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__label__wiki	0.542186	0.542186	Ozzy Osbourne on Black Sabbath: ‘We’re Going To Do One More Album and a Final Tour’ by Graham ‘Gruhamed’ Hartmann September 29, 2014 10:09 AM – LOUDWIRE Big news from Black Sabbath! According to singer Ozzy Osbourne, the band has begun to plot its end, as they plan to head back into the studio in 2015 for one more album before embarking on one final tour. Earlier this year, it was rumored that Black Sabbath’s July 4 gig at London’s Hyde Park would be the band’s last. However, guitarist Tony Iommi gave fans some comforting news when he vowed Black Sabbath would tour again. In a new interview with Metal Hammer, Ozzy Osbourne speaks of Black Sabbath’s ’13′ album and touring cycle. “The whole Sabbath experience this time around was great,” Ozzy begins. “We all made friends, we didn’t f— around, we all knew that we had a job to do, and we did it. It was a lot of fun. So we’re going to do one more album, and a final tour.” Ozzy continues, “Once the dust settled after the last tour we started discussing the idea, because we were getting asked about it all the time. I said to [wife/manager] Sharon, ‘What’s going on? Because if there’s no more Sabbath, I want to get on with my own thing again,’ and she came back and said, ‘Let me look into it.’ Three weeks later, I asked her about it again, and she said, ‘Oh, I still have to talk to so and so…’ and I said ‘Sharon, I ain’t f—ing 21 anymore, if we’re going to do I want to do it before I’m 70!’ Time isn’t on our side! So she made the call and came back and said, ‘Yeah, the record company wants another album.’ I believe [producer] Rick Rubin is going to do it with us again.” [via Blabbermouth] There you have it! Stay tuned for more news on Black Sabbath’s upcoming studio album and “final tour.” Read More: Ozzy Osbourne: We’re Going to Do One Album and a Final Tour \| http://loudwire.com/ozzy-osbourne-black-sabbath-one-more-album-final-tour/?utm_source=sailthru&utm_medium=referral&trackback=tsmclip September 30, 2014 Post Under 5 O'Clock ROCK - Citeşte tot articolul « New Reports: AC/DC’s Malcolm Young Suffered a Stroke and Now Has Severe Dementia by Spencer Kaufman September 26, 2014 9:19 AM – LOUDWIRE RTMFest 2014 »	cc/2021-04/en_head_0009.json.gz/line0
__label__cc	0.697222	0.302778	Bike to Work Week tips from the author of 'Big Book of Bicycling' By Tom Held of the Journal Sentinel It takes a good deal of pedaling, and editing, to bridge the gap between bicyclists who ride to the store for eggs and the Ironman triathletes who rides 100 miles and more on a Saturday morning. The Big Book of Bicycling attempts to cover that ground with a comprehensive guide compiled from five years of stories from the magazine. Emily Furia, a senior editor for Bicycling Magazine, tackled the task of winnowing the material and earned the author credits for her effort. Emily Furia An All-American runner in college, Furia added biking and triathlons to her pursuits while working for the Rodale Inc. publication in the Lehigh Valley. This interview with Furia serves as a timely primer at the start of Bike to Work Week in Milwaukee. Gearing up: First thing is make sure that your bike is in good working order. Give the brakes a squeeze while you turn the wheels. Get it in to the shop as early as possible, to avoid the wait. We tell people to do the tuneup in late winter or early spring. I’d like to reiterate that you don’t need anything fancy to start riding to work. You do need a lock. If your employer doesn’t provide space for bikes, it doesn’t hurt to ask. We’ve run stories on people who have started commute clubs and things at your offices. If you can get more people riding to work, you can get bargaining power. Studies show that people who are fitter have lower health-insurance premiums, and they take fewer sick days, too. And if they’re going to be commuting at night – a white light in front and the red blinky in back. People here have different philosophies – panniers, backpack. Some sort of carrier, whatever best fits your needs. Ease into it: "If you’re just starting out, try to work up the nerve to ride for errands more. I recommend they start out going someplace fun, just a few miles away, and if it’s less than two to three miles, you might get there quicker on a bike. Start small with short trips like that, and as you gain confidence you can make longer trips. Riding by yourself can be soothing, but reach out to a local cycling club or join a group. The best way to learn is to ride with a group of people who are like-minded.” The future of cycling: "What I hope to see is more people using bikes for transportation. I think what we’re starting to see with city riding, there’s a cool factor associated with it right