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Organization: WNET | Change
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WNET
WNET Info
WNET is a company that also runs a non-commercial educational television channel. The station is licensed to Newark, New Jersey and covers the New York Metropolitan area. WNET is also the parent company of Long Island based Public Broadcasting System (PBS) and WMET is considered to be the most watched PBS station in the country with its sister concern WLIW being the third most watched channel.
Some of the channels that the organization manages and runs include THIRTEEN, WLIW21, KidsTHIRTEEN, WLIWCreate, WLIWWorld, THIRTEEN on Demand, THIRTEEN Kids on Demnad and V-Me. The content for these channels includes topic related to arts and culture, news and public affairs, science and natural history, documentaries and children programming. The organization also creates the Celebration of Teaching and Learning.
The Tisch WNET studios are located at the Lincoln Center and this state of the art facility is the location for many production shoots. Some intimate concerts, lectures and screenings are also held at the center. Some of the signature programs of the channel include American Masters, Cyberchase, Great Performances, MetroFocus, Nature, Need to Know, Reel13 and Sunday Arts.
There are various ways in which people can support the various channels that are broadcasted by this group. One can join the channel, subscribe or renew a membership or simply donate to the cause of bringing information to children and adults. The support that people give is what really ensures that the content of these channels is always of high quality and top production value. Some of the subscriptions can get a person discounts at various museums, theatres, concerts and retail establishments as well.
Other ways of giving include the memorial and tribute gift option, kid club thirteen options, corporate donations and the opportunity to donate your old car too. Since the organization is a non-profit one, it does not look at commercials for revenue and depends mainly on memberships and donations.
NOTE: Information on this site is not guaranteed to be accurate. Some content is compiled from 3rd party sources. If you are aware of incorrect or outdated information, feel free to contact us.
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930 BC to 50 AD: First Watch of the night
50 AD to 1030 AD : Second Watch of the night
1030 AD to 2030 AD : the Third Watch of the Night
Bibliographie / Bibliography
2010 AD to 2030 AD, Psalm 147: The glaciation
1990 AD to 2010 AD, Psalm 146: Asymmetric Wars
1970 AD to 1990 AD, Psalm 145: The Refuzniks.
1950 AD to 1970 AD, Psalm 144: IDF (Tsahal)
1930 AD to 1950 AD, Psalm 143: The foul beast.
1910 AD to 1930 AD, Psalm 142: The Deflagration.
1890 AD to 1910 AD, Psalm 141: Dreyfus.
1870 AD to 1890 AD, Psalm 140: The Second Reich.
1850 AD to 1870 AD, Psalm 139: Darwin.
1830 AD to 1850 AD, Psalm 138: Renaissance of Jerusalem, Jewish city.
1810 AD to 1830 AD, Psalm 137: Lorelei.
1790 AD to 1810 AD, Psalm 136: Emancipation.
1770 AD to 1790 AD, Psalm 135: Mendelssohn.
1750 AD to 1770 AD, Psalm 134: Freemasons.
1730 AD to 1750 AD, Psalm 133: The Enlightenment.
1710 AD to 1730 AD, Psalm 132: Rachel’s tears.
1690 AD to 1710 AD, Psalm 131: The Hofjuden.
1670 AD to 1690 AD, Psalm 130: Spinoza.
1650 AD to 1670 AD, Psalm 129: The Flood.
1630 AD to 1650 AD, Psalm 128: See the good of Jerusalem.
1610 AD to 1630 AD, Psalm 127: The Awakening of Crypto-Jews.
1590 AD to 1610 AD, Psalm 126: Amsterdam.
1570 AD to 1590 AD, Psalm 125: The invincible Armada.
1550 AD to 1570 AD, Psalm 124: The purity of blood
1530 AD to 1550 AD, Psalm 123: Safed.
1510 AD to 1530 AD, Psalm 122: Soleiman the Magnificent.
1490 AD to 1510 AD, Psalm 121: The end of Sefarad.
1470 AD to 1490 AD, Psalm 120: The Inquisition.
1430 AD to 1470 AD, Psalm 119: The Fall of Constantinople
1410 AD to 1430 AD, Psalm 118: Tortosa.
1390 AD to 1410 AD, Psalm 117: The Marranos.
1370 BC to 1390 BC, Psalm 116: Temptations.
1350 AD to 1370 AD, Psalm 115: Samuel Halevi.
1330 AD to 1350 AD, Psalm 114: The Black Death.
1310 AD to 1330 AD, Psalm 113: The Pastoureaux. (« Young Shepherds »)
1290 AD to 1310 AD, Psalm 112: Kabbalah
1270 AD to 1290 AD, Psalm 111: The Zohar.
1250 AD to 1270 AD, Psalm 110: Nahmanides.
1230 AD to 1250 AD, Psalm 109: The burning of the Talmud
1210 AD to 1230 AD, Psalm 108: Genghis Khan.
1190 AD to 1210 AD, Psalm 107: The Guide for the Perplexed
1170 AD to 1190 AD, Psalm 106: Maimonides.
1150 AD to 1170 AD, Psalm 105: Ibn Ezra.
1130 AD to 1150 AD, Psalm 104: The Bahir.
1110 AD to 1130 AD, Psalm 103: The Kuzari.
1090 AD to 1110 AD, Psalm 102: The First Crusade.
1070 AD to 1090 AD, Psalm 101: The time of the synagogues.
1050 AD to 1070 AD, Psalm 100: Rashi.
1030 AD to 1050 AD, Psalm 99: Europe
1010 AD to 1030 AD. Psalm 98: Decline of the Mediterranean world.
990 AD to 1010 AD, Psalm 97: The light of exile.
970 AD to 990 AD, Psalm 96: Sing a new song
950 AD to 970 AD, Psalm 95: Hasdai Ibn Shaprut.
930 AD to 950 AD, Psalm 94: Saadia Gaon.
910 AD to 930 AD, Psalm 93: The Khazars.
890 AD to 910 AD, Psalm 92: The Karaites.
870 AD to 890 AD, Psalm 91: The Fowler.
850 AD to 870 AD, Psalm 90: Answer.
830 AD to 850 AD, Psalm 89: Summary.
810 AD to 830 AD, Psalm 88: Agobard.
790 AD to 810 AD, Psalm 87: Charlemagne.
770 AD to 790 AD, Psalm 86: The Umayyads of Cordoba.
750 AD to 770 AD, Psalm 85: New World.
730 AD to 750 AD, Psalm 84: The valley of weeping
710 AD to 730 AD, Psalm 83: Al Aqsa.
690 AD to 710 AD, Psalm 82: The Visigoths.
670 AD to 690 AD, Psalm 81: Greek Fire.
650 AD to 670 AD, Psalm 80: Aisha.
630 AD to 650 AD, Psalm 79: The Arab Conquest.
610 AD to 630 AD, Psalm 78: The Hegira.
590 AD to 610 AD, Psalm 77: Muhammad.
570 AD to 590 AD, Psalm 76: Khaibar.
550 AD to 570 AD, Psalm 75: The horns of the altar.
530 AD to 550 AD, Psalm 74: Saint Sophia.
510 AD to 530 AD, Psalm 73: Dsou-Nowas.
490 AD to 510 AD, Psalm 72: End of the Roman Empire.
470 AD to 490 AD, Psalm 71: Talmud of Babylon.
450 AD to 470 AD, Psalm 70: The sack of Rome.
430 AD to 450 AD, Psalm 69: The Pariah Jews.
410 AD to 430 AD, Psalm 68: The Kaaba.
390 AD to 410 AD, Psalm 67: The Vulgate.
370 AD to 390 AD, Psalm 66: Retreat of Paganism.
350 AD to AD 370, Psalm 65: Julian.
330 AD to 350 AD, Psalm 64: Constantinople.
310 AD to 330 AD, Psalm 63: Constantine.
290 AD to 310 AD, Psalm 62: The split of the Roman Empire.
270 AD to 290 AD: Psalm 61: Poumbedita.
250 AD to 270 AD, Psalm 60: Nehardea.
230 AD to 250 AD, Psalm 59: Gestation of Europe.
210 AD to 230 AD, Psalm 58: The Sassanids.
190 AD to 210 AD, Psalm 57: Mishnah.
170 AD to 190 AD, Psalm 56: Foundations of Christianity.
150 AD to 170 AD, Psalm 55: Edom.
130 AD to 150 AD, Psalm 54: Bar Kokhba.
110 AD to 130 AD, Psalm 53: Alexandria.
90 AD to 110 AD, Psalm 52: The Gospels.
70 AD to 90 AD, Psalm 51: Yabne
50 AD to 70 AD, Psalm 50: Offer to God a sacrifice of thanksgiving
30 AD to 50 AD, Psalm 49: all can see that the wise die
10 AD to 30 AD, Psalm 48: Universal Jerusalem.
10 BC to 10 AD, Psalm 47: Jesus, for the nations.
30 BC to 10 BC, Psalm 46: Earthquake
50 BC to 30 BC, Psalm 45: Herod.
70 BC to 50 BC, Psalm 44: the sign of Esau.
90 BC At 70 BC JC, Psalm 43: Return to the altar.
110 BC to 90 BC, Psalm 42: Alexander Jannaeus.
130 BC to 110 BC, Psalm 41: John Hyrcanus.
150 BC to 130 BC, Psalm 40: Maccabees.
170 BC to 150 BC, Psalm 39: hanukkah.
190 BC to 170 BC, Psalm 38: Antiochus Epiphanes.
210 BC to 190 BC, Psalm 37: The wicked will not prevail.
230 BC to 210 BC, Psalm 36: The hippodrome.
250 BC to 230 BC, Psalm 35: Deceptive calm.
270 BC to 250 BC, Psalm 34: Opening to the nations.
290 BC to 270 BC, Psalm 33: The Septuagint.
310 BC to 290 BC, Psalm 32: The Lagids.
330 BC to 310 BC, Psalm 31: Esau’s track.
350 BC to 330 BC, Psalm 30: Alexander.
370 BC to 350 BC, Psalm 29: Jonah.
390 BC to 370 BC, Psalm 28: Reconstruction of the people of Israel.
410 BC to 390 BC, Psalm 27: Ezra.
430 BC to 410 BC, Psalm 26: The Law of Israel.
450 BC to 430 BC, Psalm 25: Redemption.
470 BC to 450 BC, Psalm 24: The walls of Jerusalem.
490 BC to 470 BC, Psalm 23: Esther
510 BC to 490 BC, Psalm 22: The hind of the dawn.
530 BC to 510 BC, Psalm 21: Daniel
550 BC to 530 BC, Psalm 20: Fall of Babylon.
570 BC to 550 BC, Psalm 19: Clemency after sanction.
590 BC at 570 BC, Psalm 18: The celestial chariot.
610 BC to 590 BC, Psalm 17: End of the Divine Presence.
630 BC to 610 BC, Psalm 16: Rediscovering the Legacy.
650 BC to 630 BC, Psalm 15: Who will dwell on your holy mountain?
670 BC to 650 BC, Psalm 14: God is gaining height.
690 BC to 670 BC, Psalm 13: Decline of the Kingdom of Judea.
710 BC to 690 BC, Psalm 12: respite for the Kingdom of Judea.
730 BC to 710 BC, Psalm 11: End of the Kingdom of Israel
750 BC to 730 BC, Psalm 10: Prophecies.
770 BC to 750 BC, Psalm 9: Isaiah.
790 BC to 770 BC, Psalm 8: The temptation of Edom
810 BC to 790 BC, Psalm 7: The Divine Bow
830 BC to 810 BC, Psalm 6: Decline of the Kingdom of Israel.
850 BC to 830 BC, Psalm 5: Elisha.
870 BC to 850 BC, Psalm 4: Light and Twilight
890 BC to 870 BC, Psalm 3: Elijah
910 BC to 890 BC, Psalm 2: The Agitation of Nations
930 BC to 910 BC, Psalm 1: Tearing
The 147th Generation
Paul David
arrestation princip annote shutterstock_245966473
Europe_1914
1024px-Jaures_Stuttgart_1907 annoté
Hanuccah 2018 (5779)
When King David tells the Jewish story from the death of Solomon to the present day
Kippur 5779
© 2021 The 147th Generation | The end of the World or rather the end of a world
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Prince - Listen to His Previously Unreleased Rarity “Don’t Let Him Fool Ya”
1999 Reissue Due Out November 29 via Warner Records
Nov 08, 2019 By Christopher Roberts
Prince's iconic 1982 album, 1999, is getting the deluxe reissue treatment on November 29 via Warner Records and now one of its bonus tracks has been shared, "Don't Let Him Fool Ya," a rarity that's never before been officially released. "Don't Let Him Fool Ya" was recorded by Prince with recording engineer Don Batts in the summer of 1982 at Prince's home studio on Kiowa Trail in Chanhassen, Minnesota. It's appeared on bootlegs before, but is now getting an official release via the Super Deluxe Edition reissue of 1999. The reissue includes 23 previously unissued studio tracks recorded between November 1981 and January 1983. Listen to "Don't Let Him Fool Ya" below.
In June a new posthumous Prince album, Originals, was released. It collected his demos of songs he eventually gave to other artists. Almost all of the 15 tracks were previously unreleased and it included Prince's original versions of such iconic songs as "The Glamorous Life" and "Nothing Compares 2 U." In October the Prince Estate and Warner Records shared his previously unreleased demo for "Feel For You," recorded in 1979 for his self-titled second album. Chaka Khan later had a hit covering the song in 1984.
When Prince passed away in 2016 he left behind a huge vault filled with unreleased material and so we can probably expect new albums from him for years to come. Last year saw the release of Piano & A Microphone 1983, which was culled from a previously unheard home studio cassette recorded in 1983 at Prince's Kiowa Trail home studio in Chanhassen, MN and just featured Prince singing and playing piano.
Support Under the Radar on Patreon.
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What is the grow forward campaign?
It is our recognition at The Bridge that the time has come to pursue permanent facilities. To do so, we will need “seed money” (money for a down payment) to be able to purchase our own facility. We have rented facilities for over 10 years and have held worship services at nine different locations.
We believe now is the time to focus on our future as stated in our vision: “We dream of a church with facilities that will one day be home to an expanding ministry for all ages.” Since our mission is “to help people connect with God and develop them into fully devoted followers of Christ,” we want to grow and reach more people with the Good News of the Gospel. Our current facilities at The Eau Claire Children’s Theatre are already very inadequate for the needs of our Bridge Kids and will not allow for future growth and expansion.
When we launched the campaign in November of 2019, we saw God work through The Bridge Family to make commitments that exceeded the goal. As we have progressed through The Grow Forward campaign, we continue to be amazed at the faithfulness of The Bridge family especially in light of all the uncertainties in the world. Not only did the original commitments exceed the goal, but now the actual donated amount has also exceeded the goal! As we approach the June 2021 end to the campaign, please join with The Bridge Leadership Team (our elders) and continue to pray for perseverance to finish the campaign strong and for trust in God's timing and provision of a location.
Let’s Grow Forward together!
--Pastor Jerry
How does a building further the mission of the church and expand God's kingdom?
The mission of The Bridge is "to help people connect with God and develop them into fully devoted followers of Christ." Part of our vision statement is that "we dream of a church with facilities that will one day be home to an expanding ministry for all ages." A permanent facility will be a TOOL to help us expand our ministry areas to connect more people in the Eau Claire area with Jesus.
Can the church afford the ongoing expenses of owning a building (debt payment, insurance, electrical, etc.)?
A permanent facility offers opportunities for savings in some areas (rent payments for office and worship space) but will also add new / increased expenses (loan payment, insurance, maintenance, etc.). The exact numbers will certainly need to be understood and communicated with The Bridge family as more details emerge about a specific facility and the results of the campaign.
What other options has the church explored beyond a permanent facility?
The church continues to explore better options for renting but at this time no better options have been found that address the pitfalls of the current situation and provide opportunities to grow and strengthen our mission.
Why is this the right time to be seeking a building?
Our current facilities will not allow for growth from nursery through 5th Grades. We want to thrive, not just survive. A permanent facility will help us expand our ministry areas to connect more people in the Eau Claire area with Jesus.
What do we as a church family plan to do with the money?
The campaign's primary objective is to raise funds that could be used for seed money to either purchase or build a permanent facility. No specific location or building has been selected at this time.
When will we be able to be in a new space? What is the timeline?
The intent is to be in facility as soon as both funds and an ideal space are identified. We anticipate this being around a two year process but rest in God's timing.
Why not consider planting another church?
Church planting is certainly on the hearts of The Bridge leadership and is part of our vision, "we dream of a church that plants other disciple making churches with an ever expanding regional influence." The first step in this is firmly establishing The Bridge in the Eau Claire community and growing momentum in strategic ministry areas. We believe the best way to achieve this growth is by focusing on expanding our church family, so that our collective resources can be efficiently used to expand our mission (children's, student, and college ministries, etc.) to win people for Christ.
What is the succession plan for Pastor Jerry?
Pastor Jerry is a visible and important part of The Bridge where he has served for over a decade. However, the Bridge is much more than just the pastor; it is a family of Christ followers seeking to honor God and live out our mission: “to help people connect with God and develop them into fully devoted followers of Christ.”. While there are no specific timelines in place, Pastor Jerry has committed to walk with us through this campaign and is committed to preparing the way for the next pastor whenever that might be needed.
What are some of the needs and wants in a permanent location?
A specific building site or location has not been selected. When we evaluate our current facilities at the Children's Theater and The Bridge Offices, we estimate a future facility having around 20,000 to 25,000 square feet on a 3+ acre lot. This would include fellowship space, office areas, worship space, children’s and student ministries. This should not be viewed as a minimum but as a target reference as we evaluate opportunities.
What are the ways people can give to support the campaign?
The campaign process will walk us through a variety of ways to support this campaign. Specifically, there will be opportunities to give (cash, stocks, etc.) in the short term, as well as make commitments to give through June of 2021.
What financing options has the church explored?
The church is currently partnered with Christian Investors Financial (CIF) which is part of the overall EFCA. CIF exists to help member churches walk through the capital campaign process and also to provide church loans. Other options will be pursued as we journey toward a specific facility.
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Looking Back: A review of August news from the last 50 years
In this monthly series, we republish a few of the headlines from our August editions 10, 20, 30, 40 and 50 years ago.
Paralyzed vets clubhouse a first
The men of the Mexico Chapter of the Paralyzed Veterans of America (PVA) are not content to just sit around. Rather, the 100 or so members, all of whom have suffered injuries or diseases of the spinal cord, have done what almost every other group in Guadalajara said they would do first — they bought a clubhouse.
After three years of planning, the PVA purchased a fully accessible building with six rooms and two baths in the Ciudad Granja. The clubhouse is situated on over one-half acre of land with rooms utilized for offices, storage space and a gamer area. There will also be an exceptionally large room suitable for meetings and bingo. The group intends to have a ramped swimming pool.
The purchase of the clubhouse sets a precedent in Guadalajara and serves as a further bond of unity for the men on “wheels.”
The only chapter of the PVA on foreign soil, the group began to form in 1957 when a few “rebels” came to Guadalajara to “find new auras, since they had nobody and nowhere to go,” said George Ray, president of the chapter.
The men came down to investigate the warmer climate, find cheap help and perhaps to marry. According to Ray, over 90 percent are disabled veterans with 75 percent being injured while in service. After they are hurt, too many problems are created and what home life existed before, usually then fails, he said.
When the first men arrived in Guadalajara “it was almost like opening the frontier,” said Ray. Many Tapatios agree with this statement although they have said the men lived like it was the wild west. The group began to acquire a bad reputation as many people claimed that they came down for marijuana and cheap liquor.
Members of the group acknowledge that this is how things were, but also say it was because the men here had responsibilities only to themselves. But as more disabled U.S. vets came down, the commercial houses were established where they could live and receive help and in 1963 the PVA chapter was formed.
The group, which numbers upwards of 200 in the winter months, has advanced to a solvent organization with a net worth of over 30,000 pesos. The group has a service program, a special fund for anyone in financial distress and has held annual Christmas parties for more than 1,000 children.
Money for the clubhouse was raised by issuing bonds in denomination of 500 pesos. The chapter has pledged to pay ten percent interest on these bonds.
English radio broadcast folds
The operation of Action Radio, Guadalajara’s only English-language broadcasting station, has closed after eight years of CBS news and features and special local programs, which provided a much-needed community service. “All of us at Action Radio are deeply saddened by this turn of events,” said station manager Chuck Deare. He said the reason for the change is purely economic and aimed at improving Radio Comercial, the parent company’s financial position. Originally a 24-hour English-language broadcast, last year the station dropped its output to five hours.
Kids contract AIDS from tainted blood
Three children, aged one, three and six, have contracted AIDS from blood transfusions, according to Dr. Genaro Baiz Martinez, of the IMSS Centro Medico. The children were infected through blood that came from private blood banks. One of the children is a hemophiliac, the second needed blood after an accident and the third received the infected blood during an operation. None of the children were treated initially at the Centro Medico, but all were brought to the institution after being diagnosed.
Martinez declared that 100 percent of IMSS hospital’s blood bank is checked for AIDS. Government critics complain that IMSS is testing only one in ten liters of blood.
Woman dragged to death by rain
As a rule, rain water should flow underground into the city’s drains, but the drains here frequently back up. During a late July torrential late afternoon downpour that all but paralyzed the metro area, a drainage tube running under Avenida Americas filled, forcing water nearly a meter above the roadway. Ligia Martinez Burgos, 26, left her car on impassable Calle Montevideo in Colonia Providencia and apparently tried to cross the flowing tide of water on foot. She was dragged by the current toward the drain flowing under Americas and her body was found the following morning by firemen nearly a mile from where she had been swept away. Martinez is not the first Tapatia to have died under similar circumstances. In the 1970s two sisters were “devoured” by a sewage drain near today’s Expo Guadalajara. In 1994, a child was dragged by the current and drowned in Colonia Lomas del Paraiso. And in 1996, a woman disappeared down an open sewer near the Jalisco Stadium. Firemen searched for her, without success, for nearly a month.
Pan Am Games village saga
Hastily moving forward with an ambitious urban regeneration project, Guadalajara Mayor Alfonso Petersen this week offered to buy homes and businesses adjacent to the city center’s Morelos Park for three times their market value. The tempting offer to property owners was Guadalajara City Hall’s final gambit in its plan to build the athletes’ village for the 2011 PAN American Games in a rundown part of downtown.
Petersen’s pet project could fall apart if just one of the 36 property owners refuses to sell. The home and business owners will receive three times the value of their properties if they sell them to city hall outright, and double their value if they accept an apartment or business space in the new complex, which will comprise eight, seven-story apartment blocks. Tenants will receive 50,000 pesos if their landlords sell the properties they are living in. The city will either relocate or compensate financially businesses during the construction process.
A handful of residents of the zone vowed not to sell or relocate regardless of the amount of money offered them. Petersen was given just three months to convince the residents to sell or find another site for the village by the Pan American Games committee.
Editor’s note: Petersen’s downtown project did indeed fall apart and the athletes’ village was eventually built – in haste – in 2010 on the fringes of the Primavera Forest, near the Omnlife Stadium. The costly complex has since been plagued by legal issues and has been abandoned ever since the Pan Am Games ended in October 2011.
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HomeBlogsBebo Norman's Career Closes
Bebo Norman's Career Closes
April 4, 2013 unwremnantfm Blogs Comments Off on Bebo Norman's Career Closes
NASHVILLE, TENN. – April 03, 2013 –Singer-songwriter Bebo Norman has had a highly applauded musical career throughout his seventeen-year discography. Norman has announced that as of the end of 2013, he will officially retire from everything music. This announcement and decision comes after much prayer.
“For those closest to me, this really has been a decision that was years in the making, but after a lot of prayer and continued conversation, my wife Roshare and I made the final call back in December,” shares Bebo. “And honestly I wasn’t sure if I would be done right away, or what the exact timetable would be, but ultimately I decided that I really wanted to honor my label and publishing commitments through 2013 and tour this new record (Lights of Distant Cities) for at least a year from release just to make sure I “finish well.”
In October 2012, Bebo released his last full-length studio release, Lights of Distant Cities, on BEC Recordings to much acclaim – as with all of his releases. Media called this album a “triumph,” “beacon of hope,” “stunning masterpiece” and one of his best pieces of work.
“Everything that I had left in my heart for music, I feel like I squeezed out and emptied into writing and recording this latest project, which I love so dearly. And to have had the chance to write and record such a personal record with my close friend and longtime live collaborator, multi-instrumentalist Gabe Scott, was the perfect way to finish out my recording career.”
Pushing the fear of the unknown aside, Bebo knows he is following his heart just as he did 20 years ago when he entered into a musical career. As many may know, Bebo has often called himself an “accidental” musician as he turned away from his plans for medical school to a season of music. “The reality for me is that I don’t have any one specific calling moving forward – I feel pulled in quite a few different directions, but none of them are music-related. I don’t know that I really feel called tosomething else as much as I feel called away from music.”
“I’m still not even certain how I got here, how I landed on this particular course as an artist, but I do know that it wouldn’t have happened without the willingness of people all over the world to be a part of this with me. I will be forever grateful.”
To celebrate his career’s end, Bebo will be releasing his final radio single. “Sing of Your Glory” will be going for adds on April 19. He will also be touring throughout the summer and fall, anchored by a co-headlining tour “in the round” with his longtime friends and musical counterparts Andrew Peterson and Sara Groves. Contact 25 Artist Agency to book Bebo Norman one last time before the end of this year (info below).
Cultivating a substantial national following as a self-supported independent artist in the mid-90’s, Bebo became the poster child for Christian music’s acoustic singer-songwriter revival with his 1999 major label debut, which landed Norman on the cover of CCM—a rare honor for a new artist. The follow-up,Big Blue Sky, was voted No. 1 Christian album of 2001 by the editors at Amazon. Myself When I Am Real (2002) earned seven Dove Award nods and charted the defining hit, “Great Light of the World.” Projects Try (2004) and Between the Dreaming and the Coming True (2006) continued the steady climb. In 2007, Norman partnered with Seattle’s BEC Recordings to release his first Christmas project that garnered another Dove nomination. In 2008, he released the critically acclaimed self-titled project. In 2010, Bebo received a Dove Award for “Inspirational Recorded Song” for his song “The Only Hope” from this self-titled project. His next project, Ocean, released in 2010 and explored the theme of finding one’s real identity. Bebo resides in Franklin, Tennessee with his wife and two boys Smith and Miller.
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Explicit Lyrics in Christian Music: Exclusive Interview with Sho Baraka
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Fantasy Football Sit-Start Week 2
September 11, 2013 Comments Off on Fantasy Football Sit-Start Week 2
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Home International Paralympics
Jakarta formally signs Host City Contract to stage 2018 Asian Para Games
A Host City contract for Jakarta to stage the 2018 Asian Para Games has been officially signed at a special ceremony today.
The event Indonesia’s capital will mark the third time that the Asian Para Games have taken place following Guangzhou in China in 2010 and Incheon in South Korea in 2014.
A total of 4,000 athletes from 42 countries are expected to take part, making them the largest multi-sport competition for disabled athletes outside the Paralympic Games.
Representing the the Asian Paralympic Committee (APC) at a ceremony in Jakarta were its President Majid Rashed, vice-president Mizuno Masayuki and Board members Michael Barredo and M. Aso Manabu.
They were joined by APC chief executive Tarek Souei.
They met with Alfitra Salamm, secretary of Indonesia’s Ministry of Youth and Sport, who was representing the Minister Faisal Abdulla, and several senior officials from various Government departments, including the Ministries of Education, Health and Social Affairs.
“At our gathering last year, our membership identified that establishing the Asia Para Games as a premier sporting event is a key element in driving the growth of the Paralympic Movement in Asia,” said Rashed.
“I’m delighted therefore that we have signed this agreement today and thank the Organising Committee for all their hard work so far.
“I’d also like to thank the Indonesian Government for the support and commitment that they are showing to developing Para-sport within the region.
“We are sure that the Games will not only strengthen the Paralympic Movement throughout Asia but will also leave a legacy of greater understanding for people with a disability.”
Jakarta was confirmed as the host city for the 2018 Asian Games in October 2014.
Indonesia emerged as the only viable candidate for the 2018 Asian Games and Asian Para Games after original hosts, Vietnamese capital Hanoi, pulled out citing economic pressures.
The country last hosted a major Paralympic-level event in 2011 when the city of Surakarta staged the Association of Southeast Asian Nations Para Games.
The next edition of the Asian Para Games had been originally scheduled to be held in 2019 to avoid a clash with the Winter Olympics and the FIFA World Cup.
Following Hanoi’s withdrawal, however, and them subsequently being handed to Jakarta, they will take place in 2018 to avoid a clash with the Indonesian Presidential election taking place the following year.
Athletes will compete in 13 Paralympic and four non-Paralympic sports.
For a number of disciplines, the Games will act as a qualifier for Tokyo 2020.
They are due take place in the same venues as the 2018 Asian Games from October 8 to 16.
By Daniel Etchells
Republished with permission insidethegames.biz
Paralympic Movement
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Tokyo Olympics Postponement Cannot Modify Doping Sanctions
Paralympic President Says Postponement ‘Right Thing to Do’
What’s Next for Postponed Tokyo Olympics?
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Novak Djokovic could soon achieve true greatness
Mark Hodgkinson
And so to the clay, and the possibility that Novak Djokovic is just two months off what would be the greatest achievement of modern times. In fact, scrap that – the greatest achievement in tennis history, from tennis’s Wooden Age, through the Graphite Age to the modern day. If Djokovic were to win the Coupe des Mousquetaires at Roland Garros in June, he would be the first man to hold all four grand slams simultaneously since Rod ‘Rocket’ Laver did so 43 years ago in 1969.
Djokovic’s achievement would surpass Laver’s. The fact that Laver won his slams in a calendar year adds a little romance and mythology, but does not make his feat any greater.
When Laver did the calendar-year grand slam in 1969, and also previously in 1962, the sport was very much still ‘lawn tennis’, as three of the four championships were played on grass, with the only exception being the clay-court French Open. Now Djokovic’s generation are competing on three different surfaces, on hard courts as well as on the turf and the terre battue. Consider, also, that the fast, skiddy cement of the US Open is not the same as the slower, higher-bouncing courts in Melbourne; make that four different surfaces.
Another point to be made is that this is a much more brutal and competitive sport than it was during Laver’s swinging Sixties, that there are greater physical and technical demands now than there were back when the tennis balls were coated in white felt, and they chopped down trees to make rackets. It took a while after tennis began its open, professional era in 1968 for the culture of the sport to change, so there still would have been an amateur ethos when Laver went around the grand slam block a second time.
Consider, also, that many more countries now produce players for the slams, to the detriment of the grand slam nations. Plus, Djokovic shares an era with Roger Federer and Rafael Nadal, two of the all-time greats of the men’s game.
So can Djokovic do it? Last season he was kicking red dust into Rafa’s eyes, beating him in the finals of Madrid and Rome. If his semi-final against Federer at the French Open had been played in warm and dry conditions – and not a dark, dank evening – I think Djokovic would have reached his first final in Paris. So we never got to see how Djokovic versus Nadal would have played out in a French Open final.
Who would be that surprised if Djokovic were to win his first title at Roland Garros, and in doing so complete his career grand slam, hold all majors at the same time, and achieve the greatest feat in the history of men’s tennis?
Sex sells. But so does anger. The sort of anger which turns your head puce. A British schoolboy, who owns a racket which John McEnroe smashed at Wimbledon, has been told by the BBC’s Antiques Roadshow that it could be worth up to £15,000. McEnroe gave the mangled frame to the boy’s mother, who rented a flat to the New Yorker in the 1980s.
sunny nine
No disagreement on the Nole article. I always felt that a “straight slam” was the same as a “calendar straight slam”. The surfaces: well when Fed got his career grand slam, I think they said it was the fifth time. Well I always thought that Agassi and Fed (and of course, now Nadal) were the only real career grand slams. This is due to the faster (yet slower than it used to be) USO, the high bouncing AO, the French clay and the grass. I have to be honest I don’t know where to put Nadal. The surfaces have all slowed down since he started playing making it easier for a clay-courter to win the career grand slam. So when I think about it I am not sure I totally agree with you. Nole slides just not on Clay but on hard courts. The hard courts are much slower at the USO and of course AO. They planted different grass over time at Wimbledon probably because the clay-courters threatened not to come. So after writing this, at the end I am not sure of my conclusion. Today’s Major surfaces are not AS different as several years ago.
Sasa Trisic
Like the article, very true…
What Murray has to do to become world No 1 this year
Simon Cambers looks at the ranking points
Chris Evert exclusive: Serena can win 20 grand slams
Chris Evert talks to The Tennis Space
Evert exclusive: Lendl keeps Murray mentally balanced
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Hauser & Wirth, 23 Savile Row, London W1S 2ET
Geta Brătescu: The Power of the Line
Title : Installation view, Geta Brătescu, The Power of the Line, Hauser & Wirth
Website : https://www.hauserwirth.com/
Credit : Copyright Geta Brătescu. Courtesy the artist, Ivan Gallery, Bucharest and Hauser & Wirth
Title : Geta Brătescu in the studio, 2018
Credit : Courtesy the artist, Hauser & Wirth and Ivan Gallery. Photo credit: Cătălin Georgescu
Title : Geta Brătescu, Jocul Formelor (Game of Forms), 2012, Drawing and collaged paper,56.5 x 39.8 cm
Title : Geta Brătescu, Jocul formelor (Game of Forms), 2010, Collage, drawing on paper, 4 parts, 45 x 60 cm
Title : Geta Brătescu, Marker-art, 2013, Collage, drawing on paper, 4 parts, 29.5 x 41.7 cm
Hauser & Wirth
27 February - 27 April 2019
Review by Anna Souter
“Drawing owes a huge amount to the energy with which the hand traces lines and the character of this energy is determined by the character, the mood, the culture, the vision of the artist. In fact, it is a mysterious phenomenon.”
Geta Brătescu wrote these words in her diary in 2008, a decade before she passed away last year at the age of 92. They play testimony to her commitment to her work and to her deeply conceptual approach to her studio practice, something which is echoed by the artist’s current solo show at Hauser & Wirth, London.
Having lived all her life in Romania, Brătescu is perhaps the supreme example of the female artist whose work is only internationally recognised much later in life. Despite being an important figure in the development of conceptual art, Brătescu wasn’t widely known outside her native country until she received a solo exhibition at Tate Liverpool in 2015 and subsequently presented a critically acclaimed body of work at the Venice Biennale in 2017.
Now Hauser & Wirth, working closely with the artist before her death and with Ivan Gallery, has put together a museum-quality exhibition of this remarkable artist’s work. The show draws together pieces from the last decade, a period in which Brătescu’s practice focused on working with the line as a structuring principle.
At the centre of the exhibition is a free-standing structure that effectively breaks up the space, and also provides a viewing room for a video about the artist’s studio practice. ‘The Gesture, The Drawing’ (2018), a film made in collaboration with the artist Stefan Sava, presents Brătescu talking and working in her studio (a space she imbued with personal, artistic and cultural significance). Her small, age-spotted hands draw with striking clarity and confidence, undermining our expectations and prejudices surrounding issues of age and gender.
Another mesmerising video, ‘The Line’ (2014), shows the artist using a thick, square-nibbed marker pen to draw shapes that flicker between abstraction and figuration. It’s deeply satisfying to watch, even when the results don’t work out to Brătescu’s satisfaction: sometimes she says “done” after only a few strokes, sometimes her hand hovers over the page before she decides to rip it up. These videos effectively demonstrate the deliberation and fascinating performative process that lies behind Brătescu’s entire oeuvre.
The artist’s exploration of the line takes many different forms, even within this aesthetically and conceptually cohesive exhibition. Although she sometimes uses more traditional drawing tools such as pen and pencil, she also frequently uses scissors, glue and found objects to create her compositions. She incorporates items such as match boxes and coffee stirrers, finding a continuation between life and art through the common element of the line.
Notably, although from a distance Brătescu’s line works can seem like perfect geometries, close-to they all bear evidence of the artist’s hand. The use of torn scraps of paper or imperfectly edged shapes evokes a sense of delight in the materiality of the medium, and also a strong vein of experimentation. There are subtle surprises at every turn in this exhibition: Geta Brătescu is shown to have been innovative until the end.
João Maria Gusmão + Pedro Paiva: Papagaio
Oliver Sutherland: All The Live Long Day, 2013
David Blandy: The World After
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Ribbs, Jones and Dallenbach Enter VROC for March SVRA Event
Southlake, TX — Last year’s three VROC series champions — Willy T. Ribbs, Davy Jones and Wally Dallenbach are the first entries in Sportscar Vintage Racing Association’s (SVRA) March 27-28 Vintage Race of Champions (VROC) Charity Pro-Am at Michelin Raceway Road Atlanta. The VROC is part of SVRA’s March 26-29 Road Atlanta Grand Prix.
Willy T. and co-driver Ed Sevadjian with their Chopard Watch prizes. Photo: SVRA
The VROC race series pairs veteran Indy, IMSA, Trans-Am, NASCAR and Formula 1 racers with amateur partners driving Corvettes, Camaros and Mustangs of SVRA Group 6 A and B Production. The series has expanded this year to four weekends with Circuit of the Americas joining Michelin Raceway Road Atlanta, the Indianapolis Motor Speedway and VIRginia International Raceway as host tracks. The Road Atlanta event kicks off the series’ 2020 season.
“The competition in our 2019 VROC series was so intense that it produced a tie for Davy Jones and Wally Dallenbach in the BP class,” said SVRA President and CEO Tony Parella. “We had two tiebreakers in place if the point standings were knotted up, but they came out even on those as well. Willy is our AP champ, and I’m happy for him that he finally got a great win at IMS.”
Ribbs’ life and career story is the subject of the film, Uppity, by Adam Carolla’s Chassy Media, who, with Nate Adams, has produced successful documentaries about Carroll Shelby, the 24 Hours of Le Mans and Paul Newman’s racing career. Uppity has proven popular following its release in January and is trending on Netflix after its Feb. 5 premiere there.
Dallenbach’s career includes four class wins in the 24 Hours of Daytona and the 12 Hours of Sebring; 23 top 10 NASCAR Cup finishes; as well as competition in IndyCar and IMSA Camel GT, plus a win in the open wheel division at the Pikes Peak International Hill Climb. He has also served as a chief steward with the Trans Am Series Presented by Pirelli.
Jones began in British Formula 3 before competing in the New Zealand Formula Atlantic series, winning that country’s grand prix in 1984 and 1987. His career includes winning the IMSA GTP at Watkins Glen for BMW McLaren as well as overall wins in both the 1996 24 Hours of Le Mans and the 1990 24 Hours of Daytona. In an IndyCar career spanning nine seasons, including six Indianapolis 500s, his best finish was second in 1996.
The Road Atlanta Charity Pro-Am will support Hope For The Warriors, a national nonprofit organization that provides assistance to combat-wounded service members, their families and families of those killed in action.
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E.D. Etnyre: The road to success
By Kris Jensen-Van Heste
Vol. 86 No. 8 August 2020
Edward D. Etnyre was an unusually inventive, industrious man with a consuming interest in the welfare of his fellow man. He designed and made products for the use of others as he would for his own use. This took a deep, personal involvement, which has been passed from man to man, and product to product until today, it is the proudest tradition of our company.
E.D.’s first product was an automatic hog waterer for his own farm in 1895. It worked well. Neighbors asked him to make some for them, and he did, which started a new business. Then came another, different idea…steel and wood tanks on wheels to supply water and fuel to steam-driven threshing machines. From thresher tanks to water sprinkler wagons to lay the dust on roads of the day seemed a natural next step.
Through steady product improvement, the thresher tank and water sprinkler wagon business flourished. E. D. Etnyre & Co. was formally established in 1898. Manufacturing was housed in a former battery factory on the bank of the Rock River in Oregon, Illinois.
Though still based in Oregon, E.D. Etnyre International’s roots have grown through acquisitions and innovations, and the family-owned company now employs 650 people across its three sites. In addition to the headquarters and its 460 workers, the company’s BearCat site is in Wickenburg, Arizona, and its newest acquisition in Sacramento, California, Rayner Equipment Systems.
The company manufactures a wide range of equipment that serves the asphalt road-building industry, from asphalt distributors to chip spreaders, from storage tanks to asphalt and lowboy trailers.
Despite such a variety of equipment, naming the company’s bread-and-butter product is an easy task for Rich Wilsie, senior director of sales and marketing, who has been with the company for 24 years.
“Our most popular product, across the board, is the Etnyre Asphalt Distributor,” he said.
The asphalt distributor tops the list because it’s used in most road building, whether it’s new construction or maintenance processes. “Almost everybody who’s in the business owns one; it’s just a necessary tool. The machine sprays liquid asphalt, and they use that as a binder to hold different products together. It’s basically the glue to bind the products to the ground.”
Nearly 50 dealers across the United States have come to put their names behind the E.D. Etnyre brand, and 20 more abroad. Wilsie explained their loyalty:
“I believe the reasons our dealers choose our company are that we are well-known in the industry, we have an excellent support system for our dealer network, and we have a very capable service force that will help maintain the equipment and perform troubleshooting and repairs. And, of course, our machinery’s ease of operation.”
Geographically, those dealers are more frequently found east of the Rockies, with a fair distribution beyond the mountains. Etnyre’s strongest territory includes its home base, the Midwest, and the Southeast. “It makes sense,” Wilsie said. “The construction season down there is so much longer that we can do business all year long.”
Inquiries come in all year long as well, and the dealership process begins with conversations, Wilsie said. “We ask for their credentials, and we talk with them about how can they help us as well as how we can help them. We want to know about them, about why they think they’re better than the competition.”
When a dealership has officially signed on, the E.D. Etnyre experience begins. New dealers can expect
plenty of training, both hands-on at the dealerships as well as extensive training at the factory.
“We support dealers right from the beginning, and continue to support them. We’re very focused on keeping them up to date on the product line,” Wilsie said.
And the focus continues into the service department, which is available online or by phone 24 hours a day.
But there’s something they’re doing differently, and Wilsie likes the result.
The Etnyre support system includes 10 service technicians who travel from the factory, as well as two additional parts, service and sales representatives. It’s a new initiative in both the Midwest and the Southeast, designed to take the load off the sales staffs, who also troubleshoot and deal with technical issues. “We just started doing this,” Wilsie said. “That’s the extra bit of service, the additional link: Most of our sales staff people are good at troubleshooting. They can do repairs. They’re an extension of our service department. Here, we have a hybrid approach. We’re growing rapidly, and the need for support was growing as well and we needed to expand.” Now, these parts-service-sales reps can respond within their region directly to the customer’s machinery and resolve the issue, saving everybody time and money.
Change is a familiar thing to Etnyre employees. In May 2018, after 17 years with Caterpillar, Ganesh Iyer was hired as president and CEO. It was a bold move for the company, which, Wilsie said, had fostered a small-business mentality but had grown into a big business. Iyer brought along his CAT culture, known for its standards, and it seems that’s just what was needed.
“CAT is kind of the benchmark for manufacturing in terms of culture – they created these systems,” Wilsie said. “We’re smaller, but we’re trying to replicate their culture and processes to allow us to be a better employer and to grow.”
In just two years, Iyer has shaped a cultural transformation that’s put the focus on the worker and empowered individuals to show the company how the job is best done.
“Who better to tell you how to do the job than the person who’s doing it?” Wilsie said.
“Typically, before, the managers were in charge, and now, with our culture change, there’s a more level playing field, where people feel comfortable making suggestions. We’re very nurturing, and we’ve learned to be more inclusive. We can really see the improvement,” he said. “Job satisfaction is up, so we’re moving in the right direction. And you know what? It shows. Employees’ attitudes are more upbeat, so we’re seeing it work.”
Change has been hard, of course, and Wilsie knows there were plenty of changes for employees to embrace. But it’s paid off, he said. “People can be resistant, of course, but we’re starting to see the rewards from the changes we’re making: Employees are really buying into it, and that’s good to see because there was a time they felt under-appreciated. Now, everybody feels like they have a key role. They weren’t empowered that way before.”
Empowerment begins right at the hire for new employees, as the onboarding process has undergone an overhaul in the past few years.
Wilsie calls it a legitimate onboarding process. A new employee will spend a half day with an iPad in a training program. Then there’s more training, tool procurement, and part of a day is spent with a supervisor, learning what he or she does and why. There’s time to get familiar with the workplace, learn where everything is, and each new employee has face-to-face time with staff-level members. What’s talked about there is at the heart of the Etnyre experience: the company’s mission, vision and values.
That’s where staff tell the Etnyre story and explain why everyone at Etnyre is passionate about what they do.
“We make a real effort to make people feel more welcome, versus handing the person a welding helmet and saying, here, go weld,” Wilsie said. “At one point we had turnover. But everyone wants to feel welcome and appreciated. We didn’t value that before, and our satisfaction numbers are up in the last two years. It took a lot of energy and time, but so far, it’s working very well.”
Things are working so well that the Etnyre family makes it a point to share the wealth. The Etnyre Foundation was only formally created in 2018, but the family has been active in philanthropy there in Oregon, Illinois, supporting 501(c)3 organizations and programs in education, environmental preservation, health and welfare.
Most recently, The Etnyre Foundation made a significant donation to salvage a local statue of Chief Black Hawk, or “The Eternal Indian.” The statue was created by sculptor Lorado Taft, beginning in 1908, and it stands above the Rock River in Lowden State Park.
Wilsie said donations have been made to local schools, senior centers and a foundation that provides jobs for handicapped people. The company has also worked with the park district and sponsored academic scholarships over the years, long before the actual foundation was formed.
“We’re in a small community, so anything we do has a big impact,” Wilsie said. “We want to see the area flourish, so we continue to seek out worthwhile projects to donate to.”
At the heart of E.D. Etnyre is one goal: to be The One.
“We want to be known as the premier road maintenance company in the country,” Wilsie said.
“I think we’re gaining on it. We’re trying to stay a step ahead of our competition at all times, supporting our customers and dealers. We’re not just trying to sell more. We’re trying to sell more the right way.”
Here’s a rundown of what E.D. Etnyre offers:
Chip spreaders: Etnyre ChipSpreaders are designed to accurately and efficiently apply a controlled amount of aggregate to the road in the chip seal process. Etnyre ChipSpreaders achieve these results using a hydrostatic drive system and a variable width spread hopper to apply multiple aggregate sizes and application rates through a full range of travel speeds and spreading widths.
Asphalt distributors: E.D. Etnyre set the bar high with asphalt application accuracy and quality with their Black-Topper® Centennial asphalt distributors. The units’ streamlined design minimizes maintenance while enhancing performance and productivity. Like all Etnyre equipment, every unit is built to order so you get the features and output you need to be successful.
Lowboy trailers: Haul a wide range of construction equipment with Etnyre’s Blackhawk® trailers. From removable goosenecks to spread axles, each unit is customized to suit your specific requirements for safe and effective transportation.
Cargo tanks: Trust your asphalt, crude oil and lubricating oil transportation needs to Etnyre and their more than 70 years of experience in over-the-road cargo tank engineering. From high-quality construction to dependable operation, you’ll have the efficiency you need to deliver product quickly.
Live bottoms: Etnyre’s Falcon® live bottom trailers are some of the fastest and lightest units in the industry. The reliable conveyor system discharges material at the rear of the trailer without lifting the body to dump, avoiding the risk of overhead hazards. Whether you’re hauling hot mix asphalt, gravel, recycled materials or sand, you’ll have the optimal payload and unload speeds – all with one trailer.
Flushers and sprinklers: Control dust and clean roadways quickly with Etnyre’s powerful street flushers and sprinklers. From optimal payload to easy, on-the-go adjustments, you’ll have an efficient and dependable unit for nearly any location, including airports, factory sites, highway construction sites and racetracks.
Maintenance asphalt distributors: Optimize the speed and accuracy of single-application and resealing liquid asphalt applications with Etnyre’s Maintenance Distributors. The units feature Etnyre’s exclusive circulation control system for fast and reliable application on any project. Etnyre builds each unit to exact specifications to ensure productivity and ROI.
Asphalt storage tanks: Ensure the quality of hot asphalt and emulsions with Etnyre storage tanks. The electric heat and agitation systems keep material stable and suspended for extended periods.
They also sell parts and used Etnyre equipment.
Etnyre is a company in every meaning of the word. Our road has been well peopled. Some leaders, some followers, some innovators, some implementers. All doers. All involved. All conscientious. We select our people carefully. They select us carefully. The chaff separates out. Ours is a good crop, year after year.
That “people make products” is not news to us, nor to our customers, we sincerely believe. It takes good people to make good products. It takes more good people to sell and service them properly, as well as support all of our operation. We have been fortunate on all three counts. Our associations have been lasting and fruitful. All of them ‘make’ our products…one as much as the other…around the world.
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Headstring News
World Pool Championship Preview: A Thrilla in Manila
"Who, me?" Yes, Efren, you're the odds-on favorite this year.
Event: 2007 World Pool Championship
Dates: Nov. 3-11
Location: Araneta Coliseum in Quezon City, Philippines
Field: 128 players from 40-plus countries
Top prize: $100,0000
Producer: Matchroom Sport
Sanctioning: World Pool-Billiard Association
When the World Pool Championship begins on Saturday in the Philippines, all eyes will be on favorite son Efren Reyes, the odds-on pick to seize the $100,000 9-ball title in front of the Manila fans.
But don't engrave the trophy just yet. This year�s field promises to be the strongest in history. Dozens of stellar talents from across Asia continue to ascend. Shane Van Boening, perhaps the hottest player on the planet after his U.S. Open win on Oct. 20, will headline the American squad. And 53-year-old Reyes himself isn�t always keen on being in the limelight.
�There is a lot of pressure playing in the Philippines,� Reyes said at last year�s tournament, just hours before losing to countryman Ronnie Alcano in the round-of-32. �People here in the Philippines are expecting me to win.�
The odds-makers certainly are. They�ve installed him atop the 128-man field this year at 14-to-1, along with Filipinos Francisco Bustamante and Marlon Manalo.
You can�t beat the homefield advantage, and this year the tournament will have as large and high-profile a location as possible for Filipino fans � the fabled Araneta Coliseum in Quezon City, a section of Metro Manila. The Coliseum was the site of the storied �Thrilla in Manila� heavyweight bout between Muhammad Ali and Joe Frazier in 1975.
The wiry and wily Alcano benefited from the home cookin� in 2006, defeating 1996 world champion Ralf Souquet in a lopsided final, 17-11. At the U.S. Open this October, both Alcano and Souquet signaled that they were ready for world meet, finishing second and fourth, respectively.
But the strongest message was sent by 24-year-old Van Boening, who beat Alcano not once, but twice in the event, 11-3 and then 13-10 in the final. The plain-spoken straight-shooter from Sioux Falls, S.D., staked a claim as the hottest and hungriest player of the moment, and his determined and single-minded attitude will serve him well among all the distractions that Manila has to offer.
�I�m going to try to win the tournament,� Van Boening said when asked about his strategy for the World Pool Championship.
Taiwan will send a formidable contingent of world-beaters across the South China Sea, led by 2005 champion Chia-Ching Wu and 1993 and 2000 champion Fong-Pang Chao. But the man to watch will be Jung-Lin Chang, who won the grand championship of the ultra-competitive Guinness 9-Ball Tour in September.
Taiwan initially posted 11 players in the field, but likely will earn several more positions when the final 10 spots are determined through an intense qualifier process. More than 160 players from 23 countries entered the qualifiers in Manila in late October. Forty-three hailed from Taiwan, while 47 registered from the Philippines.
In its second year of participation, China will send a relatively small group, but it will be anchored by the surprising 27-year-old Li He-wen, who finished tied for third in 2006 and helped give China the gold at the World Cup of Pool team event this September. Likewise, 22-year-old Luong Chi Dung of Vietnam has been playing like a veteran on the world stage after finishing tied-for-fifth at the WPC in 2006.
The traditional powers from Europe will be out in force, including 1995 champion Oliver Ortmann and 2003 titlist Thorsten Hohmann from Germany, and 2001 winner Mika Immonen from Finland. Niels Feijen of the Netherlands is poised to make a big move after a lucrative 2007, and Spaniard David Alcaide appears ready to blossom.
But the bottom line is that you have to go through the Filipinos � and the Philippines � to win the championship this year. It may be Reyes� event to lose, but this is the world�s cradle for elite pool, and, like in 2006 with Alcano�s star-making turn, another legend could be born this year.
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A Dream of 27 Years - my visit to Mont Saint Michel
Baccarat's Crystal Garden
The aristocracy have had a long intimate relationship with the Parc de Bagatelle in the Bois de Boulogne (a 2,090 acres park on the western edge of Paris). Louis XVI brother, Comte d'Artois built the Chateau Ba gatelle and landscaped the surrounding 59 acres into an exquisite park on a whimsical bet he made with then Queen Marie Antoinette. (Comte d' Artois gave it the name Bagatelle which means trifle or trivial in French). After the French Revolution, Napoleon took it over and used it as his hunting lodge. After that it was passed onto English nobility before the city of Paris acquired it 1905. Given its aristocratic origins, it is fitting that for a few months, the district council of Lorraine and four of France's most prestigious crystal manufacturers transformed the Parc de Bagatelle into a giant jewel box.
Under the direction of architect/designer Vincent Dupont-Rougier, the four houses of crystal - Baccarat, Lalique, Saint-Louis and Daum created distinct wonderlands that blended nature with crystal sculptures.
The Baccarat crystal garden (see above) was inspired by Lewis Carroll's Alice in Wonderland. Bouquets of glasses, sleeping decanters hint at a surreal environment. The use of ruby red rose buds reference Baccarat's emblematic color and the chandeliers are a reminder of the company's history.
The design of Lalique's crystal garden (see below) is influenced by recurring themes in Lalique's works - the garden of Eden and the ocean. Anthuriums, anemones, apples, sparrows, turtles, butterflies and dragonflies flutter around a monumental crystal cactus table that was designed in 1951. Marine life is introduced with a school of 100 fish in 30 different colors.
Lalique's Crystal Garden
Saint-Louis' Crystal Garden
Saint-Louis, the crystal maker for King Louis XV (which is where it gets its name) envisioned their garden to reflect a French style inspired by Versailles and its fountains. The green and chartreuse glasses and champagne flutes represent carefully groomed hedges that showcase the majestic urn, an abstracted Versailles.
Crystal Garden of Daum
In Daum's garden, floral designer Emilio Robba created a more exotic feel through the addition of his carefully crafted bamboo and palm trees. The crystal Buddha and Bodhisattva heads from Daum's China collection are meant to increase the sense of mystery within the garden.
The Parc de Bagatelle is already a jewel within the Bois de Boulogne however, this crystal exhibition with all its colorful sparkle and glitter make the park feel even more magical and transcendent. If you can, catch this exhibition before it leaves on November 2, 2008.
Labels: art n Fiction, travel
Indulge me a quick minute down memory lane. I was nine years old, sitting in French class in Tokyo, just a handful of days before winter break. Since it was so close to the holidays, my french teacher suspended our usual lessons of verb conjugation and reading in favor of story-telling. Since she was always especially animated, stories told by her would always capture our interest and imagination. That day, she told us about this special island off the coast of Brittany and Normandy called Mont Saint Michel.
To be perfectly honest, I don't remember much of what she said that day. It has been a while. But what I do remember are her descriptions of what seemed to me to be a magical island in the middle of the sea which had a special bridge - sometimes you could walk to the island and other times the sea would hide the bridge, like it was never there. For years, I carried that image in my head. My childhood imagination and wonderment became adult curiosity and a mission. Over the years, I have tried several times to visit this island, even traveling to the edges of Normandy, but somehow my planning never worked out and it remained an elusive destination. And so this 'mountain island' remained a figment of my imagination - until now. Twenty-seven years later, I finally made my trip to the top of Mont Saint Michel.
The origins of Mont-Saint-Michel are thought to date back to 708, when a sanctuary was built for the archangel by Aubert, Bishop of Avranches, who claimed he was inspired to do so when St. Michael came to him in a dream. Soon after the mount became a major destination for pilgrims. In the 10th century, the Benedictines settled in the Abbey, while a village grew below its walls. During the 100 years war with Britain, Mont-Saint-Michel became a military stronghold, successfully repelling English assaults and thus became a symbol of national identity for the French.
A statue of St. Michael slaying the dragon
From the start of the French revolution, up until 1863, the abbey was used as a prison, imprisoning clerics who opposed the republican regime. However, by the mid 1830's, influential members of French society, like Victor Hugo, started a push to have Mont-St.-Michel designated a national treasure, which it was in 1874. In 1979, UNESCO designated it a World Heritage Site.
Facade of abbey church
The abbey church that was started in 1000, is a blend of Romanesque and Gothic architecture. The unique proportions of the church are based on the area available on the top of the rock.
The Cloister built at the beginning of the 13th century was a place for meditation and prayer
and served as a connector between various buildings.
Detail of cloister spandrels
The town while extremely charming and well preserved since its medieval origins, loses some of its mystique and charm with the swarming tourists and kitschy souvenir shops. While these stores may have existed in the Middle Ages, selling pilgrims mementos from their religious journey, I doubt they consisted of cheesy plastic replicas of the abbey, most likely made in China.
Store signs at the base of Mont St. Michel
My experiences on the island were truly memorable. The buildings were incredibly well preserved. This jewel of an environment really transported you to another time and now that I am back home, I am more in awe of what I saw when I look at my pictures. However, the one thing I kept looking for, even as the bus drove us back to the train station at dusk, were the rushing even violent tides that envelope the base of the fortified island. They were a critical part of the Mont St-Michel I read about over the years and was told 27 years ago in French class.
Village buildings
What I learned after my visit was that in 1879, the bridge that I wrote about in the beginning was converted into a causeway. Then in 1969, the River Couesnon around Mont St-Michel was canalized, reducing the flow of water and increasing the build up of silt around the island. However, in 2006, the French government authorized the building of a dam to reintroduce the tides and river currents around Mont St. Michel by flushing the surrounding silt and salt marshes back to the sea. This should once again transform this mount to the island it once was. This project will be completed by 2012 and the image I carried with me for 27 years will be restored.
The base of Mont St-Michel at low tide
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BullMoose.org
Bull Moose Party History
Welcome to the Bull Moose Party
July 7, 2006 Jim MacQuarrie Leave a comment
There’s been a lot of noise lately about some proposed Constitutional Amendments: banning flag-burning, making English the only official language of the US, banning gay marriage, in addition to the usual evergreens. It seems to me that the Bull Moose Party ought to take a position on these.
As my teenage daughter said while listening to the yammerheads carry on about flag-burning, “that’s not what the Constitution is for.” Smart kid.
It’s that simple. The Constitution is a blueprint for the country, it lays out specific duties that the various branches of government are to carry out, and lays out general principles for the things it’s not supposed to meddle in. The last time a Constitutional amendment was enacted that restricted what citizens could do, it was an unmitigated disaster. That was Prohibition, and it failed so miserably that it barely lasted a decade before being repealed. Now, granted, none of the bans we’re talking about here are likely to cause anything like the rampant crime and violence that Prohibition brought, but there are principles involved.
Get used to hearing that word; we hope to make the Bull Moose Party the party of principle. We’re not going to tell you who to vote for or anything like that, but we will call your attention to what we believe to be the important principles that underlie every position that we adopt. Now, on to the topics at hand:
Flag-burning. This one seems obvious. It has been established over and over that the First Amendment protects expression, ESPECIALLY political expression. “The right of the people to petition the government for redress of grievances” is specifically protected. I would say that lighting up the Stars and Stripes is a pretty clear petition for redress of grievances. Why are we even discussing this?
Defense of Marriage, banning gay marriage, whatever you want to call it. First, let’s make a little distinction here (you’ll soon discover that it’s all about little distinctions): There is legal marriage and there is Holy Matrimony. Holy Matrimony is a sacrament of the church, and each religion, sect, denomination and affiliation has its own rules for certifying and acknowledging the sacrament. Legal marriage is essentially a contract, a bit of civil law that accords those who enter into the contract certain privileges and rights, including issues of inheritance and next-of-kin status. As long as the religious institutions are guaranteed the right to decline performing or validating any marriage they so choose, there is really no good reason to deny gay couples the legal benefits of marriage. And anyway, it’s not what the Constitution is for.
English only. We’re working on an in-depth piece about this topic, but for now, we’ll just say this: why is it okay for third-generation Americans to celebrate and honor their Irish, Scottish or German heritage (ever been to a St. Patrick’s Day Parade, Highland Games or Oktoberfest?), but it’s not okay for more recent arrivals to preserve their family culture and heritage? Certainly, English ought to be the language in which the US government conducts its business, and there is some little merit in the economic argument that it costs money to print official information in multiple languages, but is that a reason to carve this notion in granite as part of the Constitution? Say it with me: “that’s not what the Constitution is for.”
ConstitutionEnglish languageflag burningmarriage
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For the Purple State Voters
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FilmsMusicBooks
All News, Music News
PRINCE'S PROLIFIC CAREER CELEBRATED WITH "LET'S GO CRAZY: THE GRAMMY® SALUTE TO PRINCE"
ALL-STAR LINEUP SET TO PERFORM SONGS FROM PRINCE'S REMARKABLE CATALOG DURING LIVE CONCERT TAPING ON JAN. 28
SANTA MONICA, CALIF. (JAN. 9, 2020) — Just two days after the 62nd Annual GRAMMY Awards®, the Recording Academy®, AEG Ehrlich Ventures and CBS will celebrate the unparalleled career of 38-time GRAMMY® nominee and seven-time GRAMMY winner Prince by presenting "Let's Go Crazy: The GRAMMY® Salute to Prince." The live concert taping will be held Tuesday, Jan. 28 at 7:30 p.m. PT at the Los Angeles Convention Center. The special will be broadcast later in 2020 on the CBS Television Network.
The special will feature a lineup of all-star artists paying tribute to Prince's unprecedented influence on music, including GRAMMY Award-winning artists Beck, Common, Gary Clark Jr., Earth, Wind & Fire, Foo Fighters, H.E.R., Juanes, Alicia Keys, John Legend, Coldplay's Chris Martin, Mavis Staples, St. Vincent, and Usher; and singer/songwriter Susanna Hoffs. Plus, a historic joint performance by several of Prince's most celebrated musical friends and collaborators, including GRAMMY Award-winning band the Revolution, past GRAMMY Award nominee Sheila E., and Prince-formed funk band Morris Day And The Time. Additional performers will be announced in the coming weeks.
"Prince. The Purple One. His Royal Badness — regardless of how you identify him, he is indisputably one of the greatest musical virtuosos of all time," said Deborah Dugan, President/CEO of the Recording Academy. "With his subversive attitude and commanding nature, he straddled musical genres and created electrifying music that was bursting with character. He continues to serve as an inspirational icon for artists and fans worldwide, and we are so honored to pay tribute to his legacy at this year's post-GRAMMYs® special."
"One of the true joys of producing the GRAMMY Awards is both working with and being able to tribute your heroes, and Prince gave me the opportunity of doing both," said Ken Ehrlich. "His GRAMMY appearances, though few, were historic, and it's with mixed feelings that we approach this opportunity to celebrate the amazing legacy he left us. We've gathered a remarkable collection of artists across genres and across generations to salute one of music's truly singular iconic writer/performers, and believe me, it's a tall order to do him justice."
Prince's start in music broke grounds by successfully negotiating with Warner Bros. Records to not only let him produce his 1978 debut album, For You, but to play all 27 instruments featured on the album. In 1984, Prince achieved international fame with the release of his album and film, Purple Rain. He has more than 40 RIAA certifications, ranging from platinum to diamond. His catalog includes 19 Top 10 singles and five No. 1 hits, including the GRAMMY-winning "Kiss," as well as five chart-topping albums, including the GRAMMY-winning Purple Rain. Prince has garnered seven GRAMMY Awards, and 38 GRAMMY nominations, and he was presented with the Academy's President's Merit Award in 1985. In 2004, he was inducted into the Rock and Roll Hall of Fame and received the Icon Award at the 2013 Billboard Awards. Releasing nearly 40 studio albums, Prince has solidified his mark as one of the most influential artists of all time.
"Let's Go Crazy: The GRAMMY Salute to Prince" is produced by AEG Ehrlich Ventures, LLC, with the cooperation of The Prince Estate. Ehrlich is executive producer, Ron Basile and Chantel Sausedo are producers and David Wild is the writer/producer. Jimmy Jam & Terry Lewis and Sheila E. are the co-musical directors of the special. To learn more about Prince, visit Prince.com and follow @Prince on Facebook, Twitter and Instagram.
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“SCOOB!” Movie Home Premiere May 15, TikTok #ScoobDance Challenge Kicks Off the Fun with Jalaiah Harmon and Movers+Shakers
Burbank, CA) – For anyone who’s ever asked, “Scooby Dooby Doo, where are you?” the answer is, on TikTok! In anticipation of the new ani...
Funimation Unveils First Panels, Performances, Speakers And Events At Funimationcon 2020
Panels with Fruits Basket, One Piece, Fire Force ; Special Programs from Sony Music Labels Artists BLUE ENCOUNT, FLOW, ...
The University of Windsor and BlackBerry Partner to Educate Future Data Scientists
WINDSOR and WATERLOO, ONTARIO – May 11, 2020 – The University of Windsor and BlackBerry Limited (NYSE: BB; TSX: BB) today announced ...
HAILEE STEINFELD ANNOUNCES HALF WRITTEN STORY, OUT MAY 8
ARRIVES AS PART 1 OF TWO-PART PROJECT PERFORMING “I LOVE YOU’S” ON THE TONIGHT SHOW STARRING JIMMY FALLON THIS FRIDAY, MAY 1 ...
TROYE SIVAN SHARES NEW SINGLE, “TAKE YOURSELF HOME”
IMAGES FOR “TAKE YOURSELF HOME”, INCLUDING THREE T-SHIRTS TO BENEFIT WHO AND SPOTIFY COVID-19 MUSIC RELIEF PROJECT, SOURCED FROM FREELANCE ...
Ground Control to Mike Mullane
May 5, 2020 Former NASA astronaut Mike Mullane sits down with host William J Bruce III to discuss his time in space aboard the Shuttles Di...
PREVIOUSLY UNRELEASED FRANK ZAPPA COLLECTION, THE MOTHERS 1970, AVAILABLE NOW DIGITALLY AND AS 4-DISC BOX SET
AHMET ZAPPA AND VAULTMEISTER JOE TRAVERS TO HOST VIRTUAL LISTENING PARTY TODAY AT 3PM EST FANS ENCOURAGED TO ZAPPA-IFY THEMSELVES WITH...
Scooby-Doo Invites You to the #ScoobMovieNight Pawtastic Premiere Event on Twitter, Featuring Stars, Music and Fun May 15
(Burbank, CA) – Ruh-Roh! Break out the popcorn and the chew toys, grab a comfy seat and get ready to connect with friends and family b...
CANADA’S MUSIC INDUSTRY RALLIES TO CREATE MUSICTOGETHER
ONLINE PERFORMANCE INITIATIVE WILL PROVIDE $300,000 OF RELIEF TO ONTARIO MUSICIANS 02 APRIL 2020 (TORONTO, ON) - In an effort to...
GRAMMY & OSCAR NOMINATED COMPOSER/PRODUCER STEPHAN MOCCIO SHARES NEW SINGLE ‘WHITBY’
01 MAY 2020 (TORONTO) - With his last single ‘Fracture’ racking up an impressive 1.2M streams on Spotify in just two weeks, acclaimed c...
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W.A.S.P. (US)
W.A.S.P. - "Wild Child"
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W.A.S.P. - Golgotha
W.A.S.P. stormed onto the Los Angeles metal scene in 1982 with
exploding cod pieces, drinking blood and attacking their audiences
with raw meat. The release of their self-titled debut in 1984 and
second album, The Last Command, a year later cemented W.A.S.P.'s
over the top reputation and their place in L.A. legends and lore with
savage stage shows and hit songs 'I Wanna Be Somebody', 'L.O.V.E.
Machine', 'Blind In Texas', and of course the controversial track
'Animal'. Some 30+ years later, W.A.S.P. is still recording, still
touring, and still dangerous.
Vocalist/guitarist Blackie Lawless, the sole remaining member of
the original W.A.S.P. line-up, has returned with the band's 15th
official studio album, Golgotha. It marks the end of their longest
break between records, and is a potent follow-up to Babylon from
2009. Circumstances such as requiring reconstructive surgery on
Lawless' right shoulder, a 30th Anniversary tour, and Lawless
suffering a broken leg in 2013 held up the writing and recording for
Golgotha, but looking back he considers the delay a blessing in
disguise.
"It gave us the time to reflect on the music in a way we never really
had before," says Lawless. "Previously, I had taken two years to
make a record, but never that amount of time to sit and craft and
decide what I liked and what I didn't. You hear every band say the
same thing: 'It's the best thing we've ever done...' but the truth is
they don't know because they're too close to it. You need time to get
away from it to really reflect so you can tell if it's any good or not.
That was one of the big benefits of spreading this out over a four
year period is I was able to be honest with myself."
“Golgotha”, the site where Christ was crucified outside Jerusalem's
walls, was the inspiration for the title track. The title along with the
biblically themed album artwork set an ominous tone for the entire
album.
Lawless says, “sonically, I think Golgotha pays tribute to the '70s. A
lot of the time you really don't see it until the end because you work
on each track individually. There are definitely '80s and '90s
influences here, but this is more of a '70s record than anything”.
Nine songs clocking in at almost an hour in total make for an epic
W.A.S.P. outing, particularly for diehard fans that remember when
the band went from being rabid party animals on their first three
albums to frighteningly artistic and intelligent on The Headless
Children and its follow-up, The Crimson Idol. Lawless and Co. do
indeed reference those records on Golgotha; in fact, "Miss You" was
the first song originally written for The Crimson Idol, finally brought
to life here. It isn't a rehash of old glories, however, but rather a
collection of challenges brought to successful conclusion.
"The biggest challenge is subject matter because every time you
make an album you have to ask yourself 'Who am I right now?'",
says Lawless. "It doesn't do you any good to try and write from the
perspective of five or 10 years ago, or what you think is happening
on the charts. When I started I didn't have any idea where I was
going. Over the years I've learned - and this is not easily done - you
have to trust yourself with who you are at the moment.You have to
trust that if you're writing with conviction the song is going to
somehow take shape. The Golgotha record ended up taking shape to
a point that it took on a life of its own."
Golgotha tracklisting:
"Scream"
"Last Runaway"
"Shotgun"
"Miss You"
"Slaves Of The New World Order"
"Eyes Of My Maker"
"Hero Of The World"
"Golgotha"
http://www.waspnation.com/
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Local independent film 'Shelter' to play at Atlas Cinemas Lakeshore Theatre in Euclid
[Press Release from the Ohio Independent Film Festival.]
In collaboration with Atlas Cinemas and the Ohio Independent Film Festival, Independent Pictures is screening the independent film, "Shelter," written, produced and directed by Ohioans Adam Caudill and Wrion Bowling. "Shelter" will show at 7:00 PM on Friday, November 16 at the Lakeshore Theatre in Euclid, 22624 Lakeshore Blvd. in beautiful downtown Euclid. Tickets are $9.00 and are available at the door or in advance by visiting www.atlascinemas.net.
Shaker Heights filmmaker and Independent Pictures' Board Member Todd Kwait will emcee the screening of the film, which tells the story of five survivors forced to wait out their respective fates in a bomb shelter with no contact to the outside world. Produced on a micro-budget, "Shelter" is an exceptionally-made example of the talent that can come from our fine state. Bob Ignazio of the Cleveland Movie Blog writes, "Despite being a micro budget production, there's no need to grade SHELTER on a curve. The writing and directing team of Adam Caudill and Wrion Bowling have crafted a taut little thriller here that feels like an episode of The Twilight Zone that's been stretched out to feature length without feeling padded." (full review here).
The screening of "Shelter" on November 16 is a must-see, one-time engagement. "Shelter is a great example of a Hollywood quality film made entirely by Ohio filmmakers," said Kwait, who premiered his third documentary, "For the Love of the Music: The Club 47 Folk Revival" at the 2012 Boston International Film Festival to critical acclaim. Bernadette Gillota, Artistic Director of Independent Pictures, has been screening films since the organization formed in 1993. Gillota said, "Working with limited resources but with a talented cast, tight script, and qualified crew to create a solid film worthy of theatrical distribution; "Shelter" illustrates what true low-budget independent filmmaking is all about."
Independent Pictures, parent organization of the annual Ohio Independent Film Festival (OIFF), screens excellent independent feature length and short films from Cleveland and all over the world. What started in a storefront in Tremont as the Off-Hollywood Flick Fest has grown to the annual OIFF and other film production and training programs such as the Film Production Internship Program, Ohio Independent Screenplay Contest and Script Mill, Director of Photography Workshop and more. The screening of "Shelter" on November 16 marks the start of a year-long 20th anniversary celebration that will include events and special screenings all over the Greater Cleveland area, culminating with the 2013 Ohio Independent Film Festival on November 7-10, 2013.
Films that are screened at the annual OIFF are selected entirely from filmmaker submissions. For information on submitting a film, visit www.withoutabox.com (search Ohio Independent Film Festival) or send an email to ohiofilms@yahoo.com. The Ohio Independent Film Festival is partially supported by Cuyahoga Arts and Culture and is a member organization of Community Shares.
Posted by Bob Ignizio at 12:00 AM
Labels: Cleveland OH, Euclid OH, local film, local filmmakers, news, Ohio Independent Film Festival, Shelter
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Decades of Horror: The Allure, The Danger & The Cycle of Fear & Fantasy In Film & The Media Part 1
"THOSE WHO CANNOT REMEMBER THE PAST, ARE CONDEMNED TO REPEAT IT."--George Santayana
***WARNING! The following article contains images of a sensitive, or violent nature and nudity***
google images; insert: google images
There are many who say that movies and television are a reflection of our times--what is going on in society in that moment--wars, protests, mass murderers, racism, invention, advances in modern technology, chaos--Is creativity sparked through controversy and calamity? On the one hand, some gave us lots of escapist entertainment and fantasy pictures that made us forget the trials of world crisis. Others gave us a heightened sense of self awareness to the problems around us. Offering no defining solutions, some of these movies were angry expressions built around those filmmakers feelings regarding certain major events of the day and not just in America, but all around the world. Movies would seem to be a natural progression from the fanciful tales that played it safe to the then cutting edge dramas expressing societal problems to the downbeat demeanor of today's cinema cesspool.
