, October 1, 2017, the nation's worst ever mass shooting took place on the famous Las Vegas Strip. Stephen Paddock, 64, opened fire on a country music concert from a 32nd floor hotel window. Paddock managed to squeeze off more than 1,100 rounds during his sniper attack.
When the rain of gunfire ended with Paddock's suicide, 58 people were dead and 851 wounded or injured. No motive for the attack was ever identified by investigators.
For law enforcement officials here, what happened in Vegas isn't staying in Vegas. They say it looms large over Chicago.
"It's huge," said CPD deputy chief Kevin Ryan.
But it isn't simply what went down in Vegas that drives public safety decisions in Chicago. It's also what was thwarted in Grant Park last summer.
Two months prior to the Las Vegas attack, Paddock had a room reservation at Chicago's Blackstone Hotel, across the street from last summer's Lollapalooza music festival. Paddock never checked in and the Chicago event was apparently never directly in his gun-sight.
According to Ryan, Paddock may have been deterred by CPD's formidable presence.
"We had specific assets we put in place and specific things that I think contributed to us not being a target," he said. "I would think it certainly didn't encourage him to come here. I can't get inside his mind you know he's not here to talk to so, but the bottom line is we present a picture to people that we are not a soft -- not an overtly soft target."
The city's layers of protection are going to be hardened this summer. Beginning with the June 1 Taylor Swift show at Soldier Field, concert-goers will see more police officers and more of them armed with heavier weapons. There will be a multi-layered approach to screening with expanded security perimeters and screening checkpoints.
"We can't put fences and gates around everything in downtown Chicago, but we do try to make it very unattractive to people that, that want to create havoc or so things of that nature," Ryan told ABC7 investigative reporter Chuck Goudie.
Goudie: "What would you say to parents who are bringing their kids downtown to concerts this summer? They've seen things happen in other places. How do you calm people to the thought that something could happen?"
Ryan: "It's scary. You know it is scary. But I would say to anybody we have professionals who are engaged in this that plan for this and that um we try to look at every possibility. Our kids live here our kids go to these concerts."
Even though mass casualty crimes are a focus of the summer defensive, a possible jihadist attack is always on the radar of the FBI here.
"Chicago is the third largest city in the country, it's an economic hub, it's well known around the world, it's a tourist destination, so obviously anything related to Chicago is going to draw the attention of individuals who we may not want to draw their attention from," said FBI assistant special-agent-in-charge Christopher Serdinak.
The leaders of Al Qaeda and ISIS have made it clear to their devotees in the U.S. that they should attack public events and gatherings such as concerts, festivals and sporting events whenever they choose and with whatever weapons may be available.
"That's what's making this so much more difficult for us to counter," said Serdinak during an interview with the I-Team at FBI headquarters in Chicago. "What a lot of these groups have done is they've almost gone low tech to the point that they want to inspire homegrown violent extremists in the United States who follow the ideology of maybe an ISIS to commit an attack with a vehicle or with a bladed weapon."
That is the challenge for Chicago law enforcement this summer. Defending against the constant threat of terror sympathizers who are currently on no one's watch list, and at the same time protecting against the mass shooter who may be unknown to authorities until the first shot is fired.
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Why Everyone From Publishers to Sports Leagues Wants to Be an Ad-Tech Company
It's No Longer Enough to Be a Leader in Content
Perhaps to please investors but certainly for competitive advantage, media companies are positioning themselves as ad-tech firms and putting big money behind it.
It's no longer enough to be a leader in content.
Perhaps to please investors but certainly for competitive advantage, media companies are increasingly positioning themselves as advertising-technology firms and putting significant money behind the assertion.
Notably, some of the most successful digital-native publishers are now launching their own ad exchanges or demand-side platforms. The tools are designed to help advertisers buy space in a programatic and cost-effective manner across many related sites -- and at scale.
Politico is the latest to enter the fray.
At an event next month in Washington, the media company will unveil Politico DSP. The platform, according to Peter Cherukuri, senior VP-business development, is designed to give marketers a single data-driven platform to buy premium inventory on sites that reach opinion leaders and policy influencers both inside and outside of Washington.
Cherukuri believes this is an underserved niche that's not being met by the incumbent DSPs. A list of the network's publishers was not available at press time.
Politico is by no means alone.
Last month BuzzFeed said it had formed a network that includes eight sites, such as The Hairpin, Thought Catalog and Dealbreaker. These and other publishers that will soon join the network will all resyndicate BuzzFeed's sponsored posts. This is the first programatic test of its kind for so-called native ads and will help bolster BuzzFeed's significant prowess in data and analytics as well.
BuzzFeed and Politico are being joined by digitally-savvy traditional players. Major League Baseball this month launched a platform with BlueKai that lets advertisers identify affluent audiences based on a range of demographic, behavioral and purchasing attributes and target them across all of its digital properties. It hasn't extended this effort more broadly, but the companies did say they plan to create private exchanges.
While it's easy to chalk all of this up as an extension of what media owners have done for years, there appears to be a deeper meaning. Publishers are collectively observing a growing body of anecdotal evidence that underscores the three corporate strategies all successful digital businesses follow.
First, they continually disrupt themselves in an effort to avoid being disrupted by technology and/or competitors. Consider LinkedIn. It's rapidly disrupting itself by becoming a source for creating and marketing professional content even as it continues to build off its core job listings and lead-gen businesses.