now. More companies are coming out with clothing for people who don’t want to walk around in full kit. You don’t really need special clothes to ride a bike for every ride. We’re seeing more clothes for walking around downtown, then riding home. I think the growth of city riding and transportation and if gas prices continue to go up, we’ll see more of that. I’d like to see women numbers going up, in racing, and in regular riding. More women feeling comfortable riding to work and around town. Attracting women: Last year, we did a round-table discussion and podcast with some women who work in various segments of the bike industry. They’re trying to reach more women as well, whether it’s promoting races or selling bikes and clothing. It comes down to the women who are already racing or active, reaching out to other women. Women tend to be very social about cycling. Shops will host ladies nights or ladies rides. I think a lot of it will come from female cyclists reaching out to other female cyclists.” Getting around the barriers: "If people take the time to realize they have the right to the road and they ride like they drive a car. The bike isn’t a toy for the sidewalk. Infrastructure improvements will go a long way to make people feel safe. People don’t realize how simple it can be. You don’t need a special bike, and the best bike for your commute might be sitting in your garage right now. Realize that it doesn’t have to be all or nothing. You can ride once or twice a week. You can bring a week’s worth of work clothes. You can drive part way and ride the rest of the way. On the book: My first take-away is that we had given a lot of tips in the last five years. It was hard for me to decide what to include, because there was a lot of good advice in there. I also wanted to make sure all the subcultures were being addressed. Cycling means so many things to so many people. I think in the end we accomplished that. Cycling is a fun sport. We should have fun with that.	cc/2021-04/en_head_0009.json.gz/line1
__label__wiki	0.891424	0.891424	Ones To Watch: Portsmouth v Plymouth Argyle Home » Matches » Ones To Watch: Portsmouth v Plymouth Argyle by Nick Saunders Smith \| Nov 24, 2017 \| Matches \| 0 comments A name that might not be that familiar with most Argyle fans, Jamal Lowe joined Portsmouth last season from Hampton and Richmond Borough and immediately established himself as a fan favourite, injecting more speed into what was perceived to be a slow front three, despite failing to hold down a starting spot as they snatched the title. With Jackett taking over from Cook, Pompey’s approach has become less technical and more physical which has enabled Lowe to claim a starting spot within the team and become one of Pompey’s key players this season. Only Christian Burgess and Luke McGee have played more minutes than the winger, who has amassed four goals and three assists in all competitions. Only Brett Pitman has been involved in more goals for Pompey this season Lowe is a more traditional winger who thrives off his physical attributes: he’s strong, quick and direct. Combining with the likely captain-on-the-day Gareth Evans, he will look to get himself involved from the early stages and establish himself as a threat to Argyle’s defence. As he pushed forward, he’ll create more room for Evans to support him on the right and will probably give Argyle a tough time down that side. Stat: Lowe has faced Argyle twice before and is yet to be on the winning side. The winger came off the bench for the last 10 minutes of the draw at Fratton Park last season, and at a similar time for Barnet back in 2012 in a 4-1 win for Argyle at Underhill. Matty Kennedy Kennedy should remain in every Argyle fan’s mind following a productive stint at Home Park last season, playing a key role as they made it over the line by providing five goals and three assists from the left wing. A return this season never looked on the cards after Argyle signed up a series of wingers early in the summer, but his deadline day move to Portsmouth left some fans at Home Park a little disappointed. Six of Kennedy’s seven goals over the last two seasons have come against sides in the bottom five of their league Kennedy has started well for Pompey, making the left wing spot his own early on. He scored the winner at Gillingham live on Sky and recently provided the game changing impetus to turn a draw into a win against Southend. In total he’s been invovled in seven goals since his move to Fratton Park. Though still fond of cutting inside, he’s continued to develop his game after his successful loan spell at PL2 and has proved to be a reliable operator on the left wing by holding his width and learning to resist the temptation to come inside with such frequency. Pompey have struggled to