Above: Vietnam protest; Insert: Waterboarding torture in WW2; google images
What was deemed racy in the 30s, had its equivalent in the 80s and beyond; It's just the age we happen to be living in. Still, the graphic depiction of violence has increased through the years on both theater screens and the televisions in our homes. One could say that in recent years, violence on screen mirrors the misanthropic and downbeat tone laid down by the cinema of the 1970s. But why wasn't such a nihilist view in film adapted earlier during the 1940s, a time when the entire world was the centerpiece being fought over by two vastly different and opposing forces? During the 40s the nation truly came together in an effort to maintain freedom in this country. Americans were not only fighting on the front lines, but were fighting at home, too, supporting the troops in a variety of ways. In the 70s, just like today (maybe moreso), there were a number of problems dividing the nation--inequality, women's rights, racism and an influx of illegal immigrants that continues to this day. Now, we're having much of these same problems only in some cases, the problems have escalated to an alarming degree. During that time, people desired to work for what they wanted. Now, people want hand outs. The word "work" has become something of an oxymoron for "won't".
It would seem that at least the first 30 years of film relied mostly on getting away from the real cruelty of the world and enjoying a double, or triple bill with a coke and bag of popcorn in hand. By the end of the 1960s, movies took a turn down a dark and winding road with seemingly no apparent end in sight till STAR WARS came along and changed audience perception of the "wow!" factor in film. The 80s rolled around and everyone in America got fat with greed and modern comforts and movies changed once more. Horror of the trashy kind became high profile and fantasy pictures got higher price tags attached to them. The 90s came and brought with it a lot of anger, vitriol and violence. People were also carrying their video cameras with them seemingly everywhere. The new millennium brought with it more envelope pushing aggression with a growing amount of vociferousness. "Reality" shows became the alternate purveyor of trash journalism as this type of entertainment continues to plague boob tubes across the country. One thing had remained constant from one decade to the next--the omnipresent media which no doubt was guilty of shaping the gradual and sometimes ghoulish progression of what was deemed permissible for us to see.
"LOOK DOWN AT ME AND YOU SEE A FOOL. LOOK UP AT ME AND YOU SEE A GOD. LOOK STRAIGHT AT ME AND YOU SEE YOURSELF."--Charles Manson
A dead Bonnie and Clyde: google inserts
Hollywood was fond of imitating whatever was hot, or controversial in the news. Gangster pictures thrived in the 1930s built around the likes of real life villains Al Capone and his gang. Bonnie & Clyde and John Dillinger and his boys were among a slew of other Tommy Gun toting racketeers that ransacked the Midwest leaving a trail of blood in their wake. As has been proven over the decades, some of these "larger than life" personas have transcended their brutal natures to become national celebrities. Even as far back as Billy the Kid from the latter part of the 1800s, the media, whether intentionally, or indirectly so, ultimately raised these cold blooded killers atop a pedestal they didn't deserve. While such killers garner an incredible amount of publicity, those innocents whose lives were snuffed out from crossing paths with these villains must settle for a mere footnote in an obituary from their local paper.
This sort of pandering to miscreants and allowing them to attain almost mythical status has been repeated numerous times throughout history, one of the most infamous being Charles Manson and his "Family". This celebration of evil has also been documented in just as many movies over the years. One of the most blatant examples being Oliver Stone's NATURAL BORN KILLERS from 1994 and most recently with the strikingly well made low budget effort, MANSON, MY NAME IS EVIL (2010). That film thrived on displaying some fascinating dichotomies between war and religion, god and the devil, government backed mass murder abroad and capital punishment for killings on our own soil. Some of these movies, while showing the bad guys in all their villainous glory, still manage to elicit audience sympathy for them.
"IF DEATH MEANT JUST LEAVING THE STAGE LONG ENOUGH TO CHANGE COSTUME AND COME BACK AS A NEW CHARACTER, WOULD YOU SLOW DOWN, OR SPEED UP?"--Chuck Palahniuk
Above: FACES OF DEATH (1979) Japanese poster; Insert: CRUEL TALE OF JAPAN (1963) Japanese mondo movie: google images
Such things bring about lots of questions not just about the media, but about ourselves. How many of you slow down, or stop at the scene of a car accident? For whatever reason, we are all fascinated with death and for many, the more deplorable the more it interests us. This isn't strictly limited to America, mind you. The sometimes real violence of the Mondo movies gave birth to another kind of shockumentary most infamously in the form of the FACES OF DEATH series. Originally financed as a Japan only release, it only took a brief time before this series of death films (some of it real, some of it simulated) made it to American shores and jump-started an entire nauseatingly depressing series of sequels and imitations. Japan had a special place for mondo movies and FACES OF DEATH was a transformation of sorts. Focusing solely on the dead, dying, or anything remotely associated with not living was the main subject.
JAPAN'S JOYS OF TORTURE
Above: Hiroshima victim; Insert: Japanese soldier stands over Nanking butchered Chinese (1930s): google images
Japan has both one of the most honorable and one of the most viciously sadistic chronologies during eras of war. Eventually emerging a superpower in electronics and other fields, the "live to work" mentality requires a stress release of some kind and the violent and fetishistic nature of Japan's cinema is an eye-opening and stunning experience emblazoned by a wildfire of creative genius. Could all this violence stem from their "brush under the rug" mentality towards past transgressions, or an expression brought out of the aftermath of the atomic bombs that devastated two of their major cities? Often times for Japan, export movies have their scenes of sadism and grotesqueries juiced up specifically for the Japanese market.
above and insert: google images
In fact, Japan had been doing "torture porn" long before that woefully overused term was ever even coined on these shores in the last few years. I am referencing Teruo Ishii's mind-blowing JOY OF TORTURE series that began in the late 60s. This style of voracious sin-sationalism blossomed (or mutated) into a bloody whirlwind of cinematic brutality that changed further at the dawn of the 1970s. Whether it was a subconscious reaction to the aftermath of the bombings of Hiroshima and Nagasaki, or just Japan needing to express itself in a busy, burgeoning and sexually claustrophobic climate, one could draw any number of conclusions. Japan also has their own unique brand of adult animation that's wildly pornographic depicting various monsters and demonic forces of evil with phallic tentacles ready to penetrate any number of young girls in pig tails and school girl outfits, or even female superhero characters. These violent and graphically sexual cartoons explode on screen with an incredible level of blood, gore and otherworldly spermatozoa.
Above: SEX & FURY (1973); Insert: JOY OF TORTURE 2 (1969)
Oddly, though, Japan has a strict policy on the fogging of pubic hair (something that seems to have been relaxed in recent years), but explicit blood, gore, sex and basic nudity is acceptable. In the 90s, Japan's sex culture was amplified further with nine cinematic adaptations of a popular manga titled RAPEMAN, which ran from 1985 through 1992. The storyline dealt with a "superhero" who used his own unique brand of justice to "right wrongs through penetration". Echoing the plot device of the HANZO, THE RAZOR series from the 1970s, the concept of RAPEMAN was not seen as the satirical black comedy it was designed to be when seen outside of Japan. It stirred a good deal of controversy from Human Rights groups in much the same fashion as the massive brouhaha raised by Kinji Fukasaku's BATTLE ROYALE at the dawn of the new millennium in the United States. Again, the media was there to feed us what was going on outside the US in their own inimitable style. Basically, they were rationing us information shoving only the "best" parts down our throats.
"THE MAIN GOAL OF THE FUTURE IS TO STOP VIOLENCE. THE WORLD IS ADDICTED TO IT."--Bill Cosby
We, unintentionally, feed the media and the media feeds us that forbidden, fat and juicily greasy all American cheeseburger we all crave; the dark side to our psyche that must be satiated--our need to see violence and death in its most grotesque form. By so doing, do we unwittingly create many of society's killers? While the media has never had to atone for their "sins", activists and crusaders for Christ have tried to make we, the people pay for non existent sins in what appears to have either been a desperate attempt at monetary gains through media exposure, or a decade long brush with insanity as was seen in the 1980s.
"MAN CAN HARDLY EVEN RECOGNIZE THE DEVILS OF HIS OWN CREATION."--Albert Schweitzer
At least as far back as the 1980s, horror movies, heavy metal music and other forms of entertainment found themselves in the spotlight, the target of religious zealots and media violence activists such as WAVAW (Women Against Violence Against Women) to name just one of many witch hunting factions that were prominently in the news promoting their views of ostracism against anything they felt was potentially damaging to the young minds of society. It wasn't just limited to music and movies, though. Even role playing games such as Dungeons & Dragons came under strict scrutiny from religious groups who seemingly believed that this wildly popular game contributed to the proliferation of satanism, suicide and murder (more on this later). Video games would later come under fire from worried parental groups campaigning against realistic violence in the games despite there being a rating system implemented in 1994.
Evangelist Pat Robertson is either invoking, or rebuking satan; Insert: One of the dozens of rock groups/albums branded demonic by religious fruit loops who likely were just hungry for media attention and the money of the poor souls who believed their shtick: google images
Regardless of what many of these nutty assemblages may come up with as an answer to the problems of Americans, violence in movies, as has been shown to be the case long before the turn of the century, acts as both a release and an escape from the all too real barbarism we see on the news and out in the streets. Where was this public outcry in the 1970s? That was a decade dominated by a plethora of creative ferociousness onscreen that, having been imitated in recent years, has yet to be successfully duplicated. Maybe the 70s was such an angry decade that by the time the 'Decade of Decadence' arrived, people were primed to start pointing fingers at something that wasn't really there in the first place.
Comic Book burning in 1948: above and insert google images
Let's take an opinionated look at movies and movements decade by decade and see how events both trailblazing and troubling shaped horror and controversial cinema of the time from the advent of the talkies all the way up to now. Everything seems to move in cycles, including movies. Television is also reflective of world views, but equally so in emulating what's big at the bijou. How these cycles are detrimental to our way of life and social structure is subjective and should not be ignored. While cinema is, at its best, viewed as pure entertainment, its frequent mirror image of a world in chaos or at war with itself is equally important and enlightening.
I AM THE 20s, HEAR ME ROAR
The 1920s was a time of discovery and beginnings. WW1 ended at the dawn of this new decade. The 1920s were a first in many ways including a cadre of amazing inventions--the car radio, first Mickey Mouse cartoon, the first radio broadcast and sound in cinema. America was a place of vibrance and opportunity at least up until the close of the decade when the stock market crash took everything away via 'The Great Depression'. In the realm of cinema silence was golden till THE JAZZ SINGER opened its mouth in 1927 as the first "talkie" in the pantheon of American films. WW1 was predominantly a European war and they finally marched on American soil under the guise of a handful of influential German Expressionist movies such as THE CABINET OF DR. CALIGARI (1919) THE GOLEM (1920), NOSFERATU (1922) and the science fiction spectacle of METROPOLIS (1927). These were among the main proponents of this movement seen in the United States.
Famous Monsters of Filmland 1968 Fearbook
Lon Chaney Sr., the 'Man of a Thousand Faces' was the leading progenitor of American horror and makeup effects in that he suffered greatly for his art by devising his own crude and punishing contraptions to bring his movie villains to life. These included HUNCHBACK OF NOTRE DAME (1923), THE PHANTOM OF THE OPERA (1925) and the now lost LONDON AFTER MIDNIGHT (1927) were Chaney's shining examples of terror of the silent screen. Chaney was partnered with famed silent film filmmaker, Tod Browning on ten occasions and Browning, himself, would plant his teeth into the horror genre in the coming decade.
"YOU CAN GET MUCH FARTHER WITH A KIND WORD AND A GUN THAN YOU CAN WITH A KIND WORD ALONE."--Al Capone
Above and Al Capone insert: google images
The 1930s saw a struggling America attempting to rise out of the mire of the stock market crash as well as deal with Prohibition Era gangsters robbing banks and raising hell while contributing to the collapse of law and order in the USA as if the faltering economy wasn't crippling enough. In addition to such colorful crooks as Italian-American Al Capone (remember Geraldo opening his vault in 1986?), there were other Depression Era hooligans that made headlines such as John Dillinger and the Midwest rampage led by Bonnie and Clyde. This was most probably the beginning of the medias glorification of the criminal element while those who represented law and order such as Melvin Purvis, Elliot Ness and his Untouchables were kept in the dark. By the middle of the decade though, Capone would be imprisoned for tax evasion, Bonnie and Clyde were dead and John Dillinger soon followed two months later in July of 1934, the same year the cheeseburger was allegedly created.
Famous Monsters of Filmland 1967 Fearbook; above it's a view of the vast set created for the FRANKENSTEIN series
Not sure if this still is included on the DVD, but as the caption states, it's an unpublished still from the original KING KONG; insert: The mechanical upper body Kong contraption
With so much rampant anarchy, the movie going public seemed even more eager to embrace nightmares of the big screen and the 1930s gave them some spooky entries that still remain genre defining examples even to this day. One wonders that without the likes of Browning's DRACULA and Whale's FRANKENSTEIN, where would horror be today and what direction would it have taken without them. Other ghoulish hits that created monstrous progeny include THE MUMMY (1932), THE INVISIBLE MAN (1933) and KING KONG (1933). Tod Browning, riding high with the success of DRACULA, dealt a death blow to his own career with the release of FREAKS (1932), a movie that truly pushed too far and is a primary example of a movie that retains its power to shock an audience over 70 years after its brief theatrical run before being banned for decades. It wasn't quite the escapist entertainment patrons wanted, but curiosity seekers definitely got their money's worth.
KING KONG spread from Famous Monsters of Filmland
Two Kings of Horror, Bela & Boris; Insert: Behind the scenes on BRIDE OF FRANKENSTEIN (1935)
The 1930s also saw the emergence of two actors who would become synonymous with the horror genre and its marketing--Bela Lugosi and Boris Karloff. Over the course of the decade, audiences proved that the movies was the hottest ticket in town as well over half the US population were in attendance regardless of their social, or monetary status. People craved something to take their minds from the insanity of the real world; the stage (Grand Guignol, anyone? More on that later) and screen did just that. By the end of the decade, WW2 was about to ignite and the horror was just beginning.
"SURE, WE WANT TO GO HOME. WE WANT THIS WAR OVER WITH. THE QUICKEST WAY TO GET IT OVER WITH IS TO GO GET THE BASTARDS WHO STARTED IT."--General George S. Patton, Jr.
The 1940s was one of the most scary and tumultuous eras in American history. WW2 became an even more devastating international event when Japan, attempting to show what they were capable of, attacked Pearl Harbor in 1941 during the morning hours of December 7th. The United States declared war on Japan the following day. For the next few years, numerous battles would play out on land, in the air and on the sea. From the Battle of Midway, to the Normandy Invasion (D-Day), to Hitler's suicide, to the ultimate finality of the Hiroshima and Nagasaki bombings in 1945, WW2 encompassed the triumph of the human spirit from the heroes around the world who fought against the devout tyranny and unbridled villainy of the Axis forces.
Back on the home front, the United States was still recovering from The Great Depression/Stock Market Crash of 1929. With the war being the new blow dealt America, it nonetheless aided in bringing the economy out of its slump as many signed up to become soldiers while others kept factories going at home manufacturing what was needed to go to war against enemies of the nation. US propaganda posters and short films spurned on the anger Americans felt for the Axis of Evil. With so much war effort fuel for the fire, the nation came together to get America back on track and restore the financial position the country enjoyed prior to the end of the 20s. There also was a need to restore America's honor even though the way the people were fired up was morally wrong in itself. The seed for the 'American as Apple Pie' suburban Nuclear Family was soon to be planted and would bloom during the Fabulous 50s.
MONSTER A GO-GO
Above: MUMMY'S GHOST Famous Monsters 1969 Fearbook; Insert: HOUSE OF FRANKENSTEIN 1966 Fearbook
To get away from the cataclysmic events engulfing the world, Americans once again escaped into the fantasy realm of cinema with Warner Brothers cartoons and even more Universal monster movies; the decade was full of them. If Americans craved escapism, they got it in the form of numerous sequels to popular 30s productions such as DRACULA and FRANKENSTEIN. Universal followed up their success with THE WEREWOLF OF LONDON (1935) with THE WOLF MAN in 1941. Both THE MUMMY (1932) and THE INVISIBLE MAN (1933) got their own string of sequels as well. But with the mountainous assault of monsters, the decade provided little, to no innovation instead relying on successful formulas.
above: google images; Insert: Famous Monsters 1969 Fearbook
Later in the decade, the Universal horrors began to parody themselves with the inclusion of comedy such as the popular ABBOTT & COSTELLO MEET FRANKENSTEIN in 1948. Interestingly enough, the recycling of a proven formula in the 1940s would again rear its head in the latter part of the 1980s and into the first half of the 1990s as well as the reintroduction of the much dreaded horror comedy. But even amongst these varied creature feature fantasy films of the 40s, American theater patrons were still reminded of what was going on in the real world.
THAT'S NOT ALL FOLKS!
Above: HERR MEETS HARE; Insert: THE DUCTATORS
Inundated with all manner of propaganda shorts before the movies started, these were designed to maintain a sense of patriotism in US citizens and maybe even quell some of the heated sentiment felt by citizens of the day while being glaringly racist all at the same time. These films were also there to not let individuals forget that while they can enjoy the comfortability of their lives in the safety of the movie theater, Americans were giving their lives so that freedom would not die. The cartoons during this time had their own war time themes. These both poked fun of enemies of the Allied Powers and also trumpeted the patriotic human spirit of those who had no choice but to fight to bring peace.
RUSSIAN RHAPSODY
These war time cartoons are also exemplary of a dark time period where racism was celebrated in society brought out from aggression from opposing forces. Whether it be poking fun of Japan, or Germany, there were dozens of toons that gave audiences the giggles with hilarious interpretations of the enemy at war with America. But while these animated shorts were all in "good fun", there was another form of cinematic racism that had been going on much earlier that brought about its own brand of critical lambasting.
"FEETS, DON'T FAIL ME NOW!"--Willie Best in THE GHOST BREAKERS (1940)
Now considered grossly offensive, these war time cartoons were something of a reiteration of the racially themed Stepin Fetchit, or Sleep 'n Eat persona, the "Coon Caricature" of Lincoln Theodore Monroe Andrew Perry and Bill Robinson respectively (among others). The former was the first Black actor in history to become a millionaire. His films were deemed offensive then and now as perpetuating a negative stereotype. Despite conflict with the NAACP, Perry's character was the inspiration for Stymie of THE LITTLE RASCALS shorts. Perry enjoyed his success even if others disliked his portrayals. His films (he was most prolific from the 20's through the 40s), like many of the war time cartoons, are hard to come by these days.
Step n Fetchit pic: Google images; Insert: SONG OF THE SOUTH: google images
While these old films are popularly perceived as blazingly racist, whether they were intentionally so is subjective, but obviously the participants didn't mind taking the roles. Like everything else, there's both positive and negatives about those old movies (racist caricatures were featured in numerous animated shorts and even Disney productions) in light of many being embarrassed by these early representations of minorities on film. Serious scholars have written much of interest on the subject. Despite racial connotations of the above quote ("feets, don't fail me now"), it has been adapted by numerous black personalities over the years from jazz musician Herbie Hancock to comedienne Whoopie Goldberg.
Above Charlie Chan played by a white guy; Insert: BIRTH OF A NATION (1915) google images
In the 70's we saw much the same thing with blaxploitation movies and again some time later with the modern comedians of the day whose buffoonic shtick isn't too far removed from the likes of Stepin Fetchit and Sleep 'n Eat 50 years prior and counting. Racism in old Hollywood wasn't limited to blacks, however. Hollywood rarely, or never gave orientals lead roles in films instead opting to dress up an Anglo actor in Asian tresses and makeup to appear more like a Chinese. One of the most (in)famous instances was the long running CHARLIE CHAN series of films. Britain did this, too, in regards to featuring English actors portraying Asians.
After Japan surrendered, America was finally emerging from the economic muck and was finding financial stability once again. Towards the end of the 1940s, even after the war had ended, there was still unrest in other parts of the world. Gandhi was assassinated in 1948, and in 1949, China became a Communist nation and the United States was shocked to learn that the Soviet Union possessed atomic capability. As the United States entered the new decade (and the Cold War continued), a new era of horror was about to emerge both from outer and inner space.
TO BE CONTINUED.... PART 2 IS HERE
Posted by venoms5 at 4:05 PM 12 comments
Labels: Decades of Horror
Decades of Horror: The Allure, The Danger & The Cy...
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The Best of Tales From the Darkside Season 2
Season one was successful enough that TALES FROM THE DARKSIDE could haunt viewers for another year. Much of the same filmmakers returned as did the atmosphere and resemblance in the types of stories. It being a syndicated show, the producers and filmmakers were able to have much greater freedom than they would have had a major network. Season two brought another set of 24 episodes, produced simultaneously at two different production houses on the East and West Coast. At the time, Laurel Entertainment had a very ambitious slate, using DARKSIDE as a springboard to launch their stable of filmmakers into feature films. Few of their proposed theatrical features came to fruition--they failed to resurrect Dr. Phibes for a third time, while CREEPSHOW 2 crept onto theater screens in 1987. Regardless, season two was another success, with a little more polish than its debut season.
Parlour Floor Front (originally aired October 20th, 1985)
"If I am responsible for this thing... let me be cursed. If another is responsible for this thing... let THEM be cursed."
Linda and her husband Doug have recently bought an old apartment house with a beautiful parlor room. Spending a ton of money to remodel the entire building, they've managed to peaceably evict the remaining tenants save for one named Mars Gillis, the kindly janitor who has lived there before they purchased the building. Occupying the best room in the house, Mars doesn't wish to move. The couple can't force him out due to rent control laws. Linda wants Mars gone and devises a despicable scheme to get rid of him. A practicing voodoo priest, Linda's actions have grave consequences.
The second, and best, of Richard Friedman's DARKSIDE tales is an effective voodoo story with an ending reminiscent of the folktale 'The Golden Arm'--substituting a ring for the gold-plated limb. The scenario likewise recalls the absolutely terrifying closer in Mario Bava's classic triple threat, THE THREE FACES OF FEAR (BLACK SABBATH in the US) from 1963. Ernest Dickerson (having been with the series since season 1), later to become a director in his own right, was the DP.
Tragically, Adolph Caesar would die from a heart attack on the set of the Disney feature, TOUGH GUYS (1986) on March 6th, 1986--roughly five months after this episode debuted. He was only 52 years old. One of his two daughters, Tiffani Caesar, plays a young lady (she was only 15 at the time) who comes to Mars for a love spell. Adolph Ceasar's unique, gravely voice graced a number of 70s Drive-in and exploitation movie trailers including KARATE WARRIORS (1976) and DAWN OF THE DEAD (1978).
Halloween Candy (originally aired October 27th, 1985)
Grumpy Mr. Killup hates Halloween; and if there's one thing Mr. Killup hates more than Halloween it's trick r' treaters. After refusing his son's wishes to hand out candy, the old man is tormented the rest of the night by a nasty goblin creature doling out tricks and treats of its own.
It's a shame Tom Savini couldn't have directed a lot more DARKSIDE shows. He helmed three of them and this, his second, is another stellar example of the series. It's a particularly nasty segment that ends on a satisfyingly disturbing note. The scenes of roaches scurrying around in the house recall the fifth story in CREEPSHOW (1982). Savini was responsible for the Makeup FX, assisted by Ed French. Among the FX crew are Howard Berger and Gregory Nicotero, future founders (along with Robert Kurtzman) of KNB EFX Group in 1988.
In Fangoria #48 from October 1985, it is reported that Tyler Smith (GEEK MAGGOT BINGO monster maker) contributed a full-body goblin costume for this episode although he's not billed in the end credits.
The Devil's Advocate (originally aired November 10th, 1985)
"I been listenin' to you for a long time. You call yourself 'The Devil's Advocate'. Well you sound more like the Devil himself. I hope everybody stops listenin' to you, and I hope people start callin' in! And you have to just sit there, wherever you are, and rot till the end of time!!!"
The abrasive talk radio host Luther Mandrake, The Devil's Advocate, is on air at midnight. Hated by many of his listeners, Mandrake is in rare form on this particular night. With each aggressive rant Mandrake begins to change; his physical form taking on the frustration and rage building up inside of him. It isn't long before Mandrake finds himself in his own private Hell.
George Romero penned this psycho-supernatural creeper directed by Michael Gornick (CREEPSHOW 2 [1987]). In it, comedian Jerry Stiller is a one-man-show as the overbearing Mandrake, a man who barks at his callers and belittles them with aplomb. Masterfully handled for the duration, Romero's piece recalls another devilish DJ from an old NIGHT GALLERY episode, 'The Flip Side of Satan' starring Arte Johnson. With their low budgets and short shooting schedules, TALES had a lot of episodes with limited sets and cast; this is one of the best examples of surpassing limited resources. The story and its twist has been done dozens of times, and Gornick's effort is a highlight of the form.
A New Lease On Life (originally aired January 26th, 1986)
"You take care of the St. George, and the St. George will take care of you."
Mr. Archie Fenton has just moved into the St. George apartment building. At just $200 a month, Mr. Fenton can't figure out why it's so cheap; at least not till after he meets his kooky landlord, Madam Angler. Fenton signed a lifetime lease, and with it, a bunch of bizarre rules he eventually breaks. Once his neighbor, Ms. Tanner disappears, Fenton begins to notice what it is about the St. George building that makes it special.
One of the most enjoyable of the blackly humorous TALES, it's also one of the most unconventional within the DARKSIDE universe. This episode operates within a world outside of anything remotely normal. For example, Fenton questions the bizarre things he sees (the building shaking; blood pouring from the walls when he tries to hang a picture; wine pouring from the faucet as opposed to water), but then he shrugs them off. If director John Strysik had played it entirely straight, it wouldn't have worked. A Lovecraftian take on 'St. George and the Dragon', Harvey Jacob's teleplay isn't keen on explanations so much as it is about incidentals. Madam Angler and her two stooges are a peculiar, motley trio bearing an unmentioned, and ornate, tattoo of a dragon; the same dragon adorns patches on their clothes and even a book of matches. A subplot dealing with an equally unstable neighbor, like everything else at the St. George, does little to get a rise out of Mr. Fenton--the cheapness of the rent is just too much to pay attention at the over-powering weirdness going on around him. The twist at the end (which you'll see coming very early on) isn't hard to digest.
Printer's Devil (originally aired February 6th, 1986)
Junior Harmon, a struggling writer, gets the chance at the success that has eluded him when an eccentric publisher named Alex Kellaway makes him an offer at stardom.... it only requires animal sacrifices for him to succeed.
Frequent Romero collaborator John Harrison both wrote the teleplay and directed this darkly humorous tale of soul-selling and devil-dealing. This scenario comes up a few times in this series; Harrison's go at the material is the quirkiest take of those. There's light humor dotting the episode, yet, unlike other entries with comedy (and there's lots of them), it never circumvents the eeriness prevalent throughout. The shocker twist at the end is a striking change of pace for the familiar material.
If Larry Manetti looks familiar to Drive-in fans that's because he was among the cast in the Filipino exploit-actioner SUDDEN DEATH (1977) starring Robert Conrad, Don Stroud and Felton Perry. Mainstreamers will know him best as Rick on MAGNUM PI (1980-1988). Charles Knapp is a delight as the jovially off-kilter fat man whose contracts bring great wealth and fame to those who sign, but the Devil is in the details.
The Last Car (originally aired February 23rd, 1986)
Stacey, a young lady traveling home the day before Thanksgiving, awaits the train in the dead of night. Once aboard, she finds the last car mostly empty save for three curious occupants.
It's refreshing when you come across a DARKSIDE show that is pure horror with nary a funny moment in sight. The gloomy entries are outnumbered by the darkly comical ones--possibly one way of getting around having to tone it down even with the freedom provided by the program's syndication model. 'The Last Car', as predictable as it is, unsettles the viewer from the first frame to the last.
It's a shame John Strysik didn't go on to a bigger career as a director; he was one of the most consistent in his TALES FROM THE DARKSIDE episodes. Michael McDowell wrote a healthy amount of DARKSIDE's best, including this funereal story that has been well represented elsewhere, particularly the original TWILIGHT ZONE (1959-1964). This is the third example of Strysik's work in this 4-part 'Best Of' series.
Strange Love (originally aired May 11th, 1986)
"My name is Edmund Alcott. I was born in the same year as your country... 1776. My wife and I are vampires. Creatures of the night. Forever undead!"
Doctor Carrol is brought to the home of Edmund Alcott to see to his wife, Marie's, injured leg. Unknown to him, his late-night clients are vampires. Enslaved by his captors, Marie takes a liking to more than the doctor's blood.
Erotic thrillers exploded in the 1990s after the success of such films as FATAL ATTRACTION (1987) and BASIC INSTINCT (1992). Outside of BODY HEAT (1981) and BODY DOUBLE (1984), the sub-genre wasn't prolific in the 1980s. This edition of TALES is an example of small screen erotica but with vampires. Theodore Gershuny's fourth of five directed episodes is terribly anachronistic--the setting is supposed to be 1935 yet the decor looks 1980s--but is bolstered by some savvy lighting and Edithe Swensen's sexy script. Unlike the usually downbeat erotic template it's following, things only go badly for one character.
An early role for Marcia Cross, the stunningly beautiful actress later found fame in MELROSE PLACE (1992-1997) and DESPERATE HOUSEWIVES (2004-2012). In 1989, she played Rebecca Howe's sister, a horror movie actress, in a great episode of CHEERS, 'Sisterly Love'. Likewise, this was an early role for Patrick Kilpatrick; especially in that he's playing the role of a victimized hero. Making his feature-film debut in THE TOXIC AVENGER (1984), he was perfect for the many bad guy roles he would undertake.
TALES of Missed Opportunities: There's Something About Mary....
The Trouble With Mary Jane (originally aired November 24th, 1985)
"I am not Mary Jane. I am Aisha Candisha, and I do not want any chicken soup! I want men's souls to eat!"
A husband and wife team of palm readers try to pass themselves off as exorcists to land $50,000... if only they can rid Mary Jane's body of Aisha Candisha, a man-eating, goat-footed, soul-stealing demon. Fumbling their way through the process, Jack and Nora Mills complicate matters when they summon an additional demon named Gads, a male demon who immediately butts horns with Aisha.
The first full-fledged comedy episode of season two benefits heavily from the casting of Tierney and Diller. Directed by T.J. Castronovo, it's a spoof of THE EXORCIST (1973); and the first of ten episodes written by Edithe Swensen. You'll get an occasional giggle here and there, but the scenario grows stale before its predictable finish. Tanya Fenmore (from Spielberg's segment in TWILIGHT ZONE: THE MOVIE [1983]) is the possessed Mary Jane in an over the top performance worthy of a silent movie.
TALES of Missed Opportunities: Grin and Bear It
Ursa Minor (originally aired December 1st, 1985)
For her birthday, little Susie receives a stuffed Teddy Bear; but this isn't any ordinary stuffed animal. Containing an evil ursine spirit, strange things begin to occur around the house prompting Susie's mother to try and dispose of the toy.
Theodore Gershuny, the director of SILENT NIGHT, BLOODY NIGHT (1972), wrote and directed this mildly engaging segment. There's a bit more human drama than normal--Susie's dad is an alcoholic and her mother's struggles are close to paying off; only things are complicated by a stuffed animal harboring a malevolent force. Even with the eerie music and sound effects, it's difficult to make Teddy Ruxpin scary. The horror is ratcheted up for a ferocious finish when the bear goes on a mini-rampage. One of the more frightening finales in this series, only it's preceded by 20 minutes of tepidness.
With the sunrise, we close the coffin on our look back at season two. More dark delights are found in season three. "Until next time, try to enjoy the daylight!"
Labels: 'Best Of' Lists, Tales From the Darkside
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Attack of the Crab Monsters (1957) review
Richard Garland (Dale Drewer), Pamela Duncan (Martha Hunter), Russell Johnson (Hank Chapman), Leslie Bradley (Dr. Karl Weigand), Mel Welles (Jules Deveroux), Richard H. Cutting (Dr. James Carson), Beach Dickerson (Ron Fellows), Charles Griffith (Tate), Maitland Stuart (Mac), David Arvedon (voice of Hoolar the Giant Crab)
Directed by Roger Corman
The Short Version: Seven years before he was marooned on Gilligan's Island, Russell Johnson was part of another expedition that ends up trapped on an island dominated by gigantic, atomically enhanced crabs with both the gift of gab and a taste for human flesh. There's action, some brief gore, and bad special effects aplenty. A lot more fun than you'd expect it to be due to the unapologetically ludicrous premise. Played entirely straight, the thought of giant, telepathic crabs hellbent on world domination dares you to keep a straight face the duration of the "Tidal Wave of Terror" promised by the film's trailer. It's all you can eat crab legs, cheap but delicious for the seafood horror lover in you.
After communication is cut off on a Pacific island where scientists were conducting experiments on the effects of nuclear fallout, a second group of scientists and other personnel are sent to find out what has happened to them. Upon their arrival, they immediately discover dangers both on the island and beneath the waves when a crew member is decapitated by something underwater. Finding all of the previous group have mysteriously disappeared, the rescue team themselves become stranded on the dangerously unstable island. Strange noises, including disembodied voices, leads to the discovery of gigantic, irradiated crabs that not only eat their victims, but absorb their intelligence; and intend to make meals of them all.
The 1950s was the decade of Atomic Monsters, and particularly movies about giant bugs. The high point of these is unequivocally Gordon Douglas's THEM! (1954). Towards the low end, but above bottom-dwellers like THE CYCLOPS and BEGINNING OF THE END (both 1957) lies Roger Corman's ATTACK OF THE CRAB MONSTERS (1957). At just a little over an hour, Corman keeps his pace as brisk as the silliness. Writer Charles B. Griffith was a frequent Corman collaborater (he has a small role in the picture) and his script is a good one despite its ridiculous scenario. The pitch meeting must have been an eyebrow-raiser for sure. "Well, you see, these people are trapped on an island by giant, regenerating crabs that talk and use telepathy to lure the humans to their deaths." It's an utterly absurd premise that's far more fun than you'd think.
As corny as talking crabs with bulging eyeballs are, Corman manages some minor tension in the film's early scenes. There's some palpable eeriness to the fog-encrusted shoreline and some moody atmosphere enhancing some stock miniature shots during a storm. Apparently audiences were privy to it as well. CRAB MONSTERS was made for a reported $70,000 and made more money than any of Corman's movies up to that point.
The giant crabs are goofy-looking, parade-level constructs that are about as mobile as the alien cucumber from Corman's IT CONQUERED THE WORLD (1956). Apparently there are some moments where you can see the shoes of the crew members operating the big crab. You see a few brief glimpses of them early on, but mostly the creepy clacking sounds of their claws; that is till they reveal they can talk, and start boasting about world domination.
Made for Allied Artists between AIP gigs, Corman's directorial prowess is in abundance, as is his "all hands on deck" approach to filmmaking where many of the crew performed more than one duty on set. Despite the minuscule budget, the picture is remarkably well made. Corman and his crew are able to give the impression of an isolated island locale when it's just Leo Carillo beach in California. Some (presumably stock) shots complement this illusion; but it's later betrayed by some of the underwater shots filmed at the now closed Marineland park in Los Angeles. Lots of movies and television programs filmed there before and after its closure in 1987.
Third-billed Russell Johnson is one of the few cast members that went on to a successful Hollywood career. For him it was primarily in television. Other than CRAB MONSTERS, Johnson pops up in a few other SciFi features, some of them bonafide classics such as IT CAME FROM OUTER SPACE (1953) and THIS ISLAND EARTH (1955). His last genre picture was THE SPACE CHILDREN in 1958. He did however appear in small screen SciFi with a 1964 episode of THE OUTER LIMITS (1963--1965) and a 1967 episode of THE INVADERS (1967--1968). Johnson starred in two TWILIGHT ZONE (1959--1964) episodes, both of which dealt with time travel--the classic 'Back There' saw him travel back to 1865 to try and stop Lincoln's assassination; and in 'Execution', he creates a time machine that brings an Old West murderer dangling from the hangman's noose to then modern-day 1961.
Elsewhere on the film front, he appeared in some great westerns; such as LAW AND ORDER (1953), where he co-starred with future President of the United States Ronald Reagan playing Reagan's brother, Jimmy Johnson. Around the same time he appeared in some Audie Murphy adventures like COLUMN SOUTH (1953) and RIDE CLEAR OF DIABLO (1954); and the 3-D western TAZA, SON OF COCHISE (1954) starring Rock Hudson and Jeff Chandler. He played a vicious gunfighter on the season 2 episode of GUNSMOKE (1955-1975), 'Bloody Hands' from 1957. Johnson had three other guest appearances on the show playing different characters. But his most recognized role was playing the Professor on three seasons of GILLIGAN'S ISLAND (1964--1967) and three Made For TV movies and voicing on cartoon series.
Mel Welles is another name on the roster, only not necessarily in star status. Cult film fans know his face primarily as the flower shop owner in Roger Corman's THE LITTLE SHOP OF HORRORS (1960); but he had a very busy career behind the camera as well as in front of it. Welles was a director and performed voice acting on a variety of foreign pictures. He was fluent in several languages so this came in handy for his prolific sojourn overseas; particularly when writing and or directing such entertaining movies like MANEATER OF HYDRA (1967) and LADY FRANKENSTEIN (1971).
Roger Corman directed several other highly entertaining SciFi cheapies in a similar mold to CRAB MONSTERS, but none quite as fun as this bad movie made good. The title is one of the catchiest, exploitation-heavy monikers ever devised, and it's attached to a movie that matches it. If you're a fan of Corman, Drive-in movies, vintage and cheaply made SciFi, you will welcome this ATTACK into your blu-ray player.
This review is representative of the Scream Factory blu-ray. Specs and extras: 1080p anamorphic widescreen 1.85:1; new 2K scan from a fine grain print limited to 1,000 units; audio commentary with Tom Weaver, John and Mike Brunas; A Salute to Roger Corman featurette; theatrical trailer; running time: 01:02:51
Labels: Attack of the Crab Monsters, Late Night Creature Features
The Final Terror (1983) review
THE FINAL TERROR 1983 aka CAMPSITE MASSACRE aka THE FOREST PRIMEVIL
John Friedrich (Dennis Zorich), Adrian Zmed (Marco Cerone), Ernest Harden, Jr. (Nathaniel Hines), Lewis Smith (Boone), Rachel Ward (Margaret), Daryl Hannah (Windy), Akosua Busia (Vanessa), Joe Pantoliano (Eggar), Mark Metcalf (Mike), Cindy Harrell (Melanie), Irene Sanders (Sammie), Richard Jacobs (Mr. Morgan), Donna Pinder (Mrs. Morgan), Jim Youngs (Jim), Lori Lee Butler (Lori), Tony Maccario (Eggar's Mother)
Directed by Andrew Davis
The Short Version: Andrew Davis's lesser known wilderness-set slasher benefits from some mild tension and fantastic locations in Redwood, California. Unfortunately, THE FINAL TERROR wants its body parts and eat them too--being a slasher movie with a low body count that is closer in tone to JUST BEFORE DAWN (1980) than FRIDAY THE 13TH (1980). Probably the slasher flick with the single most soon-to-be big names (director included), Davis's movie has many attributes, but short-changes horror fans on what these films are supposed to be selling.
Forestry workers and four women head out into the wilderness to clear some brush and raft downriver. They find more than downed trees when they ignore the warnings of their crazy bus driver. Encountering a feral killer, the group become trapped in the woods and must utilize survivalist-style tactics to make it out alive.
When AIP (American International Pictures) merged with Filmways in 1979 (itself going bankrupt and sold to Orion in 1982), Samuel Z. Arkoff started up another AIP (Arkoff International Pictures) where he produced independent features of his own; the first being this woodsian slasher romp. This new incarnation didn't last long, sadly, but horror fans got this picture and Larry Cohen's energetic and unusual monster movie, Q: THE WINGED SERPENT (1982) out of it, at least. Back in the day, Arkoff and James H. Nicholson solidified AIP as the premiere studio for A-level exploitation on B-level budgets. With Roger Corman directing many of their features, AIP was a force to be reckoned with. Along with his son, Louis, Sam Arkoff intended to bring that old magic into the 80s. Partnering with the Cannon Group, it seemed a logical team-up; only by 1986, Cannon was showing signs of financial fatigue. Arkoff and son had a supernatural action picture titled 'Night Crawler' to have begun filming in the Fall of '86 with Cannon distributing; this never materialized and Arkoff's new company had far fewer films produced than it had on its ambitious slate.
Filmed in 1981, THE FINAL TERROR sat on the shelf for two years before finally seeing release around the US in 1983 (and on into 1984) after three of the main cast, Daryl Hannah (BLADE RUNNER; SPLASH), Rachel Ward (SHARKY'S MACHINE; THE THORN BIRDS), and Adrian Zmed (T.J. HOOKER) hit the big time. The film itself isn't well known for being a sterling example of the form; but is notable for being one of, if not the slasher picture with the biggest future stars in it.
The same year THE FINAL TERROR was released, Joe Pantoliano had appeared in RISKY BUSINESS and EDDIE AND THE CRUISERS (both 1983). More high-profile productions followed, including THE FUGITIVE (1993) wherein Pantoliano worked with director Davis again.
Lewis Smith (at right with Adrian Zmed at left) got the gig on SOUTHERN COMFORT (1981) from this picture. He went on to appear in BUCKAROO BANZAI (1984), the famous miniseries NORTH AND SOUTH (1985-1986), and the lead in the comedy THE HEAVENLY KID (1985).
Made at the height of the slasher craze, director Andrew Davis got the job based on his work helming the 1978 drama STONY ISLAND. His first and only horror movie, Davis does a remarkable job of hitting the right notes, but glaringly misses the one area audiences went to these movie for--the body count and gore. Davis went on to an extraordinary career in action-thrillers, directing one of Chuck Norris's best pictures in CODE OF SILENCE (1985); Steven Seagal in UNDER SIEGE (1992); and Tommy Lee Jones and Harrison Ford in THE FUGITIVE (1993) to name a few.
There are bloody scenes, but nothing in the league of any of the FRIDAY THE 13TH pictures or other slasher-in-the-woods movies like MADMAN (1981), THE BURNING (1981); or even the hilariously stupid DON'T GO IN THE WOODS ALONE (1982). THE PREY (1984) is another such picture, and shares more in common with Davis's movie than the others. It was filmed in 1979 but didn't see exhibition on a theater screen till November of 1983 and on into 1984. It, too, took advantage of California wilderness locations. Working with a lower budget, it surpasses Davis's slasher by doing more with its premise.
Aside from betraying two of the genres major commandments (thou shalt kill and thou shalt kill creatively), THE FINAL TERROR follows the template established by the runaway success of FRIDAY THE 13TH (1980). There are some body parts and other decaying items once belonging to the living, and a moderately gruesome death scene where a copulating couple climax in an unexpected fashion. Reportedly, the reason the film sat on a shelf for two years was because there were not enough kills in the movie. A pre-credits sequence was shot without Davis's involvement that added two additional victims, bringing the films total to five.
On the theatrical poster it asks, "Can anyone survive?" Yes, most of them do! Without the two added deaths you've got two kills out of ten plus the killer to make three. This being a slasher movie it's baffling the script (co-written by Jon George, Neill Hicks, and Ronald Shusett of ALIEN [1979]) would cram so many characters into it and do horrible things to so few of them.
THE FINAL TERROR's low gore quotient and preference for making its natural surroundings a character shares equal kinship with the likes of the underrated slashers RITUALS (1976) and JUST BEFORE DAWN (1980). Davis's movie likewise has commonality with John Boorman's 1972 classic DELIVERANCE. It favors those films' leaning towards building tension as opposed to creative, and voluminous numbers of kills.
In reference to the natural surroundings, another striking aspect of the production is its cinematography. That, too, is the work of cinema craftsman, Andrew Davis. He uses a pseudonym in the credits. He captures some great shots--not only of the massive, 400ft trees in Redwood, California, but also in moody moments whether it be a campfire, or a scene where the camouflaged killer stealthily enters and exits the frame. The finale, where the remaining campers discover the identity of the killer is exceptionally edited and shot.
The performances are uniformly strong across the board. With so many characters there's little room for exposition; although everyone is believable in their peril. The Dennis character, played by John Friedrich for example, is one of the more interesting in that he's the most comfortable sliding into survivalist mode when the group try to escape the wilderness alive. His sanity comes into question, but unfortunately, there's not a lot of time to explore this area; and it being a slasher movie, viewers really just want to see the kills that, equally unfortunate, are few and far between. At the time, critics were comparing him to Robert De Niro. Unfortunately, Friedrich quit the industry after completion on the television mini-series THE THORN BIRDS from 1983.
Aside from that, the script features some novel twists like a tense attack on a bus; and a character has their throat partially cut and survives upon having the wound sewn up. Another is the ending. It's a surprise and a bit of an eyebrow-raiser like the big reveal in the grossly underrated Canadian wilderness-set shocker, RITUALS (1976).
There's a lot to recommend here, just little of the primary ingredients that fueled this type of horror picture. Considering the cast, the acting is excellent for this sort of thing. Unsurprisingly, horror fans don't watch these movies for the performances. Slasher devotees and 80s horror fanatics will appreciate THE FINAL TERROR the most; as well as those curious about what some future big stars were doing early in their careers. Others, though, will be expecting more than what they get; and will likely be relieved when it's FINALly over.
This review is representative of the Scream Factory Blu-ray/DVD combo. Specs and extras: 1080p anamorphic widescreen 1.78:1; interviews with actors Adrian Zmed, Lewis Smith; post production supervisor Allan Holzman; composer Susan Justin; audio commentary with director Andrew Davis; photo gallery; theatrical trailer; running time: 01:23:56
Labels: 80's Horror, The Final Terror
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The Strangers in the House, by Georges Simenon
NYRB Classics, 2006
originally published 1940 as Les inconnus dans la maison
translated by Geoffrey Sainsbury
I'm somewhat reluctant to post about The Strangers in the House as a crime novel per se, because really, the crime that occurs and its aftermath is actually sort of the catalyst that sparks a man into action here. It is another of Simenon's romans durs, and if anyone wants to know where the departure point between his commercial novels (think Maigret) and his "hard novels" lies, we can turn to Simenon himself for the answer. In 2012, Open Letters Monthly ran an article noting that
"the difference between the two ... was 'Exactly the same difference that exists between the painting of a painter and the sketch he will make for his pleasure or for his friends to study something.' "
He romans durs, he says, he didn't see as "commercial in nature," and he "felt no need to make concessions to morality or popular taste." When he was writing one of his "commercial" novels, as he told the Paris Review in 1955, he "didn't think about that novel except in the hours of writing it," whereas with the romans durs, as he said,
"I don't see anybody, I don't speak to anybody, I don't take a phone call -- I just live like a monk. All the day I am one of my characters. I feel what he feels."
Most crime readers are very much into plot but in these novels, it's more the psychological/existentialist aspects of the characters that takes center stage, and unless I'm at a point where I need fluff, that, of course, is the draw for me as a reader no matter which genre I read. The Strangers in the House highlights this distinction -- the story opens with a crime, there is an arrest, a trial and an aftermath, but it centers on lawyer Hector Loursat, 48, who for about 18 years after his wife had left him, has been living as a rather lethargic recluse in a small French town with his daughter Nicole, now 20. And while a number of his acquaintances had over the years invited him out for dinner or bridge, he remained alone, preferring his own company. His cousin told him that he couldn't possibly spend the rest of his life as a "hermit," but Loursat disagrees, and from then on
"He proceeded to prove that he could, and he had kept it up for eighteen years, eighteen years during which he had needed neither a wife, nor a mistress, nor a friend."
He and his daughter have been virtual strangers her entire life, with Nicole's upbringing having been put into the hands of one of the "domestics." Lousart has during this time followed a regular routine -- several bottles of burgundy, followed by time spent reading in his study or his bedroom, and quiet dinners with his daughter where neither made any attempt at conversation.
Things begin to change one cold winter night when a sound like the crack of a whip wakes him up. It seems to have come from one of the rooms in his own home, and curious, he decides to have a look around. He runs into his daughter and tells her that there must be a burglar in the house, and notices that there's a light on somewhere on the third floor. She tells him it must be the maid, but he doesn't think so -- and continuing upstairs, he realizes that this was
"the first time in years he had departed from his own narrow and strictly prescribed orbit."
Further investigation yields the discovery of a man on a bed who's been shot and then dies "at the exact moment" Loursat walks in. He phones the prosecutor, telling him that the situation is "really tiresome," wanting him to come over and sort things out. He has no idea "who it is or how he got here," but he soon comes to realize that in this big rambling house, Nicole has been leading her own life, having her friends over for parties and dancing in the attic, and he never had a clue at any time that any of this was going on. It dawns on him that one of these people must have been the murderer, a fact that fascinates him, but he's more amazed by the fact that there's a world he's known nothing about going on under the roof of his own home and more importantly, right under his very nose. This is the earlier-mentioned catalyst that makes him aware that "he'd never tried to live -- not in the ordinary sense of the word," but more importantly, the fact that these people have actually been "living" makes him aware that he hasn't been.
There's much, much more, of course, but I'll leave it all for anyone who may be interested in reading this novel. While The Strangers in the House has a few minor flaws plotwise, they're pretty irrelevant -- this book is very much character driven and doesn't really revolve so much on plot details. Simenon has again given us a book that oozes atmosphere, setting and above all, a look at what PD James in her intro (which I strongly advise avoiding until the end) calls "the secret underground of the human heart," and Simenon's understanding of (as James also observes)
"the salient facts which bring alive a character or a place, inducing the reader to contribute his own imagination to that of the writer so that more is conveyed than is written."
While I enjoyed his The Engagement much more, I can most certainly recommend The Strangers in the House to people who, like me, are much more into a book to discover what he/she can about human nature. This one definitely speaks volumes.
ps - there is also a film (1967) made from this book with James Mason, but I'm so pressed for time right now that it will have to wait (if I can even find it!).
Posted by NancyO at 11:21 AM
Labels: 2016, Belgian crime fiction, NYRB Classics series
TracyK December 19, 2016 at 4:03 PM
It has been many years since I have read anything by Simenon. I have some of the Maigret books and some of the romans durs on my shelves. Maybe I will get to them in 2017. Thanks for adding that information about how he wrote the different types of novels.
NancyO December 19, 2016 at 4:05 PM
You're welcome. I'll be reading a few more in 2017 for sure!
This sounds like a good one. Will try to find it.
Happy New Year with hopes for fascinating crime!
NancyO December 22, 2016 at 8:11 AM
Happy new year to you! Thanks, Kathy.
The Killer Inside Me, by Jim Thompson
an indie double feature: Cotton, and Courting Deat...
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Home Movie Review Movie Review: Hereafter
Movie Review: Hereafter
DAM 2:40 AM Movie Review
I'm not so sure why I even saw this film. I mean, I'm not entirely a fan of Clint Eastwood as an actor - more so as a director. I've seen some of his directorial works like the forgettable Invictus, and unfortunately, Hereafter sits comfortably right next to that. It's equally uninteresting and quite flat.
It was a bit of a shame because the film seriously had an interesting and thought provoking premise that was nice to see explored. The opening sequence was really good that it almost scared the wits out of me and it actually got me into believing that this will be a one roller-coaster ride kind of film. Unfortunately, what followed wasn't as absorbing or as challenging as it ought to be. Things kind of died down after that. Everything just seemed completely insipid up until maybe the very end where a hasty attempt of tying all characters together was made.
Which brings me to my biggest problem with the film: the ending. I have to say, the last few minutes of the movie was just too weird. Seriously. It all ended in a way that left me with a confused look. Did I miss anything? The entire film felt like it was going nowhere and then all of a sudden a resolution slapped me in the face. Ha! It was just too abrupt that it almost didn't make sense.
I also had problems with a couple of things. I thought the script was weak, there was an uneven quality to the story and the pacing was awful. It's too long and too slow moving - or maybe it's too slow moving because it's too long (?). Either way, it's tedious. Good thing, the direction had a skillful elegance to it and the special effects were believable - not amazing but passable. The cinematography was also quite gorgeous.
Now, as for the acting performances, I thought it was uniformly fine. Matt Damon and Cecile De France were amazing. Bryce Dallas Howard was occasionally annoying but decent. I wasn't overly impressed with the London boy's acting though. He was stiff, rigid, emotionless and didn't hold up to the captivating presence of both Damon and De France.
Overall, this film was disappointingly okay. Maybe the film just tried too much to convey something important that it became a bit pretentious. Sad. Well, making a film about the afterlife is a very tricky subject - meaning, it's hard to do - and I can honestly say that not too many film have succeeded in this field - and yes, including this one.
Movie Review: Hereafter Reviewed by DAM on 2:40 AM Rating: 5
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You are here: Home » Digital life » My #reading April 2016
My #reading April 2016
Posted by Darcy Moore | Published on April 23, 2016
Every day I work on the edit of my book. I slog away, shifting chunks of material and moving them back, eating my salad in a daze, wondering if the linking passages I’ve written are leading me up a garden path, or are sentimental, or violate some unarticulated moral and technical code I’ve signed up to and feel trapped in or obliged to. The sheer bloody labour of writing. No one but another writer understands it—the heaving about of great boulders into a stable arrangement so that you can bound up them and plant your little flag at the very top.
Everywhere I Look is Helen Garner’s most recent book of non fiction. There are only a few new pieces and the collection spans the 21st century, so it is not really ‘new’. I had read quite a few of them before but certainly did not resent the fact. Garner is always masterful. Her prose is a window and we get to look in, as well as out; it is a mirror too, with cracks.
Garner ranges over topics as disparate as a secondhand couch and a moment on a bus to anecdotes about well-known Australian authors, like Raymond Gaita, Tim Winton and Elizabeth Jolley. She writes about old age and grandchildren, parents, suburbs and houses. She finds a grudging respect for Russell Crowe or at least for his acting. She etches portraits of Australians who have committed unspeakable, heinous crimes. They are unflinching and challenge many readers:
I see now that for some years already I had been trying to turn myself into the sort of person who could look steadily at such things, without flinching or turning away. I remember how my friends reacted when I begged them to come with me and look at the photos at the Justice and Police Museum: most of them really did not want to see them; they couldn’t understand why I thought they were beautiful. But I knew I could learn from them. So I went back, again and again, usually on my own. I longed to mimic in my own work the brutal simplicity of the police photographs.
Memories of books and other mysterious delights and sensations from childhood abound. The anecdotes she shares of primary school – and her adult discovery of the reality of life for that teacher – makes particularly fine reading:
You said, ‘An adverb can modify an adjective.’ Until that moment I had known only that adverbs modified verbs: they laughed loudly; merrily we roll along. I knew I was supposed to be scratching away with my dip pen, copying the list into my exercise book, but I was so excited by this new idea that I put up my hand and said, ‘Mrs Dunkley, how can an adverb modify an adjective?’ You paused, up there in front of the board with the pointer in your hand. My cheeks were just about to start burning when I saw on your face a mysterious thing. It was a tiny, crooked smile. You looked at me for a long moment—a slow, careful, serious look. You looked at me, and, for the first time, I knew that you had seen me. ‘Here’s an example,’ you said, in an almost intimate tone. ‘The wind was terribly cold.’ I got it, and you saw me get it. Then your face snapped shut.
Garner can always make the reader look again at a familiar societal landscape. Her sympathy for the people of Moonee Ponds, in Melbourne, makes us looks less favourably on Barry Humphries’ lampooning of decent people. She relentlessly interrogates her own responses, positions and prejudices. Garner relates feeling “…ashamed now of my bohemian contempt for the suburbs of my childhood, of my longing to be sophisticated”. I would like her to write more about the ‘hippiedom’ of her younger years.
One good book always leads to another. I will pursue the “great American journalist”, Janet Malcolm, who is the writer Garner says influenced her more than any other. If you believe what a person says about another says more about themselves, you will enjoy this description of Garner’s literary hero:
I have never met her, or heard her speak, but I would know her written voice anywhere. It is a literary voice, composed and dry, articulate and free-striding, drawing on deep learning yet plain in its address, and above all fearless, though she cannot possibly be without fear, since she understands it so well in others. She will not be read lazily. She assumes intelligence and expects you to work, to pace along with her. Her writing turns you into a better reader. There is no temptation to skim: its texture is too rich, too worldly, too surprising. She is brilliant at revealing things in stages, so you gasp, and gasp, and gasp again. She yokes the familiar with the strange in the way that dreams do—suddenly a wall cracks open and a flood of light pours in, or perhaps a perfectly aimed, needle-like beam. Reading her is an austerely enchanting kind of fun.
Sounds like an articulate description of Garner’s writing; one that I wish I had written.
If you have not experienced Helen Garner’s non fiction, Everywhere I Look is a good place to start. You will find no better writing about being alive today from an Australian author. Certainly there are few anywhere who can look at life with such an unflinching eye and explore it so honestly. One would have to agree with, and draw strength from, the following sentences which are the bones of the skeleton of what it is Garner does:
Sometimes it seems to me that, in the end, the only thing people have got going for them is imagination. At times of great darkness, everything around us becomes symbolic, poetic, archetypal. Perhaps this is what dreaming, and art, are for.
“I have never lost my conviction that writing, and being involved in the media, is one of the ways you can help change the world.”
Craig McGregor
Left hand Drive: A Social and Political Memoir by Craig McGregor transported this reader into a very familiar, reassuring paradigm of the period from the end of the Second World War to the turn of the century through the eyes of a thoughtful Australian with a social conscience.
He seems to have been involved, as a journalist and citizen, in numerous momentous social and political events across three continents. McGregor, who grew-up in Jamberoo close-by to where I now reside, lived in the USA and the UK during the socio-political upheavals of the 60-70s. I particularly related to his years in London and England. The energy of the time, his own personal excitement at leaving Australia and the joy of meeting his life-long partner is communicated with precision. This section is the strongest part of the memoir along with his reflections about the challenges of writing and journalism.
The unfolding text of McGregor’s intellectual development and the formation of his values is also very interesting. The thread, from school to a journalism cadetship at a newspaper to university and then out into the wider world worked well for this reader. It flowed.
McGregor won Walkley Awards for his journalism. His insightful profiles of Hawke, Keating and Howard are memorable. His analysis of the period leading up to The Dismissal of Gough Whitlam was particularly interesting; as is his passionate disbelief that Australians could produce a parvenu, like Sir John Kerr, who acted so abhorrently.
The first book of McGregor’s I read was Class in Australia. It still resounds. McGregor, fervently, optimistically believes in ideals like this one he quotes from Pericles, “Our constitution does not copy the laws of neighbouring states; we are rather a pattern to others than imitators ourselves. Its administration favours the many instead of the few; this is why it is called a democracy…” His aside smarts: “sounds like Australia used to be.”
Reading this memoir helps this long-time reader of his articles and books understand how McGregor’s own passions and life experiences helped produce such insightful analysis. His experiences in rural Australia, as a youth, and later on while owning his own property and raising his own children on the land contrasted sharply with experiences in London, New York and Sydney. This sentence resounds and tells much about our Australian context:
I came to realise, however, that being so close to the land and its elemental nature can grind away at your sensibility until, over the years or perhaps generations, someone like the familiar Australian countryman is fashioned: stoic, laconic, unimaginative and possibly cruel.
“One of Moorehead’s chief themes in these years is an exaggerated horror of being pinned down, of getting stuck, and the absolute necessity of avoiding it, either in a place, or with a woman, or – worse – with a wife and the prams and toddlers and suburban front yard he assumed came with one.”
An excerpt in The Monthly from Our Man Elsewhere: In Search of Alan Moorehead by Thornton McCamish so impressed I pre-ordered the book last month and now that I have finished can say it has given great pleasure. Moorehead made a life travelling and writing. He seemed to know everybody and have been everywhere. His flight from the continental confines of Australia inspired the likes of Robert Hughes, Clive James and other would-be expatriates. At one stage, Alan Moorehead was Australia’s most famous writer.
This is not a conventional biography. McCamish’s book is something special. He is clearly enamoured with Moorehead and communicates the adventure of his ‘search’ for the war correspondent, traveller, husband, father, womaniser, journalist and writer skilfully. I was hooked. There’s just so much to enjoy in the story of Moorehead as well as the author’s thought about his subject’s legacy and life. I particularly enjoyed reading about the challenge of writing:
Back in Cairo in 1941, Moorehead had devised a method for writing books he’d stuck with ever since. He would sketch out by hand a blueprint of the entire book on sheets of foolscap, indicating roughly the contents of each chapter, including inspired phrases or lines of dialogue, and refine it until all his ideas were in the right place. Once this ‘cartoon for a tapestry’ was complete, it was time for the actual writing. It was a methodical, painfully costive process that demanded a steady, unrelenting input of working time. When a book was on the go, he worked six days a week; he rose before 7 a.m., made himself a huge pot of coffee, and trudged out to the studio. There he sat, back to the tumbling vineyards and shining sea, not leaving his seat until lunchtime. In the afternoons, he corrected the morning’s work, read, or redrafted. The greatest lesson Robert Hughes absorbed at the feet of the master, he said afterwards, was business-like hours. ‘Whether he was writing anything or not, he’d be sitting in front of the typewriter, and generally just by the sheer process of shaming himself into sitting there, 1000 words a day would come out.’ Moorehead remarked in the late ’50s, ‘people sometimes tell me they enjoy writing. I just look at them and wonder how long they’ve been at it.’
Roberto Bolaño says genuine travel “requires travellers who have nothing to lose’” and it is easy to admire Moorehead’s ability to travel endlessly; he certainly fits a mould always admired from afar. I have ordered secondhand copies of several of Moorehead’s travel books and will re-read others over the next few years.
To write about Gallipoli, however, Moorehead would have to overcome a lifetime’s distaste for the very word. A boy when the Great War ended, Moorehead had grown up surrounded by its maudlin remembrance, bitterness and human wreckage. Anzac Day was a torment in the 1920s. He hated it all: Kipling’s poetry and the turgid speeches; the ‘bitter, hopeless grief’, the boozy sentimentality and the ‘endless stories about what old Joe did on Hill 60’. It all ‘bored me and bored me and bored me’. Not that you would ever dare say so.
Professional historians never had much time for Moorehead and he was one of the first great popularisers of history to sell well. I had read two of his books previously, about Gallipoli and Darwin, but intend to re-read them when I have a chance. Germaine Greer is quoted as saying Moorehead’s book about Gallipoli was the first, and the best-written.
After finishing McCamish’s book a secondhand copy of A Late Education arrived (culled from a library in Ottawa). I read it in one sitting, understanding what compelled McCamish to pursue the largely forgotten Australian in library archives, via old friends and in places he lived or worked. Moorehead writes very masterfully and with a voice, however unlikely this seems, stripped of ego. His dislike of school is palpable:
I had been a most unsuccessful schoolboy, invariably at the bottom of my class and unable to get into any of the teams, but this hardly explains the sense of loathing—yes, positively loathing that still overcomes me whenever I think of that place. I attended the school as a day-boy for ten years, and surely there must have been pleasant episodes in all that time. Yet all I can remember now is those meaningless morning prayers, the heat of those overcrowded classrooms through the long droning afternoon, those second-rate masters brought out from England with their harassed and defeated faces, those windy red-brick corridors with their clanging metal shutters, and the dead hand of suburbia over all. The bearded dominie who was the headmaster was, I believe, a kindly man and much loved, but to me he was an ogre and I still have a feeling of panic when I recall that awful voice, ‘You boy. Come here!
Clearly all this is very unfair, and indeed my sister, who is some years older than I am, has told me that I was a cheerful and happy little boy, and although I did not do very well at my lessons I was as bright as a button.
But I see a different picture.
Moorehead’s early years in Australia and the period prior to the outbreak of WWII, when he was a young man in Paris, Germany, Gibraltar and Italy for the first time are particularly engaging. The bit about when he met Hemingway is great too. His voice – which has such honesty that he makes Knausgaard look shy – makes for wonderful reading.
Moorehead had insurmountable health problems at a relatively early age (although he seemed to outlive all his WWII contemporaries). Tobacco, alcohol and stress must have had much to do with his stroke. I find it deeply melancholic thinking the horror of those dozen years or so when Moorehead was unable to read or write or talk much at all. This seems so terrible for such a man. And lonely.
Lucy, his wife (and after all his infidelities) was the one who constructed A Late Education from her husband’s notes while he was incapacitated. The book is unbalanced but nevertheless the best that could be hoped for with Moorehead in such bad shape. It was a terrible blow to this reader when his wife was killed and it seemed all the more terrible to think about again after reading her efforts to compile this book. Really terrible.
He died in 1983. His wife had been killed in a car accident in 1979. Buried in London, at Hampstead, his epitaph is brief and wholly appropriate:
Alan Moorehead: Writer
George Orwell’s third novel, Keep the Aspidistra Flying (1936), is much better than the author personally rated it. Orwell never wanted it reprinted and claimed it was only published as he ‘needed the money’. I can see why he felt this way; the plot, characterisation and style need development. However, I gobbled it greedily feeling pleased that after all these years of reading Orwell that there was still such pleasure to be found in this novel the author wanted pulped.
Orwell worked in a bookshop at Hampstead while he wrote it which will explain some of these lines:
“He was alone with seven thousand books…mostly aged and unsaleable.”
“At this moment he hated all books, and novels most of all. Horrible to think of all that soggy, half-baked trash massed together in one place.”
He had already published Down and Out in Paris and London (1933), Burmese Days (1934) and A Clergyman’s Daughter (1935). He would do the research that led The Road to Wigan Pier (1937) and his enlistment to fight in Spain that would result in Homage to Catalonia (1938).
Listening to a sample of Richard E Grant, who played the protagonist in the 1997 film adaptation, narrate the story would convince even the most reluctant to buy the audiobook. He is superb. It is obvious that playing the protagonist, Gordon Comstock, in the movie has added significant depth to his reading. Comstock is often an annoying character, his whining and negativity can be cloying but Grant inhabits his character with at least some lightness of tone, even though much is quite bleak.
Orwell’s perspective on London in the mid-1930s, socialism, money, poverty and class is fascinating. You can see him thinking out his ideals and seeing through some of the genteel socialists that were in part of the London literary milieu. Even some cursory reading reveals the likely sources for some of his characters but it is the development of Orwell’s particular understanding of democratic socialism that one can see in these pages that interests.
“For after all, what is there behind, except money? Money for the right kind of education, money for influential friends, money for leisure and peace of mind, money for trips to Italy. Money writes books, money sells them. Give me not righteousness, O lord, give me money, only money.”
Orwell is always at his best when describing what he sees. It is a joy to accompany him into pubs and cafes, bookshops and the streets of the Monopoly Board. I know of no other female character in Orwell’s books as successfully realised as Rosemary, Gordon’s girlfriend. Their relationship unfolds in a believable manner, although some of the dialogue is stilted. This is particularly true of Gordon’s obsession with the corrupting nature of money which is not always skilfully rendered. Some of Orwell’s attitudes are certainly of there period.
Anyone who is a student of Orwell, twentieth century politics or English literature, really should read this one. As an aside, The Left Book Club (1936-48), which was supported by Orwell’s publisher and featured several of his books, was reformed late last year. One would hope that some new books that examine our age as successfully as Orwell did his will be highlighted by the club. Here’s the first books on their list.
Chronicles: On Our Troubled Times by Thomas Piketty is a collection of the economist’s articles for the French newspaper, Liberation. Piketty’s voice has great authority and his ideas on how democracy must make capitalism work for all of us are sensible and supported with convincing empirical data. Topics range from the financial crises over the last decade, especially in Ireland and Greece to American politics. He knows Europe must forge political and economic structures collaboratively and points a way forward.
Piketty writes about the rise of extreme right and left wing movements that endanger the European Union and democracies everywhere if the disparities between the exceptionally rich and the rest are permitted to grow even more. There’s not many who would disagree with that. Piketty consistently advocates for redistribution through a progressive global tax on wealth. Many would be surprised to read how heavily taxed the wealthiest were in the Europe and the USA prior to the neoliberal reforms that commenced with Margaret Thatcher and Ronald Reagan. Piketty, as always, presents hard data to support his positions.
Politics goes in cycles but many feel the game is fixed through the economic hegemony of the uber-wealthy. Piketty helps shine the light into dimly lit places. The zeitgeist is always unfolding but in the last few years fundamental democratic inequalities and the way pubic discourse is manipulated for the benefit of the wealthiest few is bubbling through into public consciousness and writers, economists like Piketty and Joseph Stiglitz, are unexpectedly on international bestseller lists as a result.
A randomly jotted list shows a perfect storm – the economic global meltdown commencing in 2008; the taxation scandals revealed via the Panama Papers; the turmoil economically and politically in Greece; governments breaking all kinds of laws, as shown by Edward Snowden and Wikileaks – that is leading to a concerted fight against the corruption at the heart of the political and financial system. All this is coagulating in the public consciousness as state infrastructure is neglected, public schools under-funded and austerity policies punish those least responsible for financial crises in many countries.
There is a change in the air and many (look at the bestseller lists) are looking for economists, intellectuals and thought-leaders like Piketty. The UK Labour Party after losing all seats in Scotland at the most recent election has a “left wing leader” again, in Jeremy Corbyn, signalling a break from the neoliberal consensus of the last two decades and Bernie Sanders has had far more support than expected in the American process of choosing presidential candidates.
You can see from the screenshots above that Piketty mostly writes about difficult economic issues with an acute awareness of the political context in which these challenges have arisen. My favourite piece in this collection, Secularism and Inequality: The French Hypocrisy, draws the veil from any notions that the state is truly secular in the way it treats religion. Roman Catholicism is privileged socially and economically, especially in schools. This is a legacy of history but not discussed publicly as the official, grand narrative, that “France likes to present itself as a model of neutrality, tolerance and respect for different beliefs without privileging any one of them…” is shown to be false.
Piketty writes of the job discrimination that young muslims experience in his country. He is particularly disturbed to see that ‘discrimination is greatest for those who have met for offical requirements for success’ and the highest levels of education and best credentials. He quotes from studies with particularly clever methodologies revealing that the name on the top of the CV makes all the difference.
This collection of articles is a good introduction to Piketty before taking on the challenging book that made him famous outside of France. Highly recommended.
Gutenberg the Geek by Jeff Jarvis is a quick, informative read that has a great deal to offer a wide-variety of readers. Many will be surprised to find out about the business and legal challenges facing Gutenberg in raising money to develop his printing press. Other considerations, including secrecy were also interesting. Gutenberg developed different parts of the press at numerous locations to prevent industrial sabotage. His legal troubles, as a result of challenges raising money and ‘shipping’ on time, made for interesting reading. The more things change…
Jarvis successfully compares both Gutenberg’s press and context, as an innovator, with contemporary development in the American tech industry. His observations about the impact of the printing press compared with the contemporary platforms, like social media via the World Wide Web, are very worth reading.
I think Gutenberg the Geek is potentially a great book for secondary students to read, in any number of subjects or contexts. It is certainly available as audio or ebook at a bargain price of just a few dollars.
“…we are running a 21st century digital economy on a 13th Century printing-press era operating system.” Douglas Rushkoff
Throwing Rocks at the Google Bus: How Growth Became the Enemy of Prosperity by Douglas Rushkoff is a great read addressing a topic of profound importance, especially for our children and planet. The book is not really about Google, or rocks hurled at buses. This is a book about legacy systems – corporate, economic and societal – with a few suggestions of what may ameliorate the situation in our current, 21st century digital context.
Rushkoff does a good job analysing how the current economic model, to which most digital startups and tech companies are unable to escape, is ultimately unsustainable, socially and environmentally. The system is broken for the majority but the small, very small minority of people who benefit have inordinate power to keep the growth engine it cranking along. He takes particular aim at corporations:
“The economy we’re operating in today may have been built to serve corporations, but not many of them are doing too well in the digital environment. Even the apparent winners are actually operating on borrowed time and, perhaps more to the point, borrowed money. Neither digital technology nor the corporation itself is necessarily to blame for the current predicament. Rather, it’s the way the rules of corporatism, written hundreds of years ago, mesh with the rules of digital platforms we’re writing today. A corporation is just a set of rules, and so is software. It’s all code, and it doesn’t care about people, our priorities, or our future unless we bother to program those concerns into it.”
The long, slow death of Twitter makes all of us sad and Rushkoff’s analysis of what has happened to the ten-year old social media platform is an instructive example of the above quote:
(Evan Williams) and his partners turned Twitter into a publicly traded, multibillion-dollar company and in the process sacrificed a potentially world-changing app to the singular pursuit of growth. Here was arguably the most powerful social media tool ever developed—from organizing activists in the Arab Spring and Occupy Wall Street movements to providing a global platform for citizen journalists and presidential candidates alike. And it wasn’t particularly expensive to create or maintain. It certainly didn’t require a multibillion-dollar cash infusion in order to keep functioning.
Having taken in this much new capital, however, Twitter now needs to produce. It must grow. As of this writing, the $43 million Twitter profited last quarter is considered an abject failure by Wall Street. In 2015, Twitter investors complained* that the company was too far from reaching its “100x” growth potential and forced out the CEO. Shareholders are demanding that Twitter find better ways of monetizing its users’ tweets, whether by injecting advertisements into people’s feeds, mining their data for marketing intelligence, or otherwise degrading the utility of the app or the integrity of its community. Whatever actually may have been disruptive about Twitter will now have to be made less so.
It’s not that Twitter isn’t successful; it’s just not successful enough to justify all the money investors have pumped into it. There was already enough revenue for the employees to be happy, the users to be served, and even the original investors to be well compensated in an ongoing way. But there may never be enough to satisfy shareholders who expect to win back one hundred times their initial $20 billion bet. To do that, Twitter must grow into a corporation bigger than the economy of many entire nations. Isn’t that a bit much to ask of an app that sends out messages of 140 characters or less?