Second, these enterprises recognize that the internet does not reward monoliths; it loves ecosystems. Five of the most powerful digital companies today -- Google, Apple, Amazon, Twitter and Facebook -- are all large multifaceted and powerful platforms that create value for others.
Finally, these leaders know that convergence is a constant. Publishers, as mentioned previously in this space, are rapidly becoming agencies. Meanwhile brands are becoming media companies. And social networks like Facebook are significant ad-tech players.
The lesson: The internet is not black and white. It's a sea of gray.
Politico, BuzzFeed and Major League Baseball are embracing these three truisms. However, they're not technology companies at heart, so it will be fun to watch whether they can successfully compete in an environment where there are others with deeper tech talent and experience.
That said, they are wise to move in this direction, and perhaps marketers would be wise to consider modeling the same approach.
Steve Rubel is exec VP-global strategy and insights, Edelman. [email protected]
It's no longer enough to be a leader in content, as evidenced by the media companies positioning themselves as ad-tech firms.
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Source URL: https://adage.com/article/steve-rubel/ad-tech-company/240975
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Chrome 48 released to stable channel, better performance coming in future updates
- Jan. 21st 2016 9:45 am PT
Chrome on Mac, Window, and Linux is being updated this week to version 48. The latest update contains the usual bug fixes and improvements for the desktop browser, but mobile devices will see the bulk of the improvements. Future updates to Chrome, we’ve learned, will bring a new compression algorithm that will help the browser load faster pages and use less power on all platforms.
Chrome 48 has 37 security fixes in total from various external researchers and Google’s internal security team. As mentioned, the Android version of Chrome will see the bulk of updates in version 48, with notifications having the ability to add buttons and websites being able to present to a Chromecast or other Google Cast devices.
In efforts to address Chrome’s performance, Google has been removing unused features from the browser and announced a new “Brotli” compression algorithm that saves up to 25% more data than past releases. With less data being loaded, Chrome will be consuming fewer resources and computing power on devices. Those on the Canary build of Chrome can enable the feature now, but regular users should see the feature in version 49 of Chrome next.
Chrome for desktop is rolling out now, while updates for Chrome on Android and Chrome OS should follow shortly.
Apps and Updates
The latest updates hitting your favorite applications
Available for Windows, Mac, and Linux, Google Chrome is the most widely used desktop browser in the world. Since its launch in 2008, Chrome has expanded to Android, iOS, and is the basis of a cloud-based operating system.
beta Windows web Mac browser
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Главная » Divination » Gypsy fortune telling on love cards
Gypsy fortune telling on love cards
Love relationships occupy an important place in the lives of most people. Learn how to quickly and easily answer your questions with the help of gypsy divination for love. See the simplest layouts.
Gypsy love divination, developed in ancient times, have remained unchanged for centuries. They make it possible to clarify the situation if a person needs to find out how the object of his passion relates to him and what kind of future such relationship expects.
Guessing on the relations on the Gypsy cards
Gypsy cards are the most famous and popular deck of 36 cards, which depicts encrypted characters. According to legend, they were invented by the wise Gypsies in order to be able to predict the future.
In order to tell fortunes to love, you must first prepare a place. According to the tradition, it is better to make the alignment on a large scarf, and if it is not there, then it is possible to use a flap of any fabric. Thus, the fortuneteller shows respect for the oracle and asks to discover the truth.
Now you need to get rid of extraneous thoughts and specifically formulate your question. Begin to shuffle the deck with concentration, thinking about your loved one. Before you start the alignment, lift up with your left hand.
Pull out three cards in turn. The first will tell you about what the object of passion thinks of you. The second will tell you how the relationship will develop.
The third will determine their outcome and indicate an obstacle to a happy outcome, if there is one. The meaning of each gypsy card can be seen in the interpreter. Do not forget that in this situation the principle is valid — the first answers will be the most truthful.
Gypsy fortune telling 10 cards
You can make love with the help of a known hand of ten cards. At the same time, one should guess not at oneself, but at the object of your passion, in order to get a more detailed idea about it and draw conclusions about the prospects of personal happiness.
First, a card is chosen from the deck, indicating a particular person. It is the center of the hand. Then comes the so-called fortune, which will tell you that it really worries a person and lies in his heart.
It is taken out at random from the shuffled deck and placed down. Between them lay out three rows of three cards.
The top row is responsible for the past of the person who is doing gypsy fortune telling, the middle row is for the present and the bottom row is for the future. In order to properly understand what he saw, you need a special interpreter. It has the meaning of each character depending on its environment.
For example, Ace, Nine and Seven can change the meaning depending on the position of the central icon. If the tip looks up, it means advancement and growth. Down — the close outcome of a particular situation, as well as spending.
Hearts are responsible for personal relationships. They will tell you whether happiness is expected on the love front. Diamonds symbolize luck and good luck.
Trefs predict work and litigation, and Peaks mean the possibility of conflict. When you get a more or less clear picture of what is happening in the life of your chosen one, it will become obvious whether he is in love now or is concerned about completely different problems.
The duration of such predictions in most cases covers the time period from one month to three. Then it is better to guess again. May luck and love be with you in everything and do not forget to press buttons and
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