replace their star left-back Enda Stevens since his switch to Sheffield United this summer – with Dion Donoghue, Tareiq Holmes-Dennis, Damien McCrory, Brandon Haunstrup and Matt Clark all lining up in the position this season – so it is unlikely that they will prove quite as dangerous on the left as the right. Despite this, Kennedy has the acceleration and agility to cause problems for any full-back in this league, though he might not find it as easy to cut inside the left-footed Sawyer, as opposed to his usual right-footed opponents. It remains unlikely that Brett Pitman, Portsmouth’s leading goal scorer this season, will participate this weekend having missed their midweek defeat to Peterborough with a hamstring injury; Jackett confirmed on Thursday that Pitman would miss the game, but the striker has since said he believes he will be fit to play. Should he miss it, Pompey’s attack would be seriously weakened given that the 29-year-old has netted half of Pompey’s league goals this season, with the side sometimes appearing blunt in his absence. With that possibility a likelihood, and Oliver Hawkins now converted from a striker into a centre-back, the two men who could fill Pitman’s boots are Curtis Main and Conor Chaplin. Main led the line for Portsmouth in midweek, but was replaced by Chaplin (who has played twice as many minutes this season) in the second half, with the youngster going on to score his third league goal of the season. The Pompey academy graduate has found starts hard to come by this season, with his appearances mainly coming off the bench, but he has still showed his usual eye for goal and is likely to cause problems if used on Saturday. On average, Chaplin has scored a league goal every 157 minutes, and has scored 22 goals despite starting only 32 matches in his career Standing at only 5ft8, Chaplin lacks the physical presence that Pitman, Main or Hawkins could provide, but his predatory instincts in the box combined with his quick feet make him a tricky player to handle. He has already scored some outstanding goals in his short career and, quite frankly, it’s surprising that he hasn’t been poached by a higher division club willing to give him even more game time. His technical ability fitted more naturally with Paul Cook’s style of play, that does not mean he cannot be a success in Jackett’s team. Even if he doesn’t start on Saturday, expect him to cause problems no matter the scoreline should he inevitably come off the bench. Stat: Brett Pitman has played in every tier of the football league during his career, but to this point he has not played a competitive fixture against Argyle. Chaplin meanwhile, has already racked up four appearances against Argyle, scoring in last season’s draw at Home Park, but has yet to be on the winning side. http://argyle.life - The Alternative Plymouth Argyle Voice	cc/2021-04/en_head_0009.json.gz/line3
__label__cc	0.685543	0.314457	February 28-March 23, 2014 Jonpaul Smith mixed media constructions Opening Reception for the Artists Fourth Friday, February 28, 2014 7:00-10:00 pm Smith is inspired by the complex relationships of systems and patterns that control and dictate the world in which we live. He approaches his woven and constructed paper pieces from a variety of perspectives but common to all are the processes of disassembly and reassembly. His materials can be his original traditional and non-traditional prints, gouache paintings, smoke transfers, and the packaging of everyday household items. No matter what material he chooses, the process begins with cutting the materials into strips of various sizes, then painstakingly overlapping or weaving them into meticulous, intricate compositions. His complex, tapestry-like constructs, make use of (and, in a sense, refine) pop culture imagery. Smith received his M.F.A. and Graduate Certificate in Museum Studies from the University of Cincinnati. His B.A. is from Hanover College in Indiana and he also studied fine arts at the University of Wollongong in Australia. Smith frequently conducts visiting artist seminars, has received numerous grant awards and scholarships, and completed a residency and exhibition in Budapest, Hungary and Paducah, Kentucky. The artist has exhibited in California, Ohio, Indiana, Kentucky, Florida, Georgia, New York, New Jersey, Missouri, Virginia, Idaho, Washington, Oregon, South Carolina, Australia, Canada, England, France, Spain, Budapest-Hungary, Kyoto-Japan, Penang-Malaysia and Sofia-Bulgaria along with other venues. He has been featured in many prominent solo exhibitions, and was selected for the 2006 "New American Paintings Juried Exhibition-in-Print," No. 65 along with their 15th anniversary issue. Collections include University of Cincinnati; Purdue University Print Archive; Avalere