This disproportionate relationship between capital and value— or invested money versus actual revenue—is the hallmark of the dominant digital economy. If anything, the digital economy has laid bare the process by which cash, labor, and productive assets from the real, transactional marketplace are extracted and converted into frozen capital—all in the name of growth.
Indeed. We all noticed.
I enjoyed Rushkoff’s explanation of the medieval marketplace and extrapolations to the modern peer to peer economies, like eBay and the growth of local cash/barter/exchange/sharing economies in Japan and Spain that combat high unemployment or rampant inflation. His explanation of ROA (Return on Assets) vs ROI (Return of Investment) makes an important point about the fundamentally flawed nature of the quarterly economic cycle in encouraging genuinely unsustainable growth. He quotes a from a recent study:
“the conclusion is inescapable: big hierarchical bureaucracies with legacy structures and managerial practices and short-term mindsets have not yet found a way to flourish in this new world.”
This sounds very similar to challenges we have in education.
The title of the book is probably the worst thing about it, although one does tire of it towards the end probably feeling a little more disappointed that there are not really many solutions other than a few examples of peer to peer transactions or using local currencies. Rushkoff seems to steer away from political solutions.
History is far more than a series of events and the biographies of big names; it is the subtle interweaving of human actions spread over vast landscapes and through deep time creating a dense fabric, every thread of which has significance. The wonder of it all lies in how interconnected everything is.
By Steppe, Desert, and Ocean: The Birth of Eurasia is another extraordinary book by Barry Cunliffe. The scope – and this certainly is “big history” – astounds. Although the book gallops along the “great swath of steppe, some 9,000 kilometres of it stretching from the Great Hungarian Plain to Manchuria” and across 10 000 years one is able to stay in the narrative saddle. There are numerous peoples, locations and periods of history that this reader was very unfamiliar with and Cunliffe’s quite informal “Guide to Further Reading” at the end of the book could keep one busy for many, many years.
If the mountain ranges created barriers to easy communication between east and west, the great steppe corridor provided a remarkable uninterrupted route running almost the entire length of Eurasia between latitudes 40° and 55° north. Beginning in the Great Hungarian Plain the steppe extended, unbroken, to Manchuria, a distance of some 9,000 kilometres. The vastness of this ecozone called for rapid movement. This was the land of the horse rider, of the pastoralist tending his flocks and herds, and, later, of the warrior horde.
The steppe is the most remarkable natural corridor in the world. It is here that the first horses were domesticated and ridden, where mobile pastoralism first emerged, where the fast two-wheeled chariot was invented, and where riders first learnt to work together as cavalry with world-shattering effect.
Although this is big history there are many smaller stories of individuals who were remarkable. Landscape painters, merchants, monks and travellers also people this landscape we can really only learn about by sophisticated scientific analysis of archaeological remains. I particularly enjoyed the story of Faxian (337-422 CE) a who was a Chinese buddhist monk. He travelled to India seeking scriptures and was understandably content on returning home to spend the rest of his life writing an account of his travels, translating and editing the texts he had collected:
The accounts that he gives of the sea-voyages provide a tantalizing insight into the maritime systems at work at the time and the massive scale of the enterprises then under way in Indonesian and Chinese waters. In the ports at the mouth of the Ganges and on Sri Lanka he could well have found himself in the company of Roman ships’ masters who had set out from the Red Sea ports of Egypt, and heard the stories of their very different worlds.
Along with Faxian’s work, I’d love to track down Guo Xi’s (1020–90) book, “Advice on Landscape Painting” which discusses how sensible it is for humans to “seek solace in the forests, streams, and hills, but duty requires them to remain in the busy world”. He says, “the purpose of the artist is to provide them with landscape paintings to offer peace in the home when they return from work”. Sound advice that.
This book is not just about ‘the steppe’. Cunliffe has always written about ancient and prehistoric seaways which seem to hold a particular fascination for him. Those familiar with Homer’s stories will recognise the source for this passage:
To return after a long journey with esoteric knowledge or exotic goods set the traveller apart: he held a power that other men did not, and story-telling about distant parts became an art. This was the very stuff of the heroic societies reflected in the works of Homer. When the unknown traveller Telemachus and his entourage arrived at the palace of Nestor, he was accepted, bathed, and fed without question, and only when the rules of hospitality had been observed could Nestor ask: ‘Who are you, sirs? From what part have you sailed over the highways of the sea?
Cunliffe’s next book, provisionally titled “Exploring the Sea of Perpetual Gloom” pursues this interest and will be with his publishers shortly (he tells me). How can one not want to read more from such a learned person who also has enough of a sense of humour to write this towards the conclusion of his book:
The causal interlinking is, of course, infinitely more complex than the bare skeleton outlined here, as anyone who has read the previous eleven chapters will recognize, but the advantage of attempting to tease out the essential threads is that it reminds us that history is much more than ‘just one **** thing after another’.
Yet the name Inklings, as J.R.R. Tolkien recalled it, was little more than “a pleasantly ingenious pun … suggesting people with vague or half-formed intimations and ideas plus those who dabble in ink.” The donnish dreaminess thus hinted at tells us something important about this curious band: its members saw themselves as no more than a loose association of rumpled intellectuals, and this modest self-image is a large part of their charm.
The Fellowship: The Literary Lives of the Inklings: J.R.R. Tolkien, C.S. Lewis, Owen Barfield, Charles Williams by Philip Zaleski and Carol Zaleski is a detailed look at this very famous literary group of fellow-travellers in the middle of the 20th century. For those who have read much about Tolkien there is not much that is new but contextually, this book is which explores is friendships does offer deeper insight into the period and his world.
I learnt a great deal about CS Lewis; although much of it just made me like him even less, if that is possible. Lewis’ fall, from secular atheist to christian apologist, is particularly well covered by the authors. I knew very little, almost nothing about Barfield and Williams but found the latter more interestingly covered in the book (or maybe just a genuinely weirder figure than the other three).
The sections on Lewis and Tolkien, especially about their developing philosophies and ideas, are by far the most interesting parts of the books; as are their perceptions of this literary circle. Lewis always said of the Inklings that they were “…a group of Christians who like to write” but the authors of this book posit that these individuals really shared “intellectual vivacity, love of myth, conservative politics, memories of war, and a passion for beef, beer, and verbal battle…(with a) set of enemies, including atheists, totalitarians, modernists, and anyone with a shallow imagination”. It was, in my assessment, more of a bloke’s drinking club than anything else. They were all reticent to talk out of turn about each other, especially as their individual fame grew but Tolkien wrote an unfinished novel, The Notion Club Papers, which I would like to read as it seems to be an exploration of the Inklings that Zaleski and Zaleski feel is the best representation of the group we have; ’notion’ being a synonym for ‘inkling’.
Lewis was to become, after his BBC radio talks, “the foremost Christian apologist in the English-speaking world”. He was much more well-known than Tolkien – “who had a widespread academic reputation as a time waster and dreamer” – and whose fame only really spread when he was an old man and after his death. Lewis certainly had a moral political agenda that was clear to others, like the writer and journalist, George Orwell. Lewis’ broadcasting approach was successful, in Orwell’s opinion, as his “chummy little wireless talks” succeeded in making everyman listen and were “not really so unpolitical as they are meant to look.” Quite simply, “since becoming a Christian, his teaching, reading, writing, and scholarship had all acquired zest and purpose. He had found his vocation: to fight the Lord’s battles in the academy and the world at large, armed with wit, dialectic, and invincible faith” believably suggest Zaleski and Zaleski.
This was not Tolkien’s style at all. He believed that while myth and fairy tale must reflect religious truth, they must do so subtly, never depicting religion as it appears in “the known form of the primary ‘real’ world.” Lewis certainly, well at least after his conversion to Christianity in the early 1930s, had no such compulsion. He was happy to proselytise and use allegory, which Tolkien rejected. Tolkien insisted on the strict separation of the allegorical from the mythopoeic but Lewis thought they mixed.
I really do not like Lewis as a writer, person or for his philosophy one bit but certainly admire his knowledge of English literature and ability to read with absolutely undivided attention for long periods of time. There would be few people, in any era, more well-read than he. Whenever I have read Lewis’ fiction or non fiction he leaves me feeling annoyed. This book has let me see more deeply into why that might be.
I am with Philip Pullman – “the most dangerous man in England” – in railing against the works of Lewis. Pullman sees Lewis as “bullying, hectoring and dishonest in all kinds of ways” and describes the Narnia books as “very dodgy and unpleasant – dodgy in the dishonest rhetoric way – and unpleasant because they seem to embody a world view that takes for granted things like racism, misogyny and a profound cultural conservatism that is utterly unexamined.” Pullman hates how Lewis “pours scorn on little girls with fat legs. And, as one commentator said, among Lewis’s readers will be some little girls with fat legs who find themselves utterly bewildered by this slur on something they can’t help and are embarrassed and upset by already. It’s the position, as this commentator said, of the teacher who curries favour with the bullies in the class by bullying the weak children with them.” (Quoted in ‘The Guardian’ 20/11/2013)
The following quotes from made me grimace more than a little (smile a little too) and certainly provide an insight into the complex young man who went from being such a militant atheist in his youth to one seeking forgiveness in the Christian faith and encouraging other sinners to find God too. Perhaps they go some way to explaining the dodginess that Pullman notes, while also making us feel a little sorry for Lewis:
“Lewis’s increasing fixation during this period upon sadomasochism. Four of his letters to Arthur he signs Philomastix (“whip lover”), sometimes in Greek characters to thwart snoopy readers (Lewis’s father snatched up and read his correspondence whenever possible, and Lewis may have feared that the same reign of terror prevailed in Greeves’s household). He daydreams in these letters about lashing young ladies of his acquaintance; he even wonders, baselessly, whether William Morris was also entranced by “the rod,” on the strength of a stray sentence in The Well at the World’s End. Sadomasochism may be the English vice, but Lewis’s jaunty tone, his eagerness to describe his imagined victims and their stripes, suggest a mind knocked more than usually askew by the fierce energies of teenage sexuality.”
“Lewis as a youth was extraordinarily uncomfortable in his body. Dances were a torment, sports a nightmare.”
“Each thumb had only one joint, a defect that led, when shaving, tying laces, or attempting other normal manipulations, to fury and tears. He inhabited his young body as if it were a suit of armor; and if his face was doomed to miscommunicate his true feelings…”
“As Tolkien looked to the future, Lewis rummaged in the past. A letter Lewis wrote on November 22, 1916—forty-six years to the day before his death—reveals an eighteen-year-old with the energy of a schoolboy and the tastes of an octogenarian.”
If this is the first book about Tolkien one has read than titbits, especially from his formative years, will interest. Those of you who are not fond of spiders will appreciate one of his earliest experiences:
“…a large spider, perhaps a tarantula, bit baby Ronald. Tolkien would later deny any connection between this childhood spider bite and the spider-monsters of his fiction; yet it is tempting to imagine that this horrific creature nestled in his subconscious until it reemerged, swollen to gigantic size, as the spiders of Mirkwood in The Hobbit, the insatiable Shelob in The Lord of the Rings, and Shelob’s mother, Ungoliant, in The Silmarillion, the primary collection of Tolkien’s mythopoeic tales.”
I did not know of the timing of Tolkien’s father’s death and found this following passage deeply affecting:
“News of his illness arrived via telegram on the same day that Ronald, barely four years old, was preparing to post his first letter—his first literary production of any sort—a rapturous note to his father anticipating their reunion. Arthur, only thirty-nine, died of a haemorrhage the next day. The poignancy of hope denied is acute, as is the circumstantial intertwining of literature and tragedy, touchstones of much of Tolkien’s later work.”
You my have seen this interview (1968) with Tolkien where he talks about what The Lord of the Rings is all about:
The story of Tolkien’s extended courtship with Edith, his wife to be and the subsequent tales of Beren and Lúthien that developed, will also interest many fans. Tolkien, convalescing after the experience of the Western Front, is able to spend time with his wife (see the final photograph at the end of this post):
“Love ripened between the parents-to-be. Tolkien wrote, read, and drew, while Edith enchanted him with her piano playing and, one day in a “small woodland glade filled with hemlocks at Roos in Yorkshire,” with her dancing, offering to his exhausted eyes a vision of beauty and grace, a glimpse of paradise. “In those days,” he wrote, “her hair was raven, her skin clear, her eyes brighter than you have seen them, and she could sing—and dance.” The forest interlude inspired him to write “Of Beren and Lúthien,” to his mind the narrative heart of The Silmarillion. A quasi-autobiographical tale, it recounts the love of Beren, a man, and Lúthien, an Elven princess he spies dancing in the woods, and their terrible trials in search of a magical jewel…”
There’s a good deal to be gleaned from this book about Tolkien’s books. I learnt that in the earliest versions of The Hobbit that Gandalf was the chief dwarf. Tolkien borrowed the names for the dwarves from the Dvergatal (dwarf list), a section of the Old Norse Eddic poem Völuspá, which mentions Durin, Dvalin, Dain, Bifur, Bofur, Bombur, Nori, Thrain, Thorin, Fili, Kili, Eikinskjaldi (Oakenshield)—and Gandalf. You may be interested to know that in 1977 the word “hobbit” was found listed in a two-volume collection of folklore studies (1895) about the preternatural beings native to northern England.
The Fellowship: The Literary Lives of the Inklings kept me interested but does have some pretty dull stretches to be weathered. The book has not made me wish to read the works of Lewis, Barfield or Williams but it has deepened my appreciation of the intellectual friendships that nourished Tolkien and as such, was definitely worth the time spent on such a lengthy tome. It certainly amused me to read that Germaine Greer famously declared that “it has been my nightmare that Tolkien would turn out to be the most influential writer of the twentieth century”. Germaine surely would agree, with some frustration, with the authors conclusion that Tolkien:
“…by returning to the fundamentals of story and exploring its relation to faith, virtue, self-transcendence, and hope, have renewed a current that runs through the heart of Western literature, beginning with Virgil and the Beowulf poet; (recovering) archaic literary forms not as an antiquarian curiosity but as a means of squarely addressing modern anxieties and longings.”
Featured image: screenshot of book titles.
Posted in Digital life, Featured | Tagged Alan Moorehead, Barry Cunliffe, Craig McGregor, CS Lewis, Douglas Rushkoff, Helen Garner, Jeff Jarvis, JRR Tolkien, Orwell, reading, reading in 2016, Thomas Piketty, Thornton McCamish | 1 Comment
Unkle Cyril:
Marvellous Darcy. I have made a couple of reservations at the library inspired by your blog. Cheers.
2+2= →
Which edition of George Orwell’s most famous novel is on your shelf and why does it matter? The first British and American editions of Orwell’s great satirical novel, Nineteen Eighty-Four, published […]
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Minute’s applause held in memory of Flintshire councillor Kevin Hughes who died after battle with Covid-19
A minute’s applause has been held in memory of a popular Flintshire councillor who died following a battle against Covid-19.
Kevin Hughes, from Gwernymynydd, died last week at Wrexham Maelor Hospital, where he was admitted after testing positive for the virus in December.
Tributes have poured in for the former police officer and journalist, who was 63 and leaves wife, Sally, sons Chris, Steve and Andy, and seven grandchildren.
His colleagues at Flintshire Council joined together in remembering him by holding a minute’s applause before an online meeting this morning (Tuesday, January 12).
Rosetta Dolphin, chair of the environment and economy scrutiny committee, described Cllr Hughes as a “doer”.
She also read out an e-mail he sent to other councillors in December, urging people to stick to the coronavirus regulations and stay safe.
She said: “Members will be aware that our friend and colleague, Kevin Hughes, passed away on Friday morning. He had been ill with Covid since Christmas.
“We all recall his email on the first of December, and it would be wrong not to reiterate his advice to us now.
“In Kevin’s own words: ‘I just want to ask every member and every officer to remind the residents of Flintshire not to drop their guard and to comply at all times with the Covid regulations. Please observe them and think before you act.’
“I think those words couldn’t be more relevant than they are today and there will be an opportunity at the council meeting on the 26th of January for us all to pay tribute to Kevin.
“But for now, what I would like to do today is to remember Kevin with a round of applause because he was not a man to sit back, he was a doer.”
Cllr Hughes’s death came less than three weeks after he delivered a plea from his hospital bed for people to observe social distancing rules during the Christmas period.
His mother, June Margaret Hughes, 89, also lost her life to the virus on November 25 at the Countess of Chester Hospital.
Cllr Hughes joined the council in 2017 and his colleagues have remembered him as a talented photographer, who recently documented the demolition of parts of its HQ at County Hall in Mold.
The council said the archive of pictures would form one of many lasting tributes to him.
Speaking last week, council leader Ian Roberts said: “I knew Kevin as a very special person and friend who will be very sadly missed by all.
“His contribution as a councillor has been considerable and he was highly respected by his community, members of the council and officers.”
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Review: TIFF 2019: ‘Crazy World’ makes its own rules Special
By Sarah Gopaul Sep 16, 2019 in Entertainment
‘Crazy World’ is a one-of-a-kind movie experience from Uganda, featuring child kung-fu masters, lots of gunfire and an important message.
It’s not a secret that mainstream Western films, particularly those produced by the Hollywood machine, follow a generic set of rules that dictate character development, storytelling style, visual specs and cast types. These formulas are being increasingly challenged, but they’re not going anywhere any time soon. Therefore, one of the best ways to have a different film experience is to seek out movies from other countries — particularly those establishing their film industry and culture within the constraints of their country’s resources. Crazy World is a Ugandan action movie made in their unique style with a pre-recorded “video joker” commentary.
A commando returns home only to watch his family destroyed and daughter kidnapped by the Tiger Mafia (a frequent antagonist). The local gang is snatching children so Mr. Big — ironically, another child in a suit — can harness their magical blood properties in a ritual sacrifice in order to protect his investments and get richer. However, the thugs make the mistake of rounding up the “Waka Stars,” a group of kids who are also trained kung-fu masters uninterested in waiting around for their parents to complete a rescue mission. Fists and bullets fly as the corrupt gangsters meet their match in these families ready to stand up against these atrocities.
Ugandan filmmakers have been making these over-the-top action movies for decades, but this is only the third feature to reach an international audience. Wakaliwood was established by writer/director Nabwana I.G.G. to give the Ugandan film industry a name and outlet for local productions. The action pictures are unique not only in their gonzo style, but the accompanying commentary that accentuates and complements the on-screen narrative. The voiceover is drawn from the native tradition of a video joker providing a live accompaniment for Western movies shown in foreign languages without subtitles, so audiences can still understand what they’re watching. The commentary is comedic, and ranges from explaining the context of a scene to poking fun at the villains to exclaiming at the incredible action. This distinctive element adds a whole other level of entertainment to the picture that’s reminiscent of shout-out performances of The Rocky Horror Picture Show, but more spontaneous.
On the flipside, while this movie is highly entertaining, it’s also I.G.G.’s way of addressing a serious issue in Uganda. While various mediums have covered child abductions and the plight of child soldiers, there is a very real problem in the country of the rich sacrificing children to maintain and/or improve their stations. In a disturbing twist, I.G.G. actually made the film in the hopes of shedding light on the less publicized topic and discouraging the abduction of his own children.
This exceptional film experience was boasted by the presence of Video Joker Emmie, the director, and a live feed of his family and friends, a.k.a. the actors and crew, watching the post-screening Q&A from their home in Uganda. Moreover, the picture opened with an amusing anti-piracy warning that depicts a military squad monitoring the screening from abroad and an interactive section in which the “Piracy Hunter” sends a thief to Somalia for punishment (get it?). One can only hope more of their movies are made available as Western audiences have never seen anything like it. But after seeing one, viewers will definitely have an appetite for more.
Crazy World had its world premiere in the Midnight Madness category at the Toronto International Film Festival. Don’t miss the rest of our TIFF 2019 coverage.
Director: Nabwana I.G.G.
Starring: Mukiibi Alex, Kirabo Beatrice and Kayibaare Fausitah
More about Crazy World, Action, tiff 2019, Nabwana IGG, Wakaliwood
Crazy World Action tiff 2019 Nabwana IGG Wakaliwood Uganda Horror Review Tiff tiff19
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Red Sox Rotation: Who’s #2?
February 3, 2016 February 4, 2016 Joe
Who’s the #2 starter going to be in the Boston Red Sox rotation this year? It’s an important question heading into Spring Training. The success of whoever it is may decide whether or not this will be a playoff team this year. When the Red Sox signed David Price, they got the clear-cut #1 starter that they needed and coveted. Price is a top five starter in the American League. You could make an argument the he tops this list as the AL’s best starting pitcher. Having Price at the top solidifies a rotation that was filled with middle of the rotation starters last year.
As we all know, it takes more than just one stud pitcher to make a rotation. The Red Sox have pitchers who have been or could be legitimate #2 starters. The question is will one of them step up and be just that this season? Is there another starter after Price in this rotation who the Red Sox can expect 12-15 wins from along with a respectable ERA in the mid 3’s?
Here’s a look at the candidates as a legitimate #2 starter on the Red Sox.
Clay Buchholz
Same story. Different year. Buchholz has all of the talent needed and has proven he can even be a borderline #1 starter when he’s committed and healthy. However, he never is. Buchholz’ 3.85 career ERA is solid and he pitched very well last year going 7-7 with a 3.26 ERA. Like most seasons in his career, injuries cut his season short. He claims he believes he can pitch 200 innings this year. He never has. He’s pitched nine seasons. He’s 31 years old. This all is going to change now? The reality is Buchholz will likely be the Red Sox #2 starter on paper to start the season. But, him ending the season there seems unlikely considering his lack of durability. It’s unfortunate because he is a very good pitcher when he’s right. He would be a legit #2. Has there ever been a Red Sox pitcher with more proven ability to win at the MLB level that has disappointed more than Clay Buchholz?
Rodriguez is coming of a very solid first season in which he went 10-6 with a 3.85 ERA. At 22 years old, his potential is sky high. Rodriguez still has a lot to learn and he may not be ready to quite live up to a #2 starter type role to start the year. Having said that, he definitely could be capable of this towards the end of the season. He has the makeup of an elite MLB pitcher. The only thing standing in his way is time. He has a lot to prove this year and his ability to take the next step forward will be determined very quickly. Like Xander Bogaerts and Mookie Betts in 2015, another star may be on the horizon in Boston in Rodriguez.
Rick Porcello
Porcello disappointed last year after signing a four-year, $82.5 million contract extension. He was expected to be a solid #2 and he pitched like someone who didn’t even deserve to be in the starting rotation. However, in September, he bounced back and pitched very well. He had a 3.58 ERA in his last seven starts and pitched at least six innings in every game. These were the type of results the Red Sox expected when they signed Porcello. He’s normally a steady pitcher who pitches a lot of innings and saves the bullpen. He certainly has not proven he’s worth the money he’s being paid, but can he be a #2 starter? Of course. He won 10+ games six years in a row before joining the Red Sox. He’s only 27 years old. He’s just entering his prime. This is a big year for Porcello. He has big opportunity to step up. Expect bigger and better results.
Kelly is the least likely of the group to become a solid #2 starter. Like Porcello, he has proven that he is capable of putting up big numbers, but it just hasn’t been consistent. Kelly went 8-1 with a 3.77 ERA in the second half of the season last year. He throws as hard as any starting pitcher in MLB. He has the stuff to be an ace. He just hasn’t put it all together. He’s also 27 so there’s still time for improvement and hope. If Kelly is your #5, you’re happy. There is still a possibility of him becoming a guy who figures it all out.
The 2016 Red Sox rotation has a lot of question marks. With that said, there is also a lot of potential. Four of the five starters are in their prime and the 5th one is poised to be a top of the rotation starter. It will be very interesting to see which pitcher or pitchers in this group steps up and becomes reliable behind David Price. If none of them do, it could be another long year. If more than one does, get ready for baseball in October!
It’s great to write about baseball again.
Baseball, Boston Red Sox, Featured AL East, Clay Buchholz, David Price, MLB, Red Sox Rotation, Spring Training. permalink.
Celtics Trade Options
The Starting Nine
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After DVD Review
Reviewed by Allie Schembra
Set in the winter of 2002 in chilly upstate New York, After tells the story of a middle-class family struggling with the financial consequences of a failing business and a series of inter-generational conflicts and rivalries. But what truly threatens to upset their delicate balance - and shatter the emotionally fragile family matriarch - is an intricately buried secret that, if revealed, could alter their lives irrevocably. Kathleen Quinlan (Apollo 13, The Doors, Breakdown) stars as Nora Valentino, a woman whose husband, Mitch (John Doman; Blue Valentine, The Company Men), loves her more than anything in the world. So much so that he, along with his four children and sister-in-law, have gone to extreme lengths to hide a horror too painful for Nora to bear.
Film (3 out of 5 stars)
The Valentino family walks on eggshells when around each other. Nora, the matriarch of the family is fragile and everyone tries to avoid the topic. Because of this, the family is frozen and can’t move on. Christian, the oldest son, has taken over the family stone business, but finds that in the last year, his father has let the business fall behind. When he tries talking to his father, he is put off again and again.
Christina’s siblings also tread lightly. His sister, Maxine, has been dating Andrew for a few years, though when he proposes, she hesitates so as not to upset the peace in the family. Their brother, Nicky, is a tattoo artist, a drunk and is always in trouble. The baby of the family, Samantha, has moved to New York City with her husband.
As life goes on for the family, they all try their best to make everything perfect, but for Nora, she’s so fragile that the family members hesitate to leave her along in the house for any length of time. There’s a schedule worked out between Nora’s husband and her sister to always be with her. When a night her sister doesn’t return home turns into day, Nora finds information that could set her back in her road to recover and makes her more fragile than ever.
When I first started watching is movie, I wasn’t sure what to make of it. I correctly predicted one of the major secrets, but did not predict the cause. After the big reveal, I realized I should have been able to predict it, the clues were all there. Kathleen Quinlan did a great job as Nora. Her fragility was really spot on, and the family reactions were really realistic. Once I really got into the film, I found myself invested in the lives of these people and interested in them.
After’s 16x9 widescreen presentation is simple, but good. There isn’t a lot of action and the film can be dark. The dark scenes were clear and daytime scenes were bright enough. It has a gritty feel to it, but that’s not a bad thing. At best, the video presentation was average, not spectacular, and I had no issues with it.
Audio (3 out of 5 stars)
A dialogue-driven film, After’s English audio was also average. Everything was clear and could be heard. There are no subtitles or any extra sound included. Again, I had no issues with the audio.
Extras (0 out of 5 stars)
There are no special features on the DVD.
After is an interesting film. The secret the family holds is devastating and sad, and they take great pains in keeping the peace and helping Nora cope. Once the secret is revealed, the title makes much more sense. I enjoyed watching it on a rainy Saturday afternoon. While I’m not sure if I will watch it again, I would recommend it and it will find a place with my DVDs.
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Posted by Sean Ferguson on Saturday, November 22, 2014
Categories DVD Reviews
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HMT Associates, Inc. and its affiliates (collectively, “HMT”, “we”, “our”, and “us”) respect your concerns about privacy and personal data protection and we value our relationship with you. This Privacy Policy (the “Policy”) applies solely to personal and other information collected through the HMT website and web pages that post or reference and incorporate this Policy (collectively, the “Site”), whether accessed via computer, mobile device or other device (collectively, “Device”).
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Musicians get their close-ups in cable documentary series
Celebrity Entertainment Music
Waxing eloquent on the differences between American and Japanese culture, wearing a bathrobe and smoking a cigarette, is not generally the way Mos Def presents himself. But that’s what you get when you do an in-depth interview and spend a few days with a star off stage, an approach adopted by Current TV’s hour long show titled “Embedded”.
Mos Def stars in the debut episode of the series and will be followed by Common, Ben Harper, Thievery Corporation, Silversun Pickups and the Decemberists. After the initial run of 6 episodes, the independent channel expects to air a few “best of” compilations from previous shows, after which it plans to continue the series with 6 more episodes. “No one is committing to this type of music programming in the television space, “says Davis Powers, Vice President of Music Programming at Current TV. “We wanted to commit to doing real music journalism and documentaries — and that comes with working with the artists on the ground floor.” To put it in real terms that meant spending seven days with Mos Def at various Venues in Tokyo and Osaka as he performed.
The network will feature the debut episode in its entirety online on its website, a move that is targeted to appeal to the 18- to 34-year-old demographic which is Current TV’s target market. The networks website will also offer goodies in terms of outtakes of artistes on the show as well as additional performances. As part of a deal with Virgin America, “Embedded” will also be shown on the airline’s in-flight programming on cross country flights.
The show debuted on Current TV on the 14th of October.
Ben Harper, Mos Def, Thievery Corporation, waxing
Lynyrd Skynyrd lives on with God & Guns
Is Listening To Online Music A Good Idea?
February 9, 2020 September 24, 2020
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The Pokémon Phenomenon
By Staff in Mobile App August 16, 2016
Pokémon Go is a reality mobile game that has just been released this month and is taking the world by storm. It has already become one of the most used smart device apps since its launch and has broken the previous record held by Candy Crush Saga. The game has become a huge commercial success but a controversial one. On one hand it has been praised by some medical professionals as a potential means of improving mental and physical health. On the other, it is alleged to have caused accidents and created a public nuisance in some locations.
Players can capture, battle, and train virtual creatures called Pokémon who appear throughout the real world. The players create their own avatars who can locate these creatures using maps of their immediate surroundings and their phones’ GPS and camera. The maps display landmarks in their vicinity where the Pokémon may be lurking. These landmarks include museums, historic buildings, public parks, churches etcetera. There are other features of the game including PokéStops and Pokémon gyms. When a player locates a Pokémon and captures it using a Poké Ball, it becomes the player’s property. The object of the game is to complete the entries in the Pokémon encyclopedia known as the Pokédex. This is by done by capturing the original 151 Pokemon. The Pokémon are equipped to fight and resist capture and they all have varying degrees of power in combat. Once captured however, they can be trained and then put into battle against other players.
Some reviewers have praised the game as a means of promoting physical exercise as people need to walk around a lot to locate the Pokémon. Others argue that the mental health of people suffering from depression and social anxiety improves because the game promotes interaction with other players. It has been claimed that the game has helped to catch real-time criminals and to report crimes in process. And while large congregations of players in public places such as parks and museums could be considered a nuisance, they have also led to increased attendances and gate receipts for some enterprises. Supermarkets and stores are now considering buying lures in the game to attract players to ‘PokéStops’ on their properties.
The nuisance aspect of the game alluded to earlier arises when players congregate near homes, cemeteries, memorials, and museums in search of a Pokémon. Examples include the Auschwitz-Birkenau State Museum, people wandering on railway tracks (Dutch Pro-Rail) and fire fighters being impeded in front of fire stations. There have been other incidents involving injuries and armed robberies. Police forces across Canada have been warning people about the risks of getting injured or landing into trouble by playing the game. In Quebec City, two officers suffered minor injuries when a car reversed into their cruiser in a parking lot. The driver of the car was immersed in playing Pokémon Go. In a suburb of Sydney (Australia), people became annoyed with large numbers of players congregating in their area and threw water bombs at them.
The game is not new and its original version was launched more than 20 years ago. But the recently released version (Pokémon Go) has gone viral. The furore will eventually die down but it has made its mark in terms of the power of augmented reality to connect people to others and the environment around them in a way never witnessed before. Augmented reality is a digital world superimposed on the real one unlike virtual reality in which the player is carried off into a fictitious universe. The Pokémon Go phenomenon is a portal to the dawning of a new age in terms of how we are going to interact with computer technology.
Mobile Payments Will Soon Be Possible On Canadian Vending Machines
Glitches With Deus Ex: Mankind Divided
Vancouver studio will be developing “Gears of war” for Microsoft
PlayStation 4 will work with Xbox One’s HDMI pass-through port
Dragon Ball Z: Battle of Z trailer powers up at TGS
Tags: game, grid, mobile, pokemon, slider
Oracle buys cloud software startup Ravello Systems for $500 million, source says
Tesla Motors Gambling On Its ‘Gigafactory’ In Nevada
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Free Country, USA
Revision as of 17:09, 20 September 2005 by Trey56 (Talk | contribs)
FCUSA, maybe.
The Thriving Hub that is Free Country, USA
Free Country, USA, is where the Homestar Runner Universe is centered. All of the main characters live, work, and play here.
1 Geographical Features and Locations
1.1 Characters' Homes
2 Flora and Fauna
3.1 Strongbadia
3.2 Other Territories
4 Economics
4.1 Employment
5 Free Country Through Time
5.1 Old-Timey Free Country
5.2 Futuristic Free Country?
6 Estimated Real-World Location
Geographical Features and Locations
Free Country, USA, features a verdant field that typically serves as a central link between the various features of the landscape. At the center of the field itself is The Stick, which functions as a landmark and a meeting place for Strong Bad and whomever he chooses to meet there. The edge of the field is lined with what appear to be trees, although the case could also be made that they are hills. Regardless, these round, green mounds represent the edge of Free Country, as characters are rarely seen in a forest and never on hilltops. Rounding out the natural features are mountains (usually seen only from a distance), and a pond and, apparently, a seashore with a wharf.
Specific locations in Free Country are treated with a certain ambiguity. Somewhere at the edge of The Field is the Athletic Field; logically, Coach Z's locker room is near the Athletic Field. Somewhere near the Athletic Field is Bubs' Concession Stand. Other locations include a "Town Hall" (discussed later) and the Marshmallow Stand, a once-popular haunt for Homestar that has not been seen in a while but is presumably still around somewhere.
Characters' Homes
As with Free Country's locations, the homes of different characters do not exist in rigidly established locations. With the exception of Coach Z's locker room and The Cheat's home (which is also the King of Town's grill and therefore always near the King of Town's castle), Marzipan's house, Homestar's house, and the house of the Brothers Strong, as well as the King's castle itself, are all found in locations that have no clear geographical relation to each other.
The flora of the land is somewhat sparse. Though individual trees are seldom seen up close in Free Country, they are presented as being deciduous as opposed to evergreen (other than Decemberween trees), evidenced by the barren branches seen during Free Country's autumn. Shrubs and the occasional bush make appearances from time to time; some bushes have been known to have Senor Cardgage emerge from them in some instances, though these events are not considered dangerous so much as they are creepy.
Fauna is in even shorter supply. Save for the fish in the pond, a few crickets, at least one fly, cockroach, and stag beetle, Free Country USA is largely free of animal life besides the characters themselves.
Free Country appears at first glance to be a monarchy, since it is nominally ruled by The King of Town. However, the self-conferred sovereign's reign is not recognized by the populace. Therefore, Free Country could be considered to be in a state of anarchy, where there is no accepted centralized government but the members of the community co-exist with loosely established rules that maintain order.
To this end, Free Country can muster a meager police force to ensure that anyone engaged in criminal behavior (to date, only Strong Bad and The Cheat) are placed firmly in jail (a large cardboard box). Since there is no need for an army (nor a government to stand one up), Free Country has no official military. But it is home to the Homestarmy, a meagre force that is led by Homestar Runner. The Homestarmy once attempted to conquer Strongbadia, but appears to represent no cohesive political movement (other than expressing discontent stemming from "playing second fiddle to a two-bit wrestleman and his yellow dog").
Besides the King's castle (which would be the seat of government if the King's rule had any legitimacy), there seems to be a "Town Hall" of sorts, which has been used for various purposes, including a newsroom, police station, and a set for the Dangeresque films, though not for actual political administration.
Strongbadia
Within Free Country's borders, the territory of Strongbadia exists as an autonomous enclave. Strongbadia has a flag, a national anthem, and has even had to defend its autonomy from outside aggression (as seen in army). Whether or not Strongbadia is a "real" country is open to debate, since the permanent population of Strongbadia is a tire.
A Map of Free Country's Close Neighbors
Mentioned from time to time (and seen only via the depicted map) are other territories outside Free Country. If the circuitous path of Homestar's journey to Potamia for the Yello Dello is to be believed, Free Country borders the territory of Far Off Lands. Very little, if anything, is known about these territories or their relation to Free Country, although Prance is known to make at least one Homestar Runner related product.
The economics of Free Country are as ambiguous as the locations and politics of the territory. The local currency is U.S. dollars, althought the official currency is augmented by a strong barter system that allows trade of goods and services; most local commerce occurs at Bubs' Concession Stand. Though their use has not been seen recently, pencil shavings (as shown in lackey) were accepted as currency at one time. It seems that there is some crabbing industry, as there are crab traps at the wharf (which often claim baby seals).
Bubs works at his stand and as a general fix-it man. Homestar, Strong Bad, and The Cheat (when not doing freelance Flash work) work in some kind of an office, at least occasionally. Coach Z is presumably some kind of a coach. The King of Town employs The Poopsmith for reasons he does not care to disclose, as well as a chef and a blacksmith. It has not been revealed whether the remaining characters have jobs.
Free Country Through Time
In addition to its current, contemporary depiction, Free Country has been shown in the past and possibly in the future.
Old-Timey Free Country
In the 1930s, Free Country was characterized by dirt roads, picket fences, carnival tents, antiquated Industrial Revolution-era factories and even a graveyard, none of which have survived the passage of time. As with the rest of the USA during this time period, Free Country was economically depressed, with the population being forced to subsist on dry meal, water soup, and parsnips. Commerce, such as it was, was located at a dilapidated depot.
And, though there is some debate as to whether or not Free Country was still under Prohibition during this time period, some residents enjoyed the occasional nip of hooch regardless.
Futuristic Free Country?
In the futuristic year 20X6, Free Country may or may not be one and the same as Planet K, which looks much like the current Free Country. If so, Free Country will grow to feature significantly more architecture, to the extent of having a full city (a quality the territory currently lacks). Nothing is yet known about the economic or political state of this ultramodern version of Free Country, though there is a significantly higher frequency of fights and challenges faced by its residents.
Estimated Real-World Location
Viewers of Homestar Runner have variously speculated about the "real" location of Free Country, USA, though it can be safely assumed The Brothers Chaps prefer to leave its location undetermined. The following collected observations may be used to interpret the "real" location of the territory.
In the email "radio," the CGNU radio station's call letters are given as WSBD. Real-world radio designations would place Free Country east of the Mississippi river.
Free Country is likely in a northern latitude or high altitude given the snowy weather around Decemberween.
In the email anything, Homestar refers to his two liter bottle of Mountain Dew as "soda" which is a term more used in the northeast and in the west. In the midwest it is frequently called "pop."
The scene in the Theme Song Video where Homestar runs around the planet would lead one to believe that it's possible that Free Country is somewhere in northern Nebraska.
The Brothers Chaps themselves live in Atlanta, Georgia, making it possible that Free Country is located in the Southeast.
In "Homestar Presents: Presents", Marzipan references baby seals and crab traps at the wharf, suggesting that Free Country is near the ocean.
Retrieved from "http://www.hrwiki.org/wiki/Free_Country,_USA"
Category: Places
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« BlogCatalog: not worth the effort
My Blogroll »
“Mars Needs Women” (1967)
November 21st, 2010 | Author: HypnoMedia
[http://www.imdb.com/title/tt0060672/]
[amtap amazon:asin=B00005K3O5]
“Mars Needs Women”: Men from the planet Mars (led by former Disney child actor Tommy Kirk) come to Earth to steal genetically-perfect women (including stunningly beautiful scientist Yvonne Craig) with which to rebuild their race. Their strategy leaves a lot to be desired, as they announce to the Earth that they are coming and why, so the Earth is immediately on guard against them.
Description: A military radio station picks up a strange message, saying simply “Mars Needs Women”. The extraterrestrial origin of the signal is enough to alert the authorities about the impending incursion. They can’t stop the Martians from landing, however, and they fan out, seeking prospective females, with a time limit of only 24 hours. All except the Martian leader (played by Tommy Kirk): in order to infiltrate the military search program, he takes the identity of a reporter, using a hypnotic technique involving the reflections off a turbulent pool of water as a focus. This is where he meets Dr. Marjorie Bolen (Yvonne Craig) who is brought in as expert in genetics to advise the military search. The Martian leader decides that she will be his selection.
Meanwhile, the rest of the crew are out, selecting their victims and hypnotizing them and carrying them off to where they will be placed in cryogenic suspension for the trip home. The missing women and the manhunt and accompanies it eventually lead the military to where the Martians have hidden their conquests, where they are joined by the Martian leader and Dr. Bolen. With the authorities closing in, there is no time to transfer the frozen women to their spaceship, but Dr. Bolen volunteers to go along: she realizes the difficulty the Martian race is facing and feels she can help.
Commentary: Grade B and deserving of it. It has all the pretentiousness of a movie trying to be serious yet never comes close to carrying it out. Furthermore, it has all the look of a movie filmed on the cheap, with Martian costumes apparently supplied from the back of some studio’s 30’s B‑movie serial closet, overuse of local scenery (Houston, in this case) and bad editing. Among the cinematic crimes committed here are an idiot plot, overuse of stock footage and stereotypical eye-contact hypnosis. And, if at times the actors appear to be moving strangely, its because the camera was cranked down to three-quarter or even half-speed, increasing the exposure time just as a still camera’s shutter speed is increased in duration for low light to compensate for the darker settings, so the actors had to move at slower speeds to match the camera speed.
It is a wonder why “Mystery Science Theater 3000” never featured this one.
However, in the movie’s defense, it does have a few good spots, such as the non-violent approach the Martians take (although being able to hypnotize at a glance does help with negating any potential violence) or the scene where Kirk chiding his fellow Martian for using violence to acquire their Earth clothing, telling him that the act would be considered just another scene of youth violence, or commentary about “the environmental naiveté of the Earthmen.” Its a considerable difference form the youths of “Teenagers From Outer Space” or the Martians from “Invaders from Mars”.
Recommendation: If you have a couple of hours to kill that you won’t mind wasting, then watch it.
At one point, Tommy Kirk was a prominent star for the Disney production studio as a child actor. Unfortunately, as with most child actors, decent work once they stop being a child was hard to come by.
At the time of this release, Yvonne Craig is less than a year from being selected to play her most famous role, BatGirl on the “Batman” TV series.
The external shots of the “control center” (the giant mushroom building) are actually of a rotating restaurant at the Huston Airport Marriott Hotel.
In what appears to be distinctly feminist take on the movie, there is now a board named “Venus Needs Men!” where Venus and its Amazonian female inhabitants are one of five planets attempting to conquer the Earth. Other aliens, including the Titanians and the Martians, have mind control abilities: Titanians attach themselves to humans to control them (similar to “The Puppet Masters” by Robert Heinlein) while Martians are simply telepathic big brains in bubbles (similar to “Invaders from Mars”).
“Thirteen Women” (1932)
Posted in Movies | Tags: alien, hypnosis
One Response to ““Mars Needs Women” (1967)”
It’s probably been at least 30 years since I saw this film, but I did not recall the hypnosis aspect. For a comparison, see 1965’s Frankenstein meets the Spacemonster, where aliens come to Earth for new breeding stock. The abductees, who were struggling against their kidnappers when first seen, seem to be strangely coöperative by the time we see them being put into storage back on the spaceship. I wonder if something similar happened to them in the meantime?
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July 7, 2014 October 16, 2017 Matthew Arnold Stern
Rape: Why are women still blamed?
Does she look like she deserved what happened to her?
During beta 2 of The Ghosts of Reseda High, I will post spoiler-free commentary about issues and themes I cover in the book. This is the first of the series. The survey is now closed, but you can still download the beta. Use the form on the download page to send any feedback you have.
You would think that a murder that happened nearly 40 years ago wouldn’t be topical. Unfortunately, it is. I say “unfortunately” even though writers might like having a subject in their book be front and center in the news. For me, it’s an issue that makes me worried for the women I know, and it makes me angry that these horrible attitudes still exist after all this time.
Why are women still being blamed when they are raped?
A few cases in point:
In Montana, State District Judge G. Todd Baugh gave a light sentence to a teacher who raped a 14-year-old girl. The judge implied that the girl was “as much in control of the situation” as her rapist. She killed herself before the case went to trial.
George Will criticized university policies to protect victims of sexual assault. He wrote that “they make victimhood a coveted status that confers privileges” and “[i]t vows to excavate equities from the ambiguities of the hookup culture.”
In his new book, Todd Akin continues to defend his view that women can’t get pregnant from “legitimate” rape.
It’s not just stupid people in politics. You have musicians who glorify “rape culture.” CEOs and celebrities who trivialize the word by applying it to things that aren’t remotely close to actual rape.
I’ve seen the devastation that rape causes. It’s the loss of peace of mind, the feeling that you will never feel safe, the sense that you are less than a human being. It’s a feeling that never goes away. Every rape is a form of murder because the person a woman was before the attack may be lost forever. This is why rape affects more than just the victim. It affects her family, friends, and everyone else around her. It causes fissures in relationships, adds stress on the victim’s family, and increases the sense of insecurity. Rape is a horrible and destructive act for the victim, her loved ones, and the community as a whole.
But when people add shame to it — when they blame the victim or even accuse that person of liking it — it makes it harder for the victim to get the help she needs. She may even avoid reporting the crime because she wants to avoid the humiliation of it. This emboldens the rapist and enables him to commit even more heinous crimes until someone winds up dead. That’s why “slut shaming” isn’t just morally wrong. It endangers our communities and puts all women in danger.
There is nothing trivial, funny, titillating, or partisan about rape. It is not just another type of sex act. It needs to be treated as it really is — a crime. Just as no one deserves to be robbed or assaulted, no one deserves to be raped.
Goals, not resolutions
Offline — Now available for Kindle!
Why writers must stand up for what they believe
“The youth of old age”
Scrivener for iOS: Now you can write anywhere
negative views of women
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The J.D.: the degree so versatile you can fail to deal drugs with it too
I loved this movie. You might. They didn't. You know who I mean.
Directed by Ridley Scott
Written by Cormac McCarthy
With Michael Fassbender (The Counselor), Cameron Diaz (Malkina), Javier Bardem (Reiner), Brad Pitt (Westray), Penelope Cruz (Laura), and Ruben Blades (Jefe)
Spoiler alert: everyone either dies, should have died, or wishes they had died let's say moderate
No one has a background in the hard sciences in The Counselor. As a result, the story it tells is necessarily a grim one.
In this and in so many other respects, The Counselor is not Breaking Bad: The Movie With Movie Stars.1 If you expected that, you may be severely tested by what The Counselor actually is. In the end, I think that is the worst thing that can be said about it. Clearly, it is not the worst thing that has been said about it, as really, really, really bad things have been said about it. And how.
Thus, for at least the fourth time so far in 2013, one of the year's best films is marginalized, and The Counselor is, depressingly, fated to become a fixture of many of the Year's Worst features to come in January. These lists will, by and large, somehow fail to include Star Trek Into Darkness, 2 Guns, and The Grandmaster, hateful films that hated their viewers and themselves, and all technically fresh pieces of shit that made money. So it goes.
That's dismissive of the critical community, and audiences, which is to say the majority of people in the Western world (and the People's Republic of China). And it's unfair. Though my usual response is to call those who disagree with me wrong and/or stupid, in regards The Counselor I cannot, in justice, do so. (In fact, Andrew O'Hehir's review linked above is great writing and recommended reading.)
Like 2001: A Space Odyssey, Videodrome, or Speed Racer, The Counselor really is a movie that wasn't made for everybody. Indeed, The Counselor is a movie that was not clearly made for anybody at all.
That it happens to appear to be tailor made for me is, I am sure, a very happy accident, a result of its bizarre union of a pompously pulpy auteur, a philosophically bent author, and gloriously game actors who have just given some of the best performances of their lives yet now appear faintly embarrassed by the effort. But, instead of complaining about how people Just Don't Get It, I will take solace instead in the real possibility that the home video, when it arrives, will be cheaper.
Some of us are on a budget.
The Counselor stars Michael Fassbender as a lawyer, referred to only as, well, [the] Counselor. It may in fact be his Christian name, given that laypeople almost never use the title and actual lawyers and judges tend to use it as an ironic counterpoint to unprofessional behavior, such as the repeated utterance of frivolous objections, the repeated failure to wear pants, or, as in The Counselor, the repeated refusal to exit a multimillion dollar drug deal, probably funded out of a client IOLTA account.
"Is it even conceivable that you're accusing me, a Michael Fassbender character, of lacking ethics?"
The off-putting conceit is deployed, I suppose, to place him in the tradition of Men With No Names, ala Harmonica in Once Upon a Time in the West, the Thirty Year Old Mulberry Field and/or Camellia in Yojimbo and Sanjuro, or Joe in A Fistful of—hey, wait a minute...
The most memorable recent example is Drive's Driver; but you'll note that conversations with the Driver were deliberately written so that clauses were not routinely set off by the word "Driver," which none of his friends would have called him, and which would have been distracting and cumbersome. And so, now that we see such a thing occur, it more than occasionally is.
He also has a friend in Mexico named Abogado. Yes! Really.
This finicky problem, this nit, is the only annoyance I have with the conversations in The Counselor. This is, emphatically, the minority position on this film.
Yes, almost every line is delivered as either monologue or Socratic dialogue, and each of the other principals in the distant drug deal that incites the action in the film carries with them an invisible soapbox, from which they promulgate their personal world views while unsubtly suggesting that the Counselor's own is incomplete.
The putative grand truths enunciated in The Counselor range from the juvenile to the questionable to the dangerous to the obtuse to the heartbreakingly unassailable. You may judge for yourself which are which. Or not, as while The Counselor is a great movie, it is, like I said, not one I wholeheartedly recommend. But its central points—on the nature of consequence (all actions have them), the possibility of redemption (it usually isn't), the meaning of suffering (none), and the meaning of life (see "meaning of suffering")—I think could well be counted as axiomatic.
For many, this might well be boring. Personally, I could never find dull Cormac McCarthy's quasi-poetic verbiage, delivered with such verve by two of our new 21st century super-actors alongside three transcending veterans. Nonetheless, for most critics, let alone just folks, it was not something they wanted to see. The Counselor's screenplay certainly takes an unorthodox approach—and, let's be clear, an awfully uncommercial one—to what is, essentially, a pretty sweet noir.
Imagine the gabbier parts of The Maltese Falcon, like when the fat man enthuses over the history of the Templars or when Sam Spade suggests he's not as amoral as we've been led to believe. Well, it's like that for practically the whole movie, except every character is more selfish than they are smart, morality is a total illusion, sepulchral doom hangs over every sentence, the gunsels aren't an inept bunch of Elisha Cook Juniors and never even directly interact with the Counselor, and Peter Lorre spends five minutes telling Humphrey Bogart about the time that Mary Astor put it on the glass and fucked his car.
This Cormac McCarthy movie is not wholly devoid of levity.
I very much like this sort of thing, so for me The Counselor was an entirely entertaining and totally engrossing experience.
It may help understand my position to know that three of my favorite films are Things To Come (the greatest production design pornography of its time and a socialist propaganda extravaganza for all ages, based on the least novelistic novel ever written, The Shape of Things to Come), Mindwalk (a semi-obscure, talky curio based on the also semi-obscure, talky novel The Turning Point), and Waking Life (Richard Linklater's brilliant animated anthology about a man who dies and has to listen to a series of interestingly pretentious assholes for ninety minutes of subjective time before his brain shuts down). In each movie, characters exist only in archetype at most, and plot is secondary to declarations of principle, politics, and philosophy.
The Counselor can be compared profitably to Things To Come in another way as well: that too was a film whose shape was determined by the wisdom and whims of its screenwriter, also its nation of origin's contemporary man of letters, H.G. Wells. Full disclosure, I have never read a Cormac McCarthy book, but my understanding is that he's also, if in a different vein than later Wells, not big on things like "narrative" and "positive depictions of society as it is currently ordered."
To this short list of movies in the People Talk About Shit genre, I'll add two films that I sort of enjoyed but found problematic in vastly different ways, Cosmopolis and, somewhat more iffily (prepare to jettison credibility!) The Seventh Seal.
"What now?"
"Well..."
Cosmopolis, as you know if you've seen it, just shits itself in the third act, and whether you like the wave of offal to follow frankly says a lot about your character—and if you did like Cosmopolis and did not like The Counselor, you have got no right, because in many ways The Counselor is Cosmopolis with crime standing in for capitalism (a difficult to parse metaphor, surely), and, more importantly, done better in every single way.
The Seventh Seal is an actual good movie, but features an annoying family enjoying their annoying idyllic happiness, and it might really be better off without them because they interfere with all the interesting parts that involve the Plague, witch burning, would-be rapists, and Emperor Ming and William Sadler grimly talking about theology in well-framed shots.
I'm kidding, a little, but in any event I recall it being rather philosophical, and although admittedly it's a bit less motor-mouthed than The Counselor, and certainly less obviously the result of dextroamphetamine use, it's surely at least as insistent with lines like "Why can't I kill God in me?"
"And why does no one ever like the movies I like?"
So that this, in The Counselor, is a major sticking point with critics in particular is passing strange. Some of the movies I've mentioned are considered classics, some of them aren't, some of them damned well should be (stay tuned), and as far as I can tell eleven of the twelve people to randomly review Mindwalk ten to fifteen years after it came out seemed to enjoy it. What permits unalloyed praise for asking grandiose questions about God, a lukewarm reception to grandiose questions about Airpower, and derision for the powerful question posed to the Counselor, that ends his story? Perhaps it is merely a matter of taste, and there's no accounting for that.
The movie is not at all so dry as I may be implying. And that's not (just) a human squeegee joke; aside from the indelible car-fucking scene, the ongoing interrogation of the Counselor's inadequate moral and substantive knowledge is punctuated by some of the year's most radical ultraviolence.
For this, we could thank McCarthy, who is no stranger to the subject, but I suspect that the pace at which The Counselor's excellent kills are doled out can be more likely attributed to the thoughtfulness of one Mr. Ridley Scott. After Prometheus, it's a treat to witness Scott totally redeem himself with a beautifully designed and shot film, full of great violence of the rock-hard R variety, that is also actually good. It all leads ultimately to the best murder of the year—including Evil Dead, You're Next, and Man of Steel—a death that could only have been better if the foley artist had gone outside and dropped a coconut a few inches from the curb to the street.
Death in The Counselor is foreshadowed with bluntness and with great metaphorical flourish—the better to pursue its themes, of course. But, best of all, you will not be disappointed that they put an automatic decapitation machine on the mantle in the first act and did not have it actually decapitate someone in the last.
The Counselor is also extraordinarily well-performed, or performed extraordinarily toward my tastes, which is to say broad with nuance, involving periods of intense sullenness set against bouts of well-spoken mania, and topped off with hardcore emotionalism. It's a real achievement for everyone involved, given the difficulty of the dialogue. And in his final scene, Fassbender puts more acting into a pause than most put into whole careers, and his answer to the ultimate question is as terrifyingly real as his interrogation is artificial.
Compared to the violence and the declamation, the events that compose the film's somewhat obtuse narrative are frankly tertiary, and only vaguely explained. It is the plot, not the profundity, both faux and genuine, which is the digression here.
In sum, however, the Counselor is a somewhat high-flying criminal lawyer with a lavish lifestyle that he obviously cannot afford, particularly in regards to his bride-to-be, Laura, and the giant piece of glass he buys her. They love each other. Well, that's a bummer.
Before the film has even begun, the key choices that drive the film's narrative have already been made. The Counselor has joined forces with a former client, the ridiculously-coiffed, mush-mouthed demi-kingpin Reiner, and his partner, cowboy monk Westray, to purchase, on consignment (or something), a drug truck. Reiner and Westray repeatedly tell the Counselor to back out, because it will lead him to terrible places. He doesn't, and it does: through a series of unfortunate coincidences, their drug truck is stolen, and the cartel blames the Counselor and his partners. It's not even particularly reasonable, but it doesn't matter. Blame has to be attached to somebody. The cartels, like any firm, cannot appear weak. And, if you have any common sense at all, or if you can at least recognize voices at a cognitively normal level, you'll also quickly discern that Reiner's and Reiner's Ferrari's lover Malkina is not to be trusted.
Basically dispensing with a first act is, counterintuitively, a brilliant narrative strategy, not least because it's so profoundly different from almost anything else, but also because it underlines the film's most cogent idea: the inexorability of consequences.
Also different, and also brilliant, McCarthy and Scott have created a danger that is almost faceless, always invisible to the protagonists, and as a result everywhere. The events which bring our protagonists to their knees occur very far away; often, they are entirely unaware of them; and were they aware, they could do nothing to prevent or modify these events' outcomes.
Thus is The Counselor is one of the tensest films I've seen recently, and I've just plowed through about twenty Hitchcock films. I'll walk that back and explain that my absolute favorite Hitchock movie is Rope, ordinarily considered a lesser work and by some even a failed experiment, but another film where inevitability is its own reward.
If the first act is missing entirely, the third act seems almost truncated; The Counselor's tale doesn't end, it stops. And again, I applaud it, not solely because it is so different, but because, also, it works. There is no epilogue for the Counselor. His story finishes as it began, with machinations unseen, yet possessed of absolute power over him. When we leave him, what else could there be to show but the ruin that constitutes the monument to his life? Well, apparently a scene with Malkina, which I liked but am not sure was entirely necessary, or, rather, quite properly placed.
Lack of character motivation seems to be the second major problem with The Counselor. This is understandable criticism, and not at all unjustified.
But, you know, most didn't have any issue with his protagonist in Shame, whose "character" was "a man cursed with vast wealth and devastating good looks" and whose "motivation" was "being an asshole." GREAT FILM TWO BILLION THUMBS UP.
So why does the Counselor risk everything on a criminal endeavor? His life seems to be replete with luxury. He's got what seems to be a great job, a great girlfriend, and he has enough free time to hit the gym and to engage in beautifully photographed cunnilingus between sets of googol-count, spotless white sheets. But it's potentially simple enough: it's greed.
Or, it's as complex as you can imagine it. The Counselor does spare character details—without, I think, sacrificing character essence, for I believed in the Counselor's fatal combination of avarice, arrogance, and naivete; I believed in Reiner's collapsing glam-rock pretensions; I believed in Westray's hedonistic realism; I believed in Malkina's predator amorality; and I believed in Laura's innocence and even greater naivete than the Counselor's, brought out by her clear inexperience in talking dirty to the man she clearly wants to talk dirty to.
But as many details are missing, the film lends itself to interpretation, or rather speculation, regarding its characters' fuller stories. And it invites you to create explanations, filling in the blanks with your own experience, knowledge, and hang-ups. That it does so without also creating lifeless turds out of its characters is testament to good, however unconventional, screenwriting.
"My back's against the wall," the Counselor says. I certainly believed that too. Potentially the most annoying part of The Counselor could have been a callow promulgation of attorney lifestyle porn that serves as the delusional Hollywood version of the practice of law. Most lawyers do not live in awesome condos, drive great cars, wear great suits, and have sex with Penelope Cruz.2 The Counselor, insofar as The Counselor is a movie, naturally does all of these things.
And I expect he is crushed to death with debt to achieve the lifestyle of the movie lawyer he aspires, and appears, to be. Imagine the Harvard-educated ADA, now thrown out on his ass in a round of budget cuts; imagine him striking out into the badlands of criminal representation; imagine his income struggling to keep pace with the lifestyle to which he has become accustomed, to which he thought he had already paid for with massive student loans and years of hard work. Imagine a second mortgage on a condo that he's already having trouble affording, as paying clients vanish and student loan bills mount, just to buy a ring and all the other accoutrements of success that he thinks he needs to keep Laura and even to maintain his own image of himself as an agent, living human.
His back is against the wall; he built it, facing the wrong direction, and now he is indeed against it.
Imagine him taking on an impossible debt for a high-risk proposition that he hopes against all reason and common sense will pay off and let him live the life he has worked so long for, but could not earn. Imagine him being wrong and stupid but bound to make wrong and stupid decisions based on what he believes is required of him. Imagine him wishing it were as simple as oblivion as he is annihilated by an invisible combine that doesn't just not care, but doesn't even consider it personal.
It's easy if you try.
Consider this: the Counselor, at least, never did anything malum in se wrong. He bought some goods. He hoped to sell them. He hoped to profit on the sale.
Is his tangential involvement with a drug cartel so much worse than the compromises any of us make when we enter the stream of global commerce? If you must find it so repugnant to engage in trade with a cadre of murderers who have found their competitive advantage by overthrowing the rule of law, do kindly tell me where the electronic device you're reading this on was made. We're all of us helping to perpetuate terrible systems, but all we're trying to do is live.
Ultimately, what the Counselor did was take an economic risk that destroyed his life. As for why I love The Counselor, beyond its technical merits, it's because it tells, in however rough an allegory, the story of my generation.
If anyone reading this has gone to law school, hell, maybe any school, in the last few years—indeed, tried living in America the past few decades—it becomes rapidly apparent why The Counselor, atop its other fine qualities, moved me with a tale about the inescapable results of truly bad choices that nonetheless seemed like good ideas that offered the possibility of the Good Life at the time.
Perhaps the movie is more recommended than I initially believed. The burden need not be student loans for the Counselor's fall to hit you powerfully. It may be an ill-advised home purchase. Or a bad marriage. Or children you should not have had. Or your own drug deal gone bad; why not? That is certainly a demographic.
We all make mistakes. Sometimes we cannot, can never, make amends. That's The Counselor: bleak, hopeless, and true, it turns out even the examined life is not worth living when you have taken on a debt that you can never repay.
P.S. I also like the opening credits sequence. It's no Saul Bass art piece, but it's doing, you know, something. The score is, likewise, not quite great but certainly quite nice.
1 Ohhh, but it really kind of is. Be aware!↩
2 Nearly half of all lawyers are, in fact, not actually lawyers at all. This seeming paradox can be explained by the 44% rate at which juris doctorate holders do not have full-time jobs as actual attorneys. You're reading a movie review by one. For more depressing crap about the decline and fall of our corner of Western civilization, see Prof. Paul Campos' Inside The Law School Scam and its successor blog run by former law students and current critics of the unsustainable law school/all school human potential destruction factory.↩
Labels: 2013, 9/10, class war, Cormac McCarthy, Michael Fassbender, Noir, opaque allegory, Ridley Scott, talk opera, The Counselor, thriller
I wish John Brown had nuclear weapons
The J.D.: the degree so versatile you can fail to ...
BUT 'CHA KNOT KING
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Vin Diesel talks Fast and Furious
In the biggest comeback of the year Vin Diesel talks about his fast and furious return to the world of motor-racing
After establishing himself in the box office hit “The Fast and the Furious”, Vin Diesel soon found himself one of Hollywood’s hottest action commodities. Now, eight years later the star is reuniting for latest in the furious franchise as Dom Toretto. And as if that’s not enough, Paul Walker is also back for the film as the now-agent Brian O’Conner. Here, the Hollywood beefcake fills us in on returning to the franchise, his favourite cars and the possibility of a fifth film!
Q. What convinced you to come back to the Fast and Furious franchise?
Universal made me an offer I couldn’t refuse. Jeffrey Kirschenbaum visited me and asked me to do a cameo in the third installment of the franchise, The Fast and the Furious: Tokyo Drift. He said that if I did it I could produce the movie I had always envisioned as being a continuation of the first one. That’s how he got me!
Q. How did that cameo play?
It was important to me because I realized the fans of the original film had owned Dominic Toretto in their own way, and I saw they wanted him back. So, I had to come back.
Q. Throughout your career you have been cautious about doing sequels.
Yes, I have been charged with being too precious about scripts and not returning to sequels.
Q. Did you ever consider the possibility of directing this movie?
No, I didn’t because I was content producing it and Justin Lin had done such a great job with the mechanics of the third movie. He really cut his teeth on The Fast and the Furious: Tokyo Drift and proved he was ready to take on the monumental task of continuing the story set out in The Fast and the Furious. But both Universal and Justin challenged me to direct a short film that acts as a prequel to this movie: Los Bandoleros. I shot it in The Dominican Republic with Michelle Rodriguez, Shung Kang, Don Omar and Tego Calderon. It was a wonderful opportunity to fulfill a promise I had made to President Leonel Fernandez to bring this franchise to his country, as you see in the movie and, ultimately, in my short film too.
Q. Fast & Furious starts with a big action sequence precisely in The Dominican Republic. How important was it for you to kick the film off with a big bang?
It was our trademark, and therefore just as important as in the first movie. But here we start with a big bang that immediately familiarizes you with what this crew does. Justin was very successful in making all the action sequences in the film follow the story.
Q. What is Dominic Toretto’s crew like then?
They are like superheroes that can literally rob anything that is in motion. They are the new stagecoach robbers, the new bandits.
Q. But after that spectacular opening scene the film veers into a drama.
Yes, because this a story-driven film, like the first one. We wanted the action to entertain you, but also to drive the story.
Q. What movies in the past have inspired you in this direction?
We would have to go back to films like, Elia Kazan’s Rebel Without a Cause, which had action but was considered a drama at the time.
Q. What story were you interested in developing in the film?
A story that explores the idea of friendship and the definition of integrity and code. Those are the things we wanted to develop, and that is how Universal hooked me -by saying they would take the drama seriously.
Q. But Fast & Furious also has humor; like in the scene were Jordana Brewster, who plays your character’s sister, reminds you to pray at the table?
Yes, and that is a very important scene, because it is the first time Dominic and Brian let their guard down and realize they are friends and boys too. And it is rare to see an action film that explores camaraderie in that way.
Q. And do you both have that chemistry in true life?
It’s funny, but my mother feels our chemistry is amplified by the fact that my own twin brother looks a lot like Paul Walker; and his name is Paul too! There is a very strong similarity between them and maybe that’s why I am designed to have chemistry with him. I don’t know…
Q. How has your character evolved since we last saw him?
I think Dominic Toretto has evolved in many ways, but when you meet him in this film, he still has some unsettled business to take care of and unresolved feelings about friendship.
Q. It seems you have made a point in your career about doing different roles and not getting locked into action films.
That is true, though after working with Sidney Lumet in Find me Guilty I was liberated from that pigeonhole feeling; which gave me the confidence to come back to this character without feeling I had been locked in an action warp.
Q. But apart from playing Dominic Toretto, you are also a producer on Fast & Furious. How did that make you feel?
It made me feel more accountable, but also allowed me to have more input over the direction of the story. I enjoyed the experience.
Q. What do you think Justin Lin has brought to this franchise as director?
I am very happy to have been partners with him because I think he did a brilliant job. He reached for something deep in a very cool way, and even in the explosive action scenes -for which he deserves all the credit- he found a way to give them extra value by driving the story forward. Justin is very clever and I take my hat off to him.
Q. What did Mexico offer?
I would advise anybody to shoot in Mexico. And we were lucky to find a town like Magdalena that fit in perfectly with our needs. They were so hospitable!
Q. Do you have a dream car?
I do, though I haven’t gotten it yet. It is a 1970 Chevelle, like the one in the movie, but convertible. The problem is I believe that out of the 201 that were made only one was convertible!
Q. Are you planning the next sequel?
If we can knock it out of the park we will do it.
Fast and Furious is now showing at Irish cinemas nationwide.
SOUL – Behind The Scenes with Pixar’s animators
Behind the scenes on Pixar’s BURROW with director Madeline Sharafian
SOUL – Interview with Pixar director Pete Doctor
PIXIE – Behind the scenes with writer Preston Thompson
Cartoon Saloon – Interview with Tomm Moore & Ross Stewart for WOLFWALKERS
Interview – Tara Flynn talks about Irish animation Two By Two Overboard
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Melodifestivalen to Announce Hosts for 2018 Contest
Melodifestivalen 2018 has long since released the cities for each of the six shows but still has yet to announce the competing acts. Thus the next step in the wave of announcements is the hosts. SVT has now announced that a press conference will be taking place on Thursday, November 2, from 11.00-12.30 at which the host(s) will be revealed to the media and public.
Who are you hoping to see host Melodifestivalen 2018?
The Gifted S01E05 "boXed in" Recap
Four years ago Turner is having a picnic in Central Park with his wife and daughter when a nearby mutant rights march begins to escalate in tension and violence. One mutant's powers cause a blast that kills Turner's daughter Grace.
In the present, Turner is issuing orders to try to recapture Reed, Lorna, and the mutants that helped to facilitate the escape.
John tells the mutants about how Pulse was present and helping to disrupt the powers. John senses a Sentinel drone coming their way. Marcos and Lorna agree to team up to try to take the drone down while the others continue to get back to the Underground. Diaz and Lorna team up to use their powers to destroy the drone. John and the Struckers arrive at the Underground where Reed is finally reunited with his children. John learns that after this latest confrontation, Sentinel Services invaded every location even slightly suspected of housing or sympathizing with mutants. When Fade sees Reed, he exposes Reed's recent betrayal to all the other mutants, though John intervenes and keeps him from inflicting any further violence against him. The tension is put aside somewhat when Caitlin insists on tending to an injured Trader.
One mutant asks Sonya to consider working on Reed's memories if they decide he can't be trusted with the location of Underground and she seemingly agrees to consider doing so. Clarice asks her about this, forcing Sonya to reveal that she has the ability to manipulate memories.
Reed offers his services to John and the others in charge at Underground to devise a strategy to fight back against the current manhunt Sentinel is working to find and capture them.
Marcos and Lorna reaffirm their love for each other and agree that despite their concerns with the state of the world for mutants that they are excited to have a baby together and begin this chapter of their lives. They encounter a blockade but Lorna easily stops the bullets, knocks the agents out, and then capture Jace Turner. They bring him to a warehouse and Lorna says this is their chance to figure out what Sentinel did to Pulse and reminds Marcos that Sentinel had intended to change her loyalties too. Though Marcos has his moral qualms with torture, he realises this information is important to the larger fight.
Reed offers himself up as bait in order to steer Sentinel Services away from the true location of Underground. Caitlin objects to him putting himself in danger when they only just got him back but he insists that it's necessary for their safety.
Marcos and Luna call Clarice and Sonya to help extract the information from Jace's memories but they are running out of time since some law enforcement have just pulled up outside.
John has Fade drive Reed to an agreed-upon location for him to be spotted by people and surveillance cameras. Fade is also assigned to pick up Reed and bring him back. The plan works, as law enforcement begin to redirect their agents to go to that location and away from where Underground truly is. Meanwhile, Caitlin successfully saves Trader's life with assistance from her children.
Sonya works on extracting information from Jace's memories while Clarice watches closely with Marcos and Lorna. Lorna had shot some metal rods out of the building which forced the officers to stay back. But once they shot some tear gas into the building, the memory-extractions are interrupted. Sonya doesn't want to leave Jace in the middle of her memory-fog but the mutants are forced to flee as the officers raid the building.
Once everyone is reunited at Underground, Sonya shares the information she has acquired. Together, they determine that there is a secret Sentinel facility at the federal building in Baton Rouge. As Reed and the rest of the Struckers have proved their loyalty and worth to the Underground, the mutants now trust them and have no objections to their decision to stay behind and fight alongside them for the mutant cause instead of fleeing to a safer place as they had originally planned.
Clarice confronts Sonya about whether she messed with her head and Sonya admits to doing so. Clarice is angry about this violation, despite Sonya's insistence that it was necessary. Clarice warns her to stay away and never mess with her head again.
Jace Turner returns home where is revealed to now have memories of Grace surviving the attack, which horrifies his wife who has to tell him that she has been dead for years.
The Gifted airs on Mondays on FOX at 9/8c.
Netflix Announces Release Date for "Frontier" Season 2
Following a gripping first season, Canadian series "Frontier" has begun airing its second season in Canada on Discovery Channel. The series stars Jason Momoa as Declan Harp, a part Native (Cree), part Irish fur trader living and working in the American fur trade of the 1700s. It's gritty, full of action, and Momoa proves a compelling protagonist as he fights to break into the fur trade that is being monopolised by the villainous Hudson Bay Company.
Season 2 will be available internationally on Netflix on November 24.
"Aftermath" — Korean Drama Review
Netflix continues to expand it's reach through offering it's streaming services to numerous countries, commissioning more original content, and offering global content to a more international audience. While foreign content has often struggled to expand it's viewership due to language barriers, Netflix is an ideal place to circulate things, as subtitles are always included for foreign content.
Korean drama, or "K-dramas" as they're known to some, have grown increasingly popular both in and out of Korean and Asian markets. Many shows and films from Asian markets have begun to pick up in Netflix's selection.
One such series is "Aftermath", a supernatural crime show with two quick seasons available on Netflix. Protagonist Dae-yong develops supernatural powers after a near-death experience that allow him to see when someone is about to die or commit murder. As a mere high-school student, such abilities naturally inject a large dose of chaos into his life.
A highly unique attribute of the series for an audience that is largely accustomed to the formats of Hollywood content is that each episode is just under or occasionally over ten minutes in length. The shorter episode length doesn't only allow for quicker binging, as the entire series is under two hours in length, but means that there is absolutely no filler content. With only ten minutes to tell a story complete enough to work as an individual episode, the writing gets straight into the central plots of Dae-yong's story, be it stopping a person's death or his struggles to establish a romantic relationship with his high school crush.
All the lead actors give strong performances. There is a flamboyant quality to the style of acting, which appears to be purposeful due to the genre of the show. The make-up work on the soon-to-be-dead and would-be-murderers looks a bit rushed, but there is a possibility that the show may have been created with a smaller budget and time constraints (though that's purely speculative on our part). All things considered, it's a fun ride to take for an hour and a half and those new to Korean content should be able to connect to the story without much cross-cultural confusion.
Aftermath is available for streaming on Netflix.
Ghost Wars S01E04 "The Exorcism of Marcus Moon" Recap
Tensions continue to run high in the town as more and more townspeople begin to encounter ghosts. Landis approaches Roman to ask for him to come to the LAMBDA institute so she can learn more about his abilities to interact with the dead. Roman isn't interested until she offers to pay him for his time so he'll be able to afford to leave the town.
A young boy name Marcus begins to exhibit strange behaviour, much to the alarm of his mother who works as the local mortician. He tells Billy McGrath's nieces about a ghostly entity called "The Whistling Man" that begins to frighten them the more they learn about him.
Roman seeks out the advice of Reverend Dan about taking payment to use his abilities and also advises Dan to check on the son of the local mortician. Later, at a church sermon, more people are in attendance than ever as they hope to find something to give them peace in the midst of all the supernatural ongoings. Marcus and his mother are present and he repeatedly laughs during the sermon before standing up and accusing Dan of being a liar. He claims there is no god, that all will be damned to hell, and then vomits. Dan visits them later on to check on how he's doing and when the two are alone, Marcus begins to recite strange phrases in Latin.
Billy's nieces become frightened when they hear the sound of listening. One of them goes to check the closet and sees a pair of glowing eyes. They run back to the bed screaming and when their mothers come in, they find Marcus hiding in the closet.
Roman goes to the LAMBDA centre and answers Landis' questions about his abilities. He also shares how the ghosts that he saw before the event are different from those that began appearing afterwards. The ones before are willing to talk to him to pass on information but the new ones are more menacing and don't want to interact.
Dan begins to believe that Marcus is possessed and believes an exorcism may be necessary to save him. He and his mother agree on him performing one while Landis asks Roman to try to communicate with one of the new spirits. Things escalate significantly on both ends as the ghost of Chloe tries to envelop Landis in a manner Roman has never seen before. Roman commands Chloe to leave. Dan continues with his exorcism while Marcus' mother assists him. The exorcism seemingly works and Marcus goes to sleep after the exhausting ordeal.
Landis has determined that the supernatural operate on a particular frequency that Roman happens to be tuned into. She believes Roman is the next step in evolution and wants him to return but Roman doesn't want to, saying he can't guarantee Landis' safety. She pays him for his time and asks what he thinks happened. He says the scientists at LAMBDA opened a can of worms and now what matters most is what they do afterwards.
Dan gives another sermon to the townspeople that is interrupted by Marcus' mother showing up distraught with a dead Marcus in her arms. She proclaims that Dan killed him and collapses, crying. Dan later prays for forgiveness alone but begins to hear rustling and supernatural whispering. He then discovers a secret passageway in his office. Inside he finds ancient books related to the supernatural and a glowing orb that he places his hands on and becomes overwhelmed by.
Ghost Wars airs on Thursdays on Syfy at 10/9c.
Gotham S04E06 "Hog Day Afternoon" Recap
Ed re-introduces himself to Thompkins at the fight club and she is cold towards his approach considering the part he played in sending Jim away so he couldn't support her when she miscarried their child. Ed also introduces her to the newly resurrected Butch/Solomon, explaining about his lack of memory of his former life as well as his super-strength.
A mystery-man wearing a pig's head as a mask has begun killing police officers that have been working for Oswald as collectors. Jim and Harvey begin investigating these crimes and determine that this killed is attempting to fight back against the city's corruption, albeit in a twisted way.
Oswald continues to work to figure out his relationship with Sofia. He feels closer to her but still doesn't trust her. Sofia sets a lunch with him but doesn't show up so Oswald orders Victor Zsasz to follow her and find out what she's been up to.
Thompkins patches up some of Grundy's injuries after he begins participating in the fight ring under Ed's plan to raise money to mend his mind. She tries to explain to Grundy that Ed doesn't really care about him but Grundy is unwavering in his belief that Ed is his best friend. Ed wants to hire Thompkins to be the one to fix his cognitive impairments but she refuses his offer. She is revealed to be operating a clinic with the money she makes working at the club.
Zsasz reports back to Oswald that Sofia had lunch with the mayor and then went to a hotel that's long since been unused. She also met with a building inspector at this building to approve of constructing a defense wall. Oswald suspects that she is working to build up a fortress so she can start up her own criminal empire in Gotham and orders Zsasz to get a shovel so they can pay her a deadly visit.
Jim and Harvey track down the next target of "Professor Pyg" but they accidentally set off a fail-safe that kills the officer. They end up captured and the pair are taunted. Jim escapes his restraints but not quickly enough to stop the killer from badly cutting Harvey's throat so Jim has to tend to Harvey instead of stopping Pyg from escaping.
Oswald confronts Sofia about her plans and she reveals that she has purchased the building and turned it into an orphanage. Oswald returns to his positive regard of her, and she offers to make him some food.
Jim tells Harvey in the hospital that he knows Harvey has been working for Oswald and taking payments from him and needs to stop.
Thompkins agrees to help Ed attempt to regain his cognitive functions, though she says she can't promise any results, but accepts the offer due to her clinic running out of medical supplies.
Finally, Professor Pyg is revealed to be working on larger, more insidious plans.
Gotham airs on Thursdays on FOX at 8/7c.
GARTH ENNIS TO APPEAR AT THE 2017 NEW JERSEY COMIC EXPO
The Preacher Writer Will be Signing at the Dynamite Entertainment Booth (#908) Saturday, November 18th from 12 - 2 pm*!
October 26, 2017, Mt. Laurel, NJ: Dynamite Entertainment is pleased to announce that noted comic book writer and television producer Garth Ennis (Preacher, The Boys, The Shadow) is set to appear at this year's New Jersey Comic Expo (NJCE) on Saturday, November 18th from 12 - 2 pm eastern* to sign autographs for fans at the Dynamite Entertainment booth (#908)!
NJCE, which is known for its celebration of all things comic books and pop culture, as well as for showcasing the works of talented writers, artists, illustrators, and creators of all types, will be held November 18th and 19th, 2017 at the New Jersey Convention and Exposition Center, situated in Edison, New Jersey (97 Sunfield Avenue, Edison, NJ 08837). Tickets for the 2017 event are now on sale now, and available for purchase here!
For updates, schedule of events, appearances, or further information about NJCE, please visit their website at www.NewJerseyComicExpo.com.
*All signing times are approximate.
Garth Ennis:
Garth Ennis has been writing comics for almost thirty years. His credits include Preacher, Hitman, The Boys and successful runs on The Punisher and Fury for Marvel Comics. He is also well known for his war comics, most notably War Stories, Battlefields and a recent revival of the classic British character Johnny Red. Originally from Belfast, Northern Ireland, Ennis now lives in New York City with his wife, Ruth.
About Dynamite Entertainment:
Dynamite was founded in 2004 and is home to several best-selling comic book titles and properties, including The Boys, The Shadow, Red Sonja, Warlord of Mars, Bionic Man, A Game of Thrones, and more. Dynamite owns and controls an extensive library with over 3,000 characters (which includes the Harris Comics and Chaos Comics properties), such as Vampirella, Pantha, Evil Ernie, Smiley the Psychotic Button, Chastity, and Peter Cannon: Thunderbolt. In addition to their critically-acclaimed titles and bestselling comics, Dynamite works with some of the most high-profile creators in comics and entertainment, including Kevin Smith, Alex Ross, Neil Gaiman, Andy Diggle, John Cassaday, Garth Ennis, Jae Lee, Marc Guggenheim, Mike Carey, Jim Krueger, Greg Pak, Brett Matthews, Matt Wagner, Gail Simone, Steve Niles, James Robinson, and a host of up-and-coming new talent. Dynamite is consistently ranked in the upper tiers of comic book publishers and several of their titles - including Alex Ross and Jim Krueger's Project Superpowers - have debuted in the Top Ten lists produced by Diamond Comics Distributors. In 2005, Diamond awarded the company a GEM award for Best New Publisher and another GEM in 2006 for Comics Publisher of the Year (under 5%) and again in 2011. The company has also been nominated for and won several industry awards, including the prestigious Harvey and Eisner Awards.
About Mad Events Management, LLC:
Mad Event Management, LLC (www.madeventmanagement.com) is an agency dedicated to the success of your event of any size. We have years of experience managing all aspects of live events, including large scale consumer and trade shows, meetings, conferences and exhibitor execution. MAD also owns and operates several pop culture conventions: Long Beach Comic Expo, Long Beach, CA; Long Beach Comic Con, Long Beach, CA; New Jersey Comic Expo, Edison, NJ, Comic Creators Conference (C3), Long Beach, CA & Havana, Cuba.
The skill set required to produce conventions and conferences involves event planning, marketing, sales and operational expertise, all of which the team at Mad Event Management LLC is experienced and qualified to provide to our clients. We have been managing exhibitor set-up and handling event marketing for over twenty years, having produced exhibits for events such as Comic-Con International: San Diego, Frankfurt Book Fair, New York Comic Con and many other events.
DYNAMITE RAISES THE BAR ON THEIR COLLECTIBLE OFFERINGS WITH LAUNCH OF NEW BARWARE KICKSTARTER CAMPAIGN
Add Some Dynamite to Your Barware Collection Thanks to This Limited-Time Crowdfunding Campaign Featuring Red Sonja,Vampirella, Chaos! Comics, and More!
October 26, 2017, Mt. Laurel, NJ: Dynamite Entertainment is pleased to announce the launch of their exciting new Kickstarter crowdfunding campaign, which celebrates the storied history of three of their most iconic comic book characters, including Red Sonja, Vampirella and Chaos! Comics Smiley, with fun collectible pint glasses and bottle openers! Expected to ship in April 2018, these new kitchen keepsakes will add a little dynamite to any fan's barware collection!
The Dynamite Barware Kickstarter campaign is live now, and can be found by visiting:
https://www.kickstarter.com/projects/dynamiteent/red-sonja-vampirella-and-chaos-dynamite-glasses-an
Fans can enjoy a pint or two of Hyrkanian Hops to quench their thirst for all things Red Sonja with this two-piece Red Sonja pint glass set, designed to capture the She-Devil with a Sword as she appeared on the covers of Marvel Feature #4 and 1977's Red Sonja #1, both illustrated by industry legend Frank Throne! Featuring the ever-classic Red Sonja logo on the back of each glass, this two-piece set ships in a protective case and comes enclosed in a window front collector box.
The Dynamite Barware Kickstarter also offers two different bottle opener options! For those without fangs, you can now open your Drakulon draft with the official Vampirella bottle opener! Made of sturdy, cold-cast zinc alloy and measuring approximately 4.5" by 2" in size, the bottle opener ships in a four-color display box and features two magnets on the back that will allow you to conveniently display on your refrigerator door, readily available for use!
Additionally, devotees of Chaos! Comics will smile from ear-to-ear as they pop the top on their tasty beverage with the Smiley the Psychotic Button bottle opener! Made of sturdy zinc alloy and stainless steel, and measuring approximately 3.75 inches tall, this toothy bottle opener also features a back magnet for ease of storage, and ships in a full-color box!
"Dynamite has been honored to serve as the caretakers for these cherished comic characters for many years now," says Nick Barrucci, CEO and Publisher of Dynamite Entertainment. "And as we continue to grow the categories that we provide for our dynamite fans, we're excited to capture the rich history, spirit, and personality of these legendary characters with unique new collectibles not found anywhere else!"
Production on these new offerings is well under way to development, with an expected shipping date of April 2018. Backers who support the Dynamite Barware Kickstarter will have the opportunity to receive rewards, including digital issues, digital graphic novels, and character busts! With tiers designed to fit any collector's budget, backers will have the potential to enjoy many great rewards, including:
Digital issues of Red Sonja #1, Vampirella #1, and Chaos #1,
Vampirella bottle-opener,
Smiley sculpted metal bottle opener,
Set of 2 Red Sonja pint glasses,
Three digital graphic novels, including Red Sonja Vol. 1, Vampirella Vol. 1, and Chaos! Vol. 1,
Arthur Adams Vampirella and Red Sonja busts, and more!
The Dynamite Barware Kickstarter is available for a limited-time only. Backers can get on board and gain access to all these amazing rewards by visiting https://www.kickstarter.com/projects/dynamiteent/red-sonja-vampirella-and-chaos-dynamite-glasses-an today!
Own Dunkirk on 4K Ultra HD, and Blu-ray combo pack and DVD on December19, or Own It Early on Digital HD on December 12!
“Ambitious and harrowing, Christopher Nolan’s
‘Dunkirk’ is a masterpiece.”Stephanie Zacharek, TIME
WHEN 400,000 MEN COULDN’T GET HOME...
HOME CAME FOR THEM
ARRIVES ONTO 4K ULTRA HD, BLU-RAY™,
DVD AND DIGITAL FROM WARNER BROS. HOME ENTERTAINMENT
Own it Early on Digital on December 12
4K Ultra HD and Blu-ray debut on December 19
4K Ultra HD features
4K Resolution with High Dynamic Range (HDR)
Burbank, CA, October 24, 2017– One of the year’s most acclaimed films, Warner Bros. Pictures’ “Dunkirk,”arrives on 4K Ultra HD, Blu-ray, DVD and Digital this December. From filmmaker Christopher Nolan (“Interstellar,” “Inception,” “The Dark Knight” Trilogy) comes the epic action thriller “Dunkirk.”
Nolan directed “Dunkirk” from his own original screenplay, utilizing a mixture of IMAX® and 65mm film to bring the story to the screen. The film was partially shot on location on the beaches of Dunkirk, France, where the actual events unfolded.
Said director Christopher Nolan, “I’m excited to be releasing ‘Dunkirk’ on 4K UHD with HDR. The film was shot entirely on the highest definition IMAX and 65mm film and this fantastic new format, with its increased resolution and superior colour reproduction is able to maximize Dunkirk’s impact in the home.”
The film’s ensemble cast includes Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D’Arcy and Barry Keoghan, with Kenneth Branagh, Cillian Murphy, Mark Rylance and Tom Hardy.
“Dunkirk” was produced by Emma Thomas and Christopher Nolan, with Jake Myers serving as executive producer. The behind-the-scenes creative team included director of photography Hoyte van Hoytema, production designer Nathan Crowley, editor Lee Smith, costume designer Jeffrey Kurland, visual effects supervisor Andrew Jackson and special effects supervisor Scott Fisher. The music was composed by Hans Zimmer.
On December 19, “Dunkirk” will be available on 4K Ultra HD Combo Pack for $44.95. The 4K Ultra HD Combo Pack will include a 4K Ultra HD disc with the feature film in 4K resolution with HDR, a Blu-ray disc with the feature film in hi-definition, a Blu-ray disc with the special features in hi-definition, and a Digital version of the feature film.
4K Ultra HD showcases 4K resolution with High Dynamic Range (HDR) and a wider color spectrum, offering consumers brighter, deeper, more lifelike colors for a home entertainment viewing experience like never before.
Also on December 19, “Dunkirk” will be available on Blu-ray Combo Pack for $35.99 and DVD for $28.98. The Blu-ray Combo Pack features a Blu-ray disc with the film in hi-definition, a Blu-ray disc with the special features in hi-definition, a DVD with the film in standard definition, and a Digital version of the movie.
Fans can also own “Dunkirk” via purchase from digital retailers beginning December 12.
“Dunkirk” opens as hundreds of thousands of British and Allied troops are surrounded by enemy forces. Trapped on the beach with their backs to the sea they face an impossible situation as the enemy closes in. The story unfolds on land, sea and air. RAF Spitfires engage the enemy in the skies above the Channel, trying to protect the defenseless men below. Meanwhile, hundreds of small boats manned by both military and civilians are mounting a desperate rescue effort, risking their lives in a race against time to save even a fraction of their army.
Warner Bros. Pictures presents a Syncopy Production, a film by Christopher Nolan, “Dunkirk.”
BLU-RAY AND DVD ELEMENTS
“Dunkirk” 4K Ultra HD Combo Pack, Blu-ray Combo Pack, and Standard Definition DVD contain the following special features:
· Creation: Revisiting the Miracle
· Creation: Dunkerque
· Creation: Expanding the Frame
· Creation: The In-Camera Approach
· Land: Rebuilding the Mole
· Land: The Army On the Beach
· Land: Uniform Approach
· Air: Taking to the Air
· Air: Inside the Cockpit
· Sea: Assembling the Naval Fleet
· Sea: Launching the Moonstone
· Sea: Taking to the Sea
· Sea: Sinking the Ships
· Sea: The Little Ships
· Conclusion: Turning Up the Tension
· Conclusion: The Dunkirk Spirit
DIGITAL DISTRIBUTION ELEMENTS
On December 12, “Dunkirk” will be available to own in 4K HDR from select digital retailers including iTunes, Google, and Vudu. It will also be available in high definition and standard definition on favorite devices from select digital retailers including Amazon, FandangoNow, iTunes, PlayStation, Vudu, Xbox and others. On December 19, “Dunkirk” will be made available digitally on Video On Demand services from cable and satellite providers, and on select gaming consoles.
*Digital movies or TV episodes allow fans to watch a digital version of their movie or TV show anywhere, on their favorite devices. Digital movies or TV episodes are included with the purchase of specially marked Blu-ray discs. With digital, consumers are able to instantly stream and download movies and TV shows to TVs, computers, tablets and smartphones through retail services. For more information on compatible devices and services go to wb.com/digitalmoviefaq. Consult a digital retailer for details and requirements and for a list of digital-compatible devices.
PRODUCT SRP
4K Ultra HD Combo Pack $44.95
Blu-ray Combo Pack $35.99
DVD Amaray (WS) $28.98
4K Ultra HD Blu-ray, Blu-ray and DVD Street Date: December 19, 2017
EST Street Date: December 12, 2017
DVD Languages: English, Latin Spanish, Canadian French
BD Languages: English, Latin Spanish, Canadian French, Brazilian Portuguese
DVD Subtitles: English SDH, Latin Spanish, Parisian French, Canadian French
BD Subtitles: English, Latin Spanish, Parisian French, Canadian French, Brazilian Portuguese
Rating: Rated PG-13 for intense war experience and some language
DVD: DLBY/SURR DLBY/DGTL [CC]
4K Ultra HD and Blu-ray: DTS HD-MA
About Warner Bros. Home Entertainment, Inc.
Warner Bros. Home Entertainment (WBHE) brings together Warner Bros. Entertainment's home video, digital distribution and interactive entertainment businesses in order to maximize current and next-generation distribution scenarios. An industry leader since its inception, WBHE oversees the global distribution of content through packaged goods (Blu-ray Disc™ and DVD) and digital media in the form of electronic sell-through and video-on-demand via cable, satellite, online and mobile channels, and is a significant developer and publisher for console and online video game titles worldwide. WBHE distributes its product through third party retail partners and licensees.
Mr. Robot S03E03 "eps3.2_legacy.so" Recap
Returning to the night of the hack, Mr. Robot takes over Elliot and tries to shoot Tyrell. The gun jams and Tyrell interprets this as a sign that they're destined to work together. He makes an impassioned speech on the matter and convinces Mr. Robot that he needs Tyrell for Stage 2. They are interrupted by Irving showing up with the Dark Army. Irving tells them that Gideon told the FBI that Tyrell shut down the honeypot and is now the prime suspect of the hack. They take him to a cabin so he can hide out and avoid being arrested.
Zhang orders his subordinates to frame Iran for being the origin of fsociety and also makes moves to help Trump get elected. Zhang has plans for virtually everyone, including Tyrell and Elliot.
Tyrell is ordered to have a psych evaluation and he breaks down in it but still claims he will always be loyal to Elliot. He is given secure access to engineer Stage 2 and Cisco's firmware, all the while fosciety will keep him hidden at the cabin and monitor what he does. Tyrell continues to work diligently but becomes increasingly disheartened and finally snaps when he reads reports about Joanna moving on romantically. He grabs a backpack, dons a hat and sunglasses, and goes for a walk. He is spotted by a local police officer and arrested. Tyrell breaks his thumb to try to get free from his handcuffs but by theme he gets his hand out of one side, an FBI Agent Santiago shoots the officer in the head, having been planted by the Dark Army. He is Dom's superior and reprimands him for allowing Tyrell to get away. He had to kill the officer to ensure no one else knows where Tyrell is.
Irving is able to calm Tyrell down by assuring him that he will be able to get his family back once this stage of the place is finished. Irving continues to monitor Elliot through Leon, while Tyrell is later brought to a hotel run by the Dark Army. Tyrell is looking forward to finally being able to see Elliot again. After their reunion goes wrong and he is forced to shoot Elliot, Angels tells him about how Elliot has a split personality. Elliot has surgery to remove the bullet and mend his wounds and afterwards, Mr. Robot emerges and smiles at Tyrell for sticking to the plan they had agreed upon.
Mr. Robot airs on Wednesdays on USA at 10/9c.
"Ghost Wars" San Diego Comic Con 2017 Interviews
"Ghost Wars" is a fresh new series on the Syfy network that is centered around the lead character, Roman. He has inherited psychic abilities that allow him to see and communicate with ghostly spirits. These skills put him in the epicenter of strange happenings in the small town in which he resides when an earthquake causes a rift that traps spirits there and prevents them from passing on. Creator Simon Barry spoke to us at San Diego Comic Con while the series was still shooting the first season and discussed the central theme of fear, his approach in developing the show, and his thoughts on the use of jump scares in the horror genre.
The most memorable moment of speaking with producer Dennis Heaton was when he shared how he'd choose to have the show end, if the decisions were entirely up to him. His finale preferences were downright shocking!
Producers Mike Frislev & Chad Oakes discussed the series conception, development, casting, Avan Jogia's protagonist role as Roman, and the creative process behind putting everything together.
Vincent D'Onofrio portrays Reverend Dan, a priest that was suffering from a crisis of faith before the ghosts rose up in the town. But after they begin to terrorise the locals, he begins to have far more partitioners coming to hear him speak. Meat Loaf portrays Doug Rennie, an angry man that frequently treats Roman as a scapegoat for all the pain and upset he harbours from his negative life experiences. Both actors further introduced their characters and spoke about what drew them to the project.
Series stars Avan Jogia and Kandyse McClure had banter to share about not only their respective characters but the approach of the show's creative team in utilising a great deal of practical effects to create the horror visuals. McClure portrays a research scientist at the LAMBDA Institute and despite having taken up residence in a small town, is only there in the hopes of furthering her career and not with an interest in living a small life.
The Gifted S1E04 "eXit strategy" Recap
In a flashback, John is with another mutant called Gus ("Pulse") and they are preparing to break into a mutant facility to break some out. The mission goes wrong and John is forced to flee with some of the other mutants while Gus stays behind to try to shut down the facility's system with his mutant ability. He is shot and seemingly killed and the others are forced to escape without him.
In the present day, the underground mutants are working with the Struckers to form a plan to rescue both Reed and Polaris, who are set to be transferred to a detention facility. The best chance at rescuing them is to get them while they're being transferred. Marcos needs to reach out to old contacts/colleagues in organised crime to get information on when the transfer is set to take place.
John and Sonya are in disagreement about what her planting memories in Clarice's mind to form an attachment to John. John is insistent that Sonya tell her the truth but Sonya claims that the memory is more like a dream impression that will fade over time. She also is manipulative in claiming that telling her the truth will cause her to leave and then they won't be able to have her help in rescuing other mutants. Clarice has been having dreams of kissing John in an alley and become confused, as she doesn't believe it actually happened but the dream is recurring.
Marcos meets an old flame, Carmen, whom he left to be with Polaris. She harbors a grudge for being dumped but is willing to provide the information on the transport if Marcos will use his abilities to torture a prisoner she has and requires information from. Marcos agrees, but is shaken by the experience.
Reed and Polaris begin to learn more about one another. Reed opens up about how his children are mutants and have broken the law. Before this revelation, he didn't understand the circumstances and what it's truly like to be a mutant. He apologises to her for what he has done but she still lashes out for all the pain he has caused and refuses to be the one to offer his forgiveness.
Lauren and Andy must train their abilities so they can help attack the convoy to stop it long enough to be able to get Reed and Polaris back. Caitlin objects to putting her children at risk but both are determined to take the necessary risks to fight a battle that is bigger than just them. John assures her that they are only needed to stop the bus and after that, they can get out of the fight that the other more experienced mutants will fight.
The mutants are able to work together to stop the bus but things go wrong when one mutant with an invisibility power is revealed and shot. Other mutants are shown to be struggling to use their powers and John figures out that Gus ("Pulse") is still alive and working with Sentinel for some unknown reason. He can disrupt their abilities in addition to being able to disrupt technical systems. John tells Clarice how they were best friends and he had thought Gus died in the attack on a detention centre. John is forced to confront Gus in order to stop him from disrupting everyone's power. The tides shift in the mutant's favour when Reed tells Polaris to taketh metal screws in his leg and she is seemingly touched by the gesture. She uses them to free Reed and herself rom their restraints and take out the guard in the armored truck with them. With Gus no longer disrupting everyone's abilities, the mutants are able to begin their escape, with Clarice first opening a portal for Sonya to get away with the injured mutant. Marcos is refusing to leave without Polaris, much to John's objection, but it's then that Polaris breaks out of the truck with Reed limping behind. The Sentinel agents retreat and Caitlin drives up with a getaway car. After a teary reunion with Reed, she drives everyone off.
REEDPOP AND MCM COMIC CON JOIN FORCES TO PRODUCE THE LARGEST POP CULTURE EVENTS IN THE UNITED KINGDOM
MCM Comic Con Joins the ReedPOP Family as It Continues Rapid Growth as #1 Producer of Pop Culture Conventions Across the Globe
NORWALK, CT -- October 23, 2017 – ReedPOP, the world’s largest producer of pop culture events, is adding a series of premier events across the United Kingdom to its portfolio through the acquisition of MCM Comic Con. Today, ReedPOP announces that the leading pop culture events producer in the UK has joined its family of leading experiential fan events. The acquisition by ReedPOP, a boutique group within Reed Exhibitions, part of RELX Group, of MCM will take effect immediately and its impact will begin to be seen and felt on all 2018 events.
The MCM Comic Con show portfolio boasts nearly 300,000 pop culture fans and cosplayers who flock to events throughout the year in London, Birmingham, Manchester, Glasgow, Liverpool and Belfast.
"For nearly a decade I’ve watched with great admiration as the MCM brand grew in size, scale and quality, as well as in the hearts and minds of UK fans. I could not be more proud and humbled to team up with the MCM team to bring two world-class pop culture event companies together,” said Lance Fensterman, Global Head of ReedPOP. "The addition of the MCM brand extends the reach and influence of the ReedPOP portfolio and further solidifies our place as the number one producer of fan events across the globe. We cannot wait to work with the MCM team to build even bigger and better events for fans in the UK.”
Since ReedPOP's first event in 2006, the sold-out New York Comic Con, the group has sought to produce exceptional experiences for passionate audiences and grow the industries surrounding these passions. This philosophy has led to burgeoning attendance, the support of major creators and publishers and partnerships with leading entertainment brands including Lucasfilm (Star Wars Celebration), Twitch (TwitchCon) and Penny Arcade (PAX).
In recent years, ReedPOP has recognized pop culture audiences emerging throughout the world, where it has produced once-in-a-lifetime experiences for these new fans and connected exhibitors to these hungry, unexplored markets. ReedPOP’s previous global events have been held in China, France, Australia, Germany, India, Singapore, Korea and other territories across the globe.
MCM Comic Con was co-founded by Bryan Cooney premiering the show in 2002 as the London Expo. The next few years saw London Expo grow and flourish. In 2004, it rebranded as London MCM Expo – the ‘MCM’ standing for ‘Movies, Comics, Media’; and in 2005, it took the first steps that would transform it from a collectors’ and autograph event into a comic con, with the addition of dedicated comics and anime areas plus film and TV content. More recent years saw MCM spread its wings, launching events across the UK.
“Everyone at MCM is delighted to be joining the ReedPOP family. I have visited NYCC many times and thought how cool would it be to work with Lance and ReedPOP. Today, all my wishes are granted. I look forward to launching MCM into a higher orbit of popular culture’s greatest shows alongside ReedPOP”.
About ReedPOP:
ReedPOP is a boutique group within Reed Exhibitions, the world’s leading event organizer. ReedPOP is devoted exclusively to organizing and managing events, launching and acquiring new shows, and working with premium brands in the pop culture world to deliver once in a lifetime experiences for fans everywhere. ReedPOP is dedicated to facilitating celebrations of popular culture around the globe that transcend ordinary events by providing unique access and dynamic personal experiences. The ReedPOP portfolio includes: New York Comic Con (NYCC), Chicago Comic & Entertainment Expo (C2E2), Penny Arcade Expo (PAX) West, East, South and Australia, Emerald City Comic Con (ECCC), BookCon, Oz Comic Con, Comic Con India, Comic Con Paris, Comic Con Seoul, Star WarsCelebration, TwitchCon, ComplexCon and more. The staff at ReedPOP is a fan-based group of professionals uniquely qualified to serve those with whom they share a common passion. ReedPOP is focused on bringing its expertise and knowledge to world communities in North America, South America, Europe, Asia, India and Australia. (www.reedpop.com).
About RELX Group
RELX Group is a global provider of information and analytics for professional and business customers across industries. The Group serves customers in more than 180 countries and has offices in about 40 countries. It employs approximately 30,000 people of whom half are in North America. RELX PLC is a London listed holding company which owns 52.9% of RELX Group. RELX NV is an Amsterdam listed holding company which owns 47.1% of RELX Group. The shares are traded on the London, Amsterdam and New York Stock Exchanges using the following ticker symbols: London: REL; Amsterdam: REN; New York: RELX and RENX. The total market capitalisation is approximately £33bn, €38bn, $44bn.
About MCM:
MCM Central is the umbrella for the award winning MCM Comic Con shows held throughout the UK. MCM's odyssey began in 2002 with the launch of London Expo. In 2017 MCM Central hosts shows in London, Manchester, Birmingham, Liverpool, Belfast and Glasgow with London being Britain’s leading pop culture festival. MCM London Comic Con is the double, double award winning event, sweeping the 2015 & 2016 AEO and EN Awards for Best UK’s Consumer Show. In the future, MCM looks to develop and expand its modern pop culture portfolio, as well as some other incredibly exciting opportunities.
Rosario Dawson Brings Artemis Audiobook to New York Comic Con
Rosario Dawson made an appearance at New York Comic Con to discuss her role in narrating the Artemis audiobook. The original novel was written by Andy Weir, who is also the author of The Martian, and Weir himself joined in on the panel through a video conference call. Weir shared about his development process of creating the Artemis world and story, while Dawson spoke about all the last-minute preparation she took on in order to voice the wide variety of characters in the book since many of them were from different backgrounds with particular accents associated with each.
Watch the Artemis panel here:
Melissa Joan Hart Brings "The Watcher In The Woods" Remake to New York Comic Con
Melissa Joan Hart and her mother Paula Hart paid a visit to New York Comic Con to promote their upcoming Lifetime film "The Watcher In The Woods" which is adapted from a 1976 novel and was also adapted to film by Disney in 1980. While the original film adaptation borrowed much of the more abstract, science fiction components of the novel, Melissa and Paula promise that this latest film adaptation for Lifetime will be a traditional ghost story.
Though Melissa and Paula have worked together to produce the project, Melissa took on the additional responsibility of directing. Much of the production staff was also women, something they are enormously proud to have done so as to better the opportunities for women in the industry. Anjelica Huston is also prominently featured in the project and has had nothing but kind words about Melissa as a director throughout her time promoting the project.
The Watcher In The Woods will air on Lifetime on Saturday, October 21.
Watch the full "The Watcher In The Woods" panel here:
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The Tick S01E06 "Rising" Recap
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Immunology: New possible treatment for saw-scaled viper venom
A potential new treatment for preventing tissue damage from saw-scaled viper venom is presented in Nature Communications this week. The paper also provides insight into the mechanisms underlying viper venom-induced tissue destruction in mice.
Approximately 5.5 million snakebites - responsible for 0.4 million amputations and 0.125 million deaths - are recorded annually. The venom of saw-scaled and carpet vipers accounts for most cases of human death by snake bite in northern Africa and Asia. Although available antivenom therapy can prevent death, it fails to inhibit viper bite-induced tissue destruction. Specifically, it is known that the venom of the saw-scaled viper Echis carinatus attracts white blood cells called neutrophils to the bite site; however, the precise role of these cells in tissue destruction has been unclear up to now.
Kempaiah Kemparaju and colleagues inject E. carinatus venom into the tails of mice (in groups of about ten across several experiments) and show that the venom causes neutrophil self-destruction by inducing formation of neutrophil extracellular traps (NETs) - antimicrobial agents made of specific proteins and genetic material. When venom injection takes place, NETs capture the venom in order to prevent its rapid distribution through the body, but they also block blood vessels in the vicinity of the injection site, promoting tissue destruction. The authors demonstrate that NETs can be degraded by externally added DNase1, an enzyme that degrades DNA, which is a major component of NETs. Mice injected with DNAse1 and with the venom do not develop NETs, and are not affected by venom accumulation and tissue destruction at the injected site, but have greater mortality rates due to increased venom spread. However, the authors find that when DNase1 was injected 30 or 180 minutes after venom injection tissue destruction was prevented and this was not accompanied by an increase in mortality.
These results, if shown to be valid in humans, suggest that specifically-timed treatment with DNase1 may have a therapeutic potential for preventing tissue destruction caused by snake venom.
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Epidemiology: Predicting COVID-19 spread in China using mobile phone data
Nationwide mobile phone data tracking aggregated movements of people in China can accurately predict the geographical and temporal spread of COVID-19 infections up to two weeks ahead of time, according to a study in Nature. The study analysed the distribution of population outflows from Wuhan, China, during the early stages of the COVID-19 outbreak in January 2020.
Large-scale population movements can contribute to localized outbreaks of a disease becoming widespread epidemics. However, monitoring such aggregated population flows, such as the chunyun period of mass travel in China in the run-up to the Chinese Lunar New Year’s Eve on 24 January 2020, can prove challenging.
Nicholas Christakis and colleagues studied anonymized mobile phone data from a major national carrier in China to analyse the movements of more than 11 million people who spent at least 2 hours in Wuhan between 1 and 24 January 2020, when the quarantine was imposed. They linked these data to COVID-19 infection rates until 19 February from 296 prefectures in 31 provinces and regions throughout China.
The authors report that quarantine restrictions were highly effective at substantially reducing movement, with population outflows dropping by 52% from 22 January to 23 January, and by a further 94% on 24 January. They also show that the distribution of population outflows could accurately predict the frequency and geographical locations of COVID-19 infections in China up to two weeks in advance, and identify potential high-transmission-risk cities at an early stage of the outbreak. The authors suggest that the model reported in the study could be used to assess COVID-19 community transmission risk over time in different locations in the future.
The findings could help policymakers in other countries that have mobile phone data available to make rapid and accurate risk assessments and plan the allocation of limited resources during outbreaks, the authors conclude.
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I◄◄ First | ◄ Previous
Monday — January 10th, 2011
I whole-heartedly agree with Mona on that last statement. I do hope that there will be more stories of these guys in the future, but for now it’s been really quiet on all fronts (including mine) so I guess that this might be it. Well, let’s not say that this is the end, for I don’t want that. Let’s just say the comic is on hiatus. There are still a few more stories to be written, I know Kenny has a few on the shelf and God knows I’ve got some. I wish I could continue drawing, even if it has been hell only this one year I’ve been working, but I cannot for personal reasons that I believe everyone who should know about knows about.
About the comic? Yeah, it might seem to be the lazy way out, I was hoping for a feeling of reminiscence. Though I don’t know if I did a good job at that or not. In either case it sorta shows how much I’ve improved over this one and only year. Go back further and check out Silvers progress, that’s just amazing!
I feel like I should say something more, but I don’t really have anything more to say. Been fun, and now of to the next project! Be great, everyone!
Something about stars and crafts
April 19th, 2017 by KennyMan666
So many moons ago I made an April Fools’ joke about making a Next Era game. It wasn’t actually a game, but it was a custom StarCraft map that I was working on. It was never completed. But now that StarCraft and Brood War have been made freeware, I was reminded of it.
So I figured, what the hell, I might as well upload it here. So you can download (6) Assault on Sigma.scx.
Honestly, though, it’s not really in a playable state. It’s literally not playable in version 1.18, as in it won’t even start. I think you can run it in 1.16, and you can do some things, but it’s not completeable. It can at least be opened with ScmDraft.
And, at least, here’s some screenshots from the editor, showing off parts of it.
The starting point. It should be kind of obvious who is who of our heroes, but for reference: Fenix (Zealot) is of course 666, speedy humanoid with claws. Sarah Kerrigan (Ghost) is Silver with her sniper rifle. Guy Montag (Firebat) is Snex fairly good fit. Infested Kerrigan is Shiva, mostly because she’s kind of the only other female hero unit, but it’s not a terrible fit – would have been perfect if I could give the electric storm special to Silver, though. Fenix (Dragoon) is Metro, with the plasma. And finally, Devouring One (Zergling) is Type, also speedy and somewhat less humanoid than 666.
The entrance to the, well, fortress.
Flame Mammoth’s stage, mostly. The Zerg beacon, usually located after a boss fight, is consistently used as an “explosion pad”, that will destroy the nearby barracks – aka blockades, thereby granting access to the power generator. Eight in total and they all need to be destroyed.
Boss battle with Flame Mammoth, the Siege Tank. Starting out in deployed mode, when that one is defeated he would become the regular tank and drive around the pit. Didn’t have anything in place yet to make sure he could be defeated without ranged units.
Supposedly Crescent Grizzly’s stage, and sort of boss fight – he’s the Ultralisk. Was supposed to run down the corridor and meet the heroes at some point. Stage was never populated with enemies.
Cyber Peacock’s stage. Protoss beacons are teleporters.
Boss battle with Cyber Peacock, the Arbiter. If I recall correctly, touching the Terran beacon underneath him would turn control of the missile towers in the boss arena over to the player for a time (which I believe was through Pallette hacking into the systems), thus being able to see what he had cloaked and also attack him.
Sting Chameleon’s stage, most of it at least (and the editor doesn’t show the creep). Most of the colonies are invincible, so the ones that weren’t had to be destroyed to proceed. Burrowed Zerg units everywhere.
Sting Chameleon the Hydralisk’s boss battle. Pretty straightforward, but mind the Lurkers.
Vile the Marine guarding a path deeper into the fortress. He had a Goliath form as well, but that wasn’t ever placed anywhere.
Boomer Kuwanger’s still empty stage.
Boss battle with Boomer Kuwanger, the Ghost. Approaching the scanners would… well, scan the area, thus revealing Kuwanger if cloaked.
Dark Mantis the Dark Templar, who didn’t have a stage or boss arena built yet.
Morph Moth the Guardian, but I’m pretty sure he was supposed to start out in cocoon form. Also didn’t have a stage or boss arena built
The final stage, leading up to the final battle.
The final corridor. The Photon Cannons are invincible and hits super hard, so heading in here without first disabling them would get you killed. The way to proceed was to defeat the bosses and destroy the eight power generators – each one was linked to a Pylon, so when the generator was destroyed, so was the Pylon. Destroying all eight thus meant no power to the cannons. Nothing was really done past the final corridor, but past those doors, the players would have the final boss fight with Sigma, of course in two forms – first form being Tassadar as High Templar, second form being an Archon. And beating that would win the map.
And, well, there’s the minimap in the editor. That’s about it.
In other news some time ago I tried to update the wiki. Something went really fuckin’ wrong with that, and as a result, the wiki is currently unavailable. I may try to get it back up again at some point in the future when I have the time.
I’ll just finish up here with some shameless self-promotion, ’cause while Next Era is pretty much asleep, I haven’t stopped writing. Almost exactly eleven months ago – on May 14th, my birthday, 2016, I officially launched One Piece: Pure Corruption, a, well, One Piece fanfiction. It’s got 33 chapters published so far, and is currently updating roughly every other Friday. So if you liked my Next Era writings, well, you can check that out.
And finally, I may have a little Next Era-related surprise boiling. No promises, though!
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Where it went down
October 3rd, 2015 by KennyMan666
I keep thinking of new things to mention. But today’s a short one. I randomly thought of it, and realized I don’t think it was ever “revealed”.
Nothing big – just the location of the Maverickhunters Headquarters.
I don’t know where people have thought it was, and I don’t remember how much of it was mentioned in the stories, but given that we’re basing this on originally Japanese games, people could be forgiven for thinking it was in Japan. But we decided at some point that it actually was located in North America, and there is at least a mention of that on the wiki. Specifically – in California. And that the closest remaining city was Los Angeles. Basically, we figured that big cities would be the ones most likely to still stand after the wars, and I can very much imagine they even grew, as people clustered together in greater amounts and people from smaller communities moved to bigger cities, and after the war they expanded. At least the draft of Tribute mentions “the city” – which is supposed to mean Los Angeles. Anyway.
At some point, I found a place on some map serive. I don’t think it was Google Maps at that time. It was some kind of space communications center. I considered for a little while that to be the location of the HQ, but eventually I looked around even more, and what did I find?
Fort Irwin.
Another thing we had stated at some point is that the HQ was likely on the site of a former army base. And here we had one, in the area we had said HQ was, close to the spot I first had considered (okay, so it’s a training facility rather than a straight up base, but, y’know. The Hunters did a lot of remodeling anyway). I still considered the first location kind of a part of HQ – it was one of multiple facilities in the area they made use of, even if that one eventually fell into disuse and became entrely automated – it’s where Metro gets sent in Symphony, by the way. While it originally was the DSS-15 I found, there’s at least two other places – DSS-12 and Apollo – that are in the same area, in the same general direction and at enough of a distance that any of them could fit the bill, and they’re probably all used by the Hunters if they were still standing after the war. Basically, any sort of installation in the area that didn’t get destroyed in the Maverick Wars were likely at some point reclaimed by the Hunters.
My main problem with this was that I in Symphony needed a forest close enough for Bamboo Pandamonium to launch his missiles from. I eventually just figured that a forest could have been grown in the vicinity between “now” and then.
Artistic license, bitches.
The music of Next Era
September 23rd, 2015 by KennyMan666
Also known as Next Era things that never came to fruition, part one.
It should be no secret nor come as a surprise to anyone that I consider myself a musically inclined person. From participating in miming performances in school, to being in the school choir, to having had a period in my life where I played drums, to these days having karaoke as one of my primary hobbies. I listen to music pretty much all the time too.
So it should come as no real surprise that I have, at times, applied music to Next Era. Even if none of that ever actually became visible in the writings.
At the bottom of the Symphony document, you can see that I had started considering a “soundtrack” for it. It had 12 spots, because at the time, there was a website called Muxtape where you could make a mixtape with 12 songs (and now I find that someone has made an open source package for doing a similar thing on your own website. I have downloaded this and will look into it). I was planning on making one and linking to it when the story was posted. Each track would pertain to a specific scene, or collection of scenes, in the story. And get its own title. So let’s start there. I only wrote down four, though.
First, Unseen bonds – the decisive battles of three comrades. This was, I’m pretty sure, going to be for Silver’s, Shiva’s and 666’s fights, as I think they’re kind of done at the same time in the story. The song is Brave Heart by Megumi Hayashibara, from Shaman King. It fits for cutting between three frantic battle scenes, I guess? Even if the story, as written, doesn’t have those cuts. I probably tended to think more “cinematically” for what the soundtrack would be.
True colours – a fearless sacrifice is… well, I’m fairly certain it was for when Kay sacrificed herself to take down Lumine, since “true colours” refers to that also being the major scene where Lumine is revealed as the villain of the piece. Problem with that is that the reveal and the sacrifice were to be in two different scenes. Thing is? I have no idea what song was meant for this. I probably never thought of one.
The sisters’ requiem – let’s meet again in the afterlife is, well, when Jay is being a bit sad about Kay’s death. Atos cheers her up, he can probably relate since he’s effectively lost his dad. The song is Over the Distance by Hitomi Yaida, made famous (and introduced to me) through manly DS rhythm game Osu! Tatakae! Ouendan.
That which was lost – turning eyes toward tomorrow would have been the finale. When all the enemies have been defeated, when the attack on the HQ has been stopped. When there’s actually time to mourn all the lives that were lost in the attack and start taking the next step… rebuilding. It’s actually two songs – This Land and King of Pride Rock, both from the best Disney movie ever, and I shouldn’t even have to say the name. The songs are fantastic mixes of melancholy and triumph. The segment of Circle of Life at the end of the latter one isn’t quite fitting, but…
I’m not actually sure if I had any more songs actually figured out for that, but that’s four out of 12… there would have been 8 more. I guess these would have been, in some kind of order, the introduction, the start of the attack, 666 and Shiva’s reappearance, Vile vs. Pandamonium, Metro vs. Man-o-war, Silver (and Pallette) reconnecting with Shiva, Blues dying and 666 fighting Hailius. Actually, no, scratch that, that would be a bonus track since it takes place three days later, after the “finale”. I guess that would be the “stinger” that plays after the credits. So the 12th scene with a track would be… either the one where 666 meets up with Snex, or giving Kay another track – one for the Lumine battle, and one for the sacrifice. W/e.
But that obviously wasn’t all. I had some ideas for other songs going, at one point I had an idea to give each character a soundtrack, and well… I remember, hilariously enough, that the track for 666 getting together with Razie was going to be, of all things, Strangers in the Night. Bascially, if you take the “dance” part of the lyrics and interpret it as “fight” (because that’s what they actually DID the night of the first day they met), it’s actually pretty fitting. “Love was just a glance away, a warm embracing dance away.” Followed by “in love forever”. It makes sense in fairly silly ways. I also knew I wanted to use, for obvious reasons, Get up 2 the Track (666 is back) for something. I think “comeback” was the only idea there, but it wouldn’t have fit for when he returned in Symphony, really… and sadly, I don’t remember any more songs planned for any characters.
Which brings me to my third and final part of this… Next Era-specific songs. Rather than take an already existing song and apply it to Next Era, get some actual Next Era songs. Partly, at least. Inspired by writing translations or parodies in Swedish of various songs, mostly Japanese (bunch of my work can be found here), I started thinking of Next Era songs. Which didn’t really get that far either. Two ideas were had – a Next Era “intro song” (I often thought of NE in terms of being a kind of animated series), which would be English lyrics using the music of Yeah! Break! Care! Break! from Dragon Ball Kai, and a sad song that would be sung by/from the perspective of Shiva (image song!) about how she’s had kind of a fucked up life but have to go on anyway, to the music of Naraku no Hana from When They Cry.
I think that’s all I have to say about that. If I randomly remember more things, there might be more posts in the future.
June 11th, 2015 by KennyMan666
In the month of November an update came
November 11th, 2012 by KennyMan666
It’s been a long time since I could last make any significant update here. I posted those old story drafts and other documents, but that was really nothing more than digging through old stuff and showcasing them for your amusement.
Today, that changes.
For I have finished a story.
It’s not Symphony. But what it is has in about a month (I started writing it October 16th) become larger than what Symphony has become in all the years I have had it as a work in progress.
So it’s kind of a big deal for me.
It’s the first Next Era story I complete since 2007.
It’s the first Next Era story I write where 666 is not an involved character.
But most of all, it’s a sixteen thousand word testament to that my writer’s block is finally over.
I am working on a much, much shorter companion piece to it, but I’d want you to read that one later anyway, so it will be posted when it gets done.
A fun fact to note is that this story evolved from a particular scene that I thought of, and had boiling in my head for a while. In essence, it was the core of the story. In the completed story, that part amounted to only three thousand words.
And so, to this end, I present to you the first new Next Era story in two years: Archives.
A blast from the past, part 2
January 20th, 2012 by KennyMan666
Went through my Google Documents, and found some more stuff. Thus, five new documents today! Well, six, I noticed I had forgotten to upload Maverickhunter tales.doc yesterday.
Individual documents here, compressed archive here.
Three miscellaneous documents:
evolution666.doc was supposed to be the first in a series of articles, I had hoped for more people to write about their characters, but I never finished it and looking at it now I don’t really like how it was coming out. So I’m sharing it here instead.
NE-Stats.xls (that’s right, a spreadsheet) was a thing that was done, trying to give the Next Era characters stats, using the Fallout stat system… because at the time I was playing a pen & paper RPG that used those stats. It didn’t work well when applied to these characters, so it was temporary amusement and then forgotten.
Storys.xls was a listing of stories, and why or why not they were good candidates for being made into comics. And not much more.
Also, two story drafts:
Christmas.doc didn’t actually have any name, but it was supposed to be a story of a Christmas party. Eventually, I came to dislike the idea, but some concepts in it aren’t terrible. Notably, the short segment at the end includes a mention of Pallette, who here has a vastly different characterization than I would later give her, and before I had the idea of making her and Shiva a couple, but I believe this is where I first came up with the idea of putting the two of them together in some way. This story in particular provides some support for the 666/Shiva pairing, but as I eventually decided for that pairing to never have been this strong, there’s little to nothing in this story that could be found canon. Well, maybe Shiva borrowing clothes from Silver.
Rank was a very early thing where I utterly wanted to write a story without 666. I had some initial ideas, and I knew how it would end, but I could never progress with it, so it died off. Bonus: Discussion about things related to the story by me and Silver. In Swedish.
Got one or two story drafts I’m not sure if I want to try to actually do something with. If I decide I’m not going to, I’ll upload them too.
WordPress now updated. I’m not a huge fan of the top bar I get when logged in.
Wait. An update? On the page?
Thing is, I was going through an old backup… and came across some stuffs.
Some old Next Era related things. From the time before it was even named Next Era, from the time we only called the entire project “Maverickhunters”. A bunch of documents. Documents, most of which were never released in any form. Documents that have in the past been seen by at most one other person.
Today, I’m releasing them. I’ve uploaded them all, here. You can browse and download what you want, or get them all in a compressed archive here.
They come in two folders, misc and stories. And now, I get to talk a bit about these documents!
misc holds… well, the documents that aren’t stories. Mostly related to 666.
666.odt is a presentation of sorts I wrote about 666 once. Mainly, it’s a listing of his attacks. The attack listing is from a time when I was high on One Piece, many of the attacks having direct inspiration from there. Some of the attacks were kept, but most have been discarded completely. At the very least, most of the attack names have been discarded completely, as they suck.
666boxlol.doc and Maverickhunters descript.doc are two variations on the same thing, the character presentation box that was used at the birth of Next Era back on Lunarstorm. The very earliest version is definitely gone for good, and that’s a good thing.
Maverickhunters.doc is in Swedish. Sucks to be all one of you who read this page and don’t speak Swedish. It’s the introduction test from the same period as above, and even earlier. Questions written by Silver and Flex were sent to people who wanted to join. These are my answers.
stories is of course the meat of this update. It’s a folder full of discarded drafts for stories I was writing once upon a time, as well as a list. This is what they were.
Angels is just a few lines, I hardly even started writing it. It was supposed to be a story that was written by both me and Silver, in that we had already written the story by acting it out over MSN – it was a duel between 666 and Silver. 666 ultimately won, but not by much. It was in this story Raiden and the Venom Fuse were introduced, as well as the Razor Angel fusion. Is it still canon? Doubt it. Raiden was retconned out, so this story would have to be pretty massively modified, too. If I ever find the logs of that MSN conversation, as well as other MSN conversations we had, I’m uploading them.
Blade is 100% a One Piece inspired story. And by that, I mean 90% of it is ripped from the Alabasta arc. The title of the story is actually Routine, and was supposed to have sub-chapters, with the name of the opponent. The basic story was that 666 and Silver were going on a mission, which turned out to be a trap. Silver was captured, 666 battled five guys, and then ran into a trap himself. The opponent in this piece of the story had a diamond coating, but could control the form of the coal, so it could turn into graphite too… whatever that was good for. (amusingly enough, just last year I reached the part in One Piece where there is a character who can turn his body into diamond… and he blocked a sword slash from the greatest swordsman in the world with that.) The entire secquence is almost identical to the Zoro vs. Mr 1 battle, and Soul Dance is a carbon copy of Zoro’s Lion Song. The Soul Dance was preserved for later use, and I believe was first ever actually shown in Love. Canon? Maybe parts of it, but definitely not as it was written here.
Executioners is a massive wreck and display of something that should never have been written. Since there’s talk of “entertaining” kills and the such, this one is very, very likely to have been majorly inspired by me playing Manhunt. I just wanted to write a story in which my characters kills hundreds of people. Since enough of it wasn’t written to explain the backstory, let me specify that this actually isn’t just a random killing spree, but the “town” is a prison, and the “citizens” are all criminals that were going to be executed anyway. So they hired people to kill them for entertainment. While technically something that could happen because they’re hired mercenaries, I’m going to go ahead and utterly un-canonize this.
Instinct was an early thing I worked on after Raines and Gary had been introduced, because I needed to get Gary and 666 together for a battle. The tournament idea is taken from Dragon Ball, and I had many ideas for this story that just didn’t pan out. The ending of the story is written, but there’s a large chunk of story missing in the middle, and it’s not written well at all. But it’s ten pages. Well, nine and a half. That’s right. Nine and a half pages discarded. It kind of pains me, but on rereading I’m kinda glad I dropped it. Definitely not canon. Particularly not the part where 666’s claws are detached. They can be shut off so they can’t be activated, but they’re not removeable.
Time was supposed to be the formal introduction of the Order of the Pentagram and its members, and the story of that one year 666 was away from the Maverickhunters. A mission in Norway. The story of when Razie died, and stuff. Note that I already back at this point had Shiva’s nickname for 666 decided, and she’d stick with “sixboy” for the rest of forever. One of the few stories I wrote in first person, and I believe Hate is the only one I ever wrote like that that ended up being released to the world. This one is technically canon, in that the one year did happen, the mission in Norway did happen, and it was there Razie died. What this was going to become, had I written it to the end at the time, would probably not be the way it happened, though. The campaign probably didn’t take a year, but I assume 666 spent some time after it on his own before returning.
Maverickhunter tales is just a list of stories I planned to write. Time started being written, as you saw above, but of the ones in the list the only one I remember anything about is Prison. It was going to be a story about 666 spending some time in prison at the headquarters, for… some reason, and Silver pretty much being the only one who were visiting him.
Meeting isn’t new. It’s the original version of the story, that was written like complete crap, before I replaced it with the version that didn’t have grammar with MPD. Here for your reading displeasure.
So that’s some history, and some stuff you almost were subjected to. Enjoy.
WordPress is telling me to update. I’ll do that tomorrow.
Well here we are again
May 1st, 2011 by KennyMan666
And it’s not the greatest pleasure, because it’s been two years, and you know what that means – that’s right, it’s time to cough up the cash to keep this site afloat for another two years. So, that’s $190.80, to be paid… well, as soon as possible.
As the hosting is being used for other things, we’re not going to take the full force of this, though. I’m going to have my brother pay at least half of that, since he’s the other one using the hosting the most, but that still leaves $95.40 for us to take care of. And this is right after I spent the extra money I had, and I have no real income at the moment. Fun times! Well, there’s three of us, so that’d be $32 each. That’s what I’m counting on. At least the dollar is pretty cheap at the moment, $32 is JUST above 200 SEK. Actually, since it’s not EXACTLY $32 each, but rather a smidgen below, a nice round 200 SEK each covers our half. It actually covers it EXACTLY, as that adds up to $95.40! Well, at current exchange rates, and there’s minor fluctuations day-to-day. But still.
And of course, donations are always welcome. The Paypal button is right there.
The grain of truth
April 2nd, 2011 by KennyMan666
Yes, yesterday’s blog post was my April Fool’s update. And some of you correctly identified it as such.
Only the joke’s on you. Or, should I say, one layer of it was. Because it was a two-layered joke.
Obviously, I’m not developing any new, shiny game. But it wasn’t all porkies.
Some of you did know what I was actually doing already.
You might want to reread yesterday’s update – with the knowledge that it’s actually a Starcraft map I’m working on.
I just described it in far too many words to make it sound like something it really isn’t.
Happy April Fool’s, suckers.
1 Comment )
April 1st, 2011 by KennyMan666
▼ Previous Entries
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| Northern District Cricket Club
CRICKET WORLD'S FAREWELL TO FRIEND: RONALD 'ROCKY' HARRIS
"The Sydney Cricket Ground will never be the same without him."
That's cricketing great Richie Benaud's assessment after Northern District’s life member and former international umpire Ronald "Rocky" Harris died on February 1, 2013 aged 80.”
ROCKY'S HONOUR BOARD
Back on 5th January 2008, Cricinfo published a tour diary entry about Rocky's famous SCG Honour Board, which begins:
"Seventy six year old Rocky Harris sits calmly outside the visitors’ dressing room at the Sydney Cricket Ground. A war veteran, Harris was part of the Malay insurgency from 1952 to 1965 before taking to umpiring in the early 1970s. Since 1995 he has been in charge of the visitors’ dressing room at the SCG and has a special cupboard inside to commemorate the fine performers..."
Click HERE to read the rest of the entertaining article and HERE to see a larger view of Rocky and his "Honour Board".
A BRIEF HISTORY OF THE CLUB SINCE 1925
Originally reproduced from the Northern District Cricket Club Incorporated's 87th Annual Report (2011-2012) and updated annually since, is the brief history on how the Club has grown and developed over the years. The genesis began in a meeting held at Epping, back on the 18th July 1924, where it was decided to create the Club, and go on and compete in the Sydney grade competition. The rest is all history.....
To read a brief history of the Club as well as a historical article by Tom Richmond on how Waitara Oval came into existance, click HERE.
OFFICIAL OPENING OF MARK TAYLOR OVAL - SUNDAY, 6TH NOVEMBER 2011
Click HERE to go to our Mark Taylor Oval Page, that commemorates the day when Waitara Oval was renamed Mark Taylor Oval.
The Page has photos, media reports and stories with the history, action, formalities and colour of the big day, including: the Official Ceremony; T20 matches versus Blacktown; behind the scenes and dignitaries:
- Mr Mike Langford, NDCC President
- Cr Nick Berman, Hornsby Shire Mayor
- The Hon. Barry O'Farrell MP, Premier NSW
- Mr Neil Marks, NDCC Patron
- Mr Mark Taylor AO
A TREASURED PIECE OF ND'S HISTORY
The Club received a wonderful letter in mid-October 2011 week from the daughter of an ND’s veteran from the 1930’s.. Ray Rowell.
Thank you to Ray’s daughter, Sue Biddle, for her kind donation to the Club. It is a treasured piece of ND’s history! Below is an excerpt from the letter:
NORTHERN DISTRICT VERSUS ST.GEORGE
AT HURSTVILLE OVAL - 31ST JANUARY 1931
Beneath is a composite photograph taken at Hurstville Oval on the above date with an estimated 10,000 spectators looking on. We all know that ND's were crowd-pullers in those days but St.George may say that a certain D G Bradman was batting that Saturday all those years ago.
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Robert m. giannetti
CONTACT AND BOOKINGS
The Great Abstraction
By Robert Giannetti and Tom Trainor
Giannetti:
I think it’s remarkable to note that the visual art of prior times, or I should say prior to the time of dominant abstraction, gave us a picture of what everyday life was like in the time and milieu in which it was created. I’m thinking especially of Dutch art of the 17th century where the black and white flooring tiles appear, the small leaded glass window panes with shafts of light streaming into the tidy rooms, the dress of the people — women in white starched bonnets, the men with tall black pointed hats, and so many other little details that can be easily recognized, even recreated in cinema to give a verisimilitude to the setting and action of a narrative. I think it will be difficult in times forward, as we move more and more to virtuality in life and extreme abstraction in art, to re-create the real world look and feel of our fast moving times.
Tomorrow’s art may surrender entirely the look and feel of the real world to the glut of random and uncurated photography so characteristic of the ephemeral postings on the Internet, which tell artlessly the story of a material culture as evanescent as the packaging that takes consumer goods from place to place and is then discarded and forgotten.
From Trainor:
In Bob’s comments above he talks about the evolution of art as moving from a “realistic” basis toward an “abstract” one and also toward the telling of an “artless story of a material culture”. I’ll first address the contention that art is becoming ever more abstract.
If “abstract” is defined as art that does not attempt to represent an accurate depiction of a visual reality but instead uses shapes, colors, forms and gestural marks to achieve its effect (from the Tate Gallery website) then my only comment is that an embrace or rejection of it is a matter of personal taste. I think it’s hard to say that extreme abstraction is the inevitable outcome of all current art trends. If however abstraction is meant to say that art can now be created in or delivered by a media that is not always “organic” or “analog” then I’d certainly agree. There are many new ways to make art of all sorts and to distribute these in new, inexpensive (and often digital) ways. If the “abstract” description means that the new art is somehow no longer closely related to human experience then I’d completely disagree.
Bob mentions the paintings of the 17th Century, but one has to remember that the canvas did not become an acceptable media for art until the 16th Century. Prior to that, DaVinci sketched on paper and cave people on stone walls. Nobody could reasonably argue that works in these media are not also legitimate art. The same can be said for cinema which was a technological innovation unimaginable to Rembrandt. The new media of the digital realm and the “DIY” ethos that now pervades art and music have afforded access for everyone. So many artists of the epoch that Bob described needed benefactors. And thus their primary audiences weren’t often the hoi polloi.
Bob also talks about “virtuality” and this march from the cave to the canvas to the computer is surely leading there. This can’t be stopped and it’s not right or wrong: it’s a natural evolution. We can think of Augmented Reality in which a free cell phone application allows us to animate “The Great Wave off Kanagawa” or digital tools that can assist people with visual impairments to fully appreciate a range of artworks. Virtual Reality, or the ability to create entire new worlds from digital content will offer a currently inconceivable realm of experiences for the masses. We are in the nascent stages of this but it’s embraced as legitimate by such venerable institutions as our local Albright Knox Art Gallery and NYC’s Museum of Modern Art. If you like abstract art…touring The Factory with a virtual Andy Warhol or looking over Jackson Pollack’s shoulder as he spatters paint in a Long Island barn…these experiences will soon be tailored for you alone. You might even spend an afternoon watching the sun stream through leaded glass windows in the tiled Dutch room that Bob describes.
In his last paragraph Bob makes a logical leap that I can’t. To wit: that this natural technological progression will “artlessly” deliver "evanescent” consumer goods, services and culture. Implied here is that these would be ethereal, vacuous and lacking the substance to endure. I disagree. I think that art (and in particular great art) will do what it has done for centuries regardless of the means of production or of delivery: to illuminate and share the full range of the human condition.
Michael McConnaghy
I'm left wondering about the potential gap of modern digital work compared to their analog predecessors. The past has left us the tangible works, however in my professional career I've witnessed multiple digital formats become obsolete. What about the pioneering age of digital art and the likelihood that they run risk of being lost?
Tom Trainor link
Any digital creation would be a collection of binary code (think "1"s and "0"s) that could be preserved on a server or a hard drive or USB drive on a user's home PC. So a digital artwork could be stored on the servers at the Louvre for example, and you could view it online or download it to your digital device...but it would be incumbent upon the Louvre to keep backing up their data. If data is destroyed it would be comparable to setting fire to a canvas with an oil paining on it. You mention that software applications change over time: this binary code that makes up the artwork could be viewed through the "glasses" of any software program designed to see it. If you've ever been sent an e-mail attachment that you couldn't open or the view of it was indecipherable...then you didn't have the right "glasses" or software to view it. You have to go find the correct application. My short answer here is that there is not really a lot of distinction between digital info or a water color painting in this regard: they need to be preserved but use different means.
Robert M. Giannetti, former owner of Bob’s Olde Books in Lewiston, New York, received his B.A. from Niagara University and a Ph.D. in Renaissance English literature from Duquesne University. After several teaching assignments, foundation work, and business ventures around the country he returned to Western New York in 2006 to focus on writing, bookselling, and collaborative work with artists and musicians.
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BBC archived on Sunday July 30, 2017 at 9 p.m. UTC
That was 10 p.m. local time in London. Citations.
"BBC homepage at July 30, 2017, 9 p.m. UTC." PastPages. 30 July 2017. Web. 16 Jan. 2021. <http://www.pastpages.org/screenshot/3475253/>
BBC homepage at July 30, 2017, 9 p.m. UTC. (2017, July 30). PastPages. Retrieved from http://www.pastpages.org/screenshot/3475253/
"BBC homepage at July 30, 2017, 9 p.m. UTC." PastPages. Last modified July 30, 2017, http://www.pastpages.org/screenshot/3475253/.
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Found 229 total hits in 103 results.
1 2 3 4 5 6 ...
Chancellorsville (Virginia, United States) (search for this): chapter 1.7
ern Virginia was then in Maryland, and on its return to Virginia the Sixty-first Virginia Regiment was assigned to Mahone's Brigade by order of General Lee. Lieutenant-Colonel Niemeyer was in active command of the Sixty-first Virginia Regiment from its organization until October, 1862, when its command devolved upon Colonel V. D. Groner, selected to succeed Colonel Wilson, who had resigned. Colonel Niemeyer was engaged in the battles of Fredericksburg, Zoar Church, McCarty's Farm, Chancellorsville, Salem Church, Gettysburg, Hagerstown, Bristoe Station, Mine Run, Wilderness, Shady Grove, and Spotsylvania Court House. He was severely wounded in the ankle at Bristoe Station; and after having commanded his regiment in two brilliant and successful charges of the memorable 12th day of May, 1864, was killed by a sharpshooter in the shadow of that bloody day at Spotsylvania Court House. So fell a noble man, a brave soldier, a true citizen, who loved his country better than his life, an
Breme (Bremen, Germany) (search for this): chapter 1.7
el William H. Stewart, Portsmouth, Va. William Frederick Niemeyer was born in the county of Norfolk and State of Virginia, on the 12th day of May, 1840, and heroically met his death at the head of his regiment in the battle of Spotsylvania Court House, on the 12th day of May, 1864, his twenty-fourth birthday. His great grandfather, Hans Heinrich Neimeyer, was born at Hoya, Germany, in 1734, and died in 1806. His grandfather, John Christian Niemeyer, was born in 1776, at Verden, near Bremen, and came to America at the age of 18 years, and in 1813 he married Ann McLean, his second wife, the grandmother of the subject of this sketch, at Moyock, in Currituck county, North Carolina. His father, William Angus Neimeyer, died February 3d, 1900; was born April 28th, 1816, and married Sarah Howard Chandler (now living) on the 31st day of July, 1839. She is the daughter of John A. Chandler, who was one of the foremost citizens and most distinguished lawyers in Tidewater Virginia of his
Mine Run (Virginia, United States) (search for this): chapter 1.7
Sixty-first Virginia Regiment was assigned to Mahone's Brigade by order of General Lee. Lieutenant-Colonel Niemeyer was in active command of the Sixty-first Virginia Regiment from its organization until October, 1862, when its command devolved upon Colonel V. D. Groner, selected to succeed Colonel Wilson, who had resigned. Colonel Niemeyer was engaged in the battles of Fredericksburg, Zoar Church, McCarty's Farm, Chancellorsville, Salem Church, Gettysburg, Hagerstown, Bristoe Station, Mine Run, Wilderness, Shady Grove, and Spotsylvania Court House. He was severely wounded in the ankle at Bristoe Station; and after having commanded his regiment in two brilliant and successful charges of the memorable 12th day of May, 1864, was killed by a sharpshooter in the shadow of that bloody day at Spotsylvania Court House. So fell a noble man, a brave soldier, a true citizen, who loved his country better than his life, and who was loved by his soldiers with brotherly devotion. His remains
Western Branch (Florida, United States) (search for this): chapter 1.7
ion of Conscript Act. Major Niemeyer will furnish each officer then elected with a certificate of election, and duplicates must be sent to Adjutant and Inspector General's office, Richmond, through Brigade Headquarters. By command Brigadier-General Blanchard, Commanding Third Brigade. W. L. Riddick, Assistant Adjutant-General. To Major W. F. Niemeyer, commanding Forrest Entrenchment. Major Niemeyer, with his command, retreated from Forrest Entrenchment, near Hall's Corner, in Western Branch, Norfolk county, on the 10th of May, 1862, the day Norfolk and Portsmouth were evacuated, which he noted in his diary, The saddest day of my life, and marched to Suffolk. On the 11th day of May he left for Petersburg via Weldon, where he arrived on the 13th, and assumed command of the city and the Department of Appomattox for a short while. On the 22d day of May, 1862, the officers of the line assembled at Jarrett's Hotel, in Petersburg, under supervision of Major George W. Grice, Assi
United States (United States) (search for this): chapter 1.7
filled by creditable examinations and excellent deportment which secured the warrant as a cadet in the service of the United States, dated as promised over the hand of John B. Floyd, Secretary of War, January 22d, 1858. His course at the Academy wan the 19th day of July, 1861, the President appointed him Second Lieutenant, Corps of Artillery, in the Army of the Confederate States over the hand of L. P. Walker, Secretary of War, C. S.; and his resignation as Second Lieutenant of Provisional Armrtsmouth, having been authorized by the Secretary of War to organize a battalion or regiment for the service of the Confederate States, called to his assistance the promising young lieutenant, whose military training was essential to Colonel Wilson'shat at election held for the office of Major of the Battalion or Regiment being raised by me for the service of the Confederate States, under authority of the War Department through letter of the Adjutant-General of the 6th of July, 1861, you have th
Virginia (Virginia, United States) (search for this): chapter 1.7
Biographical Sketch of Lieutenant-Colonel William Frederick Niemeyer, Sixty-first Virginia Infantry Regiment. By Colonel William H. Stewart, Portsmouth, Va. William Frederick Niemeyer was born in the county of Norfolk and State of Virginia, on the 12th day of May, 1840, and heroically met his death at the head of his regiment in the battle of Spotsylvania Court House, on the 12th day of May, 1864, his twenty-fourth birthday. His great grandfather, Hans Heinrich Neimeyer, was born Thomas L. Rosser, and other noble spirits, left the Academy to give their services to their native States. On May 1st, 1861, John Letcher, Governor of Virginia, commissioned W. F. Niemeyer Second Lieutenant in the Provisional Army of the State of Virginia, and on May 9th he was ordered by the Adjutant-General of Virginia to report to Major-General Walter Gwynn, commanding Virginia Forces at Norfolk; thereupon General Gwynn, on the 10th of May, ordered him to report to Colonel R. E. Colston,
Hoya (Lower Saxony, Germany) (search for this): chapter 1.7
phical Sketch of Lieutenant-Colonel William Frederick Niemeyer, Sixty-first Virginia Infantry Regiment. By Colonel William H. Stewart, Portsmouth, Va. William Frederick Niemeyer was born in the county of Norfolk and State of Virginia, on the 12th day of May, 1840, and heroically met his death at the head of his regiment in the battle of Spotsylvania Court House, on the 12th day of May, 1864, his twenty-fourth birthday. His great grandfather, Hans Heinrich Neimeyer, was born at Hoya, Germany, in 1734, and died in 1806. His grandfather, John Christian Niemeyer, was born in 1776, at Verden, near Bremen, and came to America at the age of 18 years, and in 1813 he married Ann McLean, his second wife, the grandmother of the subject of this sketch, at Moyock, in Currituck county, North Carolina. His father, William Angus Neimeyer, died February 3d, 1900; was born April 28th, 1816, and married Sarah Howard Chandler (now living) on the 31st day of July, 1839. She is the daughter
Fredericksburg, Va. (Virginia, United States) (search for this): chapter 1.7
ebuild the railroad bridge. The Army of Northern Virginia was then in Maryland, and on its return to Virginia the Sixty-first Virginia Regiment was assigned to Mahone's Brigade by order of General Lee. Lieutenant-Colonel Niemeyer was in active command of the Sixty-first Virginia Regiment from its organization until October, 1862, when its command devolved upon Colonel V. D. Groner, selected to succeed Colonel Wilson, who had resigned. Colonel Niemeyer was engaged in the battles of Fredericksburg, Zoar Church, McCarty's Farm, Chancellorsville, Salem Church, Gettysburg, Hagerstown, Bristoe Station, Mine Run, Wilderness, Shady Grove, and Spotsylvania Court House. He was severely wounded in the ankle at Bristoe Station; and after having commanded his regiment in two brilliant and successful charges of the memorable 12th day of May, 1864, was killed by a sharpshooter in the shadow of that bloody day at Spotsylvania Court House. So fell a noble man, a brave soldier, a true citizen,
West Point (Virginia, United States) (search for this): chapter 1.7
dson, William F. Niemeyer. He received the rudiments of his education in the schools of Portsmouth and at the Academy, in Norfolk; and upon the recommendation of Surgeon-General Lawson, United States Army, was appointed a cadet at large at West Point by President James Buchanan. His conditional appointment over the hand of Jefferson Davis, Secretary of War, was made on the 19th day of February, 1857, which directed that he should repair to West Point, in the State of New York, between the West Point, in the State of New York, between the 1st and 20th of June, to be examined, and that under certain conditions in January next his warrant as a cadet, to be dated the 30th day of June, 1857, would be made. The conditions were fulfilled by creditable examinations and excellent deportment which secured the warrant as a cadet in the service of the United States, dated as promised over the hand of John B. Floyd, Secretary of War, January 22d, 1858. His course at the Academy was marked with creditable distinction; but the tocsin of war
Appomattox (Virginia, United States) (search for this): chapter 1.7
-General. To Major W. F. Niemeyer, commanding Forrest Entrenchment. Major Niemeyer, with his command, retreated from Forrest Entrenchment, near Hall's Corner, in Western Branch, Norfolk county, on the 10th of May, 1862, the day Norfolk and Portsmouth were evacuated, which he noted in his diary, The saddest day of my life, and marched to Suffolk. On the 11th day of May he left for Petersburg via Weldon, where he arrived on the 13th, and assumed command of the city and the Department of Appomattox for a short while. On the 22d day of May, 1862, the officers of the line assembled at Jarrett's Hotel, in Petersburg, under supervision of Major George W. Grice, Assistant Quartermaster, and elected field officers of the Sixty-first Virginia Regiment Infantry, as follows: Colonel Samuel M. Wilson. Lieutenant-Colonel William F. Niemeyer. Major William H. Stewart. And their commissions were issued on the 15th of July, 1862, by George W. Randolph, Secretary of War, to date from the 22d
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Dustin’s Work
Loving Words
Dustin Smith Heart Foundation
You are deeply missed!
Dustin A Smith, Ph.D.
Remembering his life and achievements
Homearkengel2015-04-09T01:00:15+00:00
Dr. Dustin Arthur Smith, beloved son, brother, uncle, companion and friend passed away peacefully on Valentine’s Day, February 14, 2015 in New Orleans, LA. His last days were full of love, laughter and joy with family and friends. Dustin, already intensely missed by all who knew him, leaves a tremendous legacy of intellectual accomplishment and loving impact among his global network of friends and family. Despite his diagnosis of HOCM more than 10 years ago, which he knew took others unexpectedly; none of us thought he was in imminent danger. Dustin lived life to the fullest, and inspires all who knew him to emulate his kindness.