Health; Kyoto International Woodprint Association; Universiti Sains Malaysia print archive; Art-O-Mat; Hungarian Multicultural Center; Knowledgeworks Art Collection; Hanover College; Language Logic; U.S. State Department; M. L. Greiner, among others. www.jonpaulcsmith.com	cc/2021-04/en_head_0009.json.gz/line5
__label__cc	0.530699	0.469301	Book Review: Wild by Cheryl Strayed When I opened up the first page of Cheryl Strayed's enthralling Wild, I was disappointed. The book was supposed to be the memoir of a woman who hiked the Pacific Crest Trail in the mid-nineties; but on the map at the beginning it only showed that she hiked part of the trail. She hiked a bit low down in California, a bit high in California and then all of Oregon. My first thought was, why should I read a book about someone who only hiked part of the PCT. Over the years I've met a lot of people who have trekked from Mexico to Canada on the Pacific Crest Trail. Indeed, we have employed at least four guides since I've been here who have made the journey. The trail's length and the endurance it takes to hike it are things to be admired. The trail stretches 2,663 miles and most people take five months to hike it. Strayed walked 1,100 miles on a 100-day expedition, which is nothing to scoff at. But what I found truly engaging about Wild was not the adventure travel narrative. Instead it was the journey within the journey. As such, it didn't matter that she hadn't hiked the whole trail. That's not what the book was about. Cheryl (it's hard to refer to her with her last name after reading such an intimate book) started the trek in an extremely dark place. She had hit the absolute rock bottom in self-destructive behavior. Her mother had recently died, which resulted in a profound grief that ruined her youthful marriage and lead her down a dark rabbit-hole of one-night stands and drug abuse. She knew that she needed a change. She needed to find a way to deal with her grief while building herself back up; so with little knowledge of wilderness travel, she decided to hike a large portion of the Pacific Crest Trail. The young woman didn't really understand what she was getting herself into. She had never been backpacking before and she had no idea how to pack her pack or how to select boots for the trip, or even how to light her stove. Hamburger feet. A massive pack she could barely lift nicknamed, Monster. Painful calluses on her hips from her waist-belt. An irrational fear of animals. Dangerous dehydration. And minor epics too numerous to count. Often times Cheryl's ignorance is funny. And sometimes it's a little bit scary. But it's always entertaining. We've seen this comic novice backpacker part before though. Bill Bryson's A Walk in the Woods covers much of the same ground on a different trail. His book deals with his own comic ignorance on the Appalachian Trail. And while this aspect of Wild is entertaining, it's not the heart of the book. No, the heart comes from a deep place where nature helps to heal the emotional wounds that we suffer in this life. This core of the memoir is what removes Wild from the standard aventure narrative and elevates it to the highest level of outdoor literature. Cheryl writes eloquently about the history of the trail and about the people who helped it come into being. These include proponents like Catherine Montgomery in 1926, Clinton Clark, who took up the cause in 1938, and then Warren Rogers who saw the trail dedicated in 1968. In the following passage, she writes about how these people understood what nature means to the human soul. It didn't matter that everything from my cheap knock-off sandals to my high-tech-by-1995-standard boots and backpack would have been foreign to them (the trail's founders), because what mattered was utterly timeless. It was the thing that compelled them to fight for the trail against all odds, and it was the thing that drove me and every other long distance hiker onward on the most miserable days. It had nothing to do with gear or footwear or backpacking fads or philosophies of any particular era or even getting from point A to point B. It had only to do with how it felt to be in the wild. With what it was like to walk for miles for no reason other than to witness the accumulation of trees and meadows, mountains and deserts, streams and rocks, rivers and grasses, sunrises and sunsets. The experience was powerful and fundamental. It seemed to me that it had always felt like this to be a human in the wild, and as long as the wild existed it would always feel that way. That's what Montgomery knew, I supposed. And what Clarke knew and Rogers and what thousands of people who preceded and followed them knew. It was what I knew before I even really did, before I could have known how truly hard and glorious the PCT would be, how profoundly the trail would both shatter and shelter me. There are dozens of beautiful and heartbreaking moments in Wild. We cry for Cheryl's mother. We cry for Cheryl's ex-husband who tries to deal with her grief, but can't handle it when the grief turns to adultery. We cry for a horse that has to be put down and is done so sloppily. We cry for Cheryl's drug abuse. And finally we cry for Cheryl... We want her to survive, not just the trail, but her grief. We want her to learn what she needs to learn from the wilderness, and we want her to bring her knowledge back with her. I often found myself both angered with and enamored by Cheryl. From a technical perspective, it drove me nuts that she hiked over a thousand miles and never figured out how to take care of her feet, or really pare down on her backpack. From a personal perspective, it drove me nuts that she was attracted to a guy that brought her into a dangerous drug culture. And it drove me nuts that she treated her ex-husband -- whom she truly loved -- so poorly. But on the other hand, I found myself falling in love with her as she came to terms with her mother's death and with her personal quest to find value in herself and in her life through self-imposed wilderness therapy. I went into the women's restroom. As I brushed my teeth before a flourescently lit mirror above a bank of sinks, a woman said, "I like your feather," and pointed to it on my pack. "Thanks," I said, our eyes meeting in the mirror. She was pale and brown-eyed with a bumpy nose and a long braid down her back; dressed in a tie-dyed T-shirt and a pair of patched up cutoff jeans and Birkenstock sandals. "My friend gave it to me," I mumbled as toothpaste dribbled out of my mouth. It seemed like forever since I'd talked to a woman. "It's got to be a corvid," she said, reaching over to touch it delicately with one finger. "It's either a raven or a crow, a symbol of the void," she added, in a mystical tone. "The void?" I'd asked, crestfallen. "It's a good thing," she said. "It's the place where things are born, where they begin. Think about how a black hole absorbs energy and then releases it as something new and alive." The wilderness is the void, and the adventures that we take there are what shape us. This is implied throughout the cannon of outdoor literature; but few books take us simultaneously so deeply into the crucible of the backcountry as well as into that of the human heart. Wild is a funny, adventurous and heart-wrenching tale that reminds us of something that we already know. That wilderness and our adventures there can heal us and give us hope. Climbing Events April & May 2013 The Back-Up Belay Climbing Events March & April 2013 One Day Ski Of Mt. Baker POV Falls in Scotland and Europe Climbing Events: March & April 2013 Ian McEleney Completes Palisade Traverse in Winter Jummaring a Fixed Line Bad Skiing Forecast? Good Climbing. Hot Rappel Devices and Your Rope	cc/2021-04/en_head_0009.json.gz/line14
__label__cc	0.614318	0.385682	The Light from the TV Shows: A Chat with Gary Lockwood (“The Lieutenant,” “Star Trek”) Your frame of reference to the name “Gary Lockwood” depends heavily on what genres of TV and movies you tend to favor. For instance, if you’re a sci-fi guy like myself, then your instant reaction to hearing his name is either to think of “2001: A Space Odyssey” or, if you’re really geeky (and – shocker! – I am), to his lone episode of the original “Star Trek” series, where he played Gary Mitchell, Jim Kirk’s Starfleet Academy pal who failed to remember that with great power comes great responsibility and suffered the consequences. That one-off “Trek” appearance was actually Lockwood’s second time working with Gene Roddenberry, however, the first time having taken place a few years earlier when Lockwood starred in the short-lived series “The Lieutenant,” which has just been released on DVD by Warner Archive. Lockwood took a few minutes to chat with Bullz-Eye about his work with Roddenberry on both series, and he also touched on occasions in his career when he crossed paths with the likes of Stanley Kubrick and Arthur C. Clarke, Henry Fonda and Jimmy Stewart, and Elvis Presley. Bullz-Eye: “The Lieutenant” wasn’t the last time you worked with Gene Roddenberry, but was it the first time you crossed paths with him? Gary Lockwood: Yes, it was. They talked to me about doing this show, and Roddenberry was sitting there with the head of television at MGM, and that’s how I met him. BE: That was your first time headlining a series, although, you’d at least had a little experience as a recurring character on “Follow the Sun.” GL: Yeah, well, I was the third banana on “Follow the Sun,” but I ended up doing the most shows. It’s hard to talk about yourself, but…it’s not that