Born April 11, 1983 in New York, NY, Smith attended grade schools in Darien and graduated from King Low Heywood Thomas in Stamford. After high school Dustin matriculated to Wake Forest University where he received his Bachelor of Science in Computer Science with a minor in Neuroscience in 2004.
A gifted scholar, Dustin was invited by the Massachusetts Institute of Technology (MIT) to join its acclaimed Media Lab focusing on artificial intelligence. At MIT, Smith received his Masters in Science in the field of Media Arts & Sciences in 2008 and in June 2014 received his Doctorate. During his years at MIT Dustin worked with the legendary Dr. Marvin Minsky, one of the founders of Artificial Intelligence. Dustin served as one of Minsky’s teaching fellows and while an undergraduate at Wake Forest, was acknowledged for his contributions to Minksy’s best known work The Emotion Machine.
Dustin’s PhD Thesis Defense: Generating and Interpreting Referring Expressions in Context can be accessed through the link www.media.mit.edu/video/view/dustin-2013-08-28.
During his years at MIT Dustin authored numerous research papers and was a featured speaker at academic gatherings around the world including Spain, Sweden, Hawaii, Japan, Singapore, China, Mexico and Ireland. He spent a semester at the University of Edinburgh in college and relished his interaction with other international leaders in the research field of artificial intelligence.
Dr. Smith, a resident of Cambridge, Massachusetts since 2004, received media attention for his contributions to the new venture firm Beansprock. Smith and his business partner were recently featured in Wired magazine.
Dustin is survived by his mother, Sharon Dorsey Wagoner of Darien; his father, Arthur Lawrence Smith of Houston; his stepfather Eric Wagoner of Darien. He is the cherished brother of sisters, Erin Smith Ahrens, Alexis Noelle Wagoner of Darien, Allison Lauren Smith of Houston, Texas; his brother, Roy Michael Smith of Houston, Texas; and brother-in-law Matthew Harrison Ahrens. Dustin was the very proud and well loved uncle of Brooke Charlotte Ahrens and Noah Foster Ahrens. His grandparents Sheila and Joseph Dorsey of Rye, New York and Lily Smith of Houston, Texas greatly mourn his passing. He is beloved of, will be mourned by and his memory cherished by his companion Marcio Antonio Cabral-Correa.
Known for his incredible mind and infectious sense of humor, Dustin leaves a lasting legacy of compassion and tenderness. His friends stated aptly, “ Dustin’s bright blue eyes could light up any room; He had the knack to make all those within his path realize their upside; He could listen attentively and was always there as an honest true friend; Dustin was kind in thought, word and deed and wore his intellect lightly.”
Copyright 2015 - Dustin Smith Heart Foundation, Inc.
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PERCEPTION: SKINNY PEOPLE AREN'T LAZY BUT OVERWEIGHT PEOPLE ARE
5/03/2010 03:55:00 AM Publicado por Alquimia
Etiquetas: Psychology
Research at the University of Alberta shows that when a thin person is seen laying down watching television, people assume they're resting. But when people see an overweight person relaxing, it's automatically assumed they're lazy and unmotivated.
Tanya Berry, from the U of A's Faculty of Physical Education and Recreation, says these stereotypes about overweight people need to be addressed. Berry says just because a person is overweight, it doesn't mean they don't exercise, and just because a person is thin, it doesn't mean they are fit and healthy.
Berry had a group of study participants look at a number of pictures that would flash on a computer screen. After each photo a sedentary word such as "lazy" would appear. After the participants looked at each picture they were asked to say the colour of each word. Berry says when a picture of a thin "couch potato" came up, the participants were quick to say the colour of the word that appeared. But when a photo of an overweight person lying down appeared, the study participants paused. Berry concluded that the slow reaction resulted as the stereotyped thoughts automatically set in, with the participant thinking about the person being lazy rather than thinking about the colour of the word.
Berry says the research is important because stereotypes can influence the way people behave. She believes that more awareness of stereotypes can help people counter the effects. For example, if you're aware that you hold a stereotype about a couch potato you're less likely to be negatively influenced by those stereotypes.
TRACKING DOWN RUST
TOPOGRAPHY OF MOUNTAINS COULD COMPLICATE RATES OF ...
RATTLESNAKES SOUND WARNING ON BIODIVERSITY AND HAB...
CONTRABAND COULD HIDE IN PLAIN SIGHT
PERCEPTION: SKINNY PEOPLE AREN'T LAZY BUT OVERWEIG...
NEW METHODS IDENTIFY THOUSANDS OF NEW DNA SEQUENCE...
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Lucky Number Slevin (analysis)
Based on the deleted scenes and director commentary for Lucky Number Slevin there are actually two movies happening, one which I like (the final cut that you saw if you watched the movie) and one which I really like (the original cut which the director decided was "too dark"). But the movie's confusing enough as it is (for both the characters in the movie and the audience watching it), so let's figure out what's going on at its most elementary to begin with. Then I will jump into my analysis of why I like the original cut better than the one which made it to theaters and DVD.
Major spoilers ahead. There's a lot going on in this movie and anyone who enjoys twisted plots (à la Tarantino's Pulp Fiction) should definitely check this one out. This is the best I've done at a synopsis of the plot that explains the essential details but is also (relatively) short.
Lucky Number Slevin revolves around Josh Hartnett's character, and he has three names in the movie. As a child his name is Henry, and his mother and father are killed for betting on a fixed horse race with some new gangsters in town (The Boss and The Rabbi) who wanted the race all to themselves. Henry survives and changes his name to Slevin Kelevra and teams up with the assassin originally assigned to kill him (Goodkat) in order to avenge his parents' deaths. They concoct a plan to get at The Boss and The Rabbi (who are now estranged from each other) by having Slevin impersonate Nick Fisher, a man who owes lots of money to both of them. Three names, one person (well, two people, but real Nick is dead for about 95% of the movie). Not super important to my analysis, but crucial to understanding what happens in the movie.
Slevin and Goodkat's plan is also essentially the same in both versions of the movie. Goodkat kills the real Nick so nobody will be able to find him (and thus Slevin will pass as Nick trying to get out of his debt by claiming to not be Nick) and so they have a dead body to fake Slevin's death with later. Slevin kills The Boss's son so he'll think The Rabbi did it and will want vengeance. Both gangsters (influenced by Goodkat) abduct fake Nick (Slevin) to confront him with his debts. The Rabbi just wants the money, but The Boss asks fake Nick to kill The Rabbi's son, The Fairy. Slevin and Goodkat kill The Fairy and his bodyguards and plant real Nick's dead body to make it look like he succeeded but was then killed by the bodyguards. Slevin reports back to the gangsters, knocks them both out, and brings them into a room together. The Boss tells The Rabbi he had The Fairy killed, The Rabbi is confused because he didn't kill The Boss's son; it's really a wonderful scene. Slevin confronts them with the truth of their situation (that he killed both of their sons, that they killed his father, and that he is Henry and is, in fact, alive) and kills them both the same way they killed his father.
Okay. Deep breath. We're getting to the good part now. One major detail I've left out is that along the way Slevin meets Lindsey, they bond over Bond films (yes, I thought long and hard about that pun), and eventually they fall in love. This is where the two versions of the film begin to differ. In the original cut of the film, Slevin kills Lindsey at the end of the caper because she's the only one other than Slevin and Goodkat who know what Nick Fisher really looks like. The movie cuts to a silhouetted Slevin walking into the shadows, and then cuts to Henry (as a child again) with Goodkat driving off into the sunset to begin their plan. This is perfect. Nothing needs to be changed. But freakin' Paul McGuigan had to ruin a good thing because it was "too dark".1
So here's what we get instead. Goodkat shoots Lindsey instead of Slevin, but she doesn't die because Slevin warns her of what's going to happen and she wears a bulletproof vest (and a professional assassin like Goodkat doesn't shoot her in the head). Then after Slevin walks off into the shadows there's an additional scene where Slevin and Lindsey meet up, and Goodkat shows up to learn she's not dead, and Slevin says he didn't tell him because "he wouldn't understand" (despite the fact that they've spent the last 10+ years together), and considering how masterfully crafted the rest of the film is it's absolutely astonishing to me how terrible these additions are.
So assuming I don't care about these (admittedly minor) flaws with regard to the characters and actions they would or wouldn't take, why am I upset that McGuigan gave the film a happy ending? Because in doing so he ruined Slevin's character.
So from here I'm going to jump into my analysis of Slevin's character. I originally came up with this analysis for college in order to examine Hyon Joo Yoo's concept of moribund masculinity, an idea she takes in equal parts from psychoanalysis, gender studies, queer theory, and her own genius. My personal academic interest in this film comes more from a purely psychoanalytic approach, but I'm going to include both connections since you readers might find it interesting (and it's basically a subset of Lacan's theory of drive so it's not much extra work). Anyway, here goes.
Slevin, as many of my favorite characters do, embodies the Lacanian notion of drive. He spends the majority of the film Symbolically dead. The basics of the plot allow for Slevin to exact his revenge on the Boss and the Rabbi and then disappear. Everybody thinks Slevin was Nick Fisher, and Nick Fisher's body is found dead in a crime scene everyone thought he should have been involved with. Everybody that could have positively identified Slevin as the real assailant is dead by the end of the film. In this way Slevin doesn't exist within the Symbolic order. As far as the public and the law (embodiments of the Big Other who upholds the Symbolic) know, Nick Fisher was picked up to repay a debt, was ordered to kill Yitzchok since he didn't have the money, and died trying to do so. The Boss and The Rabbi, who have been fighting for ten years, may as well have killed each other (over the death of The Boss's and then The Rabbi's son). No loose ends, no reason to look for Slevin, so he disappears.
Slevin's motivations and even the structure of the film also identify Slevin as a subject of drive. To give you an idea of what I'm talking about, here's that Zizek quote I always use when I'm talking about drive:
Of course every object of desire is an illusory lure; of course the full jouissance of incest is not only prohibited, but is in itself impossible; however, it is here that one should fully assert Lacan's claim that les non-dupes errent. Even if the object of desire is an illusory lure, there is a real in this illusion: the object of desire in its positive nature is vain, but not the place it occupies, the place of the Real... There is a parallax shift at work here... in Lacanese, the shift from desire to drive... This gap that separates the aim from the goal “eternalizes” the drive, transforming the simple instinctual movement which finds peace and calm when it reaches its goal... into a process which gets caught in its own loop and insists on endlessly repeating itself.2
At first you may be thinking, "But Slevin is a fairly goal-oriented movie, as most revenge films are." This is one of the ways in which the addition of the final heartfelt reunion ruins Slevin's character. Otherwise, once he achieves his goal we get a shot of him walking into the shadows and then the film rewinds to the beginning of the story when Slevin and Goodkat first meet. This circular structure metaphorically visualizes the way Slevin is "caught in the loop" of his need for revenge which literally "insists on endlessly repeating itself" (at the end of the movie we find ourselves back at the beginning). As a subject of drive, Slevin spends his life circling around the object of desire of avenging his parents (he exists within "the place [the object of desire] occupies"), and then when he reaches his goal the loop ends, he dies (when he walks silhouetted into the shadows), and the movie starts again from his beginning with Slevin as a subject of drive, after his parents have died.
The final scene with Lindsey ruins this not only in the way it disrupts the structure of the narrative, but also in the way it restructures Slevin's character. His object of desire changes from revenge, which he dies upon achieving, to love, which he (fantasmatically) achieves. Love is fine (it's actually pretty great if you do it right), but this sort of "happily ever after" love is lying to the audience. Not only is it clear that Slevin only wants Lindsey because he can't have her (he has to kill her; the movie ends when he tells Goodkat "I thought you wouldn't understand"), but also that Lindsey isn't actually a human. Lindsey is never shown to be lacking in the film, which constitutes her as not a human, but a fantasmatic object.3
More specifically, Slevin embodies Hyon Joo Yoo's concept a moribund masculinity, an idea most easily conceived (for me at least) as a more specific subset of the Lacanian drive. As Yoo explains,
The economy of enjoyment turns moribund when the subject swallows the traumatic real—created by the loss of what is most beloved, for example—which is beyond the subject's capacity to make sense of within the symbolic, and converts the traumatic real into a source of excessive pleasure. Here, the traumatic real becomes the sustenance of the libidinal drive. As the subject accepts the traumatic real as part of its psychic constitution, the drive for excessive pleasure entails not only symbolic, but also material death.4
Slevin has “swallowed the traumatic real” when he changed his name from Henry: he was forced as a child to face the death of both of his parents, which Slevin later says was “everything he ever loved”, that which was “most beloved” to him. After this, he created a new identity “Slevin Kelevra” with the traumatic Real, the death of his parents, at the center (his “psychic constitution”). He then converts this trauma into “excessive pleasure” in the pursuit (“libidinal drive”) of his revenge plot. After executing The Boss and The Rabbi he has reached the end of his drive, and walks into the shadows, a sign of his “material death” following the “symbolic death” he experienced as a child.
We can see Slevin's "excessive pleasure" in the scenes where he kills Lindsey (which was cut) as well as when he faces The Boss and The Rabbi (especially when he kills them; this is conveniently contained in the final cut of the film by the transference of his object of desire to Lindsey). Elsewhere in the film he always shows little or no emotion (he even claims he's afflicted by ataraxia, which is not something you would be diagnosed with but is instead a Greek term meaning "a state of freedom from emotional disturbance and anxiety")—moribund masculinity at its most basic.
So what's the problem with the rest of the movie, with the parts that were added to make the final cut? Lindsey has to die and stay dead, not just die symbolically but materially as well, because as Yoo points out again and again, the moribund masculine subject is asexual. Outside of his romance with Lindsey, Slevin is perfectly constructed as asexual. He spends the first forty minutes of the movie in a pink, floral-patterned towel in a room decorated with pastel, floral-patterned wallpaper. Josh Hartnett did not work out in order to bulk up for the role, even though he is essentially playing an assassin. He shows no interest in Lindsey until after he has won a date with The Fairy, and in fact uses his first date with Lindsey not in order to get closer to her, but to get closer to The Fairy. The closing scene revealing that Lindsey is alive feels incredibly out of place because it is: Slevin's interests have been abruptly displaced.
So why did Paul McGuigan decide to have Slevin fall in love with Lindsey? We can write it off as trying to sell the movie to a wider audience, but there's a much more compelling explanation available. In the director's commentary, McGuigan admits to having a strong affection for the actress Lucy Liu (who played Lindsey). Thus what we see in the movie is not Slevin having sex with Lindsey, nor Josh Hartnett having sex with Lucy Liu, but instead Paul McGuigan fantasizing a sexual relationship with Lucy Liu. This also explains why it was too traumatic for him to have Slevin kill Lindsey: as his fantasmatic double, there's no way he would allow himself to do that.
In other news this movie's set design is rather beautiful. Just had to mention it. The disconnect when The Boss's minions abduct Slevin between the atmosphere (of abduction) and the set design (pretty flowers) is so wonderfully alienating I couldn't leave it out.
1This alternate version of the film was compiled based on deleted scenes and remarks McGuigan made in his feature commentary for the film. You unfortunately cannot watch this version of the movie anywhere that I know of. It's really not very different, but the differences are all bad, and I'm annoyed at McGuigan for making them.
2Zizek, Slavoj, Living in the End Times, Verso, New York, 2010 p. 72-3 (my emphasis)
3For more on this dynamic of inhuman fantasy (and for an example of a positive depiction of love), check out my review of Silver Linings Playbook.
4Yoo, Hyon Joo, Cinema at the Crossroads, Lexington Books, Maryland, 2012, 114
alternate ending alternate version analysis death drive desire Drive explanation fantasy Lucky Number Slevin moribund masculinity Paul McGuigan set design synopsis
Loved this analysis, it made me rewatch the film whilst imagining the ending in which Slevin shot her (and as a sidenote it did always bother me that Lindsey wasn't shot in the head, because "master assassin").
Just wondering, what was Slevin's motivation behind sleeping with Lindsey? I do have certain theories, but I'd much rather hear yours than embarrass myself by stating mine.
Wes June 5, 2013 at 9:39 PM
Thanks for reading and especially for commenting! This is one of my favorite analyses so I'm really glad you enjoyed it.
As for Slevin's motivation, I have two answers for you. As I think I mention in the article, the director was a bit in love with Lucy Liu. I think that Slevin the character doesn't really seem to have any motivation to sleep with her (the whole ataraxia thing makes the situation even more confusing) and that instead what is happening is that the director wanted a sex scene with Lucy Liu so he created one despite the fact that it doesn't really fit Slevin's character. The second reason is a little nicer to the director, but his decision to make the movie what it is makes me feel okay with blaming all the movies problems on him. Anyway, Slevin perhaps has sex with Lindsey because she says he reminds her of James Bond and inflated his ego. But why would he jeopardize his mission that he spent (literally) his entire life planning?
**movie's oops haha why can't I edit my own comments on my own blog?
jack September 13, 2019 at 7:12 AM
"The skill of the spectator determines the machine's ability to reach a climax." The Holy Mountain is truly unlike anything I've ever seen. It asks a lot of the audience both in terms of doing their own interpretative work and putting up with a lot of grotesque imagery in hopes of a payoff that may never come. That said, it's clear Jodorowsky put more work into it than most viewers ever will: every scene is meticulously constructed on a massive scale.
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Home Movie review Slider Fun Mom Dinner (2017) Directed by Alethea Jones
Fun Mom Dinner (2017) Directed by Alethea Jones
Female comedies are hot, and more so than ever before. In a way it is still something that the large portion of the (male) crowd has to grow accustomed to, since it definitely changes things around, by showing things from a totally different perspective from the more familiar and 'old fashioned' comedies, starring a mostly male cast.
Different story lines, different characters, different humor. But it still all comes down to this; is the movie good and funny enough? If yes, than it is a successful one and it truly doesn't matter if its main characters are male, female, or volleyballs. If no, than its an unsuccessful one and it truly doesn't matter neither if its main characters are male, female, or volleyballs.
This movie definitely tries to ride the train- and cash in on the success of movies such as "Bridesmaids" and "Bad Moms". I mean, it even isn't very subtle about it. Sure, the story is different but the style and characters really are all the same. It is 'funny' how these type of movies often feature the same sort of the characters in them; a wild one, a naive one, a more normal/grounded one and than there still is the obligatory more chubby female friend as well. This in other words really isn't being a very original movie within its story, but I wish I could say that that is being the only problem with this movie.
Its main concept appears very flawed to begin with. It basically is just about a bunch of mothers (and the emphasis gets constantly put on this) acting incredibly immature and irresponsible. Really, I know that it is all supposed to be part of the fun of the movie, but it is truly hard to ever care for any of the characters because of their actions and personalities. There hardly are any good redeeming qualities about any of them. The characters only become more annoying as the movie- and they progress, instead of becoming more likable and interesting.
But part of this really is due to its story. And wow, does this movie feature a messy story in it. It is almost as if it got shot without a script and the 4 main actresses had to improvise their way through this movie. It often feels far to random, which should have added to the fun and whole 'adverterous' feeling and aspects of the movie, but it really just merely makes it messy and confusing. Scenes seem out of place, moments too random and insignificant to the story as a whole and the characters keep making the dumbest and most unlikely decisions, all throughout. And again, instead of this adding to the fun of the movie, it only makes it an annoying and at times even quite dreadful one to watch.
The movie truly lacks some focus. There isn't really a main plot line, which obviously is part of the reason why it often feels all over the place with its story. Most of the time I am also really not able to tell what this movie is trying to do or say with some of its sequences. It is quite pointless all and too often doesn't add up to anything. As a whole, it makes the movie messy and an even quite unpleasant one.
Big problem with its comedy also really is that it just isn't ever anything all that funny. It mostly relies on the dialog and the delivery by its four main leads. The dialog however too often is far too weak to work out as either fun or convincing and it again seems that its four leading ladies are ad-libbing their way through this movie, in an effort to spice things up and make things more fun. It however feels too forced and the main actresses are never capable of making any of the scenes work out as anything hilarious, or even remotely funny enough. Still not sure if this was the actors their fault as well though. They simply had no good script or direction to work with.
Weak and incredibly messy. Not just as a comedy, but as a movie in general.
TV trailer
Copyright © 2014 SealTeam1138
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St. Catherine Greek Orthodox Church
Orthodox Christian Fellowship
Heroes of the Faith
Teachings of the Fathers
Greek Orthodox Metropolis of Detroit
History: The Great Epochs of Orthodoxy
The Church has her origin with Jesus Christ and the Holy Spirit, not with a human teacher, or group, nor a code of conduct or religious philosophy. Orthodoxy believes that the Church has her origin in the Apostolic Community called into being by Jesus Christ, and enlivened by the Holy Spirit. The Feast of Pentecost, which is celebrated fifty days after Easter, commemorates the "outpouring'' of the Holy Spirit upon the Apostles and marks the beginning of the mission of the Church to the world. The Orthodox Church believes that she has maintained a direct and unbroken continuity of love, faith, and order with the Church of Christ born in the Pentecost experience.
The Time of Persecution
The earliest Church, which is described in the Epistles and the Acts of the Apostles, did not confine itself to the land of Judea. She took very seriously the command of Our Lord to go into the whole world and preach the Gospel. The words of Christ and the event of His saving Death and Resurrection were destined not only for the people of the first century and the Mediterranean world of which they were a part, but also for persons in all places and in every age. Within only a few years after the Resurrection, colonies of Christians sprung in the major cities of the Roman Empire.
While the early Church received many converts from Judaism and the pagan religions, the world in which the Gospel was proclaimed was, in the words of St. Paul, "heartless and ruthless." With only a few intervals of peace, the Church was persecuted throughout the Empire for nearly three hundred years. The faith and love expressed by the Christians were viewed as a threat to the religion and political policies of the Empire. Thousands upon thousands of Christians were martyred.
The Time of Growth
The beginning of the fourth century marked a new stage in the development of the Church. After centuries of vicious persecution at the direction of the Roman Emperors, an Emperor of Rome became a Christian. This was Constantine the Great, who in the year 313 granted Christians freedom of worship. The Edict was a recognition that the Church not only had survived the persecutions but also had become a significant force in the Empire. From that time onward, the Church and the Empire began a very close and mutually beneficial relationship. Not only did the Church receive imperial support, but also the evils which had characterized the old Roman Empire were greatly reduced in Christian Byzantium. The Church was truly a leaven of the society of which it was a part. The fourth through the tenth centuries were a significant period for the Church's internal development. The authorative content of the New Testament was determined. The Services of Worship received a formal framework. The Teachings of Christianity were developed by great pastors and theologians who are known as the "Fathers" of the Church. It was also a period of missionary activity. Among the most important was the evangelization of the Slavs by Saints Cyril and Methodius. However, the period was not without struggle. The Byzantine Empire was constantly on guard against the neighboring Persians and Muslims. The Church itself was frequently afflicted with many grave schisms and heresies. For example, serious schisms took place in the years 431 and 451. Among the greatest heresies was Arianism, which taught that Christ was not truly God. This heresy plagued the Church and brought havoc to the Empire for nearly a century.
The fundamental doctrines of the Church were proclaimed and defended by the Seven Ecumenical Councils. These Synods, which are known by the names of the cities in which they were convened, included Bishops from throughout the world, who came to affirm the authentic teachings on the Incarnation and the Holy Trinity. The Councils did not create new doctrines, but in a particular place and time, they proclaimed what the Church always believed and taught. The counciliar and collegial expression of Church life and authority which was manifest at the Ecumenical Councils and other synods of the early Church continue to be an important aspect of Orthodox Christianity.
The Ecumenical Councils also sanctioned the organization of the Church about the five great ecclesiastical centers of Rome, Constantinople, Alexandria, Antioch, and Jerusalem. The Archbishops of these cities came to be known as Patriarchs. They presided over the synod of bishops in a particular area. Since the early Church was not monolithic, each center had its own theological style, customs, and liturgical traditions. Yet, all shared in the unity of the faith. However, a primacy of honor was accorded the Bishop of Rome, from early times. The Second Ecumenical Council (381) gave Constantinople a position of honor by stating, "The Bishop of Constantinople shall have the prerogative of honor after the Bishops of Rome, because Constantinople is New Rome."
The Great Schism
The Great Schism is the title given to separation between the Western Church (the Roman Catholic) and the Eastern Church, (the Orthodox), which took place in the eleventh century. Relations between the two great traditions of the East and the West had often been strained since the fourth century. Yet, unity and harmony was maintained in spite of differences in theological expression, liturgical practices, and views of authority. By the ninth century, however, legitimate differences were intensified by political circumstances, cultural clashes, papal claims, and the introduction in the West of the Filioque phrase into the Nicene Creed. The Filioque affirms that the Holy Spirit proceeds from the Father and the Son. Both the papal claims and the Filioque were strongly repudiated by the East.
Although it is difficult to date the exact year of the schism, in the year 1054 official charges, known as Anathamas, were exchanged. The Crusades, and especially the sack of the city of Constantinople by the western crusaders in 1204, can be considered the final element in the process of estrangement and deepening mistrust.
From that period onward, the Western Church, centered about the Pope of Rome, and the Eastern Church, centered about the Patriarch of Constantinople, went their separate ways. Although there were attempts to restore communion in the years 1274 and 1439, there was no lasting unity achieved. While political, cultural, and emotional factors have always been involved, the Orthodox Church believes that the two principal reasons for the continued schism are the papal claims of universal jurisdiction and infallibility, as well as the meaning of the Filioque.
For nearly 500 years the two traditions lived in formal isolation from each other. Only, since the early 1960's have steps been taken to restore the broken unity. Most significant has been the mutual lifting of the Anathamas of 1054 by the late Patriarch Athenagoras and Pope Paul VI in 1965.
Time of Struggle
In the year 1453, the City of Constantinople fell to the invading Muslims. With its capital, the Byzantine Empire came to an end; and the vast lands of Asia Minor fell subject to non-Christians. The great ecclesiastical cities of Alexandria, Antioch, and Jerusalem, which had come under the political control of Islam centuries earlier, were now joined by Constantinople. Throughout the Ottoman Empire, Christians came to be treated as second-class citizens who paid heavy taxes and wore distinctive dress. The life of the Orthodox Church in the Balkan and Asia Minor continued, but under much duress. Thousands of Christians suffered martyrdom. Patriarchs were deposed and murdered. Churches, monasteries, and schools were closed and destroyed. Only with the liberation of Greece in 1821, did some of the brutality come to an end. However, there were a series of vicious massacres at the beginning of this century. And, even today, Christians are denied their basic human rights in parts of Asia Minor.
After the decline of Byzantium, the Church in Russia thrived for nearly 500 years. However, with the Bolshevik revolution of 1917, Orthodoxy found itself confronted with the beliefs and political policies of militant atheists. Most churches were closed; and a policy was inaugurated to eliminate Christianity from Russia, a land which was steeped in Orthodoxy since the tenth century. In the years between the two World Wars, Orthodox Christians in Russia suffered much cruel and devastating persecution. Only since 1943 have there been modifications in government policy which have permitted the Church some degree of existence.
Today, in many of the lands which were once the pride and glory of Eastern Christendom, the Orthodox Church struggles amid great obstacles and persecution. It has been observed that in recent centuries there have been more martyrs than during the great persecutions of the early Church. Yet, despite injustices and indignities, the Faith survives.
Time of Renewal and Reconciliation
Throughout the past two hundred years the Orthodox Church in the Western Hemisphere has been developing as a valuable presence and distinctive witness. For example, in the United States, Orthodoxy has been recognized as one of the four major faiths. She has more than five million members, who are grouped into more than a dozen ecclesiastical jurisdictions. The Greek Orthodox Archdiocese, which is the largest, has about 500 parishes and operates church schools, parochial schools, an orphanage, a college, and a graduate theological school. Many believe that Orthodoxy in America has the potential for true renewal, creative development, and missionary activity which can contribute greatly to American life.
From the beginning of this century, the Orthodox Church has been committed to the Ecumenical Movement. This quest for Christian unity is the boldest attack on division since the early centuries of the Church. The Patriarchate of Constantinople not only inspired the movement for unity with an encyclical in 1920, but also was one of the co-founders of the World Council of Churches in 1948. The cause of Christian unity was a special concern of the late and beloved Patriarch Athenagoras. He labored greatly to promote a renewed sense of collegiality among the various Orthodox Churches, as well as to inaugurate a true dialogue with the Roman Catholic Church. In the year 1968, the Patriarch looked toward the future and declared: May the Lord of mercy send as soon as possible to our holy Eastern and Western Churches the grace of celebrating the Divine Eucharist anew and of communicating again together... The common chalice stands out luminously on the horizon of the Church.
120 W. Seneca St Ithaca, NY 14850
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President Al-Assad: Christians in Syria are not Guests or Migrant Birds
Created on Sunday, 17 September 2017 23:45 | Published Date | | Hits: 8223
DAMASCUS, (ST)- President Bashar Al-Assad has stressed that the strength of eastern Christians stems from their living in full integration with other religions in the region in general and in Syria in particular.
President Al-Assad made the remarks during his meeting on Sunday with participants in the Syriac Youth General Gathering -Syria 2017 in the presence of Patriarch of Antioch and All the East for Syriac Orthodox Mor Ignatius Aphrem II and a number of patriarchs and archbishops.
"Syria is a homogeneous country and Christianity in our region is targeted as to disrupt this homogeneity and to divide the region into sectarian and religious states with the purpose of legalizing the existence of a Jewish state in occupied Palestine; a scheme that won't be accepted by any Syrian," said President Al-Assad.
He added that "such gathering are a message to the inside and the outside that Christians in Syria are not guests or migrant birds; rather they are the basis of the homeland's existence, because without them the diverse Syria we know has no existence and, at the same time, Christians without Syria have no land or existence."
During the meeting, President Al-Assad discussed with participants in the gathering the role of young generations in building Syria's future and the importance of enhancing dialogue as the only way to develop and build the homeland and as the real alternative for religious and social extremism.
The meeting also focused on the Christian presence in Syria in general and the Syriac presence in particular being a basic component of the Syrian national fiber. It also focused on the Christians' steadfastness in the face of incessant displacement attempts throughout history and at present as a result of terrorism.
President Al-Assad pointed out that "the failed attempts to pressure Christians have helped enemies to target them by targeting Islam through extremism and through producing extremist thinking that never coexists with the other. But we, as Syrians, won't allow enemies to destroy our country by their backwardness or short-sightedness."
On his part, Patriarch Aphrem II said the gathering aimed at consolidating dialogue among all components of the Syrian society and to confront anti-Syria propaganda which claims that what is going on in Syria is a "civil war".
He stressed that Christians in Syria will continue to be adherent to their land despite all West's attempts to convince them to give up the land of their predecessors.
Hamda Mustafa
Category: Presidential Activities
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Ala ad-Din
“I have one last wish, my friend,” says Ala ad-Din warmly. “I wish you free.”
The golden manacles fall away, and the djinn’s joyous laughter booms out over Maghreb. The sky is filled with his beaming visage, and then his hands, reaching down.
“What is thy third wish, our Lord and Master?” intones Ala ad-Din as he and the other ten thousand shackled slaves toil away at the foundation of the new palace.
“I think I’m going to wish for more wishes,” says the djinn brightly, atop his throne of kneeling bodies. “That’s clever! See how clever I am?”
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Bana Alabed Is Now A Turkish Citizen
✔ onlinebankinguk on 18:50:00 0 Comment
Bana Alabed, the seven-year-old Syrian refugee girl, who captured the world’s attention for tweeting the horrors of Aleppo, is writing a book about her harrowing experience of the war.
She announced the news on her Twitter account and said: “I am happy to announce my book will be published by Simon & schuster. The world must end all the wars now in every part of the world.”
Her memoir, Dead World, will also tell the story of how she and her family escaped the war in Syria and are rebuilding their lives, away from their homeland.
Excited at the prospect of her book, Bana said: “I am so happy to have this opportunity to tell my story and the story of what has happened in Aleppo to the world.
“I hope my book will make the world do something for the children and people of Syria and bring peace to children all over the world who are living in war.”
I am happy to announce my book will be published by Simon & schuster. The world must end all the wars now in every part of the world. pic.twitter.com/OPJ1tpl5MI
— Bana Alabed (@AlabedBana) April 12, 2017
Dead World is expected to be published in the autumn of 2017 by international publisher Simon & Schuster and a young reader’s edition by imprint Salaam Reads will follow shortly after and will be made available as an audio book on Simon & Schuster Audio.
Bana has been documented the air strikes over Aleppo since last September after her mother Fatemeh, who teaches her daughter English, helped her set up the Twitter account.
In December, Bana and her family were evacuated from war-torn East Aleppo to Turkey after the city fell back under the control of the Syrian government.
Senior Editor at Simon & Schuster, Christine Pride, said she was “captivated” by Bana’s tweets from Syria.
“Recalling iconic young heroines such as Malala Yousafzai, Bana’s experiences and message transcend the headlines and pierce through the political noise and debates to remind us of the human cost of war and displacement,” she said.
But diplomatic tensions over the Syrian conflict continue to escalate after Russia vetoed a UN resolution condemning Bashar al-Assad's government for its reported use of chemical weapons in Syria and urging a speedy investigation.
The majority of the international community has blamed the attack in Idlib province, which killed 87 people including many children, on President Assad.
The Syrian government has meanwhile denied involvement in the toxic attack, blaming rebel groups.
Author: onlinebankinguk
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HomeSPOTLIGHT ON...Achieva Design Story
(The following is a repost from Dean's Garage (website), posted here for redundancy and so that the story will be exposed to a broader audience. It is posted with permission. For even more photos, please do visit the original page here.)
I was transferred from Buick One to Oldsmobile One Exterior Studio in late 1985. Olds One was a crazy studio even by Design Staff standards. One story comes to mind. Peggy Lee recorded a song called Is That All There Is? in the ’50s that was so depressing that it was pulled from many radio stations at the time because of an increase in the suicide rate. Well, some unscrupulous sculptor recorded the song on both sides of a 90-minute cassette and played it continually for weeks every day in the studio. Needless to say my morale didn’t exactly soar being tortured by that song over and over again. The Gestapo couldn’t have used a more effective brainwashing tool. Looking back on it though it’s pretty funny.
We were working on some platform for a sporty 2+2 car of some sort. I did sketches of proposals for that car and the other projects in the studio and hung them with the other wallpaper I continuously produced. In that studio at the time it was difficult to get anything on the car unless you were, well, running the studio. But Dave Holls, one of the directors, came through and sometimes actually looked at sketches. He seemed to see something in a couple of sketches that I did and asked me to do a full-sized airbrush rendering of the design, which I did.
At the same time, Olds Two studio was struggling coming up with a new design as a replacement for the Cutlass Calais (which would eventually be renamed Achieva). Dave looked at my airbrush and asked me to try the design again on the Calais platform, and I came up with a red rendering of a revised proposal. When the rendering was finished, someone must have liked it, because they took it out of Olds One and hung it up in Olds Two. Dave North was the Studio Chief and Ed Welburn his assistant. I remember they started to model the car but were having some trouble capturing the feeling of the rendering. I was asked to help them by drawing a 3300 section to start the body side modeling. The front and rear profiles could be taken from the full sized rendering.
Well, there were several very talented sculptors in Olds One, and the car was starting to come together. So much so that Dave Holls decided to hide the model in the basement and finish it down there before somebody higher up would see it and want to change something before the original design statement could be presented. The model was finished and a fiberglass styling model was made to freeze the design statement. What made the design unique was it was a shouldered design where the upper sat on the lower instead of a monocoque which was trendy at the time.
Because I suppose the rendering was red and the fiberglass model was red, it became known as the red car. It was designed in 1986, but didn’t come out until 1992. The design affected the Olds 98 and 88 that were designed after the Acheiva but came out sooner.
The Achieva was built off of the same platform as the Buick Skylark and the Pontiac Grand Am. But the Achieva lost the upper wars, so the coupe has the Grand Am upper, and the sedan had the Buick upper. The sedan looks especially bad with the Buick roof.
Olds produced the Achieva SCX W41 in 1992–93. It had the Olds designed and built 2.3 liter Quad Four engine that made about 190 hp.
~ Written by Gary Smith , originally posted March 2009 on his website.
Achieva Design
Achieva Sketch
Achieva Fiberglass Model, The Red Car. It was a 2-door on one side and a 4-door on the other.
Studio photos showing the fiberglass model in the background, as development progresses productionizing the design.
Dave North and Ed Welburn standing in front of the rendering.
Side view of the car shows how closely the model profile resembles the original red rendering, except for the roofline.
A production 1992 Achieva SC.
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By Ralph Nader
Oped News
Thomas Blanton, the esteemed director of the National Security Archive at George Washington University described Washington's hyper-reaction to Wikileaks' transmission of information to some major media in various countries as "Wikimania."
In testimony before the House Judiciary Committee last Thursday, Blanton urged the Justice Department to cool it. Wikileaks and newspapers like The New Yorks Times and London's Guardian, he said, are publishers protected by the First Amendment. The disclosures are the first small installment of a predicted much larger forthcoming trove of non-public information from both governments and global corporations.
The leakers inside these organizations come under different legal restrictions that those who use their freedom of speech rights to publish the leaked information.
The mad dog, homicidal demands to destroy the leaders of Wikileaks by self-styled liberal Democrat and Fox commentator, Bob Beckel, the radio and cable howlers and some members of Congress, may be creating an atmosphere of panic at the politically sensitive Justice Department. Attorney General Eric Holder has made very prejudicial comments pursuant to his assertion that his lawyers considering how they may prosecute Julian Assange, the Wikileaks leader.
Mr. Holder declared that both "the national security of the United States" and "the American people have been put at risk." This level of alarm was not shared by the public statements of defense Secretary Robert Gates and Secretary of States Hillary Clinton who downplayed the impact of these disclosures.
The Attorney General, who should be directing more of his resources to the corporate crime wave in all its financial, economic and hazardous manifestations, is putting himself in a bind.
If he goes after Wikileaks too broadly using the notorious Espionage Act of 1917 and other vague laws, how is he going to deal with The New York Times and other mass media that reported the disclosures?
Consider what Harvard Law Professor Jack Goldsmith, who was head of the Office of Legal Counsel in George W. Bush's Justice Department just wrote:
"In Obama's Wars, Bob Woodward, with the obvious assistance of many top Obama administration officials, disclosed many details about top secret programs, code names, documents, meetings, and the like. I have a hard time squaring the anger the government is directing towards Wikileaks with its top officials openly violating classification rules and opportunistically revealing without authorization top secret information."
On the other hand, if Mr. Holder goes the narrow route to obtain an indictment of Mr. Assange, he will risk a public relations debacle by vindictively displaying prosecutorial abuse (i.e. fixing the law around the enforcement bias.) Double standards have no place in the Justice Department.
Wikileaks is also creating anxiety in the corporate suites. A cover story in the December 20, 2010 issue of Forbes magazine reports that early next year a large amount of embarrassing material will be sent to the media by Wikileaks about a major U.S. bank, followed by masses of exposé material on other global corporations.
Will these releases inform the people about very bad activities by drug, oil, financial and other companies along with corruption in various countries? If so, people may find this information useful. We can only imagine what sleazy or illegal things our government has been up to that have been covered up. Soon, people may reject those who would censor Wikileaks. Many people do want to size up what's going on inside their government in their name and with their tax dollars.
Wasn't it Jefferson who said that "information is the currency of democracy" and that, given a choice between government and a free press, he'll take the latter? Secrecy-keeping the people and Congress in the dark-is the cancer eating at the vitals of democracy.
What is remarkable about all the official hullabaloo by government officials, who leak plenty themselves, is that there never is any indictment or prosecution of government big wigs who continually suppress facts and knowledge in order to carry out very devastating actions like invading Iraq under false pretenses and covering up corporate contractors abuses. The morbid and corporate-indentured secrecy of government over the years has cost many American lives, sent Americans to illegal wars, bilked consumers of billions of dollars and harmed the safety and economic well-being of workers.
As Cong. Ron Paul said on the House floor, why is the hostility directed at Assange, the publisher, and not at our government's failure to protect classified information? He asked his colleagues which events caused more deaths, "Lying us into war, or the release of the Wikileaks papers?"
Over-reaction by the Obama administration could lead to censoring the Internet, undermining Secretary Clinton's Internet Freedom initiative, which criticized China's controls and lauded hacktivism in that country, and divert attention from the massive over classification of documents by the Executive Branch.
A full throttle attack on Wikileaks is what the government distracters want in order to take away the spotlight of the disclosures on their misdeeds, their waste and their construction of an authoritarian corporate state.
Professor and ex-Bushite Jack Goldsmith summed up his thoughts this way: "The best thing to do....would be to ignore Assange and fix the secrecy system so this does not happen again."
That presumably is some of what Peter Zatko and his crew are now trying to do at the Pentagon's famed DARPA unit. That secret initiative may ironically undermine the First Amendment should they succeed too much in hamstringing the Internet earlier advanced by that same Pentagon unit.
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FedEx and Pepsi Are Top Defense Contractors? 5 Corporate Brands Making a Killing on America’s Wars
by Nick Turse
Learn which "civilian" companies are making big bucks on today's wars.
Chances are, if you’ve ever sent a package overnight, bought a PC or a can of soda, you’ve paid your hard-earned money to a major Pentagon contractor. While large defense corporations that make fighter jets and armored vehicles garner the most attention, tens of thousands of “civilian” companies, from multi-national corporations hawking toothpaste and shampoo tobig oil behemoths and even local restaurantsscattered across the United States, all supply the Pentagon with the necessities used to carry on day-to-day operations and wage America’s wars. And they’ve made a killing doing it since 9/11.
In 2001, the massive arms dealers Lockheed Martin, Boeing and Northrop Grumman ranked one, two and five among Department of Defense contractors, raking in $14.7 billion, $13.3 billion and $5.2 billion, respectively, in contracts. Last year, Lockheed’s contract dollars were almost double their pre-9/11 level, clocking in at $28 billion, while Boeing’s had jumped to almost $19 billion and Northrop Grumman, still in the five spot, had more than doubled its 2001 take, with $12.8 billion in contracts.
America’s recent wars have obviously been good to these companies. On September 10, 2001, Lockheed’s share price was $38.32. Today, it tops $70 per share. In 2001, the company’s net sales reached $24 billion. Last year, they were almost $46 billion. Likewise, Northrop Grumman’s net income has more than quadrupled in the last decade, according to the investment analysis website,Seeking Alpha. Still, these corporations are just a fraction of the story when it comes to the massive sums of money made by the military contractors since September 11, 2001.
Chris Hellman of the National Priorities Project, writing recently at TomDispatch.com, noted that since the 9/11 attacks, the United States has spent about $8 trillion on national security. Even accounting for all the funds paid out for troop salaries,overseas base construction and the training and equipping indigenous allies in Iraq and Afghanistan, among many other costs, it’s clear that vast sums of Pentagon money are flowing somewhere other than to the top weapons-makers. Unknown to most U.S. taxpayers and even many Pentagon-watchers, some of the largest and most recognizable corporations in the world have also been getting rich on America’s wars. Below are five examples of “civilian” companies that have reaped major rewards from the Pentagon during its last decade at war:
1. BP: The oil giant, perhaps most famous for dumping 206 million gallons of crude into the Gulf of Mexico last year, is also a perennial power when it comes to Pentagon contracts. Back in 2001, BP nabbed a cool $357 million in contracts from the Department of Defense. Last year, the number hit $1 billion and it’s no secret why. As defense-tech writer Noah Shachtman noted atForeign Policy last year, the U.S. military burns “22 gallons of diesel [fuel] per soldier per day in Afghanistan, at a cost of more than $100,000 a person annually.”
2. FedEx: The overnight shipping giant is a long-time defense-contracting powerhouse that has also seen an exponential increase in contract dollars since September 10, 2001, when its stock was trading at just under $40 per share. By the end of that year, FedEx had been awarded about $211 million in contracts from the Pentagon. In 2010, the company received $1.4 billion from the Department of Defense and this year, with its stock closing in on $80 per share, has already passed the $1 billion mark, again. This includes a $182 million deal, inked in August, to pack and ship fresh fruit and vegetables to U.S. military bases overseas and a joint agreement, which also includes United Parcel Service (UPS) and Polar Air Cargo, which could last up to five years and potentially net the companies a combined $853 million.
3. Dell: If you’re in the military and you want to pilot a drone, transfer supplies or write a memo, you need a computer. That’s just what Dell provides. The desktop- and laptop-maker has been plying the Pentagon with computers for many years and, just like Lockheed, Boeing and Northrop Grumman, has done especially well by the Department of Defense since 2001. That year, Dell was awarded $65 million in Pentagon contracts. By 2009, that number had jumped to $731 million and, over the course of the decade, has added up to a total of $4.3 billion in contracts for the PC manufacturer.
4. Kraft – From A-1 steak sauce, their signature mayonnaise and Oreo cookiesto Oscar Meyer hot dogs, Planters peanuts and Wheat Thins crackers, this company ranks as one of the largest and best known food concerns in the world. Not surprisingly, it also does a brisk business with the Pentagon which has grown ever larger during the last decade. Back in 2001, Kraft inked $148 million in deals with the Department of Defense, by 2010, its yearly take had risen to $373 million.
5. Pepsi – Once upon a time it was the “choice of a new generation.” These days, it’s the choice of the Pentagon. In 2010, PepsiCo washed down $217 million in Defense Department contract dollars, compared to the mere $61 million in deals it inked back in 2001. Earlier this year, the company continued the trend by signing a multi-million dollar deal to provide the Army, Navy, Air Force and Marine Corps with “bag-in-box beverages.” (That very same day, Coca-Cola also received a slightly larger contract to provide drinks for the military.)
Other big-name firms that are regularly awarded large, lucrative deals from the Defense Department include tire titans Goodrich and Goodyear, oil giants Shell and Exxon Mobil, big food suppliers like Nestle, General Mills, Tyson, ConAgra and Campbell's Soup, and tech and telecom stalwarts including AT&T, Oracle, Sony and Verizon.
A decade of waging wars abroad, from Iraq and Afghanistan to Pakistan and Libya to Yemen and Somalia hasn’t been kind to average Americans. As the United States poured nearly $8 trillion into national security spending, and the national debt ballooned from $6 trillion to $14.3 trillion, the official unemployment rate has more than doubled -- from 4.5% to 9.1%. Meanwhile the number of children living in poverty in the U.S. has jumped nearly 20% since 2000, according to theNational Center for Children in Poverty. And for older Americans, the risk of hunger has spiked almost 80% since 2001, according to a recent report by AARP. But from car companies to candy makers and even the biggest brands inorganic food, so many of the world’s favorite companies have, over these years, cashed in on America’s wars.
In his famous 1961 farewell address, President Dwight Eisenhower warned of the "acquisition of unwarranted influence" by what he called the "military-industrial complex.” Today, however, the "large arms industry" that Eisenhower warned about is only part of the equation. Civilian firms such as FedEx and PepsiCo form the backbone of what more accurately can be described as a military-corporate complex of “civilian” businesses that enable the Pentagon to function, to make war and to carry out foreign occupations.
Almost a decade after Eisenhower's farewell address, there were still only about22,000 prime contractors doing business with the Department of Defense. Last year, according to U.S. government records, the number stood at almost 135,000. The reasons why are simple. Big war budgets and ever-increasing national security spending have made the Pentagon’s deep, taxpayer-filled pockets especially attractive as a stable source of income in economically uncertain times.
Most Americans will never buy anything directly from Lockheed Martin, Boeing or Northrop Grumman, but many have spent money on Crest toothpaste (Procter & Gamble), Cheerios (General Mills), a PlayStation 3 (Sony) or paid for cell phone service from AT&T or Verizon – all of them big-time defense contractors. These and other large corporations have done very well, reaping rewards not only from Americans at the checkout counter but from their tax dollars by way of the Pentagon. Meanwhile, halfway across the planet, large numbers of Afghans and Iraqis -- who have seen their lives upended, their homes destroyed, and their family members killed and wounded -- have suffered as a direct result of the efforts of these and other members of the military-corporate complex.
Even with the specter of only modest growth (or even cuts) in defense spending on the horizon, the number of companies seeking the stability of a Pentagon paycheck is likely only to rise. And with it, the U.S. civilian economy is sure to become further militarized by stealth corporations cashing in on a state of permanent war, while the American public remains largely oblivious to their role in the military-corporate complex and America’s war-making overseas.
Nick Turse is the associate editor of TomDispatch.com and a senior editor at AlterNet. His latest book is The Case for Withdrawal from Afghanistan (Verso). You can follow him on Twitter @NickTurse, on Tumblr, and on Facebook.
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Zubeida Mustafa
Official website of Zubeida Mustafa
Save Karachi
May 29, 2015 Administration, Books, Children and Youth, Development and Poverty, Economy, Education, Environment, Justice, Labour, Law & Order, Politics, Population, Social IssuesZubeida Mustafa
By Zubeida Mustafa
RUMANA Husain’s recently published Street Smart: Professionals on the Street comes as a reminder of how we are losing the city where many of us have lived and worked for most of our lives. Karachi is no more what I remember of it when I was a child.
Some categories of the blue-collar workers, as Rumana calls the people who are the subject of her book, no longer exist. Mechanisation, technology and lifestyles have made them redundant. That is change, as the new replaces the old. But the tragedy is that the street professionals no longer knit the community together as they once did.
The labour of love the author has invested in the book to collect all the information and photographs is remarkable. Her style of narration is non-judgemental and she refrains from entering the realm of controversy while writing sympathetically about the persons interviewed. It is left to the readers to draw their own inferences.
Assimilation has not been possible in the city.
Unfortunately, as the foreword by veteran journalist Ghazi Salahuddin implies, it is difficult to be positive about Karachi. Ghazi mourns the fact that the privileged classes have no “moral rapport” with Karachi. I would add that neither do the others. Ghazi adds that the war against violence in Karachi will have to be fought on the “moral and intellectual” fronts. It will also have to be addressed at the social level.
These comments should prompt us to ask why Karachi has become what it is today. The fact is that a sense of ownership of the city is totally missing from those who live here. Most people who now come to Karachi arrive here in search of greener pastures. Few consider it necessary to give something in return to the city that gives them so much.
The fact is that when citizens identify themselves with the place they live in they are inevitably required to create an equation with its citizens. That has not happened in Karachi for two reasons. First, Karachi has always been in a state of flux. Migration has been a continuous process interspersed with major waves of influx that came in quick succession that didn’t allow inter-communal relationships to stabilise. A new wave would disturb the demographic balance before the old had steadied. This spasmodically created multiculturalism was not handled sensitively.
That was bad enough when the second factor, namely, politics, intervened. Political leaders tried to create their constituencies among their own communities which compelled them to be exclusive to win political support. Being intellectually bankrupt and lacking statesmanship politicians have deliberately played the ethnic and linguistic card. Turmoil has encouraged further fragmentation of the population and assimilation has not been possible. Violence has reinforced this trend as it is natural for people of one clan to seek protection by clustering together.
When economics got mixed up with politics it intensified the crisis. Karachi still remains the financial hub. It is the biggest source of revenue for the national treasury and has a substantial share in the GDP. As such, the city has seen the rise of new vested interests which received a boost from strategic concerns generated by wars in the region.
Since 1979, the region around Pakistan has been in the grip of conflict — which includes proxy wars — making Karachi the hub of the heroin and arms trafficking route. Nato supplies have also passed through this port city and brought a windfall to those controlling the transport sector. By one account the transporters were earning $500 million a year. These economic gains have made Karachi a contested cash cow.
Then how can we save Karachi? The immediate need is to spruce up governance. According to Paul Collier, a professor of economics at Oxford, (The Bottom Billion) this requires a critical mass of informed citizenry to make our rulers accountable. Only education that creates awareness in the masses and encourages them to think can weld them into a powerful pressure group.
The need is also to pull down the socio-economic barriers that fragment Karachi’s society and prevent it from emerging as a force to reckon with. For this, the privileged and underprivileged classes will have to come together. Collier speaks of compassion and enlightened self-interest as important forces. The first is needed to get a social movement started to bring in its fold people from all classes. ‘I am Karachi’ is trying to do that but it needs to be all-encompassing to make an impact. Cultural activities certainly help but they must transcend social boundaries.
The second element, enlightened self-interest, helps sustain such a movement. This requires the privileged classes to realise that their own survival depends on the uplift of the deprived. Life has become brutish and miserable for the pauperised of society whose number is growing. Their needs must be addressed if we want them to be an integral part of the pressure group to improve governance.
Source: Dawn
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St. Fred’s Quiz Bowl Team Won Regional Ranking
The St. Frederick High School Quiz Bowl team competed in Natchitoches on March 31 in the State Quiz Bowl Championship Tournament. Anthony Trombatore, SFHS Quiz Bowl Sponsor and science teacher, led the Warriors to a second place Division IV win. St. Frederick students not only garnered the 2nd place State Ranking, they also earned a 3rd place Invitational Ranking and a 1st place Regional Ranking. The team had a fun year and performed well. Geaux Warriors!
Jesus the Good Shepherd Students Met Easter Bunny
Jesus the Good Shepherd School’s PreK-4 students enjoyed a visit from the Easter Bunny before they had their annual classroom Easter Egg hunt. The students had a great time taking pictures with the Easter Bunny and hunting for candy-filled eggs. Prior to the Easter Egg Hunt, the students discussed the true meaning of Easter and what that meant to each of them.
St. John Berchmans Students Performed Living Stations
As part of Holy Week, eighth grade students from St. John Berchmans School performed their annual presentation of the Living Stations of the Cross on Holy Thursday in front of the entire student body, family, friends and guests. The eighth grade students wrote the script for the presentation, and re-enacted all 14 stations with music, scriptures and reflections read between each station.
In addition to the Living Stations, St. John Berchmans students of all ages celebrated Easter through various activities including Easter egg hunts in the preschool and kindergarten classes, and an interactive Last Supper lesson and meal for the first grade students.
Our Lady of Fatima Students Perfom Living Stations
Our Lady of Fatima School students in grades 3-6 performed a dramatic depiction of Christ’s journey to Golgotha with the Living Stations of the Cross. The production proved to be a memorable experience for not only the guests in attendance, but also for the children who participated.
St. John Berchmans School Triumphed at Regional Science Olympiad Competition
St. John Berchmans School triumphed at the Regional Science Olympiad Competition in Ruston on March 10, taking first place. The team participated in 23 events and clinched 12 first place medals. The students will compete in the state competition in Hammond, LA on April 28.
St. John’s 7th grader Anastasia Means took first place at the Regional Social Studies Fair on March 8 and will continue to the state contest in Baton Rouge later in April. Our Regional Science Fair winners were Isabella Silvia, 1st Place – Energy & Transportation; Vinny Peavy, 2nd Place – Environmental Management; Adam Cook, 1st Place – Microbiology; and Ben Hyde, 3rd Place – Mathematical Sciences.
Loyola’s Womens Basketball Team Wins State Championship
April 10, 2012 bvice No comments
by John James Marshall
Amid the celebration that continued in the locker room after the Loyola Flyers had won the Class 3A state championship with a 55-41 win over Albany, it suddenly hit senior guard Kiki Robinson.
“Wait a minute,” she said for all of her teammates to hear, “I’m going to have to take this jersey off for the final time. I don’t ever want to take this jersey off!”
Ninety minutes earlier, assistant coach Rob Horneman was giving his final defensive instructions to the team before the starting lineups were announced. It was the usual “you’ve got her and you’ve got her” discussion. Then Horneman punctuated his final words by looking each of the five starters in the eye with these words: “Heart of a champion.”
And with those words, Evandrielle Matthews, Cinderella Linnear, Jasmin Anderson, Alexis Martin and Morgan Rogers took the floor at the Thomas Assembly Center in Ruston.
Awaiting them were the Albany Hornets, the No. 2 seed. In addition to beating the Hornets, the Loyola girls were also trying to overcome a four-year quest to get the top; time spent as freshmen watching the games before becoming eligible because of residency requirements; losing in the quarterfinals two years ago to the eventual state champion; being devastated by injuries last year but still making it to the state semifinals, only to lose to another eventual state champion and having a target on their backs almost the entire season as win after win piled up.
Finally it was here. When Rogers stepped in to the center circle for the opening jump ball, it was time to play 32 more minutes and finish the job that had started so long ago.
Very early, it didn’t look so good. The last two things a coach wants is to get behind by so much at the start that they can’t climb out of the hole and foul trouble.
Though Albany scored the first two baskets of the game, the Flyers quickly established themselves in the middle of the first quarter and took the lead.
As he sat on the bench in the first quarter, head coach Kyle Tanner had to be happy that his team didn’t fall victim to some early jitters and had already taken a lead. What he didn’t like was that the leading scorer was sitting beside him.
Rogers, a 6-foot-3 center, picked up two fouls in the first three minutes. Typically, that would mean Rogers would sit out the rest of the first half and not risk picking up a third foul. It’s not the first time that has happened to Rogers, but with the stakes so high, it wasn’t exactly in Tanner’s game plan.
But Tanner also knew he had a secret weapon – the five girls who were on the court.
Instead of an inside-oriented game, the Lady Flyers simply switched to a more up-tempo game and continued to keep the lead. Meanwhile, the intense defensive pressure by the Flyers was beginning to get to the Hornets. As long as that was happening, Tanner could afford to keep Rogers on the bench.
After holding Albany to only four points in the second quarter, Loyola had a 24-17 halftime lead. Neither team could get much offense going in the third quarter and the Flyers led 30-24 as they entered the final period, eight minutes to a state championship.
Early in the fourth quarter, things were getting uncomfortable for the Flyers as their six-point lead evaporated in five seconds as Albany made a three-point basket, stole the inbounds pass and made a layup. Just like that it was a one-point game.
But the Flyers didn’t have time to get nervous about it as Martin immediately broke free for a basket and was fouled. When she made the free throw the lead was back to four. Martin then made a rebound basket on the next possession and the lead was back to six with five minutes to play.
Albany never got any closer. Martin was named the game’s Outstanding Player, scoring 13 points and grabbing 18 rebounds. Anderson would have been a worthy recipient as well. She kept things calm as Albany continually applied full-court pressure. She had a game-high of 18 points and made four free clutch free throws down the stretch.
The Flyers, who have never been confused with a great free throw shooting team this season, made nine free throws in the fourth quarter under some intense pressure.
Yes, Kiki Robinson did finally take the jersey off for the last time. But it was looooong after the game was over. When she did, the lasting memories of that night and that season were about to begin.
Following the team’s big win, Loyola College Prep hosted a special lunch for the girls in the school’s brand new cafeteria, which will open to all students after Spring Break. The girls cut the ribbon to open the new cafeteria and were joined by school principal Frank Israel, Superintendent Sr. Carol Shively and Bishop Michael G. Duca, all of whom offered their congratulations.
Second Collections for April
by Fr. Rothell Price, Vicar General
Good Friday Holy Land Collection
(Announcement: March 25 & April 1. Collection: April 6)
Each year Catholics are invited to support Christians in the Holy Land by participating in the pontifical Good Friday Collection. This collection offers us a direct opportunity to connect with and support Christians in the Holy Land, be witnesses of peace and to help preserve the Holy Places.
Franciscans and others in the Holy Land are housing and feeding the poor, providing information and education, maintaining shrines and parishes and conducting pastoral ministry, just as Jesus did. Support Christianity in the Holy Land. Please give generously to the pontifical Good Friday, Holy Land Collection as urged by the Holy Father.
Diocese of Shreveport Church Vocations Collection
(Announcement: March 25 & April 1. Collection: April 7 &
God the Father started with two; now there are billions of human beings created in His image and likeness. Jesus chose 12; now there are millions of followers of Christ. The twelve laid hands on some; now there are tens of thousands of bishops, priests and deacons. The successors of the twelve accepted the vows of some; and now there are some tens of thousands of consecrated sisters, brothers, deacons and priests. The Lord has a proven track record of doing a lot with so little.
This is our collection. This is our moment to shine and support vocations to the priesthood, diaconate and religious life for the Diocese of Shreveport. With your gift, we educate and spiritually form men for priestly and diaconal ministry in the Church and women and men for consecrated life.
Please join your sacrificial generosity to the dedicated and persistent efforts of Fr. David Richter, Director of Church Vocations for our diocese. Your financial support is a significant part of his nurturing vocations that are watered, fertilized and brought to harvest. Please view the vocations poster in your parish and see the faces of our men in formation to become priests of God. Know there are many faces not on the poster who are being courted and cultivated for ordained ministry and consecrated life.
Home Mission Appeal
(Announcement: April 15 & 22 Collection: April 28 & 29)
The Catholic Home Missions Appeal strengthens the Catholic Church in the U.S. and its territories in the Caribbean and the Pacific where resources are thin and priests are few. This collection reaches out to those Catholics and un-churched souls in impoverished zones of our nation, especially rural locations. Your generous sacrifice makes it possible to bring the light of Christ, the Catholic faith, to those who do not have easy access to it. Through this collection, you and I are Christ who went to all the neighboring towns and villages to announce the Good News.
The further away from town one gets, the fewer the resources and limited availability of priests. Through your participation in this collection, assistance is given to 87 dioceses. The Home Mission Appeal funds a wide range of pastoral services, including evangelization, religious education, mission parishes, training of seminarians and lay ministers, and ministry with ethnic groups.
Our mission diocese is one of the recipients of a large grant from the Home Mission Appeal. Please give generously and know that your generosity will be returned to us in a very tangible and sizeable manner so that we can continue to do the work of Christ and build the city of God.
Small Church Profile: St. Ann Church, Ebarb
by Linda Webster, PhD
St. Ann Church in Ebarb, Louisiana.
During the 25th anniversary year of the Diocese of Shreveport we are profiling small churches around the diocese.
St. Ann houses a robust place of worship in Ebarb, a small area of homes at the western edge of Sabine parish.
“We’re a real Catholic community,” said Maudie Woodruff who grew up in the area. “I like to think of our church as ‘old time religion’ practiced the way our parents and grandparents [did when they] came to this church.”
Dedicated in 1935 by Bishop Desmond, the church looks much the same today as it has for the last 75 years. According to Ione Durr, a granddaughter of Homer Ezernack who was one of the four carpenters, a mule-drawn wagon load of materials arrived each week on Monday from Zwolle with the head carpenter who boarded with the Albert Ebarb family. Friday, he would drive the mules back to Zwolle. The church looks very much the same today with the exception of a stunning altar piece brought to Ebarb from Iowa by Fr. Tim Hurd. A front porch has been added, a wing for housing a resident priest was completed in the early 1950s and the St. Ann cemetery was created just down the road on the way to Zwolle.
“I started singing in the choir when I was in fifth grade,” said Woodruff. “The church would be packed with large families and lots of children. But when Toledo Bend came in, so many people had to move and now there is just the one road into the community from Zwolle.”
Recognized by the State of Louisiana in 1978 as a Choctaw-Apache Tribal Area, many of the residents are descendants of Apache slaves, Choctaw families on the Sabine River or natives of the Spanish mission of Los Adaes.
“We older ones refer to the pews on the right side as the women’s side and the pews on the left as the men’s side,” noted Durr. “This is a common practice in Native American cultures and about 99% of our members are of the local tribe.”
Originally, a small chapel built in 1920 with $165 of Catholic Extension Society funding served the community. Mass was said by Fr. Bokhoven when he could get to Ebarb from St. Joseph much like Fr. Tim Hurd serves the parish today. Beginning as a mission of St. Joseph Church in Zwolle, seven miles away, St. Ann was returned to mission status in 2005 after 50 years as an independent parish.
Early parishioners await Mass inside St. Ann Church.
“Growing up, we had religious education here at St. Ann although I think Confirmation may have been at St. Joseph,” added Woodruff.
A delightful photograph gracing the front cover of the Images of America publication titled Around Ebarb and the Toledo Bend by Mary Lucille Rivers and Travis Ebarb, Jr. confirms Woodruff’s memory. Fr. William Pierce, the resident pastor at St. Ann from 1953-1968, is shown motoring up a waterway in a small boat filled with eight school-aged children as he ferries them to the parish for religion classes. A couple of the smaller boys are holding onto the gunnels fiercely but most are smiling. The children in the photograph have last names that are still very common in the community: Procell and Manshack. A more contemporary photograph on page 14 of that same publication shows a group of 11 youngsters, all decked out in canvas-covered life jackets, waiting by an all-terrain vehicle. The caption reads: “Waiting on Fr. Pierce and getting ready to ‘cross the creek’ to go back home after catechism …”
According to Monica Ebarb, some parishioners would walk miles to attend Sunday Mass.
“I remember one lady who drove her truck to church always carrying about 8-10 people in the front and back of her truck. Any time Mass was being held, she was there with her passengers no matter the weather.”
Monica also remembers the men sitting on the left and all of the women and children sitting to the right, many praying the rosary silently during Mass. She also remembers when air conditioning and a P.A. system were installed.
“Before that, the priest just spoke loudly!”
St. Ann Cemetery is on the left as one drives into the center of the community.
“We used to have a men’s club called the ‘King’s Kitchen’ while Fr. Williams was here,” remembered Woodruff. “They’d have a little bar-b-que maybe once a year, and take care of the cemetery and the church.”
Fr. Luis Antlitz is buried in the cemetery under the main cross. He served as pastor from 1968 through 1976, then retired. He lived with two local families until his death – Raymond and Joan Ebarb and Chester and Oma Procell.
Today, the community gathers at St. Ann Church for Mass on Saturday evenings at 6:30 p.m. Anita Manshack unlocks the main door around 6:00 p.m. and prepares to lead the rosary for the large turn-out of two dozen parishioners. Among the early arrivals is Nicolette Ebarb and her cousin, Crista Chance, who go out onto the front porch to begin greeting parishioners.
“We volunteered to be greeters,” said Ebarb. “We like being out here and saying ‘Hello’ to everyone. And then we ring the bell. There are big crowds here at Christmas and Easter plus there are newcomers, the visitors who are fishing or camping on the lake.”
Woodruff’s own great-granddaughter was present in the church when Bishop Duca visited as part of his initial tour of all parishes in the diocese.
“We had her in the choir area at the front of the church and she started fussing,” she chuckled. “My granddaughter got up to take the child out of church but Bishop Duca told her to stay – that a fussing baby was the sound of new life in the church!”
Woodruff lives just a quarter mile away from St. Ann on the one road that leads in to and out of town. She and her family provide the music for liturgies, practicing at the church for special events like Christmas and Easter, but most of the time singing the hymns they’ve sung together for years. Mia Curtis plays the keyboard and other choir members include Monica Ebarb and her daughter, Amber Cartinez, plus other members of the extended family.
“We love our little church,” Woodruff said.
United for Religious Freedom
A Statement of the Administrative Committee of the United States Conference of Catholic Bishops
The Administrative Committee of the United States Conference of Catholic Bishops, gathered for its March 2012 meeting, is strongly unified and intensely focused in its opposition to the various threats to religious freedom in our day. In our role as Bishops, we approach this question prayerfully and as pastors—concerned not only with the protection of the Church’s own institutions, but with the care of the souls of the individual faithful, and with the common good.
To address the broader range of religious liberty issues, we look forward to the upcoming publication of “A Statement on Religious Liberty,” a document of the Ad Hoc Committee for Religious Liberty. This document reflects on the history of religious liberty in our great Nation; surveys the current range of threats to this foundational principle; and states clearly the resolve of the Bishops to act strongly, in concert with our fellow citizens, in its defense.
One particular religious freedom issue demands our immediate attention: the now- finalized rule of the U.S. Department of Health and Human Services that would force virtually all private health plans nationwide to provide coverage of sterilization and contraception—including abortifacient drugs—subject to an exemption for “religious employers” that is arbitrarily narrow, and to an unspecified and dubious future “accommodation” for other religious organizations that are denied the exemption.
We begin, first, with thanks to all who have stood firmly with us in our vigorous opposition to this unjust and illegal mandate: to our brother bishops; to our clergy and religious; to our Catholic faithful; to the wonderful array of Catholic groups and institutions that enliven our civil society; to our ecumenical and interfaith allies; to women and men of all religions (or none at all); to legal scholars; and to civic leaders. It is your enthusiastic unity in defense of religious freedom that has made such a dramatic and positive impact in this historic public debate. With your continued help, we will not be divided, and we will continue forward as one.
Second, we wish to clarify what this debate is—and is not—about. This is not about access to contraception, which is ubiquitous and inexpensive, even when it is not provided by the Church’s hand and with the Church’s funds. This is not about the religious freedom of Catholics only, but also of those who recognize that their cherished beliefs may be next on the block. This is not about the Bishops’ somehow “banning contraception,” when the U.S. Supreme Court took that issue off the table two generations ago. Indeed, this is not about the Church wanting to force anybody to do anything; it is instead about the federal government forcing the Church—consisting of its faithful and all but a few of its institutions—to act against Church teachings. This is not a matter of opposition to universal health care, which has been a concern of the Bishops’ Conference since 1919, virtually at its founding. This is not a fight we want or asked for, but one forced upon us by government on its own timing. Finally, this is not a Republican or Democratic, a conservative or liberal issue; it is an American issue.
So what is it about?
An unwarranted government definition of religion. The mandate includes an extremely narrow definition of what HHS deems a “religious employer” deserving exemption—employers who, among other things, must hire and serve primarily those of
their own faith. We are deeply concerned about this new definition of who we are as people of faith and what constitutes our ministry. The introduction of this unprecedented defining of faith communities and their ministries has precipitated this struggle for religious freedom. Government has no place defining religion and religious ministry. HHS thus creates and enforces a new distinction—alien both to our Catholic tradition and to federal law—between our houses of worship and our great ministries of service to our neighbors, namely, the poor, the homeless, the sick, the students in our schools and universities, and others in need, of any faith community or none. Cf. Deus Caritas Est, Nos. 20-33. We are commanded both to love and to serve the Lord; laws that protect our freedom to comply with one of these commands but not the other are nothing to celebrate. Indeed, they must be rejected, for they create a “second class” of citizenship within our religious community. And if this definition is allowed to stand, it will spread throughout federal law, weakening its healthy tradition of generous respect for religious freedom and diversity. All—not just some—of our religious institutions share equally in the very same God-given, legally-recognized right not “to be forced to act in a manner contrary to [their] own beliefs.” Dignitatis Humanae, No. 2.
A mandate to act against our teachings. The exemption is not merely a government foray into internal Church governance, where government has no legal competence or authority—disturbing though that may be. This error in theory has grave consequences in principle and practice. Those deemed by HHS not to be “religious employers” will be forced by government to violate their own teachings within their very own institutions. This is not only an injustice in itself, but it also undermines the effective proclamation of those teachings to the faithful and to the world. For decades, the Bishops have led the fight against such government incursions on conscience, particularly in the area of health care. Far from making us waver in this longstanding commitment, the unprecedented magnitude of this latest threat has only strengthened our resolve to maintain that consistent view.
A violation of personal civil rights. The HHS mandate creates still a third class, those with no conscience protection at all: individuals who, in their daily lives, strive constantly to act in accordance with their faith and moral values. They, too, face a government mandate to aid in providing “services” contrary to those values—whether in their sponsoring of, and payment for, insurance as employers; their payment of insurance premiums as employees; or as insurers themselves—without even the semblance of an exemption. This, too, is unprecedented in federal law, which has long been generous in protecting the rights of individuals not to act against their religious beliefs or moral convictions. We have consistently supported these rights, particularly in the area of protecting the dignity of all human life, and we continue to do so.
Third, we want to indicate our next steps. We will continue our vigorous efforts at education and public advocacy on the principles of religious liberty and their application in this case (and others). We will continue to accept any invitation to dialogue with the Executive Branch to protect the religious freedom that is rightly ours. We will continue to pursue legislation to restore the same level of religious freedom we have enjoyed until just recently. And we will continue to explore our options for relief from the courts, under the U.S. Constitution and other federal laws that protect religious freedom. All of these efforts will proceed concurrently, and in a manner that is mutually reinforcing.
Most importantly of all, we call upon the Catholic faithful, and all people of faith, throughout our country to join us in prayer and penance for our leaders and for the complete protection of our First Freedom—religious liberty—which is not only protected in the laws and customs of our great nation, but rooted in the teachings of our great Tradition. Prayer is the ultimate source of our strength—for without God, we can do nothing; but with God, all things are possible.
Children’s Miracle Network Hospitals Chooses CHRISTUS Sutton Children’s Medial Center
by Kristen Gary
The Children’s Miracle Network Hospitals has chosen CHRISTUS Sutton Children’s Medical Center as a member of their network of 170 children’s hospitals in the U.S. CHRISTUS Sutton Children’s joins a prestigious list of member hospitals including Children’s Hospital of Los Angeles, Texas Children’s in Houston and Johns Hopkins Children’s Center in Baltimore.
John Lauck, Children’s Miracle Network Hospitals President and CEO, said “Sutton Children’s was chosen as a member hospital due to the excellent quality of care they provide for regional kids. The hospital now has access to a North American network of 170 elite health institutions and fundraising resources to further advance their operations. We look forward to Sutton Children’s continuing improvement as a member hospital.”
Stephen F. Wright, CEO of CHRISTUS Health Louisiana, said “This designation is considered a recognition of excellence among children’s hospitals. This partnership assures our community that the services being delivered to children in Northern Louisiana and Texas by CHRISTUS Sutton Children’s Medical Center are of the highest quality available nationwide.”
While Children’s Miracle Network Hospitals is a national partnership, 100 percent of donations stays in the local community to be used to pay for the cost of caring for pediatric health needs, to purchase equipment and to fund research and training.
William Lunn, MD, COO of CHRISTUS Health Shreveport–Bossier, discussed how people could help support the children’s hospital. “As you stop by one of the participating Children’s Miracle Network Hospitals corporate partners like Walmart, Sam’s Club, Kroger, Rite Aid and many others, please consider purchasing a Children’s Miracle Network Hospitals ‘Miracle Balloon’. These funds will be used by the hospital where the money is needed most, including new equipment, child life services, uncompensated care and research.” Sutton Children’s joins other CHRISTUS hospitals, including CHRISTUS Cabrini Women’s & Children’s Hospital in Alexandria, CHRISTUS St. Patrick Hospital in Lake Charles and CHRISTUS Santa Rosa Children’s Hospital in San Antonio as Children’s Miracle Network Hospitals.