difficult. [Laughs.] What I mean to say is that the audience ended up liking my character, so I did most of the episodes of the show. BE: There’s a quote attributed to you about how being the star of a series is like being a jet pilot: you’ve got a lot of experts working behind the scenes to get the jet running, and then the pilot sits in the cockpit and makes it work. GL: Yeah, at which point you either live or die. [Laughs.] You get the spoils, but you also get the losses. The reason I kind of make a joke about jet pilots is that you go to work and you don’t do anything, you just sit there in a chair and drink coffee and look at girls. And then they call you, and go over and fly in front of a camera for awhile, and then you sit down for awhile while everyone else does all the work. So I kind of thought it was a little bit like being a jet pilot. BE: When you think back to the character of Lt. Bill Rice, what’s the first thing that leaps to mind? GL: Well, I just played him. I mean, I was just an actor. Bill Rice is not somebody I would ever be or… [Trails off.] They did ask me once if I wanted to go to Annapolis, but I was a bit too much of a rogue for that kind of life. One of my best friends did go to Annapolis, but he resigned after about a year. He didn’t like the regiment. So it takes a certain kind of guy. It was very difficult for me to consider. I wouldn’t say I wanted to be like Bill Rice, but acting is all making believe, so you create a character and you just go there and play him. I think I’ve done that with every job I’ve ever had. Tags: 2001: A Space Odyssey, Antonio Isasi, Arthur C. Clarke, Bert Gordon, Elia Kazan, Elke Sommer, Elvis Presley, Firecreek, Frank Poole, Gary Lockwood, Gary Mitchell, Gene Roddenberry, Henry Fonda, It Happened at the World's Fair, Jack Elam, Jackie Gleason, Jimmy Stewart, Lt. Bill Rice, Splendor in the Grass, Stanley Kubrick, Star Trek, The Lieutenant, The Light from the TV Shows, The Magic Sword, Vietnam War, Wild in the Country, Will Harris	cc/2021-04/en_head_0009.json.gz/line15
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Sinn Féin protests to Theresa May over Tory-DUP link The DUP is understood to be close to agreeing to its ten MPs supporting Mrs May's minority government on a "confidence and supply basis". The Prime Minister w... Bernie Sanders Condemns Alexandria Shooter Who Volunteered on His Campaign In both parties, people who were highly engaged with politics were more likely to hold this view. After visiting Scalise Wednesday evening at MedStar Washing... Sanders, 'Sickened,' Says GOP Gunman Worked on Campaign Hodgkinson of Belleville, Illinois . Scalise remained in critical condition early Thursday morning, according to officials at MedStar Washington Hospi... US lawmakers back at work after shooting, congressman still hospitalized Rep. Steve Scalise , one of the truly great people, is in very tough shape - but he is a real fighter". President Donald Trump made a surprise visit to ... London Police Launch Criminal Probe Into Fire The fire cast aside May's talks with Northern Ireland's Democratic Unionist Party to secure the votes of its 10 House of Commons lawmakers to back her program... Sénégal : Khalifa Sall passe 100 jours en prison, ses avocats en colère En effet, avec l'investiture du Maire de Dakar, Khalifa Sall, l'histoire est entrain de se répéter au Ps où ce n'est pas la première fois qu'on détenu soit inve... London fire death toll rises as calls for accountability grow louder Former prime minister David Cameron on Wednesday tweeted his "horror" at the "terrible fire in my local neighbourhood". As the smoke continued to billow fro... Castile jury ends 4th day without verdict Paul. Officer Jeronimo (yeh-RON'-ih-moh) Yanez shot 32-year-old cafeteria worker Philando Castile during a traffic stop in a St. Paul suburb last July 6. Th... IPad Pro 10.5 teardown reveals a bigger battery Well, you don't claim that you have something "more powerful than most PC laptops" if you can't back it up, right? The new 2017 10.5-inch and 12.9-inch iPa... Body found in Lake Ontario identified as previous Niagara Falls jumper As authorities tried to piece the story together of what had happened in 2003, a friend from MI recalled that Jones was confident that if he performed such a st... 61% des Français veulent corriger le résultat au second tour — Législatives La République En Marche qui déjà crédité d'une majorité parlementaire (249 à 286 sièges selon une enquête Opinionway) avant l'élection de Macron au second tour ... Adele Pays Emotional Visit to London's Grenfell Tower After Deadly Apartment Fire In 2009, six people died in an inferno in Camberwell, London; while two firefighters were killed in 2011 as they tackled a burning apartment building in South... 