Sutton Children’s Medical Center is recognized as a preeminent community-based private children’s hospital that includes an inpatient unit, a PICU and a Level III NICU. Child Life specialists are available to help children cope with treatment. The Pediatric Emergency Department provides specialized emergency care just for kids.
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About TTS
Sing with TTS
Friends & Patrons
Choir Info
Thomas Tallis Society
Choir & Orchestra in the heart of historic Greenwich
Tallis’ Virtual Voice – a TTS Choral Outreach Project.
A learning and performing resource based around Tallis’ ‘Spem in alium’.
See project preview video here
Preface to the TTS Edition of Spem in alium
Preface to the TTS Edition of Spem in alium – click here or on image above for full document
Thomas Tallis (c.1505-1585)
Hugh Keyte’s edition of this famous motet, made freely available by the
Thomas Tallis Society to celebrate the likely 450th anniversary of the first performance.
Most choral singers will have heard Tallis’s celebrated motet on record or in concert, but relatively few will have had the opportunity to get to know it through performance, if only because of the difficulty of meeting up with at least thirty-nine other singers who can hold the often complex polyphonic lines. Members of the Thomas Tallis Society chamber choir are lucky in this respect, being able to join with enough singing colleagues who can do this, and to do so before a loyal audience of Friends and Patrons in the wonderful Hawksmoor church of St Alfege in Greenwich beneath which Tallis and his wife lie buried. (We perform the complete range of choral works, ancient and modern, though we do have a special allegiance to the
music of Tallis.)
As part of our programme of outreach and social connection we have long wished to find a way of sharing our experience and pleasure of musicmaking with others, and of Tallis’s choral masterpieces in particular. This became especially pertinent with the advent of Covid-19, with lock-downs and the need for social distancing making it impossible for singers to join together to sing at all, let alone perform works on the scale of ‘Spem in alium’, at least in the short term. Hence our Tallis’ Virtual Voice programme, which aims to enable anyone, singer or instrumentalist, individual or small group, to join in a virtual performance of Tallis’s monumental work – or, indeed, to create their own customised version. All this is being done online, and there are two main elements. Firstly, we are making freely available for the first time Hugh Keyte’s edition of the motet. This differs radically in many respects from all other available editions in that, surprisingly, it is the first to have been produced directly from the earliest surviving source, which Hugh asserts has allowed him to get much closer to what Tallis will actually have written. We are presenting this in a user-friendly way that relieves individual singers of the need to wrestle with a vast landscape of paper, though full scores can be downloaded, but may need to be printed at A2 size for practical use. The work and the edition are described briefly in Hugh’s Preface below, and in much greater detail in his Introduction, which is available on our website, alongside the freely downloadable scores in a variety of formats.
Secondly, we have commissioned from Andrew Leslie Cooper, a remarkable singer with the requisite three-octave range, a recording of all forty voice parts of the motet in a single performance. This can be listened to complete, but each individual voice part can also be downloaded as a single track to which users can sing (or play) along; or they might use it to learn that particular part, which they can then add to the other thirty-nine as sung by Andrew to create a bespoke virtual performance. Alternatively, new parts such as a saxophone improvisation might be added to Andrew’s 40 recorded parts to produce a truly personalised performance. The combination of online recording, musical edition, and Introduction is very much a technological ‘work in progress’, and we plan to make all of this freely available in the most convenient and easily-accessed ways we can achieve.
In order to cater for musical taste, two versions of Hugh’s edition will eventually be available. One is the version he produced for the Taverner Choir double LP of the complete Latin church music of Tallis in 1986, and this is the one that Andrew Leslie Cooper has recorded. The other is the revision which Hugh made for the I Fagiolini CD of Striggio’s 40-part mass in 2011, which differs both in the amount of editorial sharpenings (ficta), in underlay, and in the suggested use of instruments. A similar downloadable recording of this version will be made by the choir of the Thomas Tallis Society as soon as the abatement of the present pandemic allows.
I encourage you to seek out all these resources via our websites www.thomas-tallis-society.org and www.tallisvirtualvoice.org, and particularly to read Hugh’s Introduction, which (for one thing) will explain Botticelli’s painting of Judith with severed head of Holofernes on the front of this copy, that may have been puzzling you. It is a fascinating musical, historical and social journey that involves cryptology and regicidal intrigue, and explains how Tallis’s musical masterwork may have come about: which is far different from what has been generally assumed.
Nigel Press, Chair, TTS
Full Editor’s Introduction
TTS Editions: Spem in alium
Hugh Keyte
Example Choirbook
O Lord, give thy Holy Spirit
https://youtu.be/LyFXcfhwYlo
Tickets – 2021 Programme Hopefully Available Soon
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Lady Gaga reportedly bitten by a slow loris on set of new video
Lady Gaga was reportedly bitten by a slow loris on the set of her new video.
The NY Post writes that during the three day shoot for her 'G.U.Y. (Girl Under You)' video at Hearst Castle in California, the singer was "nipped" by a slow loris which was present for the shoot. A baby kangaroo and an 'exotic' goat had also been brought along for the video by an animal trainer, but none of the creatures made the final cut.
A source told the NY Post: "The slow loris is the cutest creature on the planet, and Lady Gaga wanted to use it in one scene, but it nipped her. They put it back in its box and took it away in disgrace." They added that Gaga "just laughed about it. She was a good sport."
Gaga will bring her artRAVE tour to Britain this October. She will play a series of arena dates in Manchester, Glasgow, London, Dublin and Birmingham.
When the first London date sold out, a second show on October 25 was added. With that show also selling out, a third night, scheduled for October 26, was also announced.
Lady Gaga will play:
Birmingham NIA (October 15)
Dublin O2 Arena (17)
Glasgow Hydro (19)
Manchester Phones 4U Arena (21)
London O2 Arena (23, 25, 26)
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You are here: Home / Archives for Irgendwo in Tibet
Two Faces of a Tibetan Idol in America
May 23, 2016 By jstephens
An Icon of Light with a Shady Side
by Tilman Müller and Janis Vougioukas
English Translation of an excellent German article in Stern Magazine published in 2009.
When visiting Germany this week, the Dalai Lama will again be lauded as a messiah. The head of Tibetans is regarded as a symbol of tolerance. But critics in his exile community fail in demanding religious freedom and democracy.
He always comes in a large convoy like a president, bodyguards surrounding him, movie stars and managers forming honour guards. Politicians in charge hurry to welcome him. The scene may be the same this week in Frankfurt [Germany], just as it was in Nuremberg last year. The Dalai Lama greeted the crowds with his lovely child-like waving of hands. But his speech in the town hall made people halt their breath, as reported by a local newspaper next day.
He catered the elect audience saying he saw Nuremberg already on photographs when he was still a child: “very attractive with generals and weapons“ and with “Adolf Hitler and Hermann Goering“.
Some of the auditors seemed to be “embarrassed”, some were “alienated for a second;” Nuremberg’s chief mayor Ulrich Maly calls it a “moment of shock“. The special guests tried to get him self afterwards out of the affair by stating that as a child he wasn’t able to foresee the Nazi catastrophe.
If the Pope had given himself room for such statements in the city of the Reichsparteitage [NSDAP party summits] and the race laws, there would have been a loud outcry in the republic [of Germany]. But the head of Tibetan Buddhists is willingly excused for such words although His Holiness has enough reason to critically think about Nazi history. He who bears the title of the “Ocean of Wisdom” always had a very close relationship to his teacher Heinrich Harrer, a famous alpinist and author (“Seven years in Tibet”). Harrer had been a snappy Nazi who for a long time tried to hide the fact that he used to hold the rank of SS-Oberscharführer [Senior Squad Leader of the Schutz-Staffel (SS) or Protective Echelon of Adolf Hitler]. The Tibetan court used to have close ties with the NS-regime.
SS-expeditions were welcomed to Lhasa with full mark of respect. Until today, His Holiness never distanced himself from these inglorious relationships. But this is not the only dark chapter in his story of success.
The Dalai Lama smiles away all doubts. Almost everywhere he receives the same god-like veneration. In the West he appears as the super idol of the new age but in the Himalayans he governs like a medieval potentate. A gentle do-gooder who can show a surprisingly intolerant yes dictator-like behaviour. His people’s sad fate, suppressed by Beijing and expulsed, hides the inner problems of the Dalai Lama-regime.
Here [in Germany] people attracted by him fill stadiums like coming to see a pop star. In Nuremberg 7,000 people listened to him, in Hamburg two years ago 30.000 and Frankfurt Commerzbank-Arena expects 40.000 visitors these days. The tickets range from € 10 to € 230 and usually are booked one year in advance. In conjunction with his huge events, there came up a unique spiritual supermarket. 728 German and 908 English books from and about the Dalai Lama are listed with amazon, 13,200 videos at youtube, almost 8 million entries in google. The son of Tibetan peasants is the most popular of all living noble laureates.
Members of all religions and also atheists come like pilgrims to his one-man-shows. “We had direct eye-contact”, a young woman in the German city of Moenchengladbach shouted out over-happily and immediately promised to stop smoking henceforth. “He makes me feel good”, a woman in Boston says in excitement and puts it into a nutshell, “it’s his aura, this simpleness”.
Just in Europe and the US, the birthplaces of the Age of Enlightenment, this Buddhist messiah formed new strongholds of his religion and he also finds favour with the usually critical-thinking generation of 68 [the left wing student protest movement in Europe] In 1971, Stern Magazine [The magazine where this article was published] celebrated him as the “saint on the mountain”, Spiegel Magazine romanticised him to be a “god to touch” two years ago.
The head of the powerful German publishing house Springer, Mathias Döpfner, ex-porn queen Dolly Buster, German football star Mehmet Scholl, former economy minister Otto Graf Lambsdorff, and the inventor of the famous Love Parade Dr. Motte venerate Tenzin Gyatso, the 14th Dalai Lama.
Where does that huge excitement come from? Christianity is loosing prestige and believers. That left a vacuum giving Buddhism a space to develop in the west as some kind of wellness-religion. And the peaceful calmness of the Dalai Lama makes you feel comfortable in the rough daily rat-race. His positive charisma seems to ban all fear of crisis. On top of this, there arose a Tibet romanticism in the West transfiguring the snow land on the roof of the world where the Dalai Lama had been born in 1935 in a hut with juniper rain-pipes.
The Asia expert Orville Schell, president of the New York Center of Sino-American Relations, explained the development of the Tibet-Myth from its remote position for centuries in innumerable works. The lack of knowledge gave birth to fantasies. It all started back in 1933 with James Hilton’s novel “Lost Horizon”, first published in German titled “Irgendwo in Tibet – Somewhere in Tibet”. The action was set in the sunshine paradise Shangri-La where no one had to work and everyone is living in eternal peace. The dream factory of Hollywood later on could use all these fantasies, creating a symbiosis of Tibet and pop culture, and created a monument for Tenzin Gyatso with the movie “Kundun”. “Because Tibet has always been so inaccessible, it existed in western imagination rather as a dream than as reality. It was supposed to be a country we could project our post-modern longings to”, Schell says.
“I am for you whatever you want me to be for you”, the Dalai Lama says and in that way, alpinist Reinhold Messner regards him as “a fighter for environment protection”. German movie director and Oscar prize winner Florian Henckel von Donnermarck appreciates that “he makes happiness one of his religion’s core principals.” Actress Uma Thurman expects absolution for making the bloodthirsty violent movie “Kill Bill”: “The Dalai Lama would die laughing” if watching the movie. And the Dalai Lama takes part in that game, he is open to all directions at one’s will.
He is a perfect tool for presidents and heads of government as even George W. Bush looks peaceful when being with him. The hyper active Nicolas Sarkozy looks gentle, and boring Roland Koch [prime minister of the German state of Hessen] at least seems to have some esprit. Especially with conservative and right-wing politicians this game of mutual instrumentalisation works especially well. The Dalai Lama had strong sympathy for the Austrian right-wing Jörg Haider and visited him several times in his Austrian state of Kaernten.
Buddhist tantric vase buried in Westminster Abby by the Dalai Lama.
Although the head of Tibetans is already 74, he is touring the West so intensively only for a relatively short time now. In June 1979, he visited Mont Pèlerin at Lake Geneva giving his first public teaching to a greater audience in the west. “There was not much interest regarding the Dalai Lama and we couldn’t even get police protection for him,” one of the then organizers, today living in Switzerland, tells us.
In the meanwhile, the Dalai Lama became popular to the world but isn’t it anymore to all the monasteries. “There had been a break in our community about ten years ago,” a former companion says. In the first line it was about a protective saint the brotherhood is not allowed to worship anymore. But basically this religious quarrel is a struggle for power with intrigues, slandering, and intimidation continued until today. Out of fear of repression the confidant of the Dalai Lama asks to stay anonymous. The “Tibetan Community of Switzerland”, an organisation strongly devoted to the Dalai Lama called on all Tibetans in Switzerland having passed their 18th birthday to “immediately” stop the worship of the Tibetan protective deity Dorje Shugden and to sign an 8-point-agreement: “Those few Tibetans publicly and for no reason criticising the Dalai Lama are regarded to be Chinese collaborators by us.”
This strategy of “either being with me or against me” and the rigid tone absolutely don’t fit to the gentle manner in which the “Übervater” [super-father] is usually presenting himself to the West. His royal court in Dharamsala still follows the feudalist structure of the old Tibet and is ruled by oracles and rituals that do not have much in common with western tolerance and transparency. The Dalai Lama’s sudden prohibition of the protective deity Shugden who had been worshipped since the 17th century and is one out of hundreds of saints in the Tibetan Buddhist canon in 1996 deeply alienated many religious Tibetans. For them it is incomprehensible and outsiders hardly can grasp how rigorous it is enforced. About one third of the 130,000 exile Tibetans are supposed to have worshipped Shugden before the ban. Today there are only a few thousand to openly show their connection to the cult. There are no independent estimations regarding the 5 million Tibetans inside China.
The journalist Beat Regli in 1998 for the first time showed emotional pictures of that imminent conflict in the Indian exile communities in Swiss television [Schweizer Fernsehen, SF – Dalai Lama and Dorje Shugden]. Highly aged monks regretted crying that they didn’t already die before the prohibition of Shugden. A desperate family whose house had been set alight is presented as well as wanted posters denouncing Shugden followers and a Dalai Lama uncompromisingly defending his ban. “Wrong, wrong” he sounds off in a cold and sharp way nobody in the west has ever expected from the ever smiling noble laureate.
In Dharamsala this quarrel is continuing to the present day. Monks not following the Dalai Lama’s order report of massive discrimination. Relatives and friends are put under pressure and vendors put posters on their shop’s doors saying “No Entrance” for Shugden-believers.
In southern Indian city of Mundgod, Ganden Shartse monastery last year celebrated the inauguration of a new prayer hall. “It was supposed to become a great feast” one monk present at the time remembers. He is afraid to say his name. The Dalai Lama himself came and with him a number of other high ranking dignitaries. But almost everything talked about in the speeches and lectures was the old controversial topic of Dorje Shugden. Shortly afterwards the monks are said to have been told to sign a declaration stating they were no longer praticing Shugden. The monastery’s administration even erected a man-high wall through the monastic yard.
In the meanwhile the dispute was handed over to the court. Dorje Shugden Society filed a complaint at New Delhi’s High Court in order to check whether this “religious discrimination” is acceptable under Indian law. A decision is expected for the end of this year. Dalai Lama says Shugden worship is harmful to his life and to the “cause of Tibet” with no further statements available. His opposition suspects that Shugden, who is also exhorted as an oracle, was prohibited for being a concurrence to the Dalai Lama’s state oracle.
The Tibetan Governement-in Exile (TGE) nevertheless rejects all accusations. “There are only very few of those people left and they are completely financed by PRC. They are the only ones still talking about this topic,” TGE’s prime minister Samdhong Rinpoche says. Being paid by the Chinese is the worst accusation for any Tibetan.
The Tibetan refugee’s capital is situated in the small town of Mc Leod Ganj, next to the district capital Dharamsala and twelve hours by bus from New Delhi. The Dalai Lama and members of his closest staff moved into the former residence of the British administration in 1960 with thousands of devotees following him. Among many Indians of that region, Mc Leod Ganj is known as “Little Lhasa”. It is a tiny place with two dusty one way roads winding up the mountain.
About 600,000 enlightenment-tourists come here every year. Loud music flows from cafés and bars into the valley and little stands with religious kitsch stand side by side along the roads, one of them even offering “monk’s fashion”. Young Tibetans here wear Jeans and T-Shirts whereas the western tourists usually dress like actors in biblical movies. Little Lhasa has become the “Ballermann” [an area with lots of clubs, bars, and discotheques in Palma de Mallorca famous among German tourists to the Spanish island] for spiritual seekers.
The small government district is a short way down the hill with tiny ministries, a parliament, and a library. The Dalai Lama again and again underlines that Tibetans in exile have built up a democratic system. There is a parliament with 43 to 46 seats. All sessions are recorded on DVD and then sent into the refugee settlements. On a theoretical basis the parliament may decide against the Dalai Lama. “But this never happened,” says the parliament’s president Penpa Tsering. “Everyone has great confidence into His Holiness. He sees the Tibetan question from many different angles, receives lots of information and is very, very logical.”
For a long time, His Holiness’ family members held high positions. Since 2001 the prime minister is elected directly. In 2006’s elections, he received more than 90% of the votes and thus was confirmed in office. The main goal of Little Lhasa’s political structure is to confirm the Dalai Lama’s decisions and to solidify his power. Parties are absolutely irrelevant and the separation of state and church is not mentioned in the exile Tibetan Charta although it avows itself to the “ideals of democracy” in nice sounding words.
In 1990, the independent Tibetan newspaper “mang-tso” (democracy) was published for the first time and quickly became the most important piece of media for Little Lhasa’s refugee community. “We wrote on election fraud, corruption, and everything else existent in every other country as well,” says Jamyang Norbu, then editor-in-chief. “Mang-tso” was uncomfortable and its editors didn’t allow themselves to be intimidated when some of them received death threats and the paper boys were threatened in the streets. In 1996, the situation got even worse, shortly after the newspaper published an article on the Aum sect which was responsible for poisonous gas attacks on Tokyo’s metro in 1995 killing 12 and leaving hundreds injured. The terrorist sect’s leader, Shoko Asahara on several occasions met the Dalai Lama. Even weeks after the first assault, Dalai Lama called him a “friend, yet not a perfect one.” Only later he went on distance to the sect. “Reporters Without Boarders” then said that due to that article “the religious authorities immediately put ‘mang-tso’ under pressure.” It had to close down; that was the end of “democracy”.
Criticism or public debates are not welcomed in Little Lhasa. Dalai Lama prefers to ask gods and demons for advice. His Holiness’ official state oracle is called Thubten Ngodup, born in 1958. He is living in Nechung monastery right behind the parliament.
For centuries now, the Dalai Lamas seek oracle advice in all important religious and political decisions. After his predecessor had died, Thubten Ngodup became the Dalai Lama’s official fortune-teller in 1987. It is said that he became aware his qualification in various dreams and visions for the first time. Another hint for his supernatural skills was his oftentimes bleeding nose.
Whenever the Dalai Lama has a question, Thubten Nodup would put on his 40-kg ritual garment. Incense would be burnt and his assistants would put a huge crown on his head. Then the oracle would start dancing to the music of horns and cymbals until he would enter a trance murmuring words only well-trained ears can understand. Dalai Lama strongly believes in his predictions. Looking back he found out that “the oracle was always right,” he once said.
This is not what democracy looks like and yet there is not much criticism regarding his way of governing for reasons of solidarity with a suppressed people facing the super power China. Drawn out of his country, the Tibetan head has to see the cruel injustice happening there and the old culture slowly being destroyed.
The communist leaders in Beijing try to defame the Dalai Lama by calling him “wolf in monk’s robes” or “devil with a human face and a beast’s heart”. At the same time, Chinese security forces suppress even the slightest move towards freedom on the Tibetan plateau. So one doesn’t have to wonder for most Westeners stepping on the side of the weak.
But Tibet never was the paradise it is in western imagination. When the Chinese marched into it in 1950, it was stuck up in the medieval era with monks and aristocrats sharing the power. Most people were slaves, serfs, or under debt bondage. The system was protected by a brutal religious police with whips and bars and many monasteries had their own prisons. Even the Dalai Lama’s friend Heinrich Harrer was shocked: “The monks’ rule in Tibet is unique and may only be compared to a strong dictatorship. They are suspicious of any influence from the outside that may endanger their power. They are intelligent enough not to believe in their unlimited power but they will immediately punish anyone who dares to doubt it.” Harrer reports of a man who stole a golden butter lamp from a temple. At first his hand were publicly amputated and then “his mutilated body was sewn into a wet yak skin. They let it dry and then threw it down a ravine.”
After the occupation, the Chinese presented themselves as the Tibetan people’s liberators and destroyed the monasteries. And they built up a new system of suppression. They oftentimes point out that despite of his peace messages the Dalai Lama supports the armed resistance in his homeland, himself being supported by “foreign imperialists”. In deed the Dalai Lama’s two elder brothers built up connections with the US intelligence agency. During several years, CIA trained about 300 Tibetans in guerrilla war techniques at Camp Hale in the Rocky Mountains. In a full moon night in October 1957, the first Tibetan elite soldiers jumped out of a B-17 without nationality marking over Tibet. For the case of being caught by the Chinese, each of them carried a small container of cyanite.
These Tibetan agents also protected the Dalai Lama’s flight to India permanently being in contact with the CIA via Morse messaging. Later on, the US financed the formation of a Tibetan rebel army in the Nepalese kingdom of Mustang. The programmes were stopped when the US intensified their trading with China in the early 1970s.
Regarding Buddhism rather as an esoteric cult than as a religion, many of the Dalai Lama’s followers are astonished when hearing of their idol working hand in hand with the US intelligence agencies. Or when they hear that Buddhism spread in Asia as with much bloodshed as Islam did in Arabia or as the Christian crusades. Again and again Tibetan monasteries had brutal fights against each other. Buddhism is not necessarily more tolerant than other religions. In an interview with “Playboy” magazine, Dalai Lama called homosexual practices “misconduct”. The teachings also condemn “having oral or anal sex with your wife or another female partner”. Similar passages had been deleted from his “Ethics for a New Millennium” on his publisher’s advice.
Dalai Lama is in favour of harmony. But he will have to face the confrontation as there is growing criticism in his own exile community. “His Holiness is living in a bubble without contact to the outside world,” says Lhasang Tsering, a long term activist. He is now running a bookstore in Little Lhasa. “Religion and politics should finally be separated.”
This is also what Jamyang Norbu is stipulating. “Dalai Lama is not a bad person”, says “mang-tso’s” former editor-in-chief. “But he begins to be a hindrance to our development. We don’t have democracy. Many things today are even worse than in 1959. Then we had three political powers: Dalai Lama, the monasteries, and the nobility.” Today the only leading figure left is the Dalai Lama.
© STERN
Filed Under: JCS Tagged With: 14th Dalai Lama, Adolf Hitler, American Idol, Aum Sect, B-17, Beat Regli, Beijing, Brad Pitt, Buddha, Buddhism, Camp Hale, Christ, Christianity, CIA, Connie Kang, Dalai Lama, David Aikman, Democracy, devil, Dharamsala, Dorje Shugden, Dr. Motte, feudalist, Frankfurt, Ganden Shartse, Geneva, George W. Bush, Germany, Hermann Goering, Hollywood, Irgendwo in Tibet, Janis Vougiouskas, Jesus Christ, Jörg Haider, Julia Duin, Kill Bill, Lhasa, Lost Horizon, love parade, Marxism, Mc Leod Ganj, Mehmet Scholl, Messiah, Nazi, Ncolas Sarkozy, Nechung Oracle, New York, New York Center of Sino-American Relations, Nobel Laureates, Nobel Peace Prize, NSDAP, Nuremberg, Ocean of Wisdom, oracles, Orville Schell, Pope, porn queen, Reichsparteitage, Reinhold Messner, religious freedom, Roland Koch, Samdhong Rinpoche, Schutz-Staffel, Seven Years in Tibet, Shoko Asahara, Shugden, Shugden Dorje, SS, SS Oberscharfuhrer, Stern, Stern magazine, super father, Tenzin Gyatso, TGE, Thubten Ngodup, Tibetan Buddhism, Tibetan Idol, Tibetan romanticism, Tibetans, Tillman Muller, Tolerance, Ulrich Maly, Uma Thurman, XIV Dalai Lama
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Papa Wemba single featuring Diamond is out
Africa Beat
Amos Mabinda·
Africa BeatMusic
It’s finally here, the much anticipated single featuring the late legendary Congolese musician Papa Wemba and Tanzania’s sensational star Diamond Platnumz has been released.
The laid back rhumba fix “Chacun Pour Soi” dropped on June 24, 2016 and the incredible signature singing from the two artists are to die for!
The collaboration brings the best out of the old and new generations of African artists and as hinted earlier on Afroway, it is expected to propel the Tanzanian crooner to even greater heights. Diamond revealed that the two were working on the single after the death of the iconic African singer in April leading to much speculation on the date of the release. But the single release date was announced on Papa Wemba Instagram account this month.
As proof of his versatility, the iconic figure collaborated with quite a number of artists from all over and from different age groups this posthumous release is one of the best singles from the Congolese icon.
Papa Wemba, one of the most influential and legendary figures died while performing on stage in Abidjan, leaving a big gap in the African music scene. “Chacun Pour Soi” is among the tracks he had compiled for his yet to be released.
Take a peak of the single here:
Get Out My Way: The Shindellas Share Visuals For Self-Empowering New Single ‘Fear Has No Place’
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Tag Archives: Caledonian Road
26. The entrance to Caledonian Road
Architecture, Numbers 26-50, Piccadilly line, Zone 2
There are some Underground stations that look better in the dark.
Not that they aren’t attractive or intriguing when seen in daylight. Rather their qualities take on added appeal when the sun has set and electric lights are switched on. Caledonian Road is just such a station.
It’s the first one I’ve mentioned on this blog to have been designed by Leslie Green, architect of well over two dozen Underground buildings, all built in the first decade of the 20th century, and all bearing certain signature elements: two storeys, semi-circular windows, patterned tiles on the inside, and hundreds upon hundreds of ox-blood red glazed terracotta blocks on the outside.
Now before I go any further, I should admit that I’m not an especially huge admirer of Leslie Green.
I know that he is held in very high regard by some – the writer Mark Mason, for instance, who makes his fondness for Green’s stations very clear in his book Walk the Lines, where he ranks the man far above Charles Holden, the only other architect in history to have exerted an influence over the Underground on a similar scale.
But I beg to differ. I am very firmly in the Holden camp. Green’s work is well-executed, to be sure. But it can also tend towards the… how can I put this? Dull. Lumpen. At times, even a bit boring.
The problem lies, I think, with those ubiquitous ox-blood blocks. I simply don’t find them particularly inspiring. There are just too many of them – not in the context of any one of Green’s slew of stations, but when taken as a whole, right across London.
Where is the variety, the flair? Where are the distinguishing features that give each of Green’s buildings their own individual personality, as well as that collective identification of belonging to the Underground?
Where, in short, is the imagination?
I concede that an understanding of uniformity inspired Holden as well. But Holden did not end up churning out precisely the same look and feel for every single one of his stations. Just journey a bit further up the Piccadilly line from Caledonian Road to see evidence of that.
Green, by contrast, seemed to opt for a uniformity of appearance rather than style. Tragically, the pressure of producing so many of these identikit stations in such a short space of time killed him. Green was given the job in 1903; five years later he was dead.
Caledonian Road, when seen in daylight, is no better and no worse than any of Green’s other surviving efforts. But come nightfall, it becomes a little bit different. And that’s why I like it. The lights are switched on and the exterior, especially the entrance, immediately assumes a bit of character it didn’t have before. It gains a personality all of its own. All the familiar motifs of Green’s work suddenly look slightly enhanced, enriched – even a bit magical.
There’s a predictability about Leslie Green’s squat, homogenised stations that, while appealing to some, can’t help but feel disappointing to others. A single innovation of art or design is laudable enough, but the same innovation, repeated more or less identically within a concentrated period of time or geographical space, dilutes not just the quality of one but of of all.
Green’s work is plentiful and enduring, a bit like London’s theatres. But at the end of the day – literally, in the case of Caledonian Road – both types of venue need a few special effects to come into their own.
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24, Series
Original run: October 4, 2013 – present
Starring: Anil Kapoor
Sapna Pabbi
Neil Bhoopalam
Anita Raaj
Produced by: Anil Kapoor Films Company
Distributed by: Colors
24, sometimes referred to as 24: India, is an Indian television series based on the American series of the same name, made in the Hindi language. The show, primarily written by Rensil D'Silva and directed by Abhinay Deo, stars 24 season 8 actor Anil Kapoor, also a producer, in the lead role. 24 premiered on October 4, 2013 on the Viacom-owned Colors channel, airing twice-weekly, and concluded on December 21, 2013.
The first season of 24 was a massive success, garnering accolades and high viewership. A second season, after many delays, began filming in November 2015 and aired in fall 2016.
1 Series overview
1.1 Season 1 (2013)
1.3 Season 3 (TBA)
3 International distribution
Series overview[edit | edit source]
Promotional poster for the first season's premiere
Season 1 (2013)[edit | edit source]
Main article: Season 1
Season 1 of 24 is a close adaptation of the first season of the original 24, following Anti Terrorist Unit (ATU) director Jai Singh Rathod's efforts to thwart the assassination of newly elected Prime Minister Aditya Singhania, while his own family comes under threat from the perpetrators.
Promotional poster for Season 2
Season 2 of 24 aired from July 23 to October 9, 2016. The second season was loosely based on the third season of the original series, while borrowing some story elements from the second season, and portrayed a terrorist plot involving a deadly virus being released in Mumbai.
Season 3 (TBA)[edit | edit source]
A third season of 24 is currently planned.[1] After the release of his 2018 film Fanney Khan, Anil Kapoor will travel to Los Angeles to begin planning the third season.[2]
Production[edit | edit source]
Kapoor acquired the rights to 24 from Fox and 24 executive producer Howard Gordon through his production company, Anil Kapoor Film Co. after Gordon introduced him to Fox's head of international television, Marion Edwards. In April 2013, Bollywood screenwriter Rensil D'Silva and director Abhinay Deo were announced as the series' writer and director. The series is filmed on location in Mumbai, India.
The size and scope of the production was described as unprecedented for Indian television. Colors CEO Raj Nayak said that 24 was "going to be one of our big scale budgeted shows - as big as one of our non-fiction reality shows," while Kapoor stated that "there will be scenes with hundreds of thousands of people." In addition, Kapoor noted that Fox personnel participated in the production with the hope of replicating "the same kind of work culture and value systems that I experienced during my stint on 24."[3]
Kiefer Sutherland, who remained in contact with Kapoor after they starred together in Season 8, expressed interest in appearing on the new series in a cameo role.[4]
International distribution[edit | edit source]
Colors has international versions available on satellite and cable television that air their programmes with subtitles near to transmission date. There were initially rights issues with international airings of the show, but in 2015 it was aired in Australia on SBS. [5]
The episodes were available online through the Colors website, but in Hindi only.
Official Indian website
Official UK website
Official Hindi-language trailer
24 at Wikipedia
24 at the Internet Movie Database
↑ I Will be Doing 24 Season 3: Anil Kapoor. News18 (September 18, 2016). Retrieved on October 9, 2016.
↑ Anil Kapoor looking forward to Season 3 of 24. Daily News and Analysis (June 30, 2018). Retrieved on July 1, 2018.
↑ Nyay Bushan (November 26, 2012). Indian Version of '24' to Air on Viacom18's Colors Channel (Exclusive). The Hollywood Reporter. Retrieved on May 10, 2013.
↑ Kiefer Sutherland to speak Hindi?. DNA India (April 29, 2013). Retrieved on May 10, 2013.
↑ Foreign TV imports left out for international viewers BizAsia UK October 6, 2013. Retrieved January 11, 2014
Retrieved from "https://24.fandom.com/wiki/24/India?oldid=343644"
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Armistice 100 Days
On 11 November 1918, the First World War ended. After four years of unprecedented violence and devastation, Armistice was declared. But the stories and memories need to be renewed, lest we forget. Writers’ group 26 partnered with Imperial War Museums to mark this centenary in a unique way. We invited 100 writers to choose a subject from the war, and to tell that person’s story in poetry or prose in exactly 100 words. With the additional rule – start and finish with the same three words – we called this new form a centena.
Copyright 26.org.uk, 2018
ARMISTICE 100 DAYS - Day 61
To find out more about the person who inspired this centena and the author, visit our 26 author’s full page on Imperial War Museum’s First World War Centenary Partnership website.
Together, the 100 centenas create an extraordinary collection. One that we believe belongs in a book as a permanent memorial to remember and honour the lives of the First World War. You can help us make this happen by visiting our JustGiving crowdfunding page, where we’re raising money to cover the production costs. Any profit we make will then be donated to the charity War Child.
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Auditory Memory and Sound Archives (Late 19th Century – Present)
Auditory Memory and Sound Archives
Dr. Viktoria Tkaczyk (UvA)
Members of the research group
dr. S.R. Amico
dr. C.J. Birdsall
J.A. Burgoyne PhD
prof.dr. H.J. Honing
dr. J.D. Kiverstein
prof.dr. J.J.E. Kursell
prof.dr. J.J. Noordegraaf
dr. M.S. Parry
dr. V. Tkaczyk
External Member:
A. Kvicalova (UvA/ MPIWG, PhD candidate)
B. Lange (Humboldt University)
J. Kreutzfeldt (University of Copenhagen)
K. Bijsterveld (Maastricht University)
M. Mills (New York University)
M.M. Mervant-Roux (ARIAS, CNRS, Paris)
R. Franzen
W. Rodenhuis (Bijzondere Collecties)
Description of the research programme of the research group
In the first instance, the research group aims at establishing a broad discussion on the notion of the “auditory memory” within the field of memory studies. The group seeks to investigate the auditory memory which has been largely neglected in favor of visually‐oriented arts of memorization, with their long tradition within rhetoric (ars memorativa). A central concern is to what extent different forms of sound memorization have become relevant in science, art and media technology from the late‐nineteenth century to the present. The project will especially focus on how sound has been stored and archived with the aid of different media technologies, material cultures and bodily techniques, and how each of these forms of auditory memories has generated a specific form of “cultural heritage of sound”. The research group focuses on three main, intersecting strands:
1. The first strand concerns how human auditory memory has been defined in physiological research from the late nineteenth century, and subsequently in the cognitive sciences. How do medical notions of “auditory memory” correspond with or differ from concepts of auditory memorization related to rhetoric or media technology?
2. The second strand concerns the establishment of sound archives as formal institutions. Who has been involved in founding sound archives since the late‐nineteenth century? And what rationale was provided for their formation? How did different disciplines such as phonetics, physiology (of speech and hearing), (comparative) musicology or theatre studies approach and make (scientific) use of these archives?
3. A third, related strand concerns the preservation and presentation of sound archival material in the present. How did the status of sound archives change through the invention of radio and new means of sound recording and digitisation during the course of the twentieth century to the present? How might sound archives transform exhibition strategies of museums and art galleries to fully exploit their collections for public use? This takes exhibition work in a new direction by considering the implications of sound archives for public history practice. Public history can be most easily defined as history designed for, and with, the public, but in its most interesting form, has come to mean history that is popular, participatory, and with the potential for social change. In this understanding, public history is about cultivating critical awareness of the practices of history-making and their implication and demonstrating how the past shapes the present. In doing so, an effective public history project thus also demonstrates the potential of using history as a tool to reshape society.
Envisaged results
As a result of the workshop “Auditory Memory and Sound Archives” (18 Feb. 2013, UvA) which has been organized with international colleagues, a funding proposal is currently being prepared (Free Competition Humanities, NWO), including two PhD-positions and one Postdoc-position (expected results: two international conferences, three monographs, journal articles, sound exhibition). The group will also cooperate with the research project “The making of acoustics in 16th to 19th century Europe” (Max-Planck-Institute for the History of Science / Volkswagen foundation, dir. Tkaczyk, PhD: Kvicalova) in order to provide a historical long term-perspective on the history of auditory memory. We will further collaborate with the DFG-Netzwerk “Hör-Wissen im Wandel” (www.hoer-wissen-im-wandel.de). We have also been invited to collaborate with the French research project “ECHO [ECrire l'Histoire de l'Oral]. Mouvements du phonique dans l'image scénique (1950-2000) (dir. Mervant-Roux, ANR-proposal in preparation). The public history potential in sound archives will be addressed in a forthcoming conference co-organized by group member Manon Parry, as part of the planned 2014 Amsterdam meeting of the International Federation for Public History, funded in part by the Institute of Culture and History and the Cultural Heritage and Identity research priority area at the University of Amsterdam.
Work plan and time schedule
The working group is already meeting on a regular basis. The NWO-proposal shall be submitted in May 2013. We will start in January 2014 with the four-year research project (PhDs 3 years, Postdoc 2 years).
Societal relevance
The research group seeks to expand the knowledge on how sound archives can be put to public use. One example is to investigate to what extend we can transform exhibition strategies of museums and art
galleries in order to fully exploit their audio collections and making them known and available for a large audience. Furthermore we aim at providing deeper insights into historical notions of the “auditory memory” and historic-specific modes of production and use of sound archives, in order to better understanding of our current cultural heritage of sound.
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My Letter to TIME Magazine
When I was in law school (1979-1982), one of the weekly magazines I subscribed to was TIME magazine. Back then, there was no internet, satellite television, or national talk radio programs. If we wanted to know what was going on in our country, we had to rely on newspapers, magazines, network television — ABC, NBC, and CBS.
Evil People and Violence in the Streets
The recent riots have exposed a reality that those of us who are devout Catholics have always known to be true. What is that reality? That there is an epic battle that has been taking place since the beginning of time. While the battle has involved different types of weapons and different forms of communication, the participants in the battle have always had one thing in common — they have always been separated into two opposing camps.
Today’s Riots and A 1965 TV Show
I was fortunate enough to grow up in the early years of television. As a young boy, I watched westerns and wholesome family shows that always depicted clean, positive, and virtuous behavior. Some of the family shows that I watched were The Andy Griffith Show, My Three Sons, Gomer Pyle U.S.M.C., The Dick Van Dyke Show, and Mister Ed.
Fear, Doubt, and Uncertainty
There’s an emotional roller coaster that people have been on since March of this year. That’s when our country was locked down because of the COVID-19 virus. During the first couple of months of the lockdown, the roller coaster took people down into the depths of uncertainty and doubt. Then it seemed as though it was heading toward what appeared to be a light at the end of a tunnel. But last week, the roller coaster took a sharp turn and catapulted toward a new abyss of fear and uncertainty.
It’s Not Only About Racism
I’ve written before about how my wife and I raised seven children — one boy and six girls. An interesting thing happened with some of my children. When they turned 18, they got tired of me telling them what I thought they should be doing and declared that because they were 18, they were now adults who could make their own decisions. The first time I heard that proclamation, I laughed and asked what happened on their 18th birthday that transformed them into the type of person who no longer needed to listen to their parents. The response I got was, “I’m an adult now and I’m old enough to make my own decisions.”
The Governor of Illinois is Hazardous to Your Spiritual Health
On Thursday (April 30), the Thomas More Society, a public interest law firm in Chicago that was named after St. Thomas More, filed a federal lawsuit against J.B. Pritzker, the Governor of Illinois. The lawsuit, which was filed on behalf of the Beloved Church and its pastor, Stephen Cassell, alleged that Pritzker had taken actions that demonstrated “illegal and discriminatory hostility to religious practice, churches, and people of faith.”
It’s Time To Fend For Yourself
The foundation upon which the United States of America was built consisted of two religions: a secular religion that was based on the beliefs and principles of individualism, self-reliance, freedom, hard work, patriotism, and independence, and a biblical religion that was based on the beliefs and principles of the 10 Commandments, the God of the Old Testament, and the teachings of the Son of God.
A Crisis That Is Spiraling Out of Control
On Friday (March 13), the chief judge of the state courts that are located in Central Illinois issued an order that applied to all attorneys and court personnel. Here’s what the order said:
Firing an Out of Control Client
I fired another client last week. The reason I used the word “another” is because I’ve fired more clients this year than I fired in the previous three years. At my age (62), I no longer have the patience to put up with the whining and abuse that I receive from some of my clients. I can put up with a lot, but there’s a point when a switch in my head goes off and my attitude toward a client shifts to such an extent that I put an end to our relationship.
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← Analysing support change in the 2012 US Presidential election: The Sandy/Katrina factor
A geographical view of the 2012 Children’s Referendum vote →
Voter turnout levels in referendum elections in the Republic of Ireland, 1937-2012
Posted on November 9, 2012 by Adrian Kavanagh
Adrian Kavanagh, 9th November 2012 (updates – 12th November 2012)
Referendum elections have taken place on twenty seven different occasions in the history of the Irish state, with a significant increase in the incidence of these in more recent decades with 55.6% of these (15) having taken place over the past two decades. Referendum elections took place on nine different occasions (including cases where a number of referendum votes took place on the same day) between the founding of the State and 1984, but have also taken place on nine different occasions in the 2000s.
This post will look at voter turnout levels in these referendum elections, with a view to the holding of the Children’s Referendum on 10th November and the low turnout level recorded for that electoral contest.
As the graph below shows (Figure 1), voter turnout levels have varied quite significantly in Irish referendum election contests, ranging from a high level of 75.8% for the very first such referendum on the draft constitution in 1937 to a low of 28.6% for the 1979 referenda on adoption rights and university representation in the Seanad. The mean turnout level across these different referendum polling days is 53.02% (falling to 52.11% following the holding of the Children’s referendum on 10th November). It is worth noting that, by default, turnouts in a referendum will always be some percentage points lower than those for general and especially local election as a not insignificant number of people (all registered voters with exception of Irish citizens) on the register do not have the right to vote in referendum contests (although in more recent times these numbers have tended to be excluded from the valid poll figures for referendum contests).
Turnout levels vary depending on the time period involved, with higher turnouts generally being recorded for the earlier contests held and with a notable difference in turnouts between the contests held in the low turnout era of the late 1990s and early 2000s against those held in the mid-to-late 2000s when turnout levels, on average, showed a marked improvement on those for the earlier years of the new century. Turnout propensity in referendum elections may also be shaped based on whether other types of elections are being held on the same day as the referendum contest – the most notable example here being the high turnout for the second set of referendum elections held in 1992, which were held on the same day as a general election. The fact that the 1999 and 2004 referendum contests were held on the same day as local and European elections probably was also a factor in terms of increasing turnout propensity for those contests, especially in the more rural areas where turnout levels for local elections will generally tend to be highest.
The level of turnout can also be seen to reflect the issues involved in the contest/these contests, with high profile issues often resulting in higher turnout, as evident in the high turnout recorded for the 1971 referendum on joining the EEC. With the exception of the contests in the late 1990s and early 2000s, referendum elections on European Union issues or moral issues (divorce, right to life/choice) are usually higher than those for other contests, especially those in which the issues appear to be relatively non-contentious, as with the adoption rights/university representation in the Seanad contests in 1979 and the 1996 bail referendum, which are associated with the two lowest turnouts for referendum contests to date in the history of the state.
Figure 1: Voter turnout levels (%) in Irish referendum contests, 1937-2012
In keeping with the second order election model, which argues that turnout levels in second order election contests will tend to be lower than those in first order elections (general elections, in the Irish context), referendum turnouts usually tend to be somewhat lower than those recorded in general elections. The relatively high turnouts in the 1950s, 1960s and early 1970s pale in comparison with the average turnout levels in general election contests during that era, which would consistently have been in the high 70s. The difference in turnout levels between general election and referendum contests tends to be sharpest in rural and urban working class areas, but not as significant in urban middle class areas.
The day of the week an election is held on is believed to impact on turnout levels, with the general consensus being that weekend voting is the best in terms of facilitating a higher turnout level. Ironically the Children’s referendum will only be the second time a referendum election has been held on a Saturday. The only other occasion has been the second referendum on the Nice Treaty, held in October 2002, in which the holding of the election on a Saturday is believed to have played a role in pushing up the turnout level by c.15% relative to the first Nice Treaty referendum, which had been held on a Thursday, almost a year and half beforehand. Thursday has proven to be the most popular day on which to hold a referendum election (or a series of referendum elections), with Thursday being used as a polling day on 13 occasions to day (exactly 50.0% of all cases, if tomorrow’s contest is also factored in). Wednesday and Friday are the next most popular days to hold polling on, with these days each being used on five different occasions (19% of all cases) to date. Wednesday, however, proved to be a more popular day in the case of the earlier referendum contests while Friday was used as a polling day for a referendum contest for only the first time in 1995 (Divorce referendum). The contests held on a Friday (1995, 1998, 1999, 2004, 2009) and Saturday (second referendum vote in 2002) tend to compare favourably in terms of how turnout levels in these compare with those for otheer referendums held in the same period (1990s and 2000s) and it could be argued that such days are chosen in cases where government believes a high turnout to be necessary for the passing of a referendum. There has never been a referendum election on a Monday or a Sunday to date, while polling has taken place on a Tuesday on just one occasion (1987) to date.
Holding a number of referendum votes on the same day does not mean that turnouts will be higher; indeed some of the lowest turnout referendum days were ones that involved a number of contests being held on the same day (1979, 2001).
Figure 2: Turnout levels by Dail consituency for the 2012 Fiscal Stability Treaty referendum vote
One final point to note is that geographical studies of turnout patterns point to fairly consistent trends running across different referendum contests. As opposed to the trend for local and general elections in which the highest turnout levels tend to be recorded in the more rural areas, the lowest turnouts in referendum elections tend to be found in the more western constituencies (with turnout levels usually lowest in Donegal) and average turnouts for urban areas can be as high, or higher, than the average for rural areas (as shown by Figure 2). Referendum turnout levels tend to be highest in the more middle class urban constituencies, with the highest levels usually being recorded in the constituencies of Dun Laoghaire, Dublin North-Central (which will form part of the new Dublin Bay North constituency following the next general election) and Dublin South (whose boundaries are being significantly amended and which is being renamed as Dublin Rathdown). Looking at a sub-constituency level, it can be seen that class trends for referendum contests tend however to reflect those for other electoral contests, although class differentials in turnout rates tend to be heightened for referendum contests, relative to those for general and especially local election contests. A more detailed discussion of referendum turnouts (in this case relating to EU treaties) in the Dublin City area has been covered in an earlier post. Indeed this and all other voter turnout related posts from this website can be accessed using the following link.
So what does this mean for tomorrow’s contest? Holding the contest on a Saturday will have a positive impact on turnout propensity. On the other hand, the issue involved in tomorrow’s vote appears to be similar in tone to those of the 1979 and 1996 contests, which may infer a low turnout propensity given that these contests recorded record low turnout levels. It can be more clearly suggested, however, that turnouts will probably be again highest in urban middle class constituencies (and will probably be highest in Dun Laoghaire, Dublin South or Dublin North-Central, although some rural constituencies, such as Tipperary North, will also figure amongst the higher turnout constituencies). Turnouts will again be lowest in the more working class urban constituencies and western rural constituencies, with the lowest levels again likely to be recorded in the Donegal North-East and Donegal South-West constituencies. It will also be interesting to see what impact holding the contest on a Saturday has in terms of resulting in especially low turnout levels in flatland areas especially if a number of registered voters in these areas have “gone home” for the weekend.
Note: The official government publication, containing detailed (by constituency or county) referendum results for all contests held up to the present date, is well worth checking out.
This entry was posted in Election data, Electoral Geography (voting maps), Referendum elections, Voter turnout and tagged 2012, referenda, voter turnout. Bookmark the permalink.
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San Angelo COVID-19 Case Count
Chuck Baker
Carrie Underwood's Gift for You
CMT After MidNite with Cody AlanCMT After MidNite with Cody Alan
Big D and Bubba Welcome Loretta Lynn to the Show Tomorrow
Loretta Lynn is the queen of country music. Her career is nothing short of spectacular. Through her years in country music, she has made many friends.
The Country Music Hall of Famer will join Big D and Bubba tomorrow morning to talk about a new book that describes her friendship with Patsy Cline, someone Loretta called a mentor. The book, Me & Patsy: Kicking Up Dust, is available anywhere books are sold.
Throughout Loretta's 60 years in country music, she has had a wide range of hits including "Cole Miner's Daughter", "Louisiana Woman, Mississippi Man" with Conway Twitty, "You Ain't Woman Enough (To Take My Man)" and many more. She was inducted into the Country Music Hall of Fame in 1988. Her list of other awards includes three Grammy Awards, thirteen ACM Awards, eight CMA Awards (including Entertainer of the Year) and ACM Artist of the Decade for the 1970's.
Listen to Big D and Bubba Monday through Saturday mornings on 101.5 KNUE.
East Texas Food Bank World Record Attempt
Filed Under: big d and bubba, Loretta Lynn
LISTEN: Florida Georgia Line Unveil 'Life Rolls On' Title Track
2021 KGKL 97.5 FM Country, Townsquare Media, Inc. All rights reserved.
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Court battle over terrorist no-fly list includes 3 Calif. residents
Maintained by the Terrorist Screening Center and overseen by the FBI, the no-fly list reportedly contains some 20,000 names, among them about 500 U.S. citizens. As many as 800 changes, such as removing or adding names, are made to the list each day.
A much larger terrorism watchlist of a half-million people across the globe that contains the names of those barred from flying also includes individuals subjected to heightened security screenings. Because the no-fly list is classified, no one can be sure whether he or she will be prevented from flying until after arriving at the airport with a purchased ticket.
The plaintiffs say they've been unfairly denied the convenience of air travel and must spend days on trains and in cars in order to cross the country. Civil libertarians argue that the list withholds the due process rights of travelers. There's no meaningful way to dispute one's inclusion on the list and determine if the status is based on mistakes or flawed intelligence.
"They have no real chance of clearing their names," said Nusrat Choudhury, a staff attorney for the American Civil Liberties Union, which is involved in the case. "All they can do is try again and have the same thing happen – going to the airport, spending money on tickets, and in a very humiliating and public way being turned away from boarding a plane, (while) never getting a chance before a neutral decision maker to just explain why they don't pose whatever kind of a threat the government may perceive them as posing."
Choudhury and her legal team plan to argue before the 9th U.S. Circuit Court of Appeals on May 11 in Portland, Ore., that a lower court judge should not have dismissed the case on technical grounds. They say only the FBI, not the Transportation Security Administration, can grant the relief sought by removing people from the no-fly list. The complaint [PDF] was first submitted in 2010, but the plaintiffs presented a new filing to the court in February.
The plaintiffs include Nagib Ali Ghaleb, a native of Yemen who today is a naturalized U.S. citizen and works as a janitor in San Francisco. While returning from Yemen in 2010, authorities allegedly stopped him in Germany and began describing details about his life, such as what mosques he attended in the Bay Area. They attempted to enlist him as a spy to provide information on the Yemeni community in the United States, the suit claims.
Another is Irvine resident and registered nurse Stephen Durga Persaud, who claims he was stopped from boarding a flight in the U.S. Virgin Islands as his family tried to make their way back to California. His wife and son were permitted to leave, but according to the suit, FBI agents told Persaud he was on the no-fly list and cooperating with the bureau would be the only way for him to get off it.
The government said in its own October filing that the Department of Homeland Security had created a formal process for people to seek redress if they've been wrongly placed on the no-fly list. Lawyers described elaborate procedures in the filing that are used to determine when someone should be on the list. That process involves nominations from the FBI, which handles domestic terrorism cases, and the National Counterterrorism Center, responsible for information about international threats.
"Even if plaintiffs were to eventually succeed on the merits of their claims," the government's filing stated, "the proper relief would not be removal of their names that are allegedly on the no-fly list, but an order concluding that (the process for redress) is inadequate and requiring the formulation of new policies and procedures to provide redress."
California Watch reported in February on a Stanford University Ph.D. graduate, Rahinah Ibrahim, who has now spent years fighting her inclusion on the no-fly list. In 2005, authorities allowed her to board a plane for Malaysia, where she intended to present her research at an event sponsored by Stanford, but San Francisco police officers first placed her in handcuffs.
She later was blocked from re-entering the country and has since been forced to stay in Malaysia, despite continuing to work with Stanford. Ibrahim recently cleared a procedural hurdle at the 9th Circuit that allows her to continue to challenge the no-fly list.
View this story on California Watch
Story courtesy of our media partners at California Watch (A Project of the Center for Investigative Reporting)
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Trump Reverses Stance on Assault Weapons in New Policy Paper
Trump called the assault weapons ban a "total failure."
By JOHN SANTUCCI
Republican presidential candidate, businessman Donald Trump, speaks during the CNN Republican presidential debate at the Ronald Reagan Presidential Library and Museum on, Sept. 16, 2015, in Simi Valley, Calif.
— -- Donald Trump has come out with guns blazing against assault weapon and extended magazine bans, casting them as a “total failure."
The position on assault weapons represents a departure for Trump from a stance he held about 15 years ago. Today’s release was not expected from the campaign. Trump has been saying on the trail his next policy paper would focus on taxes and would come out in the next two-three weeks.
"Gun and magazine bans are a total failure. That’s been proven every time it’s been tried," the policy paper said. "Opponents of gun rights try to come up with scary sounding phrases like “assault weapons”, “military-style weapons” and “high capacity magazines” to confuse people.
"What they’re really talking about are popular semi-automatic rifles and standard magazines that are owned by tens of millions of Americans."
The presidential frontrunner instead said: "Law-abiding people should be allowed to own the firearm of their choice. The government has no business dictating what types of firearms good, honest people are allowed to own."
In his 2000 book “The America We Deserve” Trump seemed to take a different stance.
"I generally oppose gun control, but I support the ban on assault weapons and I also support a slightly longer waiting period to purchase a gun," he said. "With today’s Internet technology we should be able to tell within seventy-two hours if a potential gun owner has a record.”
A majority of the policy paper includes points Trump has been making on the trail, such as calling for military personnel to be armed while at recruiting centers.
Trump calls the current prohibition on arming soldiers, which he said cost lives in the July shooting at a Chattanooga, TN military facility, “ridiculous.”
"We train our military how to safely and responsibly use firearms, but our current policies leave them defenseless," the paper said. "To make America great again, we need a strong military. To have a strong military, we need to allow them to defend themselves.”
Trump was scheduled to appear Thursday night in South Carolina as part of the Heritage Foundation’s annual gathering but cancelled last minute citing a business transaction that he needed to attend to first. He will be campaigning in Iowa Saturday.
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About the Journal General Editors Editorial Staff
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Barbara BUCHENAU
R12 R04 A05
Office: R12 R04 A05
E-mail: barbara.buchenau@uni-duisburg-essen.de
Bio sketch:
Barbara Buchenau is Professor of North American Studies: Literary and Cultural Studies. Her teaching and research is concerned with the fields of cultural theory, cultural history, multilingual early Americana, historical forms of popular culture, multiculturalism and contemporary literature. She is also interested in Canadian and Caribbean literature. In her teaching she addresses questions of genre, the status of non-fictional literature and the collaboration of literature with the arts and the entertainment industry. She encourages students to explore the ability of literature and cultural products to shape the lives of those involved in its production and consumption. In her current research, she investigates three areas in particular: the so-called “postracial turn” in recent North American writings, the diverse forms of literary and cultural transfers and exchanges informing literary production in North America, and the cultural and political work of stereotypical and typological representations of minority groups in texts, maps and visual art. Before joining the faculty of Duisburg-Essen, she was Assistant Professor (Assistenzprofessorin) of Postcolonial Literary and Cultural Studies at the University of Bern in Switzerland.
https://www.uni-due.de/amerikanistik/buchenau
Research Area for American Literary and Cultural History with a Focus on (Trans-)Nationality and Space
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Tantra: The Science of Liberation
by Acarya Vedaprajinananda Avadhuta
Tantra is the original spiritual science first taught in India more than 7000 years ago. Tan is a Sanskrit root which signifies “expansion”, and Tra signifies “liberation.” Thus, Tantra is the practice which elevates human beings in a process in which their minds are expanded. It leads human beings from the imperfect to the perfect, from the crude to the subtle, from bondage to liberation.
The development of Tantra is intertwined with the development of civilization in ancient India. During the time when Tantra emerged as an important spiritual practice, India was passing through a crucial historical period. In the Northwest nomadic tribes from central Asia, the Aryans, began to enter the country which they named Bharata Varsha (the land which nourishes and expands human beings). Although the Aryans were a nomadic warrior culture, amidst them there were certain sages known as Rishis who began to ask the basic questions about the origin and destiny of the universe.
These sages presented oral teachings, which were later compiled in books known as The Vedas. In these teachings they put forward the idea of a Supreme Consciousness, advancing beyond the previous concepts of a world in which many deities were thought to animate the forces of nature. They also developed a system of prayer and worship in order to enter into a relationship with this Supreme Consciousness, but their practices were mostly of an external, ritualistic nature.
In India the Aryans encountered and began to fight with the indigenous peoples – the Austrics, Mongolians, and Dravidians. They considered these races to be inferior to them, and in the epic tales of India such as The Ramayana, these races are depicted as monkeys and demons.
However inferior these races were considered to be, the Aryans were very much interested in the spiritual practices which the indigenous peoples of India were practicing. The spiritual approach of the non-Aryans was Tantra and it differed from the Vedic practices of the Aryans because it was fundamentally an introversive process rather than an external ritual. Many Aryans began to learn the Tantric system of spiritual development, and later Vedic books were influenced by Tantra.
During this epoch of warfare between the Aryans and non-Aryans, a great personality was born. His name was Sadashiva which means “He who is always absorbed in consciousness and one whose only vow of existence is to promote the all-around welfare of living beings”. Sadashiva, also known as Shiva, was a great spiritual preceptor or Guru. Although Tantra was practiced before his birth, it was he who for the first time gave humanity a systematic presentation of spirituality.
Not only was he a great spiritual teacher, but he was also the founder of the Indian system of music and dance, which is why he is sometimes known as Nataraj (the Lord of the Dance). Shiva was also the founder of Indian medicine, and presented a system known as Vaedyak Shastra. In the social sphere too Shiva had an important role to play. He introduced a system of marriage in which both partners accepted a mutual responsibility for the success of the marriage, irregardless of caste or community. Shiva himself was of mixed parentage, and by marrying an Aryan princess he helped to unite the warring factions of India and gave them a more universalistic social viewpoint. Because of these social innovations Shiva has been called the father of human civilization.
Shiva’s greatest contribution to the birth of civilization was to introduce the concept of dharma. Dharma is a Sanskrit word which signifies the “innate characteristic” of something. What is the innate characteristic and specialty of humans? Shiva explained that a human being wants more than the pleasure provided by sensory gratification. He said that the human being is different from plants and animals because what he or she is striving for is absolute peace. This is the goal of human life, and Shiva’s spiritual teachings were aimed at enabling any human being to attain this goal.
Like most ancient teachings, Shiva’s ideas were first taught in an oral form, and only later were they transcribed into books. Shiva’s wife, Parvati, used to ask him various questions regarding the spiritual science. Shiva replied to these questions, and the compilation of these questions and answers are known as the Tantra Shastra (Tantric scriptures). There are two types of Tantric scriptures. The principles of Tantra are found in books known as Nigama while the practices of Tantra are contained in books known as Agama. Some of these ancient books have been lost and others are indecipherable due to their having been written in a code language designed to keep the secrets of Tantra away from the uninitiated; thus the ideas of Tantra have never been clearly explained.
In his commentaries on the Tantra Shastra and in his book about the life and teachings of Shiva, Shrii Shrii Anandamurti has presented some of the basic ideas found in the ancient teachings. One of the most important elements in Tantra is the relationship of Guru and disciple. Guru means “one who can dispel darkness” and Shiva explained that for spiritual success there must be a good teacher and a good disciple.
Shiva explained that there are three major categories of Guru. The first type is a teacher who gives a little bit of knowledge but does not follow up the lessons. That is, he or she may leave and the disciple is then left alone without guidance. The second or middle level is one who teaches and then guides the disciple for a little while but not for the complete period needed by the disciple to reach the final goal. The best type of teacher according to Tantra is one who gives a teaching and then makes continued efforts to see that the disciple follows the instructions and finally realizes the ultimate state of human perfection.
The qualities of this highest guru are further enumerated in the Tantra Shastra. The guru is one who is tranquil, can control his mind, is humble and modestly dressed. He earns his living in a proper way and is a family man. He is well versed in metaphysical philosophy and established in the art of meditation. He is one who knows the theory and practice of imparting the teaching of meditation. He loves and guides his disciples. Such a guru is called Mahakaola
But even if there is a great teacher, there must also be someone who can absorb his lessons. The Tantra Shastras describe three different categories of disciples. The first type is compared to a glass which is placed in the water with the mouth facing downward. While it is in the water it appears to be full but if it is lifted out of the water it becomes empty. This is like a student who practices well in the presence of the teacher, but after the teacher leaves, the student discontinues the practice and cannot apply the teachings to his or her every day life. The second type of disciple is like a glass placed in the water at an angle. It also appears to be full when it is immersed, but when it is raised out of the water it loses most of the water. This disciple is one who practices in the presence of the teacher but after a while he or she practices less and less and finally discontinues the spiritual way of life. The third kind of disciple is the best of all and is symbolized by a glass which is immersed in the water in an upright position. While in the water it is completely full and when it is taken out of the water it remains full. This kind of student practices in the presence of the master and continues the practice even if he or she is physically separated from the teacher.
The relationship of guru and disciple is very important and is a key feature of Tantra. The path of spirituality has been described as being as thin as a razor’s edge. At any moment it is possible to deviate from the path and then it is very difficult to reach liberation. The guru is always there to love and guide the disciple at all stages of the practice.
Shiva was a Mahakaola, but after his death there was a lack of teachers of the same stature and Tantra fell into decline. Some of the teachings were lost and others were deformed. Today Tantra is shrouded in mystery and there are many misconceptions about it. To understand the source of these misconceptions it is important to examine the 5 Ms. These are spiritual practices beginning with the letter M. When Shiva first taught he gave teaching according to the development of the student. He saw that certain people were at a level in which they were dominated by animal passions and others were at a higher stage of development. He gave different practices depending on the qualities of the disciple.
The first M is known as Madya. It has two meanings. One meaning of madya is “wine”. For those people who were dominated by physical instincts Shiva instructed them to continue drinking wine, but he showed them how to control the habit and then finally leave it. For those at a higher level of development Madya has another meaning, it refers not to wine but to a divine nectar. Each month the pineal gland secretes a fluid known as amrta. A yogi who has purified his mind and practices fasting can taste the fluid and experience the profound effect of the fluid on his whole being, which has been described as a state of bliss. Thus, there is both a crude or material interpretation of Madya and a subtle or spiritual understanding of the term.
Another of the five Ms is Mamsa. One meaning of Mamsa is meat. For those who ate much meat, Shiva told them to continue to take it with a spiritual idea and finally to control the urge and quit the habit. For the subtle practitioner of Tantra, mamsa refers to the tongue and the spiritual practice of controlling one’s speech.
Matsya, the third of the Ms, refers to fish. For the physically minded practitioner Shiva applied the same instruction regarding fish as he did with wine and meat. In spiritual or subtle Tantra the “fish” refers to two subtle nerves which run up the body, starting at the base of the spine and crisscrossing each other and ending in the two nostrils. These nerves are known as the ida and pingala. By the science of breath control, Pranayama, the currents of the nerves are controlled and the mind becomes calm for meditation. This is the Matsya of the spiritual practitioner.
Another of the Ms is Mudra. Mudra has only a spiritual significance and there is no physical or crude practice associated with it. Mudra means to maintain contact with those who help us to make spiritual progress and to avoid the company of those who might harm our development.
The last of the Ms, Maethuna, is the one which has caused the most confusion regarding Tantra. Maethuna means union. In its crude sense it means sexual union. For those who were dominated by the sexual instinct Shiva told that the sex act must be done with a spiritual idea and that gradually this instinct must be controlled. For the more advanced practitioners, those who were practicing subtle or spiritual Tantra, Shiva taught another practice of Maethuna. In this case “union” refers to the union of individual consciousness with Supreme Consciousness. In this case the spiritual energy of the human being, lying dormant at the base of the spine, is raised until it reaches the highest energy center (near the pineal gland), causing the spiritual aspirant to experience union with the Supreme.
The Ananda Marga yoga of today is based on the spiritual and subtle interpretation of the 5 Ms.
One of the distinctive aspects of subtle Tantra is the introversive method of meditation. The concept of mantra is of key importance in the Tantra idea of meditation. “Man” means “mind” and “tra” means “that which liberates”, thus mantra is a particular vibration which liberates the mind.
The ancient yogis experimented with sound vibration and began to utilize special sounds which they found useful in the process of expansion of mind. They found that there are seven principle psycho-spiritual energy centers in the human body. They further learned that there are 50 sounds which emanate from the centers. These sounds are found in the alphabet of Sanskrit, and certain combinations of the sounds were used in ancient processes of concentration and meditation. During Tantric meditation the meditator is concentrating on the mantra and trying to keep only one sound vibration (and its associated idea) in his or her mind. Constant repetition of the mantra leads a practitioner to higher states of consciousness.
Not any sound can be chosen at random for use in meditation, rather there are certain qualities which the mantra must possess in order for it to be effective. First of all the mantra must be pulsative, that is, there will be two syllables which are repeated in synchronization with the inhalation and exhalation of breathing. In addition the mantra must have an idea associated with it. The general idea of the mantras used in meditation is that “I am one with the Supreme Consciousness”. The mantra thus helps the individual to associate his or her own individual consciousness with the totality of consciousness in the universe.
The final characteristics of the mantra is that it must create a certain vibration which acts as a link between the individual vibration of the meditator and the vibration of the Supreme Consciousness. As people are not all alike, the mantras which are used in meditation are also not all alike. The meditation teacher chooses a mantra which matches the particular vibration of the individual and can link this individual vibration with the universal rhythm of the Supreme Consciousness.
Tantra is more than just a collection of meditation or yoga techniques. There is a particular world-view associated with it. According to Tantra, struggle is the essence of life. The effort to struggle against all obstacles and move from the imperfect to the perfect is the true spirit of Tantra.
In this movement from imperfection to perfection, there are three basic stages an individual passes through. In the first stage, the person is dominated by animal instincts, but in the next stage he or she gains control over these instincts and reaches the state of true human development. Finally, by constant struggle and effort, a state is reached where the human being becomes godlike. Tantra thus has an optimistic worldview. It shows how each individual is moving in a cosmic circle from a state of less developed consciousness to the most highly developed status.
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featuredNationalNewsRaceVideo
Why Didn’t Drunken White Brawlers Get Arrested on St. Patrick’s Day Like the Black Girls in Brooklyn?
Posted byBy Nick Chiles | March 19, 2015 CommentsComments (0)
Video footage of a brawl featuring a group of drunken white men fighting on a Manhattan street on St. Patrick’s Day failed to draw any arrests or the kind of widespread condemnation that accompanied the video of Black teenage girls fighting in a Brooklyn McDonald’s. Many are using it as evidence of the racist double standard that pervades media and American society.
The reaction to the fighting girls has been dramatic, with commentary from elected officials like New York Mayor Bill de Blasio, arrests of the girls involved—including one 14-year-old who was taken off a plane in Atlanta as she tried to make her way to Jamaica—and racist and offensive commentary like that offered by Texas radio talk show host Michael Berry.
Berry called the girls “savages” and proceeded to give a pointed comparison between the behavior of Black people and the behavior of white people.
White people “don’t need to say white lives matter because white people don’t walk up to white people, put a gun to their head and blow them away,” he said. “White people don’t drive past the home of other white people and shoot into the window, knowing there are children inside. White people don’t walk into McDonald’s and 4, 5, 6, 10 of them and beat the snot out of them for minutes on end while everyone cheers and films it, World Star. You know why white lives matter? Because that’s what white people believe. The dirty little secret is Black people don’t believe that Black lives matter.”
What happened outside of O’Brien’s Pub on 46th Street in Manhattan not only showed the ridiculous folly of Berry’s words, but it was just as worthy of condemnation and arrests. That’s certainly what the man who recorded the video believes. Anthony Rooar Decarlis, a 31-year-old artist, told the Huffington Post that he saw the fight erupt when he was out with a friend, so he started recording.
“There were three different fights,” he said. “One guy got hit with a bottle, one guy fell to the ground and got kicked in the face.”
Decarlis said one of the men appeared to be knocked unconscious and his eye was “swollen up to the size of a grapefruit.”
“People were trying to see if he had a pulse,” he said.
Mayor de Blasio castigated the public for not stepping in to stop the fight between the teenage girls in the Brooklyn McDonald’s.
“You don’t have someone be hurt in front of you and do nothing about it,” the mayor said about the Brooklyn incident. “It is not acceptable.”
But Decarlis said he wasn’t about to get involved in the fight outside O’Brien’s.
“I’m not gonna put my safety in jeopardy for a bunch of intoxicated frat boys,” said Decarlis, who is Black.
Decarlis did call 911, as did other onlookers. He left the scene before the police arrived, but the Huffington Post discovered that no one was arrested. The video has been viewed more than 350,000 times, but that’s where it has ended.
Decarlis himself made the comparison between the girls fighting in the McDonald’s.
“I feel like the media is trying to show African-Americans in such a negative light,” he said. “There should be public outrage” over the St. Patrick’s day fight as well.
“Why was the McDonald’s fight really a national news story?” journalist Andrew Padilla said to the Huffington Post. “Plenty of white-on-white violence on St. Patrick’s Day that was somehow not news.”
“What if the media were to spend the day after St. Patrick’s Day talking about white-on-white violence?” he continued. “Shaming the parents of drunken revelers, asking what is it that makes the white community so violent?”
It is just another example of how the media and many whites try to use events involving African-Americans as further evidence of the American narrative of hyper-violent Black people—a narrative that has been used over the centuries to justify everything from lynchings to Jim Crow to the massive incarceration of millions of Black men and women.
But when a group of white boys get drunk and trash a college campus during a pumpkin festival or after a football game or after getting cross-eyed drunk during St. Paddy’s Day, then it’s just boys being boys. Harmless fun. Even if somebody’s knocked unconscious.
The hypocrisy is so obvious, so profound—but not surprising.
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Arab Cinema
History and Cultural Identity: Revised and Updated Edition
Viola Shafik
Since it was first published in 1998, Viola Shafik’s Arab Cinema: History and Cultural Identity has become an indispensable work for scholars of fil
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Description & Table of contents
Since it was first published in 1998, Viola Shafik’s Arab Cinema: History and Cultural Identity has become an indispensable work for scholars of film and the contemporary Middle East. Combining detailed narrative history—economic, ideological, and aesthetic—with thought-provoking analysis, Arab Cinema provides a comprehensive overview of cinema in the Arab world, tracing the industry’s development from colonial times to the present. It analyzes the ambiguous relationship with commercial western cinema, and the effect of Egyptian market dominance in the region. Tracing the influence on the medium of local and regional art forms and modes of thought, both classical and popular, Shafik shows how indigenous and external factors combine in a dynamic process of “cultural repackaging.” Now updated to reflect cultural shifts in the last two decades, this revised edition contains a new afterword highlighting the latest developments in popular and in art-house filmmaking, with a special focus on Iraq, Lebanon, Palestine, and the Gulf States. While exploring problematic issues such as European co-production for Arab art films, including their relation to cultural identity and their reception in the region and abroad, this new edition introduces readers to some of the most compelling cinematic works of the last decades.
Viola Shafik studied Film and Middle Eastern Studies in Hamburg and works as a film scholar, creative consultant, and filmmaker. She has directed several documentaries, most notably My Name Is Not Ali (2011) and Arij: Scent of Revolution (2014). She is the author of Popular Egyptian Cinema: Gender, Class, and Nation (AUC Press, 2007) and Arab Cinema: History and Cultural Identity (revised and updated edition, AUC Press, 2016).
Arab Cinema Reviews
"Shafik discusses the history, genres, and esthetics of Arab film. She is very good at analyzing its antecedents in Arab literary, theatrical, storytelling, and musical traditions. She gives broad coverage to typical genres and is particularly good on realism and the cinema d auteur. Although Shafik focuses on Egyptian films, which comprise well more than half of all Arab films made, she discusses the films of the other Arab nations as well, delineating the differences and similarities among them. The author devotes the preponderance of the book to the films themselves, but she is also thorough in her analysis of the conditions political, religious, economic that determine what films are made, how they are made, and where they are seen. Intelligent, perceptive, and elegantly written, this volume deserves a broad readership. Highly recommended. All readers, all levels."--CHOICE.
Architecture for the Dead
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Film in the Middle East and North Africa
Creative Dissidence
Edited by Josef Gugler
Copyright © 2021 AUC Press, All Rights Reserved.
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Giuliani tells Pennsylvania legislators they can override popular vote to appoint pro-Trump electors
Crystal Hill
·Reporter
November 25, 2020, 8:01 PM ·8 min read
Speaking to an occasionally raucous but mostly disgruntled panel of Pennsylvania Republicans, President Trump’s personal lawyer Rudy Giuliani and his campaign counsel Jenna Ellis on Wednesday floated the idea that the state Legislature could decide on its own to give Pennsylvania’s 20 Electoral College votes to Trump, despite the state’s certifying that Joe Biden won the Nov. 3 election in the state.
“It’s the state Legislature that controls this process,” Giuliani told a panel of Republican legislators. “It’s your power. It's your responsibility. And I think you know, and you have to convince the rest of your members, Republican and Democrat, [that] they owe that to the people of their state, and they owe that to the people of the United States.”
The public meeting held Wednesday afternoon by the Senate Majority Policy Committee, and run by Republican Sen. Doug Mastriano, questioned the validity of the Pennsylvania election results and cast doubt on the vote-counting process. President Trump called in to the meeting and repeated false claims that he won the election “by a lot,” and that it was stolen from him.