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Musician Akala: People died in London fire 'because they were poor' Some residents threw a baby and other children out the window to escape the flames. The tragedy has prompted a review of conditions and safety precautions at ... 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le ministre de la Sécurité intérieure Chad Wolf démissionne Pourquoi la couverture de Vogue avec Kamala Harris fait polémique La Deutsche Bank prend ses distances avec Trump — USA Donald Trump : Youtube le sanctionne à son tour après Facebook et Twitter Trump n'assistera pas à la cérémonie d'investiture de Biden — Etats-Unis Coronavirus: il n'y aura pas d'immunité collective en 2021, selon l'OMS Première exécution fédérale d'une femme en près de 70 ans — États-Unis De nouvelles interpellations de suspects à Rouen SUIVRE NOTRE JOURNAL AUTRES NOUVELLES Dans une note publiée sur le site officiel, le développeur entend se... 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__label__cc	0.691672	0.308328	Interview Index (A-Z) 30 Days Out: Asheville Music More/About Annual Best-of’s Hometown Writing NewCity Music Home » interview » (Everybody’s) Talkin’ About Harry Nilsson, Part 2 Posted in interview By Bill Kopp On June 16, 2011 (Everybody’s) Talkin’ About Harry Nilsson, Part 2 In fall 2010 fall the film documentary Who Is Harry Nilsson (And Why is Everybody Talkin’ About Him)? premiered in selected cities. The film came out on DVD around the holidays, with a great deal of bonus material added. I got a chance to have a wide-ranging conversation with John Scheinfeld, the writer/director of the film. Continuing from Part One, here’s Part Two. Bill Kopp: Watching all the interview clips that hold the film together, I’m impressed at how well they form the narrative and move the story along. John Scheinfeld: The best way for me to describe it is this: If you go back to a birthday or a holiday when you were a kid, one of your relatives gave you a jigsaw puzzle. You opened up the box, and dumped out hundreds or thousands of pieces. And over a period of time — a week, a month, whatever — you fit the pieces together and they formed a pretty picture. The thing is, in a jigsaw puzzle, those pieces only fit together one way. What I do, the pieces are sound bites, interviews, photographs, film clips, music. All of those things are the pieces with which I work. But I could fit those pieces together ten different ways. Fifty ways, a hundred ways. And how those pieces are fit together are what makes a film good, bad or ugly. So if you come out of a theatre, and you say, “I did not like that movie!” then they didn’t fit the pieces together properly, and in a way that resonated with you on some level. My goal is to put the pieces together in a way that (a) tells a story, (b) does so in a compelling and entertaining way and (c) looks like I spent no time whatsoever putting it together. Because then it has an effortless quality to it. Viewers won’t watch and ask, “Why did they do such-and-such?” They’ll just be into the story. That kind of flow is important to have in any kind of film. BK: Successful filmmaking is the kind that doesn’t call attention to itself. JS: Exactly. That’s how I approach an interview, too. I’ve seen a lot of interviewers who like to show how smart they are; they start debating things. When I do an interview, I know their time is precious. I ask the question and then get the heck out of the way and let ‘em talk. For a minute, five minutes; it doesn’t matter. What happens very often — as you know — very often someone will say something that you maybe hadn’t figured on. And to be able to say, “Forget my list of questions; tell me about that” is a great thing. And in Who is Harry Nilsson and in my previous film The U.S. vs. John Lennon, that happened all the time. BK: The list of contributing appearances is long and pretty exhaustive. Other than people who have passed on, like John Lennon, Keith Moon and Harry himself, you seem to have included anyone who’d come to mind when thinking of Harry. Were there people whom you wanted to include but that didn’t appear for one or another reason? JS: Yes. Ringo. You sort of feel like he’s in the film, because he is [via archival clips]. But we were not able to get a sit-down interview with him. That said, he and his people were very, very helpful to us providing audiovisual material, name-and-likeness, and giving us permission to use as much as we wanted from that great movie Son of Dracula. That had sat in Ringo’s vault since 1974. But he said, “Sure. Go ahead.” Where the interview process came into it, we tried four different ways to get him, and what came back to us each time was that it was just too emotional for him. He doesn’t like talking in public about