President-elect Joe Biden beat Trump in Pennsylvania by roughly 81,000 votes, and by about 6 million in the national popular vote.
Trump lawyers Rudy Giuliani and Jenna Ellis in Gettysburg, Pa., on Wednesday. (Julio Cortez/AP)
Giuliani spent much of the hearing railing against mail-in ballots and alleging that Republican poll watchers were kept from observing the ballot-counting process, a claim that so far has not held up in court.
A number of witnesses alleged suspicious activity during the ballot-counting process, such as hundreds of thousands of ballots sitting unopened in boxes and then mysteriously disappearing. Giuliani and Ellis maintained this was evidence of a coordinated fraud that also involved officials in a half dozen other states, and said it was sufficient grounds to reverse Tuesday’s certification of Biden’s win in the state.
The session was billed as a hearing, but it took place at the Wyndham Hotel in Gettysburg, Pa., not in the state capitol in Harrisburg, and witnesses — including self-described data experts and amateur statisticians, Republican observers during the ballot-counting process, and a few voters who reported suspicious activities when they cast their ballots — were not sworn in.
When asked about a possible remedy, Ellis cited the U.S. Constitution, which says that each state appoints a number of electors based on the number of senators and representatives the state has in Congress, and empowers state legislatures to determine the manner of choosing them.
Under the law in Pennsylvania, the governor appoints electors, in accordance with the state’s popular vote returns. Pennsylvania Attorney General Josh Shapiro, a Democrat, said Tuesday that the state’s presidential electors have been chosen and certified in accordance with the popular vote in the state.
“This is exactly how the process should happen — the people vote, those votes are counted, and the electors chosen reflect the will of the people,” he said on Twitter.
Rudy Giuliani and Jenna Ellis listen to President Trump on the speaker phone during the hearing. (via Reuters TV)
What Ellis and Giuliani seemed to be pushing on Wednesday, among other potential “remedies,” was to have the Legislature reenter the process by sending its own slate of electors to the Electoral College, which would override the will of voters in Pennsylvania.
“You could call for a special election,” Ellis said. “You can direct the manner of your electors. You have a variety of constitutional options, but one option should not be to ignore it and to certify a corrupted, irredeemably compromised election.”
Ellis later acknowledged that there’s an established process for selecting electors in Pennsylvania, then seemed to suggest that because the election has been corrupted — an unsubstantiated claim — the procedure no longer applies.
“Even though you have a manner in which your electors are generally selected in Pennsylvania, and that's worked for the past presidential election,” she said, “this is an election that has been corrupted. And so you can't go through that method. The Legislature is the authorized entity in the Constitution that selects the manner. You can take that power back at any time.”
Since the election, lawyers for the Trump campaign have filed more than three dozen suits seeking to invalidate the election results in various states, and virtually none of them have prevailed, or even gotten past preliminary hearings. Notably, they have stopped short of alleging fraud or corruption in court filings, where lawyers making bad-faith claims can be subject to sanctions. Wednesday’s “hearing” included a witness who said a poll worker refused to tell him whether to insert his ballot face up or face down into the scanner, and an observer who said her Democratic counterparts gave her mean looks. Allegations that Republican observers were kept too far away to accurately scrutinize processing of ballots — which have already been raised and dismissed in court — were repeatedly aired.
Supporters of President Trump cheer as the Pennsylvania Senate Majority Policy Committee holds a public hearing on Wednesday. (Samuel Corum/Getty Images)
One issue that kept surfacing was the allegation that some 700,000 more mail-in ballots were counted than had actually been distributed. “You sent out, in the commonwealth of Pennsylvania, one thousand, eight hundred and twenty-three, one hundred and forty-eight absentee or mail-in ballots,” Giuliani said, (presumably a slip of the tongue for 1,823,148.”)
“You received back 1.4 million, approximately. However, in the count for president, you counted 2.5 million. I don’t know what accounts for that 700,000 difference between the number of ballots you sent out, and the number of ballots in the count.”
That would be prima facie evidence of something wrong, except that Giuliani’s premise appears to be completely mistaken. On Oct. 13, the Associated Press reported that “with three weeks to go before the Nov. 3 election, more than 2.6 million registered voters have applied for a mail-in ballot in Pennsylvania.” (Emphasis added.) The day after the election, Pennsylvania Secretary of State Kathy Boockvar announced that more than 3 million mail-in ballots had been returned and were being counted.
Fact Check: The canvass of mail-in ballots in Philadelphia was live-streamed and fully open to observers from the Republican, Democratic, and Green parties.
— Commissioner Al Schmidt (@Commish_Schmidt) November 25, 2020
Giuliani, backing Ellis’s recommendation, told the panel: “Given the fact that this is your sole constitutional right and authority, you can always assume constitutional authority that you’ve delegated back.” The authority for a state to retroactively override its own procedures isn’t explicitly stated in the section of the Constitution that Ellis and Giuliani relied upon. Congress, under the Constitution, sets the date on which electors are to be chosen. This year, it was Nov. 3, which means that the electors have already been chosen.
Additionally, these assertions appear to be at odds with federal law, which gives states until Dec. 8 to determine the winner of the popular vote, a determination that must be made in accordance with the laws of the state as they existed on Election Day. On Dec. 14, the nation’s electors will cast their votes in their respective states. Those votes are sent to the newly elected Congress, which will count the votes on Jan. 6.
Pennsylvania state Sen. Doug Mastriano, who ran Wednesday's meeting of the Senate Majority Policy Committee. (via Reuters TV)
In previous interviews with Yahoo News, experts said that having state legislatures appoint their own electors is unlikely to succeed, especially in the absence of credible evidence of widespread fraud.
If there’s a dispute over electoral votes in Congress, the House and the Senate meet separately and vote on which set of electoral votes to count, according to elections expert Adav Noti, of the Campaign Legal Center and National Task Force on Election Crises. If they disagree, there’s a final tie-breaker provision in federal law that says the electoral votes certified by the state are the votes that get counted.
As the Trump campaign’s lawsuits continue to fail, Trump himself appears to be eyeing the elector strategy as a path toward victory. CNN reported Wednesday evening that President Trump invited the Republican lawmakers from the hearing event to the White House and is expected to meet with them.
Trump apparently tried to do this in Michigan. Last Friday he met with Michigan House Speaker Lee Chatfield and Senate Majority Leader Mike Shirkey at the White House, in what was viewed as an attempt by Trump to convince the GOP legislators to cooperate with a plan to override the will of voters in Michigan, where President-elect Joe Biden won by more than 150,000 votes.
After the meeting, the lawmakers issued a joint statement saying that they intend to “follow the law and follow the normal process regarding Michigan’s electors.”
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Biden says the Trump White House won't give him COVID stockpile information. Here it is.
Can dead people vote? Yahoo News explains
Coronavirus vaccine news: Reasons for hope and hesitation
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Type: Gloster Meteor F.Mk 8
Owner/operator: 77 Sqn RAAF
Registration: A77-982
Location: Chodong-ni, Kangwon-do - North Korea
Departure airport: Base K-14, Kimpo, South Korea
Gloster Meteor F.Mk.8 A77-982 Originally assigned Royal Air Force (RAF) Serial WA950, and delivered to the RAF on 28/12/50. Delivered to the Royal Australian Air Force (RAAF) on February 21, 1951. Served with 77 Squadron, RAAF, during the Korean War.
Aircraft was conducting an armed road reconnaissance when it was hit by flak and crashed into a paddy field between a village and high scrub covered ground at Chodong-Ni, Kangwon-do, North Korea. The pilot was seen to eject safely. This incident being only the 8th time an RAAF pilot had used his ejector seat. He went up on to a hill into dense scrub, apparently unhurt, at 10:55 hours and a smoke flare was seen at 11:10 hours. A rescue helicopter was driven off by ground fire.
According to the Squadron Operations Book:
"...The remainder of the aircraft carried out armed reconnaissance flights to assist R.O.K troops in the front line and rescap flights for the pilot of A77-982 who was hit by anti-aircraft fire whilst attacking a vehicle. The pilot, A2925 Sergeant PINKSTONE, D.W. baled out of his aircraft and was seen to land safety in a paddy field, fold up his parachute and run for high ground on the opposite side of a small village. Rescue helicopter was forced away from the downed pilot by intense ground fire and it is considered that the pilot has been captured and is a prisoner of war".
Fate of the Pilot
It was later confirmed that Sgt Pinkstone was taken prisoner (PoW). He survived the war.
1. http://www.adf-serials.com/2a77.shtml
2. https://www.pacificwrecks.com/aircraft/meteor/A77-982.html
3. http://www.ukserials.com/results.php?serial=WA
4. http://www.koreanroll.gov.au/veteran.aspx?id=1217499
5. http://www.ukserials.com/prodlists.php?type=730
02-Jan-2020 02:40 Dr. John Smith Updated [Time, Aircraft type, Operator, Location, Country, Phase, Departure airport, Source, Narrative]
02-Jan-2020 08:51 stehlik49 Updated [Operator, Operator]
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Posts Tagged ‘David Ayer’
Cool But Dim
Posted in Film Reviews, tagged 2017, Bright, David Ayer, fantasy, Joel Edgerton, Lucy Fry, Max Landis, Noomi Rapace, thriller, Will Smith on December 31, 2017| Leave a Comment »
You usually know what you’re going to get when you watch a David Ayer movie; he’s that kind of film-maker. It’s going to be about guys, being masculine together, usually under trying conditions. Even when there are women in the film they basically act fairly masculine too. It may be that the guys in question are cops (as in Training Day, or SWAT, or End of Watch) or the crew of a tank (as in Fury) or super-powered mercenaries (as in Suicide Squad) – the general emphasis of things is more or less the same. Given that Ayer seems to be a reliably safe pair of hands, with several LA-set cop movies under his belt, you can understand why one of the world’s leading film and TV streaming companies (the name of which rhymes with Get Clicks) would get him on board for its most ambitious original project yet, which is yet another LA-set cop movie. Albeit one with a pretty big difference, as we shall see. The movie in question is called Bright.
Will Smith plays Daryl Ward, a somewhat careworn Los Angeles beat cop, coming back on duty after being shot whle on the job. He blames his injury largely on his inexperienced partner, Nick Jacoby (Joel Edgerton). Ward doesn’t want Jacoby as his partner, but is uncomfortable with the openly racist attitudes of the higher-ups in the LAPD towards the rookie – for Jacoby is the first Orc to serve as a police officer in the city.
Yup, this is one of those movies. Bright‘s version of the USA is truly multi-racial, with Humans, Orcs, Elves, and other races living side-by-side (there also seem to be Centaurs, Dragons, and Fairies, but the Dwarves and Hobbits seem to be being held back for the sequel). Two thousand years earlier, the Orcs served a dreaded Dark Lord in his attempt to conquer the world, which still fuels prejudice and tension in the present day.
Well, the awkward relationship between Ward and Jacoby soon becomes the least of the cops’ problems, as they stumble upon the scene of a multiple murder and encounter Tikka (Lucy Fry), a traumatised young Elf. Also on the scene is a magic wand, which in Bright’s milieu is the equivalent of a suitcase full of heroin combined with a nuclear warhead. Soon enough Ward and Jacoby are being sought by corrupt LA cops, agents of the US Department of Magic, gangbangers both Human and Orc, and a cult of evil Elves determined to bring about the return of the Dark Lord. But our guys decide not to be chicken when it comes to Tikka, even if it seems highly unlikely they will survive the night…
David Ayer usually writes his own movies, but not this time: Bright is from the pen of Max Landis, previously the scribe of Chronicle, amongst others (he was also involved in the Power Rangers movie, though his script was ultimately not used). I’m not quite sure what to make of the main idea behind Bright, mainly because it manages to be soaringly high-concept and yet curiously unoriginal (the Shadowrun game franchise came up with the notion of fantasy and mythological beings living openly in a modern or near-future US over a quarter of a century ago).
There are a couple of other things about the script of Bright, too, and they’re both to do with the way the film mashes up pure fantasy with gritty realism. Personally, I think there’s good fantasy, where there’s some kind of thought-through underpinning to the whole thing (geography, metaphysics, history, that sort of thing), and – not to put too fine a point on it – bad fantasy, where the writer just makes up anything that takes their fancy and doesn’t worry about whether there’s any coherent basis to it. Bright is, to be blunt, bad fantasy – not just in its talk of magic wands and ‘brights’ (the gifted individuals who can use the wands), but in the simple basis of the story. It’s not just that this is a city which kind of resembles present-day Los Angeles in present-day America. We are informed it really is LA: and there are further references to places and events and things like Russia, the Alamo, and Uber. The world is wildly different in some ways and completely recognisable in others, not because this makes any sense but just because it’s the kind of movie they want to do.
Also, the moment I saw the trailer for Bright I found myself thinking, ‘Hmmm, Conquest of the Planet of the Apes moment incoming’ – that being a movie with an interesting approach to genre-based social commentary, as it essentially restages scenes from the civil rights struggle with apes in the role of African Americans. The allegorical coding in Bright is, if anything, even less subtle: Orcs live in the projects, wear sports clothing and jewellery, run in gangs, and so on. Nevertheless, just so everyone gets the point, Smith gets a line early on about how ‘Fairy lives don’t matter’.
The problem is that none of this sledgehammer social commentary seems to be there to any good purpose, unless Ayer and Landis really are suggesting that African Americans are physically powerful but a bit slow (etc.). I doubt that; it just seems like everyone thought this was a cool idea for a movie and didn’t worry too much about what any of it might mean, or indeed whether it made sense at all.
Now, I have been quite harsh about Bright so far, and the film has generally been picking up less glowing reviews than Get Clicks might have been hoping for (this hasn’t stopped them ordering a sequel, though). However, provided you lower your expectations and put your brain in low gear, there is still some entertaining stuff going on here. Smith and especially Edgerton give rather good performances as the co-leads (whatever its failings as a piece of fantasy, Bright holds together pretty well as a buddy thriller), Ayer directs the action with his usual aplomb, and Noomi Rapace is not bad as the chief Elf villain (finally, the role those cheekbones were born for). When it’s not being ponderously serious, there are some quite good lines, such as when Jakoby tries to persuade Ward they are in the midst of prophetically-foreseen events: ‘We’re not in a prophecy, we’re in a stolen Toyota,’ Will Smith snaps back. It still takes quite a while to properly get going, and arguably outstays its welcome a little too, but hardly objectionably so.
There’s definitely a sense in which Bright is still recognisably a David Ayer movie, but if anything the thing to take away from it (for the director if no-one else) is that Ayer should stick to writing his own scripts in future. It certainly works better as a guys-in-extremis thriller than it does as an actual fantasy movie, simply because it’s all about surface, with no thought given to anything else. I get the sense that Bright exists simply because a lot of people went ‘That sounds cool!’ and thought that was a good enough reason to make to movie. The actual movie strongly suggests that coolness can only take you so far, and no further.
The Mad, the Bad, and the Really, Really Ugly
Posted in Film Reviews, tagged 2016, action, comedy, David Ayer, DC, Jared Leto, Margot Robbie, Suicide Squad, superhero, Viola Davis, Will Smith on August 6, 2016| Leave a Comment »
I’m hearing a lot of talk about ‘superhero fatigue’ at the moment – the notion that somehow people are going to get sick of seeing a new comic-book movie come out, on average, about once every two months. Hmmm, well – having lived through many years when there were no decent superhero movies to speak of, once every two months strikes me as being just about right. You’ll notice I said ‘decent’, because the likes of Steel, Catwoman, and Superman IV: The Quest for Peace have always been with us. Provided the standard stays high I see no reason why people will stop watching.
That’s a big assumption, though. Quite what dark art Marvel Studios have employed to produce so many movies in a row without a significant misstep I don’t know, but – and I’m aware this assertion is going to be met with bared teeth by some people – if you want to see how this sort of thing probably shouldn’t be done, you can always take a look at DC’s recent movie output, for they haven’t released an entirely unproblematic film since The Dark Knight Rises, four years ago. Still, you can’t fault their determination, for they’re at it again with David Ayer’s Suicide Squad.
It sounds like a winning premise: with Superman indisposed (i.e., and spoiler alert, dead) following the end of Batman Vs Superman, and Batman and Wonder Woman off the scene, the US government is concerned about who’s going to pick up the slack if another giant alien monster goes on a rampage. The solution comes from ruthless government agent Amanda Waller (Viola Davis) – get a bunch of the villains previously defeated by Batman and other superheroes, fit them with remote controlled explosives to ensure compliance, and deploy them as a deniable task force of superpowered operatives.
The collection of nutters thus assembled is led by top soldier Rick Flag (Joel Kinnaman), and includes ace marksman Deadshot (Will Smith), the Joker’s girlfriend Harley Quinn (Margot Robbie), human flamethrower El Diablo (Jay Hernandez), atavistic cannibal Killer Croc (Adewale Akinnuoye-Agbaje), immortal sorceress Enchantress (Cara Delevingne), and the Australian villain Captain Boomerang (Jai Courtney), whose main superpower is being a ridiculous national stereotype.
Others in the US government are uneasy with the idea of entrusting national security to ‘witches, gangbangers and crocodiles’ (they forget to mention ridiculous national stereotypes and people whose only apparent superpower appears to be acting like a homicidal pole dancer), but soon enough a crisis erupts with a giant supernatural entity on the loose in Midway City (Hawkman has clearly been clearly slacking off) and the Squad are rushed into action. But there is inevitably a wrinkle – the Joker (Jared Leto, giving us a very Frank Miller-esque take on the character) wants his girlfriend back, and is drawing up plans to get involved himself…
Is it overstating things to say that DC’s movie division seems to wobble from one crisis to another in a perpetual state of omni-shambles, with virtually every news story about them featuring the words ‘urgent talks are in progress’? Well, maybe. But there were apparently heated discussions after the relative underperformance of Batman Vs Superman, and even before that suggestions that this film was being reshot and reedited to give it more of chance of hooking the audience that made Deadpool such an unexpectedly big hit.
It certainly has the whiff about it of a film that has gone through extensive surgery in the editing suite: key plot beats are critically underdeveloped, and the structure of the film is odd and lumpy, often at the expense of the storytelling. Most of the Squad are given fairly detailed introductions, especially if they’re played by an A-list star, but then just as they’re about to go off on the mission, a brand new member turns up with no introduction at all (and a frankly rubbish superpower) and you just think ‘This guy is clearly just here as cannon fodder who will die in the next ten minutes’ – and he does! Not that the film couldn’t do with losing a few characters – super-obscure superhero Katana turns up, played by Karen Fukuhara, and does pretty much nothing at all. (Fukuhara says she wants to ‘explore the character’s back-story’ in the sequel, and it’s easy to see why: she has virtually no back-story here and is essentially just another national stereotype.) You could even argue that the film would be significantly improved with the Joker completely excised, for he has nothing to do with the main plot and just capers about bafflingly on the fringes of the film.
No chance of that, of course, for DC are clearly fit to bust, such is their desire to get their universe up on the screen in the mighty Marvel manner. I have to say I think there’s something deeply weird about this movie being made at all, at least now. This version of the DC universe hasn’t done a standalone Batman or Flash movie so far, and yet they seem convinced there is an audience dying to see a film about second- and third-string Batman and Flash villains in which the heroes themselves barely appear. I suspect the Joker is probably the only major character in this movie which a mainstream cinema-goer will even have heard of, which is probably why he’s in it.
Then again, there probably is an audience dying to see this kind of film, it’s just a very small audience of comics fanatics. One of the key moments in the development of the modern comic book movie was the failure of Batman and Robin in 1997, which the studio apparently decided was not because it was simply a bad movie (to be fair, I still think it’s better than Batman Forever), but because it managed to alienate the core comic book fan audience. This audience is lovingly courted at great length these days, and you could argue that with Suicide Squad we see a movie made solely to gratify it, and which has started to forget that the mainstream audience is the one which actually turns a film into a genuine blockbuster hit.
Still, given an arguably less-promising premise than that of Batman Vs Superman, David Ayer does an impressive job of keeping the film accessible and entertaining, even if it feels more like a handful of really good moments scattered through a rather generic and predictably murky superhero film. Will Smith earns his top billing, bringing all his star power to bear as Deadshot (the film predictably favours Smith over some of the others), while no doubt Margot Robbie’s game performance will win her many fans. Too many of the other squad members are one-dimensional – I would have liked to see rather more of Captain Boomerang in particular, but they seem to have realised such a wacky character is a terrible fit for a film striving desperately to be dark and edgy, and he barely throws a boomerang or gets referred to by his codename throughout.
In the end, Suicide Squad is a bit of a mess on virtually every level: it’s arguably a bad idea to do this movie at all at this point in time, and its structure and storytelling are both rather suspect, to say nothing of its oddly inconsistent tone (most of the time it plays like black comedy, but some of its most effective moments are when it takes its characters seriously). As an ensemble piece, it doesn’t really work either, being too strongly skewed in favour of certain characters. That said, it’s not an un-entertaining mess, with some amusing and effective moments along the way. I didn’t come out of it wanting to hunt down and exact vengeance on the director, which was the case after Batman Vs Superman. This wouldn’t really qualify as a ringing endorsement under normal circumstances, but these are not normal circumstances: we are in the odd world of DC’s movie output, and they do things differently here.
Tanks for Nothing
Posted in Film Reviews, tagged 2014, action, Awix's picks, Brad Pitt, David Ayer, drama, Fury, Logan Lerman, Shia LaBeouf, war movie on October 24, 2014| Leave a Comment »
Not usually a one for war movies, to be honest, and a friend roundly told me off this week for not even having seen Inglourious Basterds (I have been fairly Tarantino-intolerant since about 2004). Then again, the prospect of seeing something which seems to have a genuinely new angle to it, plus some glowing reviews from proper critics, is usually enough to make me consider trotting along to see almost anything. So this week I went along to David Ayer’s Fury.
Ayer’s movie is set during the death throes of the Second World War, at a time when any potential glamour and nobility the conflict may have had has long since dissipated, and all that remains is a bitter, grubby, futile bloodbath. Brad Pitt plays Don ‘Wardaddy’ Collier, a veteran soldier in the US Army, whose experiences across North Africa and Europe have made him a lethally effective tank commander with an obsessive hatred of the Nazis.
As the film opens, Collier’s crew have taken a casualty, and the vacancy is filled by very green new recruit Norman (Logan Lerman), who has been trained as a clerk rather than a tank driver. Most of the first half of the film is devoted to showing us the reality of war through Norman’s eyes, and a horribly grim reality it is too: practically the first job he is assigned is to scrape the remains of his predecessor out of his seat. The rest of the crew have become thoroughly brutalised by their experiences in the war – Fury is not a movie which makes any attempt to depict the American army as in any way heroic. Any German is a potential target, and in some ways the ‘initiation’ Norman receives from his comrades resembles the indoctrination suffered by child soldiers in more recent wars.
At the centre of this is Collier himself, who would no doubt argue that his own safety and that of the rest of the crew depends on Norman’s ability to do what’s necessary in the midst of battle. He is part mentor and part tormentor, slightly more than just another of the damaged bravos he commands. I must confess that in the past I have nearly always seen Brad Pitt as either an identikit leading man or just a pretty boy juvenile lead, but here his performance is genuinely impressive, and worthy of a film in which every moment, line, and shot seems well-judged to convey the sheer awfulness of the subject matter: the characters are in the midst of a pointless slaughter, and one in which they are personally in the most terrible danger. The script spells it out in a number of memorable lines: ‘We’re not here to do good. We’re here to kill Germans,’ Pitt states tersely, near the start, while later he is in a more philosophical mood: ‘Ideals are peaceful. History is violent.’ The Allies may be days away from an historic victory, but the Nazis are putting up a monumental fight, and their own armour massively outclasses the American tanks: one of the little-known historical facts Fury brings to light is that American tank losses outnumbered Nazi ones by a factor of about five, the brutal truth being that they were content to rely on their massive numerical advantage rather than invest in constructing a new main battle tank capable of taking on the German Tigers on an equal footing.
Perhaps bravely, in its first half the film is relatively light on action, choosing to concentrate on establishing the characters and atmosphere. This it does with a journey through a nightmare landscape: mobs of dispossessed civilians roaming fields, hanged ‘traitors’ on every telegraph pole, burning cities in the distance. Things have reached the point where liberated German women offering themselves to American soldiers has become a joyless ritual for both sides, but one which continues to be acted out nevertheless. One of Fury‘s most daring choices is to pause for what feels like ages in a supremely uncomfortable sequence in which Pitt and his men take advantage of the reluctant hospitality of two young German women. The performances of Logan Lerman and the other actors are also excellent, even – perhaps surprisingly – Shia LaBeouf, who has managed to claw second-billing from the more deserving Lerman.
Soon enough, though, Collier and his men are ordered back into action – their mission, to hold a strategic crossroads and protect the flank of the Allied advance on German. However, luck is not on their side, and they find themselves caught in the path of an advancing enemy column which massively outnumbers and outguns them – do they do their duty, or make a pragmatic withdrawal?
There aren’t a great many surprises at this end of the film, but it’s still thoroughly engrossing stuff, with a couple of absolutely exceptional battle scenes – the best of these is a close-quarters encounter between Pitt’s Sherman and a German Tiger, the two tanks almost like roaring, wallowing steel beasts as they desperately struggle to bring their weapons to bear on each other. The combat sequences are gruelling, but also utterly convincing.
Once again, I am a little surprised that Fury has been released as early in the year as it has: this is not just a blood-and-thunder action movie – though it is supremely accomplished in this department – but one which takes pains to work as a serious drama and commentary on the effects of war: somewhere where even victors can also be victims. This is an excellent film.
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Ozzy Osbourne and Elton John Are Working on Music Together
Jamie McCarthy, Getty Images
Sharon Osbourne said her husband Ozzy Osbourne was collaborating on a song with Elton John as part of a year of “good stuff.”
The former Black Sabbath frontman endured a difficult 2019, with a series of health setbacks forcing him to postpone his touring plans. But he ended the year by recording a new album, Ordinary Man, which is set for release in the coming weeks.
Asked on her TV show The Talk what the coming year held for Ozzy, Sharon replied, “A lot of good things. Wellness. And to get back with his band, to get doing what he loves, which is touring and being out there with his fans. And yes, there’s new music, and it’s great. He’s got all his friends playing on it. He’s doing a song with Elton. There’s so much good stuff.”
She didn’t clarify if the collaboration with John appeared on Ordinary Man or if it’s a separate project. Guests on the upcoming album include Slash, whose Guns N’ Roses bandmate Duff McKagan and the Red Hot Chili Peppers’ Chad Smith served as the rhythm section for studio sessions.
Osbourne and John, who have been friends for decades, last worked together on the 2011 animated movie Gnomeo & Juliet, which was produced by John’s Rocket Films and featured John's music on the soundtrack; Osbourne voiced the role of Fawn in the movie. A third film in the series is unlikely after 2018’s Sherlock Gnomes bombed.
Last year, Osbourne told how John had offered support and encouragement during the darkest times of his recuperation. “Elton told me to get off the couch and start walking, which was what I needed, as I couldn’t move off it for months,” the metal icon told the Sun.
“He was right. Elton is a sweetheart. He has phoned me throughout all this. He was at the house the other day with his two boys. They are great kids. They are such a good family. You would be surprised. When you are feeling miserable, you find out who is a friend and who doesn’t give a shit.”
Ozzy Osbourne Through the Years
Next: Ozzy Osbourne Albums Ranked
Source: Ozzy Osbourne and Elton John Are Working on Music Together
Filed Under: Elton John, Ozzy Osbourne
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Apple announces iPhone 6s sales numbers, beating last year’s record
By Zach Epstein @zacharye
In 2014, Apple set a new opening-weekend sales record by a huge margin with its new iPhone 6 and iPhone 6 Plus. End user sales through the duo’s first weekend of availability topped 10 million units, raising the bar to what seemed like an impossible level. Of course, nothing is impossible when you have the kind of momentum Apple is enjoying right now, and the company just announced that it managed to set a new sales record this past weekend with the iPhone 6s and iPhone 6s Plus.
DON’T MISS: Samsung trolled the iPhone 6s launch in an effort to make Apple fans look stupid
Last year, selling 10 million new iPhones was easy. Well, of course it wasn’t “easy,” but 2014 marked the first time Apple’s iPhone lineup was made available with large screens, and pent-up demand sent sales through the roof.
In 2015, Apple had to work a bit harder to top its previous iPhone sales record. Instead of just one week of preorder availability ahead of launch, Apple’s new iPhone 6s and iPhone 6s Plus had two full weeks of presales.
In addition to being available for purchase twice as long ahead of launch, Apple also included China among its initial launch markets for the new iPhones. China is one of Apple’s biggest territories for iPhone sales, and last year’s models weren’t officially made available until the fourth quarter.
So how did an extra week of preorders and the addition of China impact early iPhone 6s and 6s Plus sales? According to Apple, more than 13 million people took delivery of a new iPhone model between the handset’s initial release on Friday, September 25th, and the end of the day on Sunday. That number includes all preorders that were delivered through the end of this past weekend, as well as all in-store sales at Apple Stores and partner retail stores.
Apple also said the new iPhone models will launch in 40 additional countries on October 9th.
The company’s full press release follows below.
Apple Announces Record iPhone 6s & iPhone 6s Plus Sales
iPhone Available in 40 Additional Countries Beginning Friday, October 9
CUPERTINO, Calif.–(BUSINESS WIRE)–
Apple® today announced it has sold more than 13 million new iPhone® 6s and iPhone 6s Plus models, a new record, just three days after launch. iPhone 6s and iPhone 6s Plus will be available in more than 40 additional countries beginning October 9 including Italy, Mexico, Russia, Spain and Taiwan. The new iPhones will be available in over 130 countries by the end of the year.
“Sales for iPhone 6s and iPhone 6s Plus have been phenomenal, blowing past any previous first weekend sales results in Apple’s history,” said Tim Cook, Apple’s CEO. “Customers’ feedback is incredible and they are loving 3D Touch and Live Photos, and we can’t wait to bring iPhone 6s and iPhone 6s Plus to customers in even more countries on October 9.”
iPhone 6s and iPhone 6s Plus bring a powerful new dimension to iPhone’s revolutionary Multi-Touch™ interface with 3D Touch, which senses how deeply you press the display, letting you do essential things more quickly and simply. The new iPhones introduce Live Photos, which bring still images to life, transforming instants frozen in time into unforgettable living memories. Live Photos, 3D Touch, 12-megapixel iSight® camera, 5-megapixel FaceTime® HD camera with Retina® Flash and more are powered by the Apple-designed A9 chip, the most advanced chip ever in a smartphone, delivering faster performance and great battery life. iPhone 6s and iPhone 6s Plus are designed with the strongest glass on any smartphone and 7000 series aluminum, the same alloy used in the aerospace industry, in gorgeous metallic finishes that now include rose gold.
iOS 9, the world’s most advanced mobile operating system, brings more intelligence to iPhone with proactive assistance, powerful search and improved Siri features, all while protecting users’ privacy. Built-in apps become more powerful with a redesigned Notes app, detailed transit information in Maps*, and an all-new News app for the best news reading experience on any mobile device. The foundation of iOS is even stronger with software updates that require less space to install and advanced security features to further protect your devices.
Customers are encouraged to check the Apple Store® app or Apple.com to receive updates on availability and estimated delivery dates. Every customer who buys an iPhone 6s or iPhone 6s Plus at an Apple Retail Store will be offered free Personal Setup service, helping them customize their iPhone by setting up email, showing them new apps from the App Store℠ and more, so they’ll be up and running with their new iPhone before they leave the store. Customers can also learn more about iOS 9 and their new device through free workshops at all Apple retail stores worldwide. In the US, the new iPhones are also available through AT&T, Sprint, T-Mobile, Verizon Wireless and additional carriers, and select Apple Authorized Resellers including Best Buy, Target and Walmart.
iPhone 6s and iPhone 6s Plus will roll out worldwide to more than 40 additional countries and territories beginning October 9 including Andorra, Austria, Belgium, Bosnia, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, Greece, Greenland, Hungary, Iceland, Ireland, Isle of Man, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Maldives, Mexico, Monaco, Netherlands, Norway, Poland, Portugal, Romania, Russia, Slovakia, Slovenia, Spain, Sweden, Switzerland and Taiwan. On October 10, countries include Bahrain, Jordan, Kuwait, Qatar, Saudi Arabia and United Arab Emirates. iPhone 6s and iPhone 6s Plus will be available in India, Malaysia and Turkey on Friday, October 16 and in over 130 countries by the end of the year.
Sales completed by Saturday, September 26 will be included in Apple’s 2015 fourth fiscal quarter results, and sales completed on Sunday, September 27 will be included in Apple’s 2016 first fiscal quarter results.
iPhone 6s and iPhone 6s Plus are available in gold, silver, space gray and the new rose gold metallic finishes for $0 down with 24 monthly payments starting at $27 (US) and $31 (US), respectively, from Apple’s retail stores in the US, Apple.com, select carriers and Apple Authorized Resellers.**
Apple-designed accessories including leather and silicone cases in a range of colors and Lightning Docks in color-matched metallic finishes are also available.
Exclusively at Apple’s retail stores in the US, customers can choose their carrier and get an unlocked iPhone 6s or iPhone 6s Plus with the opportunity to get a new iPhone annually and AppleCare+ on the new iPhone Upgrade Program. Monthly payments start at $32 (US) and $37 (US), respectively. For more information on the iPhone Upgrade Program visit http://www.apple.com/shop/iphone/iphone-upgrade-program or a US Apple Retail Store.***
Customers can visit Apple.com to reserve their iPhone for pick-up at their local Apple Store, based on availability. Most Apple stores also have iPhone available for walk-in customers each day.
Tags: Apple, iPhone 6s, iPhone 6s Plus
Zach Epstein has worked in and around ICT for more than 15 years, first in marketing and business development with two private telcos, then as a writer and editor covering business news, consumer electronics and telecommunications. Zach’s work has been quoted by countless top news publications in the US and around the world. He was also recently named one of the world's top-10 “power mobile influencers” by Forbes, as well as one of Inc. Magazine's top-30 Internet of Things experts.
Moderna CEO says that we’re going to be living with COVID-19 ‘forever’
By Chris Smith 5 hours ago
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What the Rocket Fuel IPO Means for Adtech
Last month, Rocket Fuel (FUEL), a provider of artificial-intelligence software for optimizing digital advertising, raised $116m in its IPO, kicking off what we believe will be a big boom for the adtech market. While other adtech companies have successfully entered the public markets in the past, Rocket Fuel’s IPO comes on the heels of a scorching hot enterprise software IPO market and it’s entrance has the potential to spur additional adtech IPOs in coming months. With companies like AppNexus rumored to be approaching the IPO horizon, we could be seeing what is the beginning of the adtech boom.
Rocket Fuel’s IPO was notable for its massive success. The company’s shares jumped more than 90% in their first day, and while the company’s market cap has slipped a bit since, its value has hovered around $2b. That values the company at nearly 20x 2012 revenue, which is impressive given the company is still losing money.
While that valuation isn’t a gigantic IPO, we actually view this as an additional indicator of the market’s strength. Rocket Fuel is just five years old and we’ve seen countless examples of big name IPOs that have been stuck at the altar for years before finally taking the IPO plunge. Five years from founding to exit is an impressive run which is markedly shorter than the 7-9 year industry median window that most data sources suggest. With just over $100m in revenue and several other major adtech companies rumored to be at or near that mark as well, Rocket Fuel is opening the door for several other adtech players to test the market.
While the success of adtech IPOs is a great signal for the maturation of the sector, it’s even more promising for those who have lived and died by the industry in New York City. NYC has been the hub point for adtech, hosting many of the top players who could shortly follow Rocket Fuel. While the investors and entrepreneurs behind these companies have seen several successful M&A exits, IPOs tend to generate the returns and media hoopla that lead industry pundits to qualify the ecosystem as a success. While Rocket Fuel isn’t a NYC-based company, if others in adtech industry follow their lead, we could see a massive shift in Silicon Alley.
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We read the news today, oh boy: It’s The Beatles, on Google Play Music
Gwen Shen
Music Partnerships, Google Play
No need for fussing or fighting, my friend. Now you can live on a Yellow Submarine, march in Sgt. Pepper’s Lonely Hearts Band or go to Strawberry Fields Forever. Starting on December 24, all 13 of The Beatles’ iconic original albums, plus four essential Beatles collections, will be available to stream on Google Play Music—enough music to fill up eight days a week.
The best-selling band in history, with 20 number one Billboard Hot 100 hits, The Beatles continue to be one of the world’s most beloved bands decades after their last original album. So, what lyrics take a sad song and make it better? What albums get you through a hard day’s night? Come together, right now, to take a look at some of the top Beatles searches, according to Google Trends.
Bonus: If you open up the Google app on your Android phone and say “Ok Google, play the Beatles,” There will be an answer. Let it stream.
In the words of Ed Sullivan: “Ladies and Gentlemen, The Beatles!”
Santa’s Village is back, firing on all candy canes
By Eben-ezer "Scrooge" Carle
Create a festive song with Blob Opera
By Freya Murray
Learn more about the first circumnavigation of the globe
By Monica Lanaro
Turning the page on Google Play Books' first decade
By Judy Chang
Magic visits the Natural History Museum in London
By Natasha David
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Book Fight After Dark: Snooki, A Shore Thing
We're taking a quick break between seasons of the show, getting our ducks in a row for Summer School--in which we'll be reading books, stories, and essays that we feel like we should definitely have read by now, but have skipped for one reason or another. In the meantime, here's a bonus episode that was originally available only to our Patreon subscribers. Back in the fall, we read the debut novel by Nicole "Snooki" Polizzi, star of the MTV reality show Jersey Shore. A Shore Thing follows a Snooki-like character and her BFF as they navigate the Jersey Shore boardwalk for a summer--jobs, drinks, and lots of boys.
If you like this episode, you can subscribe to our Patreon and get one like it every month. For just $5 a month you can support the show and also get a Book Fight After Dark episode delivered to you each month.
Direct download: BF_After_Dark__A_Shore_Thing.mp3
Ep 282: Climate Fiction
This week, we wrap up our Spring Forward season by diving into a new (to us) genre called climate fiction, or cli-fi. Matter published a collection of cli fi pieces in response to a Margaret Atwood essay wondering if fiction centered on climate change could change people's thinking or even spur action. Which seems like a noble pursuit, though these stories were kind of a mixed bag. We talk about the pitfalls of fiction that leads with its agenda, as well as stories that get mired in world-building and forget about the actual story part.
Also: letters from children to the future, written in the 70s!
Direct download: Ep282_ClimateFictionRoundup.mp3
Ep 281: J.G. Ballard, High Rise
This week we're continuing our Spring Forward season by reading J.G. Ballard's 1973 novel High Rise, considered by many critics to be an under-appreciated gem. The book follows several characters as they deal with the breakdown of social order in a residential high-rise tower. The residents of the complex form clans, pitting the upper floors against the middle and lower floors, and what started as petty squabbling soon turns violent and deadly.
We talk about whether the book's premise feels dated, tied as it is to the rise (pun sort of intended) of residential towers in both the U.K. and the U.S. during the 60s and early 70s. We also talk about Ballard's vision of human nature, which seems especially bleak, even cynical--though perhaps not entirely unrealistic.
In the second half of the show, we talk a bit about architecture and urban planning in science fiction, from the Jetsons to Blade Runner, as well as Korea's "city of the future," which has loads of smart-city technology but not nearly as many people as planners had hoped for.
Direct download: Ep281_Ballard_HighRise.mp3
Mon, 3 June 2019
Ep 280: Mark O'Connell, To Be a Machine
This week we're continuing our Spring Forward season by diving into Mark O'Connell's book To Be a Machine: Adventures Among Cyborgs, Hackers, and the Futurists Solving the Modest Problem of Death. O'Connell, an Irish journalist and writer, throws himself into the world of transhumanism, spending time with a number of people who are trying, in various ways, to "solve the problem of death." That includes a company that will cryogenically freeze your head, scientists working to dramatically extend humans' life spans, and "grinders," who surgically implant pieces of technology inside themselves, in an attempt to become part machine.
In the second half of the show, we revisit some early-80s predictions for jobs that would be "stolen" by robots, and try to figure out how many of those predictions came true.
Direct download: Ep280_Transhumanism_-_6219_8.56_PM.mp3
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This is your mind on grad school
Denia Djokić and Sebastien Lounis
“Graduate school is the first time that you really fail, and really feel like a failure in the one thing that you are really completely invested in.” This observation by a former UC Berkeley PhD student rings true to many that have experienced deep frustrations while in graduate school. “When I think about my years as a graduate student at Berkeley, I think of days filled with a vague, ever-present cloud of guilt and anxiety,” describes another former student. “Most days in lab were spent surrounded by brilliant people striving for something great rather than by supportive people looking to facilitate each other’s growth.” A current graduate student echoes that “there is a deep, pervasive anxiety that seeps into every day of your life, a constant questioning of your capability, intelligence, and whether or not you are cut out to be here.” Another former student says, “It took me many years to realize that ‘normal’ for many grad students means deeply—and secretly—depressed.”
It is not news that pursuing a graduate degree is emotionally, psychologically, and often physically taxing. Graduate students at UC Berkeley are highly driven, love their work, and are often willing to be pushed to extremes to see their research succeed. When left unchecked, these circumstances can take a toll on students’ mental health. “Graduate school is not something to take lightly,” says Sahar Yousef, a PhD student in Vision Science. “You’re dropping highly intelligent individuals into extremely unusual life circumstances, with little or no support.” Last fall, Yousef and physics PhD student János Botyánszki began leading a Sufi meditation workshop specifically aimed at teaching introspection and mindfulness to UC Berkeley graduate students to better manage stress.
Mindfulness exercises are increasingly popular approaches to managing stress. In the Fall of 2013, the Graduate Assembly offered the first ever Sufi meditation workshop to teach graduate students these techniques. Credit: Lululemon Athletica
This meditation workshop was sponsored by the Graduate Student Support Program (GSSP), a student-led initiative created by the UC Berkeley Graduate Assembly (GA) to broadly address the gaps in services for graduate students on campus and give them tools to cope with the myriad stressors unique to their experience. “We’re all too busy to take care of ourselves,” says Janell Tryon, who is paid part time to be the GSSP coordinator while pursuing her masters in public health. In this role, Tryon is part of a larger conversation that is building around the Berkeley campus, often with student voices at the forefront. Efforts like the GSSP have been bolstered by growing support from advocates within University Health Services (UHS) and the Graduate Division, the administrative unit responsible for graduate student affairs, all of which today consider graduate student mental health a priority. There is an increasing number of resources available to those seeking help, and pressure is mounting for the adoption of broader administrative policies that promote student mental health and wellness.
However, despite these improvements, major hurdles will have to be overcome before all those in need are able to access appropriate resources. Budget cuts continue to threaten the ability of UHS to meet demand and provide adequate, individualized services. At the same time, awareness of the existing resources among the graduate student population remains frustratingly low, due in part to the insular nature of traditional academic departments. A broader culture of wellness may prove even more elusive in the face of a rigidly hierarchical academic culture that often rewards drive and sacrifice without encouraging balance. In this climate, graduate student mental health advocates—students, staff, and administrators—face an uphill struggle in the years to come. The consequences of this struggle tear at the very fabric of the academic experience and suggest fundamental misalignment of priorities. As one recent graduate put it, “in the eyes of my department, I would be considered a successful graduate student: I have a publication, I’m graduating in my fifth year and I have a job lined up. However, my frustration with the entire process has led me to feel that I’m leaving Berkeley extremely unsuccessful and thus unsatisfied in my experience.”
Off The Radar
At UC Berkeley, student initiatives have historically been the catalyst for efforts to raise awareness and take action to address graduate student mental health needs. Until a decade ago, the unique mental health needs of graduate students had not even been considered. The university provided a set of services aimed at the general student population, lumping graduates and undergraduates together. However, because little empirical research about the graduate student population existed at the time, these services focused almost exclusively on the latter. “Nobody had really investigated the stimuli or the environmental pressures that graduate students face,” explains Temina Madon, who completed her PhD in visual neuroscience at UC Berkeley in 2004. In this climate, counselors were trained to deal with issues common among undergraduates, whereas graduate students were completely off the radar.
Recognizing this disparity and having observed friends and colleagues suffering from life-threatening mental illness, Madon decided to take action. “It seemed pretty obvious, having been in grad school: you’re in a different age bracket, so the physiological profiles and life circumstances are different,” she says. As she began to dig deeper into the issue, the dearth of research on graduate students was astonishing: published empirical data on mental health focused overwhelmingly on undergraduates. A handful of exceptions existed, but these studies were limited to specific subgroups of graduate students, such as medical students.
Click to enlarge. Credit: Design: Holly Williams; Data: CSF/ASUC/GA 2012 graduate student survey and uhs.berkeley.edu
In an effort to fill this information vacuum and provoke change on campus, Madon, working with Jenny Hyun and Brian Quinn from the doctoral program in Health Services and Policy Analysis at the UC Berkeley School of Public Health, organized a survey of the graduate population at UC Berkeley. They designed the survey to determine the need for mental health services on campus, to assess utilization of existing services, and to understand how these correlated with factors like department climate, gender, and demographics. The questions were sent to the entire graduate population at UC Berkeley and over 3000 students responded.
The survey findings were telling: nearly half of graduate students reported having an “emotional or stress-related problem” within the previous year and almost 60 percent said they knew another student who had an “emotional or stress-related problem that significantly affected their well being and/or academic performance.” These indicators of distress were notably worse for women and international students. The results also showed underutilization and a lack of awareness of existing mental health services by graduate students. About 50 percent of those reporting a problem considered seeking help but only about 35 percent ended up doing so. About 25 percent of graduate students said they were not aware of the services provided at the university at all. Hyun and Quinn compiled and analyzed the results and presented them to the university administration in March of 2004.
The completion of Madon’s survey was a watershed moment for graduate student mental health on the UC Berkeley campus and beyond, transforming a previously intangible problem into a quantified public health crisis. “[Madon] was such an incredible force in bringing the attention of the administration to these issues,” says Jeff Prince, who has been director of Counseling and Psychological Services (CPS) at the UHS Tang Center for over a decade. “I credit her in shifting the focus at that time.” In response to the survey findings, several committees were formed to further assess these newly uncovered concerns and suggest solutions, including a student committee that would report directly to the university chancellor. The results of the survey were also included in a 2006 report assessing student mental health across the University of California system, commissioned by then-UC President Robert Dynes. No longer out of sight, the pressures and anxieties specific to the experience of graduate education were finally being documented. Through this process, it became clear that there was an urgent need for specialized and targeted services that distinguished between graduate and undergraduate mental health.
Unique Challenges
To some, graduate school may seem like the ideal environment. Seemingly idyllic aspects of the academic landscape include a flexible schedule, time to pursue one’s intellectual passions in an unfettered environment, and funding to further one’s education. However, most graduate students experience a common set of powerful stresses—some inherent to the nature of graduate study, others arising from the incentive structures that drive academic research.
“There are a whole set of circumstances that are unique to graduate students, different from undergraduates and different from professionals,” says Prince. For many students, entering graduate study involves some type of a major life transition, whether it is moving to a new city or country, switching fields, returning to school from a professional career, or some combination thereof. In school, graduate students often find themselves in the awkward position of having a workload comparable to that of a professional position but with, at best, only a fraction of the equivalent compensation. In the case of most professional degree programs, graduate students steadily accumulate debt. An elite institution like UC Berkeley also carries with it the onus of competition. A common phenomenon among graduate students is known as the “impostor syndrome”: the belief that they are not as intelligent or talented as people perceive them to be, and that they will eventually be discovered as a fraud. Because of these factors, graduate students can experience uncertainty and doubt in equal or greater measure to a sense of intellectual freedom and exploration.
Click to enlarge. Design: Holly Williams; Data: 2006 UC Berkley Student Mental Health Committee report and uhs.berkeley.edu
Many academic degree requirements are exceptionally high-stress, especially for doctoral students. The pass-or-flunk-out milestones of the oral preliminary and qualifying exams are unlike any faced during a typical undergraduate education. At the same time, much of the academic work leading to a doctoral dissertation is self-directed, operates on an ambiguous timeline, and can be fraught with frustrations. “A lot of our graduate students were good at school [as undergraduates] but didn’t learn to be independent,” says chemistry professor Heino Nitsche, “and they have a hell of a time swimming in the deep end of the pool.” Under these circumstances, it can be difficult or impossible to feel a sense of progress and accomplishment.
Doctoral students also must conduct their studies under the tutelage of a faculty research advisor, a relationship that can make or break their experience in graduate school. “Your relationship with your advisor is a huge deal,” says Galen Panger, a PhD candidate in the School of Information. “It almost can’t be understated when it comes to the correlation between your advisor relationship and your wellbeing and satisfaction in graduate school.” In this advisor-advisee arrangement, the student trades her labor as a researcher for the advisor’s mentorship and, ultimately, the advisor’s approval of her degree before she can graduate. For students seeking an academic position after graduate school, an advisor’s letter of recommendation can be the difference between landing a job and being left out in the cold, a harsh reality given today’s sparse academic job market. All of these factors mean that the faculty advisors hold tremendous power in the advisor-advisee relationships. They are the gatekeepers of success in the graduate endeavor.
While there are fortunately many advisors who actively make their students’ personal growth and wellbeing a priority, a point that must not be understated, the students’ powerlessness in this relationship can make them vulnerable to neglect and abuse. “Mentorship is important,” explains Nitsche when asked how to prevent struggling students from falling through the cracks. “You need to care and you need to know how to care.” However, mentorship is not always emphasized as a priority for faculty. Tenure-track professors are under tremendous pressure to produce publications—both the university’s reputation and their own research funding and job security depend on their scholarly productivity. This pressure creates a strong incentive for faculty to prioritize research results above all else, sometimes at the cost of their students’ wellbeing. Some professors even take on more graduate students than they can effectively advise, “weeding out” or neglecting those who are unproductive after their first year or two of graduate school. This practice may seem like a perversion of the advisory role, but if it ultimately leads to a strong publication record, the faculty member has little incentive to reform. A cascade effect can follow—if the publications lead to renown within the field, the professor will likely have an oversupply of students eager to join his or her research group. “You can’t shift perspectives on mentorship in this situation,” according to Nitsche. “It’s supply and demand.”
For many students, the pedigree of a Berkeley education and the opportunity to work on cutting-edge research make dealing with these stresses a worthwhile bargain. Many may even be driven by the intellectual, mental, and physical challenges of the highly intense and competitive UC Berkeley graduate experience, accepting these travails as a necessary—even mandatory—rite of passage in the development of their academic character. At the same time, some faculty members feel that a degree of pressure and stress is an essential component of the graduate experience. Removing this pressure, they fear, could undermine the drive for excellence that gives UC Berkeley its reputation as an elite institution. “This is Berkeley,” says Nitsche. “You don’t want to throw the baby out with the bathwater.” However, the vulnerability that comes with cutting one’s teeth in a high-pressure academic environment is often overlooked and, as Madon’s survey results suggest, the pressures of graduate education can become overwhelming and exhausting even for highly capable students. The varied nature of these stresses, on top of the typical strains that accompany the late 20s and early 30s, can quickly build and become an impediment to productivity and wellness, turning pathological in more severe cases. Perhaps the most unsettling result uncovered by Madon’s survey: 18 students reported having attempted suicide in the 12 months preceding the study, nine of them in the sciences.
Thankfully, several initiatives aimed specifically at improving graduate student mental health have emerged in the last decade, andthe conversation about student mental health has picked up momentum on campus. “Mental health is a buzzword these days,” Tryon observes. In the most successful of these efforts, students, student government, and university mental health professionals and administrators are working closely together.
Shortly after Madon’s survey was published, CPS formed the Graduate Student Mental Health Advisory Committee (GSMHAC), to directly incorporate graduate student perspectives in the development of programs at UHS. “We use them as a sounding board,” says committee chair Susan Bell, who is the assistant director for outreach and consultation at CPS. Since then, input from the GSMHAC has helped CPS develop new programs aimed specifically at graduate students. One example addresses a common fear for graduate students considering seeking help at CPS: that of potentially encountering their undergraduate pupils when seeking services at the main CPS office. Recognizing this as a barrier to entry for those in need of help, the GSMHAC advised CPS to establish individual satellite offices in discreet locations around campus. At these locations, a graduate student can meet a counselor for individual therapy without worrying about exposing themselves to their mentees. CPS now operates satellite offices in nine different buildings across campus.
Tryon’s work as GSSP coordinator is another prominent emerging endeavor. The GSSP is tasked with serving the wide demographic of graduate students in all things related to their mental health. This includes raising awareness about existing services and developing new health and wellness programming, like Yousef and Botyánszki’s meditation seminars. Tryon also plays an important role as a connector between different groups across campus, which can sometimes be isolated from one another. “What I think is needed most right now is communication between all the different facets of health conversation on campus,” she says.
Click to enlarge. Design: Holly Williams; Data: MIT, Yale, Texas A&M, CMU.
Among these conversations are grassroots student-led efforts that have sprung up within individual departments at UC Berkeley. Recently, students in Molecular and Cell Biology (MCB) decided to take action, feeling that they could no longer rely on the administration to prevent their peers from slipping through the cracks. Having observed that many individuals feel a strong sense of isolation while pursuing their PhDs—both when first starting to navigate their program as well as later on, when much time is spent in the lab or library—a group of MCB students formed a student support group called the MCB Grad Network. To provide an outlet to candidly ask questions and express concerns and frustrations, all MCB graduate students will, starting this fall, participate in regular mentoring discussions between older and younger students, with no faculty present. “We hope that this will instill a feeling of community connection and safety in that the discussions will only be peer-based,” says Adrienne Greene, a PhD candidate in MCB who helped spearhead the new group. CPS will help train the older graduate students in a national peer mentoring training program called QPR (Question, Persuade, Refer). If peer mentoring proves successful in improving the student experience in MCB, Greene hopes that students in other departments will follow their lead by replicating the program. “The idea is to expand this to every department,” she says.
All of these efforts are forming a growing network of services that are tailored to the graduate student experience. It is here that communication across departmental boundaries can play a critical role by preventing duplicate efforts, allowing interested individuals and groups to share their experiences, and ensuring that graduate students are actively aware of services that exist. Already, there are signs of success: the fall 2013 semester saw 20 percent more students—graduates and undergraduates—utilize Counseling and Psychological Services than in previous semesters. This is a good indication that the word is getting out. However, more data is needed to fully assess and track the state of graduate student mental health, both relative to Madon’s 2004 survey and moving forward. To address this lack of data, a Graduate Assembly resolution was recently passed to conduct a targeted survey that, starting this spring, will take the pulse of the graduate student body each year. The development of the GA’s “How We’re Doing” survey has been spearheaded by Panger, along with fellow PhD students Stephanie Cardoos and Christine Gerchow. The goal is to use this survey as a tool to establish continuity, track trends over time, and to inform a broader discussion about mental health. “The conversation starts with sensitizing people to the issues,” Panger says. “And it’s important to have data in which to ground the discussion.” The survey was disseminated in March and results are expected by the end of this semester.
The collection of more data about trends in graduate student sentiment, along with an increasingly vibrant conversation and a growing number of tailored services, are all indicators that UC Berkeley is poised to better address graduate student mental health needs. But, however well intentioned, these services are unlikely to fully meet demand. “We don’t have enough resources to do everything we want to do,” says Bell. “We can’t possibly reach everyone on the campus.” To truly bring needs and services for graduate students into balance will require broader changes to the graduate student experience that make mental health and wellness a priority on campus. Doing so will likely require tackling more deeply rooted cultural norms.
The Culture Barrier
Culture, within academia and beyond, is simultaneously the most daunting and difficult-to-quantify barrier to improving mental health for graduate students. While cultural norms cannot be enumerated in a budget or counted like a counselor-to-student ratio, they are often a major factor in an individual’s choice to seek, or not seek, professional help. Because cultural beliefs are often deeply held, they can be difficult to rationalize away. Nonetheless, changing culture could be the single most important step in addressing graduate student mental health issues at UC Berkeley.
Click to enlarge. Credit: Design: Holly Williams; Data: UC Berkeley University Health Services
The very need for CPS satellite offices is an embodiment of the cultural stigma graduate students feel around their own mental health—the prospect of being “exposed” as having mental health concerns is so shameful that it prevents students from seeking help when they need it. While this stigma is almost certainly rooted in deeper societal prejudices, the perceived expectations of academic achievement can make it more severe. “Everyone thinks that they ‘should’ be unhappy, because graduate school is difficult,” explains Tryon. Though advisors and departments play the most direct role in a graduate students’ life, they are also usually the last places that students turn to for help under these circumstances. “You’re trying to present yourself as a brilliant, unique, competent student to your advisor and to your professors and you want to seem like you’re on top of it. And people think that feeling mentally unwell is counter to that,” Tryon observes. “Part of the culture shift will have to be having more informed staff, administration, and faculty so that this is a discussion that is not stigmatized and is not scary.” Prince, of CPS, concurs: “We need to continue to find more creative ways for reaching out to students,” he says, “to encourage them to seek help, feel included, and talk through issues early enough, before they become too overwhelming to handle.”
Changing faculty and department culture may require pressure from the administration as much as from students. For faculty, who face tremendous pressure to focus on research publications, this means making sure that good mentorship is rewarded and poor mentorship is accounted for at a level that is meaningful when held alongside research funding and prospects for tenure. To encourage such a shift, Vice Provost for Graduate Studies Andrew Szeri worked in 2011 with then-Acting Vice Provost for Academic Affairs and Faculty Welfare Angelica Stacey and Academic Senate Chair Fiona Doyle to provide a set of guidelines for evaluating the quality of graduate student mentorship in faculty performance reviews. However, although the guidelines are an important step in raising the profile of mentorship within the faculty ranks, these evaluation criteria are not mandatory for faculty. More powerful incentives will have to be built explicitly into faculty evaluations and hiring criteria, where they can have a direct effect on employment outcomes.
Beyond new policies to fight stigma and provide overt incentives for faculty to focus on mentorship, a broader question looms: how can the overarching culture on campus be shifted to one in which mental health and wellness are encouraged and embraced? For some, like Tryon, this question is tantamount, and requires considering the wellbeing of all the individuals participating in the campus community, including faculty. “This is a public health issue,” according to Tryon. “If the university wants to see a healthier student body, they need to prioritize that kind of health at the faculty level, and they need to invest in their faculty as more than research machines.”
This holistic message is echoed by Bell, who says many students seeking services at CPS feel tremendous pressure to put research above all else because they see the same level of sacrifice in their faculty advisors. “It’s hard to live a healthy, balanced life when your role models are people who are sacrificing their own wellness for their career,” she explains. “We have to own this issue as a community. We’re all responsible for each other.”
Open conversations within a community are the starting point for addressing controversy, building a common vision, and taking action to realize that vision. In this way, the state of dialogue around graduate student mental health is simultaneously a reason for optimism and exemplary of the problem that remains. As more and more individuals across all tiers of the campus hierarchy talk about mental health and wellness, the likelihood of changes in policy and culture increases. At the same time, many graduate students today still feel they do not have an outlet for their struggles, whether it is through conversations with their peers or faculty advisors, or by accessing a support group or therapist.
The results of the Graduate Assembly’s “How We’re Doing” graduate student wellness survey may represent another vision for what is needed on UC Berkeley’s campus. A unique aspect of this survey is that its questions take into account both positive as well as negative aspects of the graduate student experience. Its results are meant to guide a multi-faceted conversation on campus that addresses the problems as well as the success stories that abound. The more platforms that are available for students, faculty, and administrators to share stories about mental health and wellbeing, the less these topics will be stigmatized. The documentation and encouragement of positive trends in student initiatives, faculty mentorship, and administrative programs will be particularly instructive in defining a vision for which the university and its academic departments should strive.
Realizing this vision will be no small task; the dissonance between the cultivation of excellence and a culture of wellbeing at an elite institution such as UC Berkeley is substantial. However, these two goals should not have to be at odds with each other. Wellness and excellence can be symbiotic, even in a high-intensity environment. As Panger points out, the scientific literature has established that positive emotion is associated with creativity, goal-seeking behavior, and physical health, all of which are important to academic productivity. “It’s really important to promote positive emotion and wellbeing to enable graduate students to do their best work,” he says. If history is any indication, graduate students will play a central role in leading the conversation and initiating cultural progress. However, as current efforts have already begun to show, real and lasting change will require the engagement of the entire campus community.
If you’re in the Bay Area, check out the RSF wellness center, as well as the berkeley wellness center for ways to improve mental health. You should also check out these materials for nurturing scientist well-being.
Featured image: In a 2012 survey of UC Berkeley graduate students, nearly half of respondents reported frequently feeling overwhelmed, exhausted, sad, hopeless, or depressed.
credit: concept: Holly Williams; design: tagxedo.com; source for words: csf/asuc/ga 2012 graduate student survey and uhs.berkeley.edu
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bsr_reader
The idea that imposing stress for stress’ sake will result in better research output is patently absurd, according any of the myriad studies in social or organizational research that already exist regarding productivity optimization in the workplace. If 67% of students are “so depressed that they can’t function” on a campus, as a recent UC Berkeley study of its own graduate students found, then the vast majority of students on campus are de facto not at their most productive. So whatever the approach is that’s being taken in the name of productivity–whether systematic on the part of the administration or merely incidental and due to larger structural forces– it is clearly not working as it’s intended to work. The fact that such high numbers of UC Berkeley graduate students report experiencing situational depression severe enough to cause dysfunction would seem to suggest that most of the students here are in fact not “cut out to be here”– and yet, a quick glance around at those I know suggests to me that most of them are highly capable young researchers.
I’m skeptical about whether a drive toward productivity is behind this apparent “stress for stress'” sake mentality, for these reasons. I suspect it’s more likely an issue of a lack of appropriate managerial oversight of both students and professors.
Daily Becoming
There is no incentive for academia to heed the social science research that would enable graduate programs to foster flourishing among graduate students (http://www.ted.com/talks/dan_pink_on_motivation). We have to look at the system variables that constrain the culture of graduate school. Mentorship, autonomy support, engaged teaching and training? Who has time for that among grant applications, committee meetings, research, publication, et cetera? In terms of preserving the status quo, the optimal graduate student is not a happy, creative, autonomous, collaborative being – the optimal graduate student is competitive, scared, subordinate, and conforms to the will of those in power. The anguish of these lost and brilliant humans is evidence of a corrupt and broken system. Educating graduate students for the 21st century, in a way that dignifies and protects our global future is a task waaaaaaay outside the skill set of professors who are themselves scared, protectionistic, and crushed under the weight of the lies at the heart of academia: that knowledge is discrete and transferable, that people are commodities, and that “everything that counts can be counted”.
http://www.dailybecoming.com
As a grad student, I can relate to all of the quotes in this…
I’m certain the suicides in my science circle are not isolated incidents, so why is the subject of graduate students killing themselves quickly swept away? They mention “attempts”, but fail to discuss those who do succeed and aren’t here to speak anymore? If is have known about how many do take their own life I’d have avoided science, & I would have been better off.
David H. Nguyen, Ph.D.
This is a great article about a very serious topic. I went through four years of depression during graduate school, which is why I wrote a Kindle e-handbook on graduate school: “Tips for Surviving Graduate & Professional School.”
Read the first chapter at: http://www.d-hh-nguyen.com/#!surviving-graduate-school/c1bum
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Depressed Graduate Student
Kind of a painful article to read, but only because it hits home in so many places.
Not knowing what I was getting into as I started graduate school in Biology, I used my high test scores to land a spot in the lab of a very well-regarded scientist – a member of the National Academy with a ridiculously impressive publication record. The cream of the crop, basically – just the sort of person you’d want to have as a mentor. Turns out that being a successful scientist has little to do with being a successful and capable mentor. I wasn’t ready at all, it turns out, to envision, develop, fund, and execute an entire research program on my own, with little to no experience to fall back on. Meeting with my advisor feels more like being put on trial than being mentored, as no direction is given but every mistake is carefully outlined and highlighted in big bold fucking letters. As a result, I no longer speak to my advisor on a regular basis, and instead wander through a day-to-day existence of not knowing what in the world I’m doing.
I am now divorced, emotionally ruined, friendless, broke, and on my 4th anti-depressant medication. I can’t even bring myself to do laundry anymore. Five years ago I was a world-beater, a force of nature, a motivated and relentless pursuer of anything I set my mind to. Or at least, it seems like that compared to where I am now. And after finally opening up to a select few colleagues about this, it turns out it’s not just common, it’s an epidemic. Almost every other graduate student I spoke with could relate. It started to dawn on me that the recent suicide of another graduate student in our department, a father and a brilliant and absolutely wonderful person, wasn’t actually that strange or inexplicable.
It’s a tragically broken system if this is the norm. Something needs to change if training for the academic career track leads to a tripling of the rates of mental illness in those involved, especially when you consider that most of the folks that graduate with a PhD, for all of their extensive knowledge and training, will be barely keeping up with your average truck driver, salary-wise. For myself, I only know that my mind is a feeble imitation of what it was before I came here. I no longer feel love or joy, I no longer have ambition or hope. As melodramatic as that sounds, it’s completely true. My one comfort is that when this hell is all over, I can probably get myself a job as a truck driver. Pays better anyway.
I am not at Berkley, I am not even in your country but I understand deeply.
Stressed Grad Student
I have always been a fighter and hard worker with a steady, positive mindset — but in the past couple of months my mind has been overtaken by an unwelcome depression. I am currently in the process of working on my thesis proposal for graduate school at Harvard., and it never occurred to me until reading this article that the two are so clearly related. Just reading this helped me to pinpoint the sudden onset of anxiety I’ve been experiencing and help me realize I’m not alone — thank you!
Thank you. I am seriously considering dropping out. I feel bad about it because my advisor is a truly nice person, but I’m tired of being depressed all the time. I feel like I have bipolar disorder from all the mood swings I’ve had since I’ve gotten here, and I am not actually bipolar. I do have depression, but I know most of the depressed feelings I have are from school.
I keep reading articles about how grad school is about doing what you’re passionate about, but I don’t feel passionate about it and I probably never did. I came here because I couldn’t get a full-time job. I was interested in a PhD because the one thing I like is teaching and I do not want to be a high school teacher. I went to high school once and that was enough.
I had a cumulative exam that I did try hard to study for, but I didn’t understand it and then I realized that I didn’t care that I didn’t understand it.
My parents keep telling me to “power through it” and not to “throw away all that work” or “do anything rash” but I’m tired of listening to them. At least I finished my B.S. degree. My brother dropped out of undergrad and no one gives him grief over it. My parents never finished college.
I should have dropped out the first semester I was here when I had bad health problems and could have withdrawn from the university for it.
I have the same plans as you, except I’m going to reapply for my old part time lab tech job since I enjoyed that and then drive for uber and lyft part time. I am hoping that more job experience will help me but if not at least it’s a good job. It’s not like my university pays for health insurance anyway; I buy it from the government.
I’m moving back to my home state and many parts of it have a low cost of living and they raised the minimum wage to an almost livable amount. I don’t need a ton of money to live on and I am not currently interested in home-ownership after seeing the ridiculous amounts of money it costs and how my dad owes way more money on his house than it’s worth.
Your post really struck a cord with me. My life (due to the heinous circumstances I’ve faced and subhuman treatment I’ve endured during my 4 years at the University of Maryland) is on the verge being left in shambles and also for many of the same reasons you had such a terrible experience. As for me, I’m probably giving up my PhD program in August, I just need to muster up that last bit of strength to leave it behind for good (which is the hardest part I’ve found).
I don’t know what else to say but I hope things get better for you, from the bottom of my heart I truly do.
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I think this article just saved my life or at least my sanity. Getting ready to graduate and feel empty inside, now I know why. I’m sorry for everyone’s suffering but knowing I am not alone makes all the difference in the world. Thank you.
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mwcphd
While I generally am opposed to the idea of oversight (I mean, we get a PhD to be independent, right?), I think that there needs to be more transparency in graduate school and higher ed in general. I’ve heard tons of stories of professors who made their grad students work past their TA assignment (i.e., for free), give up authorship positions, and even engage in sexual activity in exchange for professional opportunities. I think that this has become less common with the advent of technology, but I would not be surprised if this is the next scandal “bubble” that pops, following the Catholic Church, Hollywood, etc.
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The Best Films of Our Lives
Occasional Cinephilia
Casting “The Great Gatsby”
Ethan Blatherings, Film News November 16, 2010
I haven’t had a chance to discuss this yet, but apparently Baz Luhrmann’s next project is a shot at “The Great Gatsby,” one of the greatest American novels and one that is still missing a satisfactory film adaptation. The 1974 version starring Robert Redford and Mia Farrow just felt so meh – a little too glossy, too shallow. I never really felt like it plunged the emotional depths present in Fitzgerald’s work (his style may very well be un-filmable). Considering the level of emotional complexity generally on display in Baz Luhrmann films, I can’t say I’m thrilled that he’s the next choice to take a crack at “Gatsby;” but hey, at least we know the party scenes will be suitably lavish.
Luhrmann’s casting choices for the three main roles have now been revealed, however, and they are rather intriguing. Tobey Maguire will play Nick Carraway, which I can’t really see myself, but after Maguire’s eye-opening performance in “Brothers” last year, it may turn out that his “Spider-Man” days really were oppressing his true talents. The tricky role of Gatsby himself falls to Leonardo DiCaprio, unsurprisingly given his previous collaboration with Luhrmann. This I think could work; earlier in the 2000’s I would’ve said you were nuts, that DiCaprio could pull off the pretty boy aspects of Gatsby but would have none of his suppressed menace – but recently his work in “The Departed” and especially “Revolutionary Road” make me think that he could pull the role off quite well. He certainly has an edge now that I don’t think Robert Redford ever did.
And then there’s Daisy. How the hell do you decide who to cast in this role? It has to be someone that makes you believe how Gatsby could turn her into the dream girl, the perfect woman; but then she also has to be human, to prevent the audience from falling into the same trap. Mia Farrow performed the task admirably in the older version (indeed, she was one of the better parts of that film), though I always thought she made Daisy a little too frail for my taste. Who did Luhrmann pick for this go-around? Carey Mulligan.
First reaction: huh? Isn’t she significantly younger than DiCaprio? How do you make that work? But, with an assist from this still, which Luhrmann apparently took himself at the first workshops for the film that took place this week, I’m starting to come around to the idea:
Hmmmm. I’m liking the glamor, the aloof but independent look. This could be a real opportunity for Mulligan to show why she’s one of our most promising young actresses by playing totally against her “An Education” type. The movie will start filming early next year, no word yet on a release date. I’m still not sold on the project, but Mulligan’s involvement means that I’m going to at least keep a close eye on any further developments.
Published by Ethan
Ethan currently lives in Massachusetts and works in digital and audiovisual preservation. Detailed thoughts on 1930s Soviet cinema available upon request. View all posts by Ethan
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3 thoughts on “Casting “The Great Gatsby””
I am SO disturbed and SO excited at the same time. Baz Luhrmann, you redeemed yourself from “Romeo + Juliet” with “Moulin Rouge.” If you ruin “The Great Gatsby,” please, please, please go die. For all our sakes.
However, the casting sounds really, really promising! I actually think Tobey Maguire, as long as they get him physically looking like he could belong in the 1920’s, which for some reason I just can’t imagine, would be a good fit at Nick. Slightly jaded and disaffected in his own right, he still retains a bit of that wide-eyed innocence that would make Gatsby’s story so tragic for him, and thus through him, for us. Leo is not my mental image of Gatsby (which, to be fair, is really specific as I adore the man), but I think he’d do a good job.
And then we have: CAREY MULLIGAN!!! SO excited! I would have NEVER imagined her as Daisy in my life, but now I am SO excited, and your photo just made me burst. There’s something so glamorous and beautiful about her, and yet so cold and cruel in that one gaze. A chill beauty that tempts and enraptures Gatsby, but very much one that is on a pedestal, unreachable and unreal, a woman who is better as a goddess, but is in herself cruel and shallow.
My two cents. KEEP US POSTED. And by us, I mean me.
I was/am WAY excited about carey mulligan. maybe it’s the fact that i have loved her since before she blew up (bleak house, the seagull onstage, and that hella creepy doctor who episode with the statues [also let me note that i still haven’t even seen an education or never let me go so i am pretty much solely in love with her pre-fame self]). but in any case, i think she’s a great choice. and waaay better than portman (also love but totally wrong), lively (ick), johansson (vomit everywhere), or any of the other supposed contenders.
also, i am praying baz casts leighton meester as jordan. i no longer watch gossip girl because it got too ridiculous even for me, but that girl has more acting chops than the rest of the cast put together. she needs a really good role, ASAP, and jordan is right up her alley.
final note, i am still 75% sure this movie will be a travesty.
bestfilmsofourlives says:
Yeah, I didn’t even post the other actresses that were considered for Daisy because the list made me gag. I was so terrified that Johansson was going to get it. What exactly was supposed to be her qualification for the role besides being blonde? Also, Keira Knightley was supposedly in the running? WHY?!?! In what universe would anyone think Keira Knightley could play Daisy Buchanan?
The only other person on the short list I wouldn’t have minded was Michelle Williams. I could see her pulling it off. In any case, I’ll be intrigued to see Williams as Marilyn Monroe in “My Week with Marilyn” next year.
And Elaine, “redemption” is a very strong word for the uptick in quality between “Romeo + Juliet” and “Moulin Rouge.” And I really don’t know if that had anything to do with Luhrmann beyond some smarter casting decisions (i.e., “let’s wait until Leonardo DiCaprio actually develops some acting skills before I cast him again). So I’m going to one-up Phil and say I’m still 90% sure this film will be a travesty. But, in the 10% chance that it doesn’t…it could prove interesting.
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Jonathan Bautts
Culture Writer
NEEDTOBREATHE: Comfortable on the Outside
Posted on April 26, 2010 July 4, 2016 by Jonathan Bautts
NEEDTOBREATHE originally hails from Possum Kingdom, a small town in South Carolina. Therefore, it’s no joke the band settled on calling its third album The Outsiders.
“Being from a small town, and then signing to a label in New York, every time we were in New York or L.A. we felt like we were on the outside looking in. We never felt comfortable completely,” frontman Bear Rinehart explains. “Over the years, I think we’ve gotten more and more comfortable with the fact that our perspective was what was really valuable about us. I think the whole record is really about us coming to terms with not only being outsiders, but that that’s a good thing.”
One would never guess the feeling-like-outsiders thing judging from the music. The band, which also features Rinehart’s brother Bo on guitar, Seth Bolt on bass and Joe Stillwell on drums, has spent the last decade honing its blend of arena-tailored rock and folk/gospel. Not to mention its sincere lyrics are easily relatable.
“We try to write about things we know about. Maybe we don’t understand them in some ways, but we try to write honest emotions. That’s something that we’ve found, regardless if people are going through the same situations as we are,” Rinehart says. “It’s mind blowing because we’re writing about fairly specific situations in our lives and the way those made us feel, but I think the human condition is very similar. I think people take those things, those emotions and those feelings, and translate them into whatever they’re going through.”
While Rinehart usually doesn’t go into songs with a certain idea, instead deferring to what the song should feel like, he does admit to using songwriting as a means of encouraging people to live life for all it’s worth.
“One of our things over the years has always been that even though you’ve been hurt in life, if you don’t try it again, if you never become vulnerable again, you’ll never experience love again. We feel like our music can help with, and hopefully, inspire some people to give it a try again.”
“We get fed up a lot with people selling themselves short in terms of life, in terms of their artistic input on the world, and the things they enjoy and appreciate,” he continues. “How tired is everybody of bad reality shows, and just bull music? There’s a lot of people that are doing it, and there’s a lot of people who aren’t. They don’t see what real beauty is and what real authenticity is, and we’re trying to encourage people to look for that.”
Meanwhile, the band wrote most of the album at its home studio, opting to incorporate a wider array of instruments with more of a Southern feel than it had explored in the past.
“Having your own place, you definitely feel the liberty to experiment with stuff. If we needed to take a few hours to learn how to play the mountain dulcimer so we could put it in a song, we would do it,” Rinehart points out. “When you listen to the record, it does seem a little bit all over the place. I think that’s definitely what we were going for. We’ve learned over time that we can’t not be ourselves. It always comes across as sounding like us, regardless of what we do. So for us that’s encouraging, and we can try anything we want.”
After years spent touring and grinding it out, the group has finally started seeing its hard work paying dividends amidst a newfound sense of self-discovery.
“We’ve been doing this for a long time, almost 11 years now, and it’s been a growing process. We feel like we get better every day. Maybe we’re slow learners, but I think it’s taken us a long time to find our sound and find who we are,” Rinehart admits. “This record’s been really cool because I feel like we’ve found an audience at the same time we’ve found ourselves and our sound. We’ve made a record that feels comfortable to us, and we’ve found a crowd that’s into it.”
Originally appeared in Campus Circle
Posted in FeaturesTagged Bear Rinehart, NEEDTOBREATHE
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By AmmoLand (Reporter)
Connecticut Carry Responds to Governor’s Domestic Violence Bill
Connecticut Capitol Building
Connecticut Carry
Hartford, CT -(Ammoland.com)- On March 11th, the Connecticut Judiciary Committee held a Public Hearing to discuss several bills in front of a standing room only hearing room that will impact our individual rights in Connecticut.
Senate Bill 650 – A bill seeking to remove due process from the restraining order process
House Bill 6848 – A bill seeking to remove due process from the restraining order process
House Bill 6962 – A government overreach seeking to criminalize gun owners for keeping their firearms accessible when in their homes.
These bills were widely and universally rejected by the advocates for individual rights that appeared at the hearing, including Connecticut Carry. More instructive in this hearing, though were the arguments from the proponents. At the end of the day, when the two sides had battled things out in front of the legislature, the proponents of the anti-rights bills were left with a singular refrain: “there is a lack of education about the risk warrant statute.”
Interestingly, Connecticut Carry has been the sole organization to spend time and money to educate members of the public, state government and law enforcement about the Risk Warrant statute (CGS 29-38c) in Connecticut, which has been law for 15 years and has been discussed at length in both the media and in cases all over the state.
One of the things that struck the leadership of Connecticut Carry was the stunning display of ignorance of the Connecticut General Statutes by not only the Lt. Gov, her counsel and many members of the Judiciary Committee, but also the ‘Domestic Violence Advocates’ that were advocating for these anti-rights measures. We heard Representative Jeffrey Berger ask if permits can be issued to people subject to Restraining Orders, which is one of the most basic questions on the pistol permit application and is a disqualifier by statute (CGS 29-28(b)). The Governor’s General Counsel could not answer this either. We also watched in amazement as Attorney Buffkin, General Counsel for the Governor’s office, stated that she did not know why the current statutes involved Restraining Orders require a hearing within 14 days, a provision clearly entered into the statute to satisfy the requirement of due process.
Lt. Governor Wyman and her counsel stood fast, in the face of repeated questioning, by the idea that a ‘transfer’ to an FFL or the police would somehow only transfer possession and not ownership. This is false. They do not even understand the basics of the word that they use: ‘transfer’. When a person transfers a firearm to an FFL, they transfer ownership. And it also means that if the property in question is defined under the CGS as a ‘Large Capacity Magazine’ or ‘Assault Weapon’, it cannot be transferred back. Ever. The same administration that rammed through the 2013 Gun Ban is now advocating for a way to confiscate those firearms from people on a single person’s accusation with no legal method to get those firearms back.
With the ignorance on display in the hearing from the proponents of these bills, it should be no surprise that you could drive a large truck through the holes in their understandings of how firearms laws work in Connecticut. For instance, what do they plan to do against a domestic abuser who has unregistered firearms? There is no requirement in Connecticut for firearms to be registered, only new firearms bought in this state are subject to this provision. And the state database is horribly flawed and contains many, many errors. The bills rely on the honor system from people who abuse their domestic partners and the proponents believe might be homicidal.
This is the illusion of safety, not safety.
The truly sad part is that the facts do not matter to the proponents of these bills. Representative William Tong said at one point in reference to the overwhelming opposition he saw at the hearing “this does not have to be intellectually coherent.” Well, yes, it does. We demand that. Legislation should not be based on emotional rhetoric Representative Tong.
“I would like to express my surprise and shock that Nancy Wyman, the Lt. Governor and her General Counsel Attorney Karen Buffkin would appear before the Judiciary Committee to testify in support of proposed firearms legislation that they know nothing about. My concern extends to the lack of knowledge shown by members of the Judiciary Committee who clearly have NO working knowledge of existing laws, regulations, policies and practices regarding firearms.” – Connecticut Carry Director of Legal Affairs Edward Peruta
“It is disappointing and downright pathetic that people are advocating against the basic tenets of law like due process and our individual rights. But it is absolutely despicable that they do so in the name of cases that would not have been helped by anything that they are proposing. Shame on the proponents of these bills and anyone who would further these bills.” – Connecticut Carry President Richard Burgess
“It was a pleasure representing the law abiding firearm owners of Connecticut by my appearance in front of the Connecticut Judiciary Committee on March 11, 2015. Hopefully my testimony and answers to questions posed by members of the committee, will provide a better working knowledge of firearm issues on which the committee members may base any future firearm related decisions.” – Attorney Rachel M. Baird
Source: http://www.ammoland.com/2015/03/connecticut-carry-responds-to-governors-domestic-violence-bill/
God's Word - Proverbs 12
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Brett Moffitt to make Chili Bowl debut in 2021
Brett Moffitt to Compete Full Time for Niece Motorsports in 2021
2018 NASCAR Truck Series champion Brett Moffitt will make the move over to the NASCAR Xfinity Series for the 2021 season.
NextEra Energy 250
Sat, Feb 13, 2021
NASCAR Camping World Truck Series Race at Daytona Road Course
NASCAR Xfinity Series Race at Daytona Road Course
Daytona International Speedway Road Course
NASCAR Xfinity Series Race at Homestead-Miami
Homestead-Miami Speedway
Brett Moffitt Wins 2018 NCWTS Championship
Posted by BMR in Brett Moffitt Racing on 11/17/2018
Event: NCWTS 200
Date: November 16th
Start: 5th
Finish: 1st - WINNER!
Laps Led: 59
2018 NACAR Camping World Truck Series Champion
Moffitt Captures 2018 NCWTS Title for HRE
Brett Moffitt won the 2018 NASCAR Camping World Truck Series (NCWTS) championship by scoring his sixth victory of the season on Friday night at Homestead-Miami Speedway (HMS). Moffitt left no doubt about his ability and that of his No. 16 AISIN Group team with a dominant performance in the season finale. The 26-year old from Grimes, Iowa led three times for a race high 59 laps en-route to becoming the 17th different champion in the 24-year history of the NCWTS.
Moffitt started from fifth position on Friday night, his second-best starting position of the 2018 campaign. After slipping to seventh on lap two, Moffitt quickly redirected his Toyota Tundra to the front of the field and climbed to third by lap 15. He would finish Stage 1 in third and began to assert himself as the dominant force beginning on a lap 38 restart.
Staying true to character, Moffitt made a bold move to the bottom side of the speedway and was rewarded with the race lead on lap 40. He went on to comfortably lead the balance of Stage 2 until the caution flew on lap 60. Moffitt chose the outside lane on the lap 68 restart, but was forced to wrestle for the lead over the next 20-plus laps. As he stayed committed to the bottom of the track, Moffitt patiently worked over the race leader and reclaimed the top spot on lap 99. A cycle of green-flag pit stops immediately followed and allowed Moffitt to expand his lead over the final 29 circuits for his first win at HMS in his first-career NCWTS start.
Moffitt’s “walk-off” victory at HMS capped off an incredible season for the entire No. 16 AISIN Group team. Their six victories were tied for the most in the series and gave team owner Shige Hattori his first NASCAR championship. The season crown is also the first NASCAR title for Moffitt and crew chief Scott Zipadelli. Moffitt finished the season with four consecutive top-three finishes, including two straight victories. The team will officially celebrate their title at the NCWTS Awards Banquet on December 8 in Charlotte, N.C.
Brett Moffitt Quote:
“That was the longest 20-30 laps of my life. Man, I was just glad we could get to the white flag without a caution and clean sailing. We had a great Toyota Tundra all day. I just got to thank AISIN and Shige Hattori, TRD, everybody at TRD and how hard they worked for us this last month. They’ve given us everything possible to make these things fast. Tonight, we were able to win the race and win the championship!”
“It’s unreal. We all know the story by now. We didn’t know if we were going to race this whole year. I didn’t know if I would have the opportunity to compete for a championship, even after we got our first win. Everyone pulled together hard here. I don’t think everyone understands, we have nine or 10 employees working seven days a week working till midnight more times than not. It’s a testament to them. I’m fortunate to drive the truck but it’s an honor to drive for them.”
Shige Hattori Quote:
“It’s taken a long time since I started my own team…We missed the K&N (Pro Series East) championship in 2012. We were leading on the last lap, but then we missed it. But today, we did it. Again, we are a small team, but everybody did a great job. I am so happy for the whole team, the team members and the team’s families.”
“We wouldn’t be here without our sponsors’ support. AISIN Group has been a big supporter of ours, along with Toyota and TRD. So many others have been a part of Brett’s and the team’s success this year. Hopefully we can continue to build on that.”
Aisin Seiki was established in 1965 with the merger of two auto parts manufacturing companies, Aichi Kogyo and Shinkawa Kogyo. Since then, AISIN has developed its enterprise into a network of subsidiaries and affiliates to deliver advanced technologies effectively to the diversifying auto industry. By optimizing each company into a specialized business segment, AISIN has become a corporate group able to process diverse materials such as steel, aluminum and resin into products that cover virtually all of driving ("drive," "turn" and "stop").
About Hattori Racing Enterprises
Hattori Racing Enterprises (HRE) was founded in 2008 by Shigeaki Hattori and since then the team has fielded entries in a variety of different series, including the NASCAR XFINITY Series, NASCAR Camping World Truck Series, NASCAR K&N Pro Series, and ARCA. As a former driver, Hattori captured the Japan Formula Toyota championship in 1994 and moved to the United States the following year to race open-wheel cars. He competed in the Toyota Atlantic Series, Indy Lights and IndyCar. He won a pair of Indy Lights races in 1998 and made two starts in the Indianapolis 500. In 2005, Hattori made the transition to stock cars and drove a Toyota in the NASCAR Camping World Truck Series before moving into team ownership. HRE's race shop is located in Mooresville, N.C.
Tags: nascar , championship , playoff , ncwts , camping world truck series , hre , homestead-miami speedway , aisin group , 2018 , champion
Brett Moffitt News & Updates
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+ ADD A RESOURCE
Australian Energy Market Commission
Authored Resources
Coordination of generation and transmission investment: discussion paper
This discussion paper highlights the need for understanding the ultimate impact on electricity prices when making any changes to how transmission infrastructure is planned, built and operated.
2017 Residential electricity price trends: final report
The AEMC predicts national residential electricity prices will fall on average over the next two years from mid 2018, as more variable wind and solar generation comes online - offsetting this year’s price increase.
Reliability frameworks review: directions paper
The Australian Energy Market Commission (AEMC) is calling for submissions on how to change regulatory frameworks to help deliver long-term electricity reliability at least cost to consumers.
2017 AEMC retail energy competition review - final report
This review report makes a number of recommendations to make it easier for customers to take advantage of competition and make the best energy choices for their household or business.
Towards the next generation: delivering affordable, secure and lower emissions power
Climate Change Authority and Australian Energy Market Commission
Climate Change Authority
The Australian Energy Market Commission (AEMC) and the Climate Change Authority have prepared a joint report to provide advice on policies to enhance power system security and to reduce electricity prices, consistent with achieving Australia’s emissions reduction targets in the Paris Agreement.
System security market frameworks review: directions paper
The Australian Energy Market Commission (AEMC) is calling for public submissions on a new plan to strengthen power system security.
This directions paper recommends mechanisms to facilitate the ability of the power system to accommodate new technologies.
The transition to a lower emissions power system has its challenges. The take-up of non-synchronous, intermittent generation like wind and solar is continuing at speed in response to mechanisms like the large-scale renewable energy target. The generation mix is changing as old synchronous power stations leave the market.
A power system with increasing non-synchronous generation has less inertia. Falling inertia means the system has less time to recover from sudden equipment failure before widespread blackouts.
Inertia is the energy momentum produced by spinning generators, motors and other devices which enables the system to ride through disturbances and maintain its operating frequency of around 50 Hertz. Technologies like wind or solar have no, or low, inertia and currently have limited ability to dampen rapid changes in frequency which make the grid insecure.
Reduced amounts of synchronous generation also mean that system strength has been falling in some regions. The system strength is a measure of the current that would flow into a fault at a given point in the system. Lower fault levels can mean that generating units and network equipment do not operate correctly, affecting the ability of the system to be operated in a secure manner.
Submissions are due by 20 April 2017.
Integration of energy and emissions reduction policy
In 2015, the Australian Commonwealth Government committed to reducing Australia’s carbon dioxide equivalent (CO2e) emissions by 26 to 28 per cent below 2005 levels by 2030. As the electricity sector accounts for around one-third of Australia’s emissions, efforts to reduce economy-wide emissions efficiently will inevitably involve reducing emissions in the electricity sector. This report examines three emissions reduction mechanisms that could be applied to the wholesale electricity generation sector to assist in the achievement of Australia’s 2030 emissions reduction target.
In this context, the Council of Australian Governments (COAG) Energy Council tasked the Senior Committee of Officials (SCO) with preparing advice to allow the COAG Energy Council to better understand the characteristics and potential impact of alternative emissions reduction policy mechanisms on the National Electricity Market (NEM). The Australian Energy Market Commission (AEMC or Commission) and the Australian Energy Market Operator (AEMO) have been asked to assist officials with this work.
While the Commonwealth Government would determine the emissions reduction target for the electricity sector, the purpose of this advice is to enable the Energy Council to form a view on the features and impacts of alternative emissions reduction mechanisms that can achieve the emissions reduction target. This report examines three emissions reduction mechanisms that could be applied to the wholesale electricity generation sector to assist in the achievement of Australia’s 2030 emissions reduction target.
The Commission and AEMO were asked by the COAG Energy Council to provide a report to SCO by the end of 2016. This work was undertaken as two tasks:
• Task 1 required the AEMC to analyse three alternative emissions reduction mechanisms, including the economic impacts of each of these mechanisms and the ability of each mechanism to integrate with the NEM’s design and operation.
• Task 2 required AEMO to consider the outcomes from Task 1 – such as the location and type of new generation investment, retirements and dispatch, which follows from the choice of emissions reduction mechanism – to assess their impact limits and are stable and all persons are safe.
The assessment in this report is informed by both qualitative and quantitative indicators that seek to measure and understand costs, risk allocation, incentives, the impacts on wholesale and retail prices, and the ability of the alternative mechanisms to self-correct when the future turns out to be different from today’s expectations.
The Commission was asked to develop mechanisms to test the potential electricity sector outcomes resulting from alternative pathways for achieving an emissions reduction target of 28 per cent on 2005 levels by 2030. The three pathways specified to the Commission were: least-cost abatement, accelerated deployment of renewable energy, and staged generator exit.
There are a range of potential mechanisms that could be devised to assess the impacts under each of these alternative pathways. The Commission has developed the following three mechanisms, corresponding to each of the three alternative pathways towards the 28 per cent emissions reduction target:
1. Market-based: the establishment of an emissions intensity target (EIT) for the electricity sector, where generators with an emissions intensity above the target are liable to buy credits and those with an emissions intensity below the target create and sell credits. The emissions intensity target is defined as the amount of CO2e emissions divided by the amount of electricity generation, and is typically expressed as the number of tonnes of CO2e per MWh. The target is then applied to all generators in Australia’s wholesale electricity markets based on the emissions intensity of their output (in MWh). The emissions intensity target declines over time in a manner consistent with the emissions reduction target.
2. Technology subsidy: extension of the existing Large-scale Renewable Energy Target (LRET). The size of the existing target is 33,000 gigawatt hours (GWh) in 2020. In order to meet the emissions reduction target for 2030, and based on AEMO’s 2015-year forecasts for electricity consumption in 2030, this target is estimated to equal 86,000 GWh in 2030. That is, based on forecasts for future electricity consumption, the target would need to more than double to achieve the emissions reduction target.
3. Government regulation: on the presumption that centralised decision-makers are adept at determining which generators should exit and when, and also adept at implementing this ‘optimal closure schedule’, this schedule is implemented by government to force certain generators to close in order to meet the emissions reduction target. Regardless of the form and design of this regulation, the decision on which generators would be closed and when would need to be based on a set of expectations of the future; for example, expectations of future electricity demand.
In each case, the mechanism is specified to commence in 2020 and designed so that it is expected to meet the emissions reduction target.
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© 2017 BuiltBetter Organisation, licensed under a Creative Commons Attribution Non-Commercial 3.0 Australia (CC-BY-NC 3.0 AU) License
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New Zealand, Missionaries, and Inland Revenue
March 11, 2019 by Sam Brunson
Photo by Saaby. CC BY-SA 2.5
Effective January 1, 1991, the church equalized the cost of missionary service. Before, a missionary had to pay the actual costs of his or her mission.[fn1] Now, a missionary pays a set amount to the church, and the church pays the costs of missionaries’ missions irrespective of where they go.
Why did the church make this change? A bunch of reasons, I suspect, but one was because of the tax law. I’ve blogged about Davis v. United States before, and I have a chapter in my book that goes into extensive detail about both the litigation and the thinking behind the case. The short of it, though, is that the Supreme Court held that payments from parents to their missionary children did not qualify for the charitable deduction. Donations from parents to a church-controlled fund (at least, as long as those payments weren’t earmarked particularly for their children) did qualify.
Almost thirty years after the Supreme Court decided Davis, the question of the deductibility of missionary payments is back. Kind of.
Photo by Ulrich Lange. CC BY-SA 3.0
On February 1, a New Zealand court issued an opinion deciding whether donations to the Trust Board of the Church of Jesus Christ of Latter-Day [sic] Saints, made in connection with a missionary’s mission application, were deductible. Now, I’m no expert in New Zealand tax law, but I can read an opinion, and this strikes me as an important entry into questions of the taxation of Mormon things.
Until 2015, the Commissioner of Inland Revenue allowed deductions for the amounts donated. Since 2015, the Commissioner has disallowed deductions for donations from the missionary herself and from her immediate family.
The question the court had to grapple with was whether the donations qualified as gifts for tax purposes. Unfortunately, New Zealand tax law doesn’t define “gift.”[fn2] After sifting through precedent, the court came up with the following criteria to determine whether something was a gift:
A voluntary transfer of property
No material benefit flowing from the recipient to the donor. (The court decided that a minor benefit, or a purely moral benefit, wouldn’t disqualify the gift, though.[fn3])
The benefit doesn’t have to accrue directly to the donor. That is, a benefit to a donor’s child counts as a benefit.
The court’s analysis ultimately turned on the question of benefit. And it determined that there was a link between payments into the missionary fund and the church’s supporting missionaries in the field. It doesn’t matter that there’s not a direct link between the two (and, in fact, the court makes clear that it doesn’t see this as subterfuge or a sham), because the church has a strong moral obligation to support the New Zealand-resident missionaries while they serve their missions, and donors understand that their payments allow their missionary to serve and be supported where she is.
That link does not, by itself, create benefit. So the court further goes into the question of benefit. It finds that the missionary herself benefits. Yes, she works hard—this isn’t, in the court’s words, ” a situation where a person claiming a tax deduction travels overseas and performs a small amount of work for a charity, but predominantly has a holiday”—but the benefit of having travel, lodging, food, and other basic expenses met is not a minor benefit. Thus, payments by the missionary herself are not deductible.
The court also determines that payments from parents and grandparents are not deductible. Parents and grandparents benefit from seeing their (grand)child “travel, live overseas, and experience being a missionary abroad.”
But the court holds that there is no material benefit to anybody else. Siblings, cousins, ward members, and other unrelated individuals can deduct amounts they donate to the church’s mission fund, even if they do it to meet a particular missionary’s obligation, because they don’t feel the same obligation to support the missionary, and they don’t benefit in the same manner.
The church argued that other countries allow deductions for payments to the missionary fund. The court reported these arguments, but held that (a) they weren’t precedential, and (b) because they were either administrative or because the courts in the other countries didn’t explain why they believed the donations were deductible, they weren’t persuasive.
Nonetheless, it appears that donors to the missionary fund can deduct their donations in the United States, and Canada (edit: but probably not Australia). The UK doesn’t have charitable deductions, but it does have “gift aid,” which is a type of matching grant from the government for qualifying donations, and donations to the missionary fund qualify for gift aid in the UK.
New Zealand Trivia
There are some interesting details about the church in New Zealand. The church’s New Zealand entity was established by a 1957 Parliamentary Act. The church in New Zealand doesn’t have a segregated account for the missionary donations; they go to the same place as tithing and other offerings. It does keep track of which donations are for the missionary fund, though, and pays for missionaries who serve their missions in New Zealand out of those monies. Ultimately, though, money from New Zealand donors is insufficient for the church’s needs in New Zealand, and the church is a net importer of revenue.
Some of My Thoughts
Honestly, this is a well-thought-out opinion, and is relatively persuasive (at least, if the judge’s definition of “gift” is upheld). The decision ultimately won’t bear on the question of deductibility in the U.S., though. Partly that’s because we take little notice of foreign judicial decisions, but it’s also because the Supreme Court’s decision in Davis didn’t turn on the question of whether the payments were gifts. Instead, the question was whether the payments were made “to or for the use of” the church. When parents sent money directly to their children, it clearly wasn’t a donation “to” the church, and the Court held that it didn’t qualify as “for the use of” the church.
A church spokesperson reports that the church is “disappointed” in the ruling, and that it plans to appeal. To the extent that happens, I’ll keep you posted on the future of the deductibililty of New Zealand missionary fund contributions.
(h/t to the Trib’s Mormon Land; that’s where I first read about this decision.)
[fn1] Angela Liscom Clayton’s fascinating memoir The Legend of Hermana Plunge briefly talks about some consequences of this pay-your-own-way system.
[fn2] FWIW, neither does US tax law. The courts have defined a tax gift as something given from “detached and disinterested generosity.”
[fn3] In my book, I also write about Hernandez v. Commissioner, in which the Supreme Court determined that Scientologists couldn’t deduct the cost of auditing, because it represented a quid pro quo. The Scientologists argued that the only benefit was a spiritual one, so it wasn’t the type of quid pro quo that vitiated a deduction. I suspect that would have been a winning argument (that is, that the benefit was a “purely moral” one) under the New Zealand court’s decision.
Preach It:
Filed Under: Current Events, Economics, Mormon, Society & Culture Tagged With: charitable deduction, davis, deduction, gift, inland revenue, missionary fund, new zealand
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It would seem that another consequence of the current system arose in Switzerland. Since the missionaries’ living expenses are paid by the Church (funds donated to the Church) and not by themselves or their families, they are Church employees, subject to the Swiss legal preference for EU citizen employment. Hence, no more American LDS missionaries assigned to Switzerland (except possibly for brief periods that may qualify them as tourists). If the Church had ceased bragging about how missionaries serve “at their own expense” there might have been less support for the New Zealand decision. The theory of “at their own expense” directly undercuts the notion that the donations are Church funds. The “equalization” I understand. The trying to have one’s cake and eat it too is more difficult.
Sam Brunson says:
Thanks, JR. I hadn’t heard anything about Switzerland. I think, from a tax perspective, that’s a defensible conclusion, and I’m kind of surprised that the U.S. doesn’t tax missionaries on what they receive in support. (They wouldn’t have to be “employees” for income to be taxable.)
FWIW, I don’t think a change in rhetoric would have changed the New Zealand case’s outcome. The judge didn’t seem swayed by the rhetorical idea of paying one’s own way. The opinion recognized that there was no direct, and no legal, link between payments and the receipt of support. It focused, instead, on the idea that receiving a non-trivial benefit (like having your expenses paid) meant donations didn’t qualify as “gifts” for New Zealand tax purposes.
J. Stapley says:
This seems like it would be very difficult to maintain. Kids or Grandkids seems pretty arbitrary (speaking as an American non-attorney). Perhaps if they limited it to dependents…
Last Lemming says:
If all donations in New Zealand go into the same fund, what are the implications for the tithing paid by a missionary’s parents? Does that also become nondeductible? If so, that is extra harsh. If not, what is to stop the parents from simply paying an extra $400 a month in tithing instead of to the missionary fund?
J., it certainly is arbitrary, and the judge seemed aware of that. As a line-drawing exercise, though, it has the benefit of simplicity. (Frankly, I think justifying grandparents is a little stretch, but it does work.)
LL, in the U.S., we could probably get the extra $400/month with some sort of step transaction/anti-abuse rule. I don’t know enough about New Zealand to know if they have similar anti-abuse regimes. I mean, an easy way to get around the rule would be for parents to give the money (less the tax reduction from the deduction) to their missionary’s sibling, then have the sibling pay the $400 and deduct it (assuming, of course, that New Zealand doesn’t tax gifts). But an anti-abuse rule might prevent that, too.
Chompers says:
As much as I support tithing being a tax deduction, I do agree that missionary payments technically aren’t. It’s certainly nice that they are (or at least were in NZ), but I agree with the court opinion that a benefit is derived by the missionary. Although the idea of the benefit to the parents is a bit more uncertain, it does stand to reason that someone has to pay tax, and it’s a nuanced argument to state that the parents do indeed benefit from their child’s service.
The question of church taxation is a complex one. But of course, big businesses the world over don’t pay tax, so you got to go after someone else.
jpv says:
Guessing KiwiMo is chuft.
Crazy cuz there’s precisely zero benefit/difference to the parents nor the missionaries if they make the donation to the missionary support fund or not.
Most of all I like your “Honestly, this is a well-thought-out opinion, and is relatively persuasive.”
I generally find church-and-state cases all over the world to be well reasoned and thoughtful but often very close decisions. I am annoyed every time somebody says “I don’t like the result and/but/so they were stupid.” That is very seldom the whole story. Or “wouldn’t happen under our laws.” No matter how much you enshrine the U.S. Constitutional 1st Amendment and argue that it is right for everybody everywhere (which I wouldn’t but some will), it would be a near impossible hurdle to make out U.S. 1st amendment jurisprudence as a worldwide model of excellence or rightness.
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Salads, products with onions sold at Walmart, Kroger, H-E-B part of recall and USDA public health alert
Kelly Tyko, USA TODAY
Various products including salads sold at some Walmart, Kroger and H-E-B stores are included in a new public health alert because they contain recalled onions.
The Department of Agriculture’s Food Safety and Inspection Service issued the alert Wednesday night for ready-to-eat meat and poultry products that contain “onions that have been recalled by Thomson International Inc. due to concerns that the products may be contaminated with Salmonella Newport.”
On Thursday, Taylor Farms Texas, announced in a recall notice, it was "voluntarily recalling products containing onions as a result of the expanded onion recall initiated by Thomson International, Inc., which resulted in a recall by Taylor Farms’ onion supplier." The products were sold at some Walmart and Kroger stores.
Also on Thursday, the USDA’s Food Safety and Inspection Service added to its public health alert a product sold by Amana Meat Shop and Smokehouse in Amana, Iowa.
Thomson International of Bakersfield, California, on Saturday recalled all red, white, yellow and sweet yellow onions shipped from May 1 through the present out of concern they might be affected, according to the Food and Drug Administration.
The onion recall came after health officials announced they were investigating a salmonella outbreak tied to red onions, which has caused nearly 400 cases reported in 34 states this month.
However, while the red onions potentially contaminated with salmonella were shipped to supermarkets and restaurants in all 50 states and Canada, the products in the new health alert “were shipped to retail locations in Arkansas, Louisiana, Mississippi, Oklahoma and Texas.”
Check your freezer: USDA issues health alert for frozen taquitos and chimichangas that may contain plastic, posing choking hazard
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“FSIS is issuing this public health alert out of the utmost of caution to ensure that consumers are aware that these products, which bear the USDA mark of inspection, should not be consumed,” the USDA said in a statement. “As more information becomes available, FSIS will update this public health alert.”
The products have the establishment number “P-34733" or "34733" inside the USDA mark of inspection or printed on the container. See product labels on the USDA page.
These ready-to-eat meat and poultry items were produced by Taylor Farms on July 30 and 31. The affected products include:
7.25-ounce plastic sealed container labeled as “Sausage Breakfast Scramble Bowl” with lot code TFD212AU8 and TFD213AU8 and with a best if used by 08/06/2020 or 08/07/2020.
6.2-ounce plastic sealed container labeled as “Taylor Farms Cheddar Cheese & Chicken Salad Snack Tray” with use by date 08/06/20 or 08/07/20 and lot code TFD212AU7 and TFD213AU7.
41.35-ounce plastic bags containing “Chicken Salad” with use by date 08/04/20 or 08/05/20 and lot codes TFD212AU8 and TFD213AU8.
10-ounce plastic sealed container labeled as “Chicken Salad Deli Snack” with lot codes TFD212AU3 and TFD213AU3 with best by dates 08/06/2020 or 08/07/2020.
7.75-ounce plastic sealed container labeled as “H.E.B. Shake Rattle Bowl SOUTHWEST SALAD with CHICKEN” and a best if used by date of “Aug 10/2020 and lot code TFD213AU20.”
17.25-ounce plastic sealed container labeled as “Marketside SOUTHWEST STYLE SALAD WITH CHICKEN” with a best if used by date of “08/11/20 or 08/12/2020 and lot codes TFD212AU26 or TFD213AU26.”
According to the health alert, there have been “no confirmed reports of illness due to consumption of the FSIS-regulated products produced containing these onions.”
With the Centers for Disease Control and Prevention, the FDA is investigating a multi-state outbreak of salmonella newport infections possibly linked to the onions. But so far, the FDA has found no specific source of contamination has been identified is also investigating other potential sources of contamination, the agency says.
Those who become ill from salmonella often develop diarrhea, fever, and abdominal cramps from six hours to six days after exposure, the CDC says. People with more severe cases may have a high fever, aches, headaches, lethargy, rashes, and blood in the urine or stool. The illness can be fatal; salmonella leads to about 420 deaths annually in the U.S., according to the CDC.
“FSIS is concerned that some product may be in consumers’ refrigerators,” the health alert said. “Consumers who have purchased these products are urged not to consume them. These products should be thrown away or returned to the place of purchase.”
For information, consumers can call Thomson International at 661-845-1111.
Taylor Farms recall
The following products are part of a new recall announced Thursday:
Taylor Farms Macaroni Salad, 9.9-ounce container: UPC 030223015642, lot codes TFD212 and TFD213. Best if used by Aug. 5 and 6. Distributed in Louisiana and Texas Kroger stores.
Taylor Farms Rotini Pasta Salad, 10-ounce container: 030223002789, lot codes TFD212 and TFD213. Best if used by Aug. 5 and 6. Distributed in Louisiana and Texas Kroger stores.
Taylor Farms Chicken Salad Croissant Sandwich, 6.25-ounce: UPC 03223028611, lot codes TFD212 and TFD213. Best if used by Aug. 3 and 4. Distributed in Louisiana and Texas Kroger stores.
Marketside Diced Yellow Onion 3/8", 8-ounce tray: UPC 681131328739, lot code TFD212. Best if used by Aug. 11. Distributed in Walmart stores in Colorado, Iowa, Kansas, Missouri, Nebraska, North Dakota, Oklahoma and South Dakota.
Marketside Diced Mirepoix, 10-ounce tray: UPC 681131276511, lot code TFD212. Best if used by Aug. 10. Distributed in Walmart stores in Colorado, Iowa, Kansas, Missouri, Nebraska, North Dakota, Oklahoma and South Dakota.
Marketside Fajita Stir Fry, 8-ounce tray: UPC 681131093026, lot code TFD212. Best if used by Aug. 10. Distributed in Walmart stores in Colorado, Iowa, Kansas, Missouri, Nebraska, North Dakota, Oklahoma and South Dakota.
Taylor Farms Rotini Pasta Salad, 10-ounce container: UPC 030223110095, lot codes TFD212 and TFD213. Best if used by Aug. 4 and 5. Distributed in Walmart Texas stores.
According to the recall notice, customers who have purchased these products are "urged not to consume the products and should dispose of the recalled products immediately." For more information, call 855-455-0098 between 9 a.m. and 5 p.m. CST Monday through Friday.
Amana Meat Shop and Smokehouse recall
These following products were produced by Amana Meat Shop and Smokehouse on May 14, 2020, June 2, 18, and 29, 2020 and July 2, 9, 21, 2020:
1.25-lb quart jar containing “Amana Meat Shop and Smokehouse Ham Water added in Vinegar Pickle: and lot codes E2620, F0320, F3720, F5420, G0620, G1720 and G3920. The products, which bear the establishment number “EST. 2357” inside the USDA mark of inspection, were shipped to retail locations in California, Illinois, Iowa, and South Carolina, and were also available for mail orders.
Contributing: Mike Snider, USA TODAY
Follow USA TODAY reporter Kelly Tyko on Twitter: @KellyTyko
This article originally appeared on USA TODAY: Onion recall: Taylor Farms products, Walmart Marketside part of recall
Nova Scotia looking for ways to attract offshore wind industry
It may be many years before turbines jut out of the Atlantic Ocean around Nova Scotia to spin wind into energy for the electric grid, but the growth of the offshore wind industry in other parts of the world has sparked the province's interest. "In Nova Scotia we are blessed with a long coastline. We're blessed with a tremendous wind resource," said Alisdair McLean, executive director of the Offshore Energy Research Association, which is using $50,000 from the provincial government to commission a report on offshore wind potential. The association wants to find out how Nova Scotia might use government policy to attract the offshore wind industry to build wind farms off the province's coasts, where winds are typically stronger than over land. "The purpose of our work is to try to understand whether it could be viable in Nova Scotia or not," McLean said in a recent interview. "Although it is viable in other jurisdictions, clearly, every jurisdiction has its own peculiarities. And so our role here is to evaluate whether or not it could be useful and productive and affordable in Nova Scotia." Nova Scotia already has hundreds of turbines at dozens of wind farms across the province. They generate about 20 per cent of the electricity on Nova Scotia's grid, and make up the single largest renewable energy source, but they're all onshore. Offshore wind energy farms were established in parts of Europe in the 1990s and the industry is still growing. The European Union released an offshore renewable energy strategy last fall that includes a goal of increasing offshore wind capacity five-fold by 2030, and five-fold again by 2050. The offshore wind industry started developing in the U.S. more recently, particularly along the Eastern Seaboard. According to the American Office of Energy Efficiency and Renewable Energy, the country's first offshore wind farm started operating off Rhode Island in 2016. Targets difficult to meet All the while, Nova Scotia has renewable energy targets that are proving difficult to meet. In 2020, renewable energy sources made up about 30 per cent of electricity on the grid — 10 per cent shy of what the province had hoped to achieve by last year. After the already-troubled Muskrat Falls hydroelectric project faced further delays in 2020, Nova Scotia's 40 per cent renewable energy target has been pushed back to 2022. McLean said "there's no way" any offshore wind projects would develop quickly enough to help achieve that goal, but offshore could fit in with the province's longer-term goals, like reducing greenhouse gas emissions to net-zero by 2050. Dan Roscoe said he expects to see more onshore wind farms built in Nova Scotia before any offshore development begins. Roscoe, an engineer and lead of renewable energy at Cape Breton University's Verschuren Centre for Sustainability in Energy and the Environment, said jurisdictions where offshore wind has taken off typically have space constraints on land, which is not currently a problem in Nova Scotia. "I think what it comes down to is what are we going to use that offshore wind energy for? And how can we get it to a spot where it's going to be cost-competitive?" Roscoe said. According to Nova Scotia Power's latest resource plan, released last fall, the cost of generating offshore wind in Nova Scotia in 2021 would be about double the cost of onshore wind — $113 per megawatt hour versus $56 per megawatt hour. The utility has forecast the cost of generating energy from both sources will drop, and the gap between them will tighten. By 2045, NSP's plan predicts onshore wind will cost $44 per megawatt hour and offshore will cost $59 per megawatt hour. Roscoe said wind energy costs are coming down in part because of the economies of scale. Wind turbines are getting bigger, with some recent offshore projects boasting capacities as high as one gigawatt — "which would be more than half the demand and roughly half of the needs of Nova Scotia, all in one project." In order to make projects of that size viable in Nova Scotia, Roscoe said some of the power generated would likely have to be sold for export. Researchers pinpoint best locations for wind energy Two researchers at Dalhousie University's Renewable Energy Storage Lab just published some findings that they think might help with the cost of wind energy. Mechanical engineering professor Lukas Swan and research engineer Nathaniel Pearre mapped out the best places around the Maritime provinces for wind farms, with an eye to mitigating one of the resource's major drawbacks: variability. Because wind speed and strength are constantly changing, the amount of energy generated through wind turbines is also constantly changing. At peak, there can be congestion on the grid. At base, wind power needs to be backed up by other energy sources. Swan and Pearre's mapping study shows potential wind farm locations around the Maritimes that could naturally balance what's already on the grid. "To put it into a bullet point … if you build out more resources towards the periphery of the area, the better," Pearre said in an interview. In Nova Scotia, the offshore area around Sable Island scored well, according to the researchers, as did parts of the Bay of Fundy, on the New Brunswick side. Onshore, they found potential in parts of Cape Breton and northwestern New Brunswick. Swan said he thinks offshore wind's potential deserves more exploration in Nova Scotia, but he isn't counting on the industry exploding any time soon. "Everything is harder than it looks and probably takes a little bit longer than you'd think." MORE TOP STORIES
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Every company has a story to tell and ours is a love story which transcends through three generations.
In 1950, Giovanni Battista Ciot founded the company in an office building on Saint-Laurent boulevard where it still operates to this day. In the beginning, Ciot specialized in production of terrazzo and installation products. Giovanni’s eldest daughter, Margaret, worked alongside her father.
In 1967, Joe Panzera, a client of Ciot, took over the reins and began diversifying the products and services offered thus rejuvenating the enterprise.
Joe and Margaret married soon after and had two daughters to whom they passed down their passion for innovation and renovation. Today, this new generation is ushering in a new era for Ciot.
For the past fifty years, our product selection has constantly evolved and offers an impressive array of natural stone, ceramic, plumbing accessories and most recently, hardwood floors. Additionally, we offer custom mosaics and exclusive services for architects and designers. Ciot is constantly at the cutting-edge of the latest trends.
Ciot is an undisputed industry leader. Present more than ever in the market with its eight locations in Canada and the United States, the business has recently unveiled its latest store concept in Atlanta in October 2019.
Ciot’s future is undeniably bright.
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Haggai 2Zechariah 2
Zechariah 1:21 New International Version (NIV)
21 I asked, “What are these coming to do?”
He answered, “These are the horns that scattered Judah so that no one could raise their head, but the craftsmen have come to terrify them and throw down these horns of the nations who lifted up their horns against the land of Judah to scatter its people.”[a]
Zechariah 1:21 In Hebrew texts 1:18-21 is numbered 2:1-4.
Zechariah 1:21 : S 1Ki 22:11; Ps 75:4
Zechariah 1:21 : S Ps 75:10; S Isa 54:16-17; Zec 12:9
Zechariah 1:21 King James Version (KJV)
21 Then said I, What come these to do? And he spake, saying, These are the horns which have scattered Judah, so that no man did lift up his head: but these are come to fray them, to cast out the horns of the Gentiles, which lifted up their horn over the land of Judah to scatter it.
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The Effects of the Civil Rights Movement of the 1960s
DAVID KENNETH
From lunch counter sit-ins to organized marches, the American civil rights movement is an iconic and often volatile part of history. During the 1960s, various groups and individuals participated in the anti-racist civil rights movement. Racial discrimination had permeated American society, especially in the South. Protesters used a variety of tactics, from nonviolent passive resistance to political lobbying, to force societal change. This movement helped create a more inclusive America, where people of all races, ethnicities and genders can strive for equality.
Working Toward Integration
Emphasis on Diversity
Still an Inspiration
1 Working Toward Integration
The eradication of racial segregation from Southern society was a central aim of the civil rights movement. These laws forced whites and African-Americans to live separately. African-Americans received second-class treatment throughout the region, which helped prove the nation was, visibly, not living up to its ideal as a democracy based on justice. The movement forced Congress to take action, which it did through the 1964 Civil Rights Act. This law made it illegal to separate people based on race, color or national origin in almost all areas of public life.
2 Emphasis on Diversity
Prior to the civil rights movement, the nation discriminated against immigrants from certain areas of the world. The government in 1924 had enacted quotas that benefited immigrants from Europe. As part of its desire to end government-sponsored racism, Congress passed the 1965 Immigration Act. This law ended the racial quota system for immigrant groups. Consequently, people of color began entering the nation at rates equal to, or greater than, whites.
3 The Right to Vote
The 15th Amendment, ratified in 1870, presumably guaranteed the vote to people of color. Nevertheless, the oppressive and violent racial system in the South prevented African-Americans from voting. Some Mexican-Americans faced similar obstacles when attempting to vote. President Lyndon Johnson asked Congress in 1965 to issue legislation enforcing the spirit of the 15th Amendment. This request came after the savage beating of protesters in Selma, Alabama, during a march to encourage African-American voter registration.
The 1965 Voting Rights Act required districts with histories of extremely low minority voter turnout to seek federal approval before making any changes to election laws. Over the years, voting patterns changed and the Democratic Party began receiving undeniable support among African-Americans and others. These racial minorities have played a central role in national elections, including the 2008 and 2012 elections of President Barack Obama.
4 Still an Inspiration
The civil rights movement is an inspiration for many people. Chicano activists in Los Angeles claim seeing African-American protesters on television made them understand they too suffered discrimination because of their skin complexion. Martin Luther King Jr., a central figure in the movement, eventually received a national holiday in his honor. King and the movement are inspirational symbols for oppressed groups worldwide.
1 National Park Service: Jim Crow Laws
2 National Archives: Congress and the 1964 Civil Rights Act
3 Cornell Law School: 1964 Civil Rights Act
4 NPR: 1965 Immigration Law Changed Face of America
5 Library of Congress: 15th Amendment to the Constitution
6 Encyclopedia of the Mexican American Civil Rights Movement; Matt S. Meier
7 Encyclopedia of American Race Riots; Walter C. Rucker, Ph.D., and James N. Upton, Ph.D.
8 NPR: New Target In Voter ID Battle, 1965 Voting Rights Act
9 Racism on Trial: The Chicano Fight for Justice; Ian Haney-Lopez
10 Liberty and Freedom; David Hackett Fischer, Ph.D.
David Kenneth has a Ph.D. in history. His work has been published in "The Journal of Southern History," "The Georgia Historical Quarterly," "The Southern Historian," "The Journal of Mississippi History" and "The Oxford University Companion to American Law." Kenneth has been working as a writer since 1999.
What Happened to African Americans During 1877-1920?
How Did Protesting & Lobbying Lead to the Passage of...
3 Groups of People Who Couldn't Vote in the 1800s
How Did the Civil Rights Movement Begin to Change in...
What Method Was Used by the African National Congress...
How African-Americans Lived in the 1940s
When Were African-Americans Allowed to Vote in the...
Cultural Pluralism During the Harlem Renaissance
What Enabled the Republican Party to Dominate National...
Political & Economic Factors That Influenced Fashion...
Push & Pull Factors for Italian Immigrants
People Who Were Against Segregation
How the Threat of Communism During the Cold War Affected...
What Occurred as a Result of the Fifteenth Amendment?
Why Was the Jacksonian Democracy Considered Undemocratic?
The Northern Democrats Who Opposed the Civil War and...
The Social, Political & Economic Effects of the Reconstruction...
What Caused Germany to Become a Dictatorship After...
Sharecroppers in the 1800s
Immigrant Restrictions During the Progressive Era
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Bernie out, Ross back… I don’t know
24/01/2017 By Clive Couldwell in Formula One Tags: Bernie Ecclestone, Liberty Media Leave a comment
What a day that was.
Liberty Media completed its £6.4 billion takeover of Formula One, the deal maker supreme Mr Bernie Ecclestone has been sidelined – to act as an adviser to the board supposedly, but that’s rubbish – Liberty’s Chase Carey has had Bernie’s former role of chief executive officer added to his existing position of chairman, and brought the former Ferrari-Mercedes man Ross Brawn – who had been acting as a consultant to Liberty – back into the sport to lead the sporting and technical side of F1.
Just catching my breath…
Well, if you think the 86-year-old Mr Ecclestone, who’s been in charge for nearly 40 years, is going to drive off into the sunset to partake in a game of bingo at the local retiree’s club, then think again.
Bernie remains an enigma to many. Like many of those of his generation and before, he has seen plenty of death in the sport to last a lifetime. It’s what many forget when they meet him. This kind of experience breeds toughness. To his enemies, he’s a formidable opponent; to loyal friends, he’s a brick. He also has a realistic view of what the sport has become…
Some may say this view of what he thinks the sport should be has now gone awry and we need a Liberty to sharpen things up a bit. We certainly do and some may say he’s met his match in Chase Carey. Then again how many times have we said that over the years.
The fat lady hasn’t arrived just yet.
In his book, The Piranha Club, Tim Collings describes an episode in Ecclestone’s life, recalled by Sir Frank Williams, which encapsulates Bernie, the man:
‘Those who have known him for a long time are full of admiration and respect. Frank Williams recalled him buying Brabham and running the early meetings of the 1970s. He remembered one incident, in particular, at the Watkins Glen Motor Inn.
“He was there negotiating with the organiser from Mexico and the man, literally, excused himself to go to the lavatory…and never came back. He went out of the back window!”
That, as Williams conceded with a smile, stuck in his mind. Of Ecclestone, the achiever, he said:
“In the big picture, we all know, and respect, that Bernie saw Formula One for what it could be. Over 30 years, he has moulded it into the activity that he thought would give it an important place in the world and a strong commercial base for the teams as well as creating a side of the business for himself.
“He has achieved his objectives very successfully. I think he has the admiration of all the teams for that. He really is a formidable individual in every sense of the word and he has created a worldwide sport pretty much single-handedly.”
And, of Ecclestone, the man, he said he had “a gifted business brain…He is intellectually very clever and level-headed. Clearly, he is very determined. He can also be very persuasive, when putting his deals together in the order in which he wanted them to stack up.”
Could anyone else have done what Bernie did?
“Probably, but he wasn’t in this part of the universe at the right time…I’ve always known it is impossible to second-guess Bernard. Like many clever businessmen, you don’t know what he is thinking.”
« And guess what? One pops over to Mercedes and there’s Mr Bottas
End of the road for Manor? »
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Andrew Ching, PhD
andrew.ching@jhu.edu
Andrew Ching, PhD (University of Minnesota), is a full professor in the Carey Business School at the Johns Hopkins University, where he is also jointly appointed at the Department of Economics, and the Bloomberg School of Public Health. Prior to joining Johns Hopkins University, he was a full professor of marketing at the University of Toronto’s Rotman School of Management. He also had faculty appointment at Ohio State University, and visiting professor appointments at UCLA, Cornell University, University of Wisconsin-Madison, National University of Singapore, and HKUST. In addition, he was a visiting scholar at Harvard University, Chinese University of Hong Kong, Federal Reserve Bank of Boston, and Federal Reserve Bank of Kansas City. He is currently serving as an Associate Editor for Management Science, and a member of editorial boards for Marketing Science and Journal of Marketing Research. His research focuses on developing new empirical structural models and estimation methods to understand the forward-looking, strategic, learning and bounded rational behavior of consumers and firms. He has applied these techniques to study the demand for prescription drugs, nursing homes, new technology adoption decisions, choice of payment methods, information spillover, late-mover advantages, video games demand, stockpiling, online support groups, and integrated marketing communication.
Ph.D., Economics, University of Minnesota
MA, Economics, University of Minnesota
MA, Economics, University of British Columbia
BA, Economics, Australian National University
“Identification and Estimation of Forward-looking Behavior: The Case of Consumer Stockpiling” (with Matthew Osborne), forthcoming in Marketing Science.
“A Structural Model of Correlated Learning and Late-mover Advantages: The Case of Statins,” (with Hyunwoo Lim), forthcoming in Management Science.
“Dynamic Demand for New and Used Durable Goods without Physical Depreciation: The Case of Japanese Video Games,” (with Masakazu Ishihara), Marketing Science, vol.38(3), pp.392-416, 2019.
“The Effects of Publicity on Demand: The Case of Anti-cholesterol Drugs” (with Robert Clark, Ignatius Horstmann and Hyunwoo Lim), Marketing Science, vol.35(1), pp.158-181, 2016.
“Quantifying the Impacts of Limited Supply: The Case of Nursing Homes,” (with Fumiko Hayashi and Hui Wang), International Economic Review, vol.56(4), pp.1291-1322, 2015.
“Dynamics of Consumer Adoption of Financial Innovation: The Case of ATM Cards,” (with Botao Yang), Management Science, vol.60(4), pp.903-922, 2014.
“Measuring the Informative and Persuasive Roles of Detailing on Prescribing Decisions,” (with Masakazu Ishihara), Management Science, vol.58(7), pp.1374-1387, 2012.
“The Effects of Detailing on Prescribing Decisions under Quality Uncertainty,” (with Masakazu Ishihara) Quantitative Marketing and Economics, vol.8(2), pp.123-165, 2010.
Health Marketing and Access
Associate Editor for Management Science, since 2014.
Guest Associate Editor for Marketing Science, special issue of Marketing Science on Health, 2017-18.
Guest Associate Editor for Marketing Science, special issue of Consumer Protection, 2017-18.
Guest Associate Editor for Journal of Marketing Research, 2010, 2011.
Member of the Editorial Review Board of Marketing Science, Journal of Marketing Research, and International Journal of Pharmaceutical and Healthcare Marketing.
American Economic Review, Excellence in Refereeing Award, 2016, 2018.
International Journal of Industrial Organization, Excellence in Reviewing, 2015.
Honorable Mention of Dick Wittink Prize Award, 2011.
Young Economist Award, European Economic Association, 2003.
Rotman School of Management Teaching Award for Big Data and Marketing Analytics (Undergrad, 2017), Pricing (MBA, 2012).
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The CW fall schedule: ‘Hart of Dixie,’ ‘Supernatural,’ ‘Top Model’ moved
Hart of Dixie, Supernatural, The CW May 17, 2012
For the last upfront of the month among the big five networks, The CW came out with what was an aggressive plan to restructure their programming so that popular shows were highlighted better, and that some new series receive a launching pad that could allow them to succeed. Were all of these moves worthwhile? We’re […]
Ratings: ‘Shark Tank’ becomes #1 over ‘Grimm,’ ‘Blue Bloods’
Ratings, Shark Tank, Supernatural May 5, 2012
When “Shark Tank” first started up years ago, who would have thought that it would now be the top-rated show on Friday night? Unlike most other programs out there, it seems to gain an audience as time goes by — and it was one of the few shows to actually rise in a time of […]
The CW renews ‘The Vampire Diaries,’ ‘Supernatural,’ and ‘90210’
Supernatural, The CW, The Vampire Diaries May 3, 2012
The CW has finally blinked when it comes to renewing some of their shows, though the following bit of news is probably not going to come as much of a surprise to anyone. The following three shows have all been given the green light for additional seasons: “The Vampire Diaries“ – It’s the highest-rated show […]
Ratings: ‘Fringe’ up after renewal news; ‘Supernatural,’ ‘Blue Bloods’ slide
Blue Bloods, Fringe, Nikita, Ratings, Supernatural April 28, 2012
Just one day after the triumphant news came out that “Fringe” was going to be receiving a fifth and final season, the fans responded by actually watching Friday night’s episode live. Fox – The sci-fi drama ultimately posted a 1.1 rating in the all-important 18-49 demographic for its new episode, which was up versus what […]
Mrs Carter
Which ‘Supernatural’ star is expecting a baby?
Supernatural October 12, 2011
It looks like the life of one “Supernatural” star is about to become a good bit busier — and we’re not even talking about in terms of acting projects. In a new post on his Twttier account, actor Jared Padalecki (best known for playing the character Sam on the show) announced that he and his […]
Why ‘The Vampire Diaries’ will not receive an extended episode order
92010, Gossip Girl, Supernatural, The CW, The Vampire Diaries August 5, 2011
At the Television Critics Association press event this week, The CW announced that it would be giving a number of its more-popular shows a couple of added episodes for their upcoming season. For example, both “Gossip Girl” and “90210” are going to get 24 episodes to shine this season, while “Supernatural” is going to receive […]
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Multiple times (87)
Once (14)
Querent (101)
Not recorded (98)
Cause of the affliction (4)
Illnesses (named) (20)
Medical counsel (3)
Preventative (2)
Requesting prayer (1)
Witchcraft and devil (15)
Sex, family and generation (11)
Worldly affairs (1)
Church employees (24)
Household staff (39)
Law, justice, state (12)
Other trades and services (11)
Hertfordshire (5)
Huntingdonshire (5)
Mr Richard Napier [Sandy] [Richard Napier [Senior]] (PERSON5218)
Male, b. 1558-05-19 (21:30) or 1559-05-04 (08:50) or 1559-05-04 (11:00) or 1559-05-04 (18:00 or 20:00-21:00 or 17:26) or 1559-05-04 (19:19) or 1559-05-04 (21:00-22:00) or 1559-05-04 (21:00-?) or 1559-05-04 (21:42 or 22:42) or 1559-05-04 (22:00) or 1559-05-04 (22:30) or 1559-05-04 (22:40) or 1559-05-04 (22:42 or 22:58) or 1559-05-04 (23:00) or 1559-05-04 (23:04) or 1559-05-04 (23:15) or 1559-05-04 (23:30) or 1559-05-04 (23:40) or 1559-05-04 (23:59) or 1559-05-05 (01:04) or 1560-05-04 or 1560-05-23 (21:30) or 1560-05-23 (21:40) or 1560-05-23 (21:45) or 1564-05-01-1564-05-31, d. ?-1637-09-03
Occupations: ‘Minister’, c. 22 January 1597 & 25 May 1599; ‘Medical practitioner’, c. 3 June 1634
Residences: ‘Great Linford (village)’, c. 22 January 1597, 26 January 1597, 28 April 1597, 22 August 1597, 20 October 1597, 7 July 1602, 16 April 1603, 15 October 1610, 20 February 1611, 19 June 1615, 29 August 1619, 29 June 1624, 11 December 1627, 11 October 1628, 15 July 1629, 27 October 1629 & 6 May 1630
Mr William Chamberlain (PERSON28809)
Male, b. 1587-08-10 (00:00), d. not recorded
Occupation: ‘Minister’, c. 3 January 1612 & 18 April 1612
Residences: ‘Wicken (village, now part of Milton Keynes)’, c. 28 December 1611, 3 January 1612, 1 May 1612, 12 February 1613, 1 May 1613, 24 July 1625 & 29 September 1625
Mr Theophilus Smith (PERSON59058)
Occupation: ‘Scholar’, c. 9 October 1627, 18 October 1627 & 28 August 1628
Residences: ‘Weedon Bec’, c. 9 October 1627, 18 October 1627, 12 November 1627, 21 December 1627, 8 April 1628, 30 June 1629, 22 May 1630, 5 June 1630, 20 September 1630, 29 April 1631, 18 November 1631 & 4 May 1632; ‘Weedon (hamlet in the parish of Hardwick)’, c. 9 October 1627, 16 April 1631 & 21 April 1631; ‘Unspecified’, c. 28 August 1628
Mrs Mary Allen (PERSON42631)
Female, b. 1607-01-14 or 1607-01-15 (04:00) or 1607-01-14 or 1607-01-15 or 1608-01-14 (17:00), d. not recorded
Occupation: ‘Waiting gentlewoman’, c. 14 September 1632
Residences: ‘Mogerhanger/Moggerhanger/Morehanger (a hamlet in the parish of Blunham; now a village and parish)’, c. 5 February 1628, 15 May 1630, 15 May 1630, 15 May 1630, 3 September 1630 & 14 April 1631; ‘Stony Stratford (village, now part of Milton Keynes)’, c. 22 May 1630 & 5 June 1630; ‘Howbery Park’, c. 14 September 1632
John Richardson (PERSON15293)
Male, b. 1577-07-25 (05:56-16:56 approx.), d. not recorded
Occupation: ‘Bone lace maker’, c. 4 May 1622
Residences: ‘Newport Pagnell (town)’, c. 27 September 1598, 23 March 1601, 12 November 1617, 4 May 1622, 25 March 1623 & 27 January 1624
Dr Richard Spicer (PERSON35639)
Male, b. 1593-01-12 (20:30) or 1594-01-05 (20:30) or 1594-01-08 (21:00), d. not recorded
Occupation: ‘Medical practitioner’, c. 9 March 1618, 8 May 1622, 27 March 1623, 11 May 1632 & 13 June 1633
Residences: ‘Exeter College, Oxford’, c. 8 September 1614; ‘Unspecified’, c. 28 July 1619
Mr Robert Wallis (PERSON36434)
Male, b. 1586-12-04 or 1586-12-05 (03:30), d. not recorded
Occupations: ‘Curate’, c. 10 October 1612; ‘Medical practitioner’, c. 13 January 1615, 22 April 1615, 15 July 1616, 21 August 1616, 27 September 1618, 28 May 1619, 4 October 1619, 22 August 1621, 9 July 1623, 6 August 1624, 20 July 1625, 10 October 1625, 29 December 1625, 6 April 1626, 11 April 1626, 11 May 1627, 10 August 1627, 30 August 1628, 5 February 1629, 30 June 1629, 12 September 1629, 28 August 1630, 16 October 1630, 9 March 1631, 18 March 1631, 4 July 1631, 22 August 1631, 30 September 1631, 31 January 1632, 29 February 1632, 30 April 1632, 4 June 1632, 12 June 1632, 24 July 1632, 1 August 1632, 14 August 1632, 4 October 1632, 21 February 1633, 11 June 1633, 4 February 1634 & 3 March 1636
Residence: ‘Great Linford (village)’, c. 31 December 1612
Mr William Iremonger (PERSON52344)
Male, b. 1602-10-22 (14:00) or 1602-10-22 or 1603-10-22 (14:00) or 1602-11-01 (approx.) or 1603-11-01 (approx.), d. not recorded
Occupations: ‘Under-sheriff’, c. 29 May 1623 & 13 March 1626; ‘Attorney’, c. 25 April 1631
Residences: ‘Stanbridge’, c. 24 May 1623, 29 May 1623, 2 June 1623, 31 December 1625, 20 March 1626 & 3 June 1626; ‘Dunstable (town)’, c. 5 April 1631, 25 April 1631, 16 May 1631, 30 May 1633 & 11 June 1633
Mr George Fage [Page] (PERSON48682)
Male, b. 1594-11-30 or 1595-11-30 (?-11:59), d. not recorded
Occupation: ‘Servant’, c. 24 February 1624, 16 March 1624 & 5 October 1624
Residences: ‘Stanford (hamlet in the parish of Southill)’, c. 24 February 1624; ‘Unspecified’, c. 16 March 1624; ‘Southill (village)’, c. 10 July 1624 & 5 October 1624
Dr John Hanger (PERSON50763)
Male, b. 1579-05-21 (17:00-18:00) or 1579-05-21 (17:30) or 1579-05-25, d. not recorded
Occupation: ‘Minister’, c. 7 January 1622
Residences: ‘Stibbington’, c. 7 January 1622, 10 March 1623, 20 April 1626, 11 April 1627 & 5 June 1627; ‘Piddington (village, near Northampton)’, c. 13 May 1622
Dr W. Shephard (PERSON20752)
Male, b. 1563-02-25 (23:00) or 1564-02-25, d. not recorded
Occupations: ‘Physician’, c. 12 September 1605; ‘Medical practitioner’, c. 2 November 1608
Residences: ‘Unspecified’, c. 12 September 1605, 27 March 1606 & 27 March 1606
Goodman Robert Richardson (PERSON15299)
Male, b. 1572-03-12 or 1573-03-12 or 1573-03-12 or 1575-03-12 (15:30), d. not recorded
Occupation: ‘Tailor’, c. 10 October 1601
Residences: ‘Newport Pagnell (town)’, c. 10 October 1601, 7 December 1602, 19 July 1614, 7 September 1621, 7 July 1622, 22 July 1622, 9 August 1622, 20 November 1626, 11 December 1626, 8 September 1629, 14 April 1631, 30 December 1631 & 24 June 1633
Mr George Campion (PERSON28668)
Male, b. 1587-05-10, d. not recorded
Occupation: ‘Minister’, c. 3 June 1622
Residences: ‘Sewell’, c. 18 June 1619, 15 May 1620, 18 May 1621, 5 July 1621 & 12 November 1622; ‘Sywell’, c. 8 May 1621, 10 April 1623 & 22 May 1623
Mr William Bouth (PERSON28280)
Male, b. 1596-08-07 (08:00) or 1596-08-07 (approx.) (12:00 or 06:00) or 1596-08-24 (05:00), d. not recorded
Occupation: ‘Under-sheriff’, c. 18 October 1629
Residences: ‘Brinkloe’, c. 4 February 1623; ‘Unspecified’, c. 24 May 1623; ‘Dunham’, c. 22 February 1631
Young Mrs Frances Fortescue (PERSON19648)
Female, b. 1596-08-09 (12:30), d. not recorded
Occupation: ‘Medical practitioner’, c. 26 June 1616
Residences: ‘Salden (Salden House still survives, NE of Mursley, nr Milton Keynes)’, c. 4 November 1606, 9 November 1610, 10 May 1613, 20 August 1615, 18 May 1616, 4 August 1616, 25 October 1616, 20 December 1616 & 30 May 1618
Mr Robert Clark (PERSON46192)
Occupations: ‘Clerk of the kitchen’, c. 12 February 1627; ‘Attendant’, c. 16 September 1628
Residences: ‘Bletsoe (village)’, c. 28 February 1627; ‘Melchbourne’, c. 4 June 1627
Mr James Wilson (PERSON17196)
Occupation: ‘Servant’, c. 29 March 1609
Residences: ‘Broughton (now part of Milton Keynes)’, c. 15 November 1603, 25 August 1613, 8 April 1617, 9 July 1617, 28 November 1618, 20 March 1619, 6 September 1619, 12 April 1620, 18 August 1621 & 17 November 1622; ‘Unspecified’, c. 29 March 1609 & 13 April 1609
Dr John Smith [Young Mr John Smith] (PERSON20800)
Male, b. 1574-05-07, d. 1630-08-11
Occupation: ‘Commissary’, c. 26 March 1606, 9 January 1618, 28 April 1629, 1 August 1630, 7 August 1630, 9 August 1630 & 11 August 1630
Residences: ‘Great Brickhill (village)’, c. 25 June 1605 & 29 June 1605; ‘Bromham’, c. 10 December 1616, 9 January 1618 & 9 August 1630
Mr Nathaniel Bird [Kirkland] (PERSON9750)
Male, b. 1578-09-03 (13:30) or 1579-09-02 (14:30), d. not recorded
Occupation: ‘Preacher’, c. 2 September 1613 (approx.)
Residences: ‘Haversham (village)’, c. 10 March 1601, 10 April 1603, 10 October 1607 & 12 October 1607; ‘Cosgrove’, c. 27 July 1604 & 28 July 1604
Edward Cleaver (PERSON46330)
Occupations: ‘Carpenter’, c. 22 February 1623; ‘Papermaker’, c. 22 February 1623
Residences: ‘Stowe Nine Churches (incorporating Upper Stowe and Church Stowe)’, c. 22 February 1623, 8 April 1623, 9 August 1623, 18 September 1623 & 25 September 1623; ‘Haversham (village)’, c. 14 October 1623
Cite this as: Lauren Kassell, Michael Hawkins, Robert Ralley, John Young, Joanne Edge, Janet Yvonne Martin-Portugues, and Natalie Kaoukji (eds.), The casebooks of Simon Forman and Richard Napier, 1596–1634: a digital edition, https://casebooks.lib.cam.ac.uk/search?f3-dob-cert=Recorded;f5-occupation-mentioned=Yes;f7-identified-entity-role=Patient;f8-gentry=No;f9-event-mentioned=No;f10-identified-entity-is-asking-about=Self;f11-entity-question-asked=Medical;f12-residence=England, accessed 16 January 2021.
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| 0.85322
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Kenny Chesney shares stories from SONGS FOR THE SAINTS with SiriusXM
Kenny Chesney releases SONGS FOR THE SAINTS, his 18th studio record, July 27. Released on Blue Chair/Warner Music Nashville, the project was written and recorded as Hurricanes Irma and Maria were battering the U.S. and British Virgin Islands.
Chesney, who wrote five of the songs, created the album in part as response to the devastation and in part as a way to celebrate the spirit and resilience of the people of the Caribbean islands. All proceeds from SONGS FOR THE SAINTS will go to Chesney’s Love for Love City Fund, earmarked to help with the costs of restoring life on the islands.
Featuring Ziggy Marley, Mindy Smith and Jimmy Buffett, the far-ranging set captures the essence of the 8-time Entertainer of the Year’s inspiration. As he says, “It’s not just an album about the places that save you, it’s a group of songs about the strength we all have inside and the joy makes life so great.”
Kenny discusses where the track “EVERY HEART” comes from in this exclusive behind the scenes video. WATCH IT BELOW!
Chesney is also giving fans of his SiriusXM channel No Shoes Radio (Ch. 57) and SiriusXM’s The Highway the exclusive opportunity to hear SONGS FOR THE SAINTS and learn how the album came together and why it benefits Chesney’s Love for Love City Fund.
First, Chesney will introduce SONGS FOR THE SAINTS on No Shoes Radio with track-by-track commentary. The SONGS FOR THE SAINTS Album Special premieres Friday at 12 am ET with replays every three hours leading up to his second SiriusXM exclusive at 8 pm ET — a Town Hall hosted by Storme Warren LIVE from Soldier Field in Chicago, which will also air simultaneously on The Highway. Find all broadcast info below!
SiriusXM’s Town Hall with Kenny Chesney broadcast schedule:
The Highway: Premieres Friday, July 27 at 8 pm ET. Replays Saturday, July 28 at Noon and 8 pm ET; Sunday, July 29 at 3 am, 9 am & 4 pm ET; and Monday, July 30 at 1 am ET.
No Shoes Radio: Premieres Friday, July 27 at 8 pm ET. Replays Friday, July 27 at 11 pm ET; Saturday, July 28 at 4 am, 10 am, 4 pm & 10 pm ET; Sunday, July 29 at 5 am, 11 am, 5 pm & 11 pm ET.
No Shoes Radio’s Songs for The Saints album special broadcast schedule:
Premieres: Friday, July 27 at 12 am ET.
Replays: Friday, July 27 at 3 am, 6 am , 9 am, Noon, 3 pm & 6 pm ET; Saturday, July 28 at 1 am, 7 am, 1pm & 7 pm ET; Sunday, July 29 at 2 am, 8 am, 2 pm & 8 pm ET.
Chesney is currently on his Trip Around the Sun Tour, which continues through August 25 with Thomas Rhett, Old Dominion and Brandon Lay.
Click here for more information on the tour. To pre-order SONGS FOR THE SAINTS, click here.
The Highway takes you backstage during Academy of Country Music Awards rehearsals
Entertainment, Hip-Hop/R&B, Music, Pop Culture
Nipsey Hussle, Grammy-nominated rapper and activist, dead at 33
2000s Pop, 90s and 2000s R&B, 90s Pop, Classic Hip Hop, Classic Rock, Classic Soul, Country, Current Hip Hop, Current Hits, Current R&B, Family, Hard Rock/Metal, Health, Lifestyle, Music
Celebrate Valentine’s Day with 12 love-themed music & talk specials!
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Bills’ Peterman: Being drafted on the fifth round puts ‘a big chip on my shoulder’
Some prognosticators had Nathan Peterman being selected in the second or third round of the NFL Draft.
Few thought he would go as low as the fifth, but that’s where the former University of Pittsburgh quarterback ended up being chosen — by the Buffalo Bills. And he was the second of their two picks in the round.
‘It was tough, but I think going forward, it’s going to serve as definitely a good motivator for me’
For Peterman, it serves as a great deal of motivation to prove all 32 teams wrong.
“You know, honestly, there was definitely some surprise with it all,” Peterman told Bruce Murray and Brady Quinn on the SiriusXM Blitz. “I think the toughest part for me, I didn’t really look at much media throughout the pre-draft stuff, but then unfortunately you kind of have to watch it, I feel like, when so much is contingent upon what happens. So I kept seeing my name up there as best available and all that, but I guess it doesn’t really mean anything until somebody takes you.
‘(The coaches) said, ‘Hey, we drafted you for a reason, we believe in you’
“So that was tough, but I think going forward, it’s going to serve as definitely a good motivator for me and a big chip on my shoulder. And I think that’s kind of always how I’ve played, too. So I’m thankful for it and just trying to go to work.”
During the Bills’ recent rookie minicamp, Peterman said he received nothing but encouragement from his coaches. However, he is less concerned about that than he is about making his own statement with how he performs on the field.
‘There’s some good vets here that have already been very welcoming’
“Just when I came here, (they said), ‘Hey, we drafted you for a reason, we believe in you,'” Peterman said. “That’s certainly good to hear, but as far as I’m concerned, I’m just going to work. I’m a rookie, I’m just trying to earn my way, find my way.
“There’s some good vets here that have already been very welcoming, so I’m definitely thankful for that. Just trying to keep working.”
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Photographer/Director Allen Weiss Launches New Website, Blog
April 3, 2011 Blueplate PR
April 1, 2011 (Raleigh, NC) – After working as a director, cameraman and advertising
Allen Weiss
writer for television commercials and print campaigns for two decades, Allen Weiss of Raleigh, NC, has gone back to his roots and reintroduce still photography to his career. As a result, he has launched a new website, Allen Weiss: Works on Film & Paper, at www.allen-weiss.com.
Weiss began his career as a professional photographer in Raleigh and New York. In New York, he studied under and worked for world-renowned portrait photographer Arnold Newman. In the early ‘90s, his career veered into directing and shooting television commercials throughout the US, Canada and Europe.
He was recently inspired to reconsider still photography when Lee Hansley of Lee Hansley Gallery in Raleigh asked him to mount an exhibition of the North Carolina artists’ portraits that Weiss originally shot in 1988. When the exhibition “Black & White/Color & Light: Photographs by Allen Weiss with Works by His Subjects,” opened in March, he made the decision to “put still photography back in the mix,” he said. (The exhibit runs through April.)
The new website includes a limited sampling of TV commercials and public service announcements, on film and video, that Weiss has shot and directed. The samples range from Southern States and the NC Symphony to the Bank of Belgium. A link to Vimeo lets visitors view more spots.
The site also showcases Weiss’ still photography, including the artists images in the Hansley Gallery show and other photographic portraits (including a rare image of Arnold Newman and Robert Doisneau mugging for the camera together), along with motorsport images he’s shown at L’art et L’automobile in New York City. He will be adding other types of still photography in the future, include architectural and interior design.
The site also features a link to Weiss’ new blog under “news & words.” Among other subjects he intends to cover, he has begun by discussing “the good, the bad, and the downright ugly” among TV commercials, he said. A recent post entitled “Can Doesn’t Equal Should” offers: “Ad folk who think their work will change the world as we know it, and directors who throw hissies on set, need a serious look inward. We’re selling shoes here, ladies and gentlemen. If you want to create art be an artist. Advertising is artistic commerce at its best.”
For more information and to see Weiss’ new website, go to www.allen-weiss.com.
About Allen Weiss:
After 15 years as a professional photographer in Raleigh and New York, Allen Weiss turned his attention towards short films, public service announcements and television commercials, both regionally and internationally. Recently, he launched Allen Weiss: Works on Film & Paper to offer still photography of all varieties, film and video (director, cameraman), and freelance writing/branding. For more information visit www.allen-weiss.com.
architecture, business, Filmadvertising industry, blog, blogging, filmmaking, photographer Raleigh, photography, video
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