three people: John, George Harrison, and Harry. And so at the end of the day, we felt that we had to be very respectful of that. But he was great in so many other ways. And with everybody else it was easy: “Yeah, we’d love to do that.” So we pretty much got everybody we wanted. BK: I was ten when Son of Dracula came out in theatres. So my memories aren’t super-vivid. But for one reason or another – mostly likely Ringo’s involvement – I actually paid to see the film. JS: So you’re the one! [laughs] Not many people saw it. BK: That, as I understand, is something precious few people can claim, having seen the movie. JS: Where did you see it? BK: Atlanta, Georgia. JS: That’s what I was going to guess. Because it only screened in three places. They did a big opening in Atlanta; Harry was there, Ringo was there. There are a couple of photographs from it in the film. Then they showed it in New York and London, and Ringo said, “That’s it.” And it never had a proper theatrical run. So you saw a very rare thing. BK: It must have screened for a few days, because Harry and Ringo were not there when I saw it. Over the years, I’ve mentioned this to a few people, and gotten blank stares. Nobody’s heard of it: “There’s no such movie like that!” In a lot of ways Son of Dracula seemed like a tangent in Harry’s career, more of an excuse to hang out with pals – like the Pussy Cats album with John — than to create some sort of enduring art. Is that your impression of the project or do you think there was more at work? JS: I think it was that Ringo had an idea, Harry thought that would be fun – fun being the operative word – and they did it. Ringo found the money; I don’t know where the money really came from. There nominally was a director on it, but I think it was a bit of…hmm. Micky Dolenz talks about it; there was a lot of partying going on. I don’t think Harry had any desire to be an actor; I don’t think that was in his skill set. Ringo, on the other hand, has proven that he has some talent as an actor. BK: Ringo had done the Marc Bolan film project [Born to Boogie]; that was probably only about a year or so before this. JS: Like Pussy Cats – and I think you’re right about that — sometimes when you’re a success as an artist or performer, something will come along where you get to work with the people that you love. And I think Son of Dracula was one of those projects. BK: One of the things I saw in the film and was surprised and thrilled to see – was the Smothers Brothers talking on-the-record about the infamous Troubador incident. JS: It is an incident in Harry’s and John’s life that keeps getting written about all the time. It seems to have become one of the more scandalous moments in rock history. So I thought it was important to take a look at what really happened that night. For example, there are a number of accounts I’ve read that actually confuse two nights and two incidents; it all sort of becomes one. It also says a lot about what was going on with Harry and John at that time. There was a lot of craziness going on. But again, I wanted to go where the truth took me. So, May Pang, who was John’s girlfriend at the time: she was there. Van Dyke Parks: he was there. But better than that [laughs] let’s get the guys who were onstage getting heckled! And what’s so fascinating to me about that, is that it’s thirty-something years later, and Dick is still pissed about what they did that night! And Tommy – partly because Harry and John were his friends – he can look back on it and say, “Well, that was those guys.” Would he have chosen a different outcome for the evening? Yeah. More to the point — and this is very important to me when I’m making a documentary film – my goal is to find the most rare and most appropriate audiovisual material available to tell the story. So in this case, not just generic shots of the Smothers Brothers, John and Harry. I found — after some looking — actual photographs taken at the Troubador that night. BK: There’s a particular iconic shot, the one of Harry and John being thrown out. I’ve seen that one over and over again. And you didn’t use it. JS: I try not to use the photos that everyone’s seen. I prefer to dig a little deeper. In Who is Harry Nilsson we have all kinds of rare photos and footage. We were granted generously by Sony access to their vault, so we have lots of photos of Harry in the studio, shots that have never been seen before. We have home movies from Micky Dolenz and Chip Douglas, and the family had material. All of this combines with the great story to really keep the audience engaged. Harry did precious little television, so I needed all of it to illustrate things, to show him in performance. And there’s a clip in the film from Playboy After Dark. BK: I recognized the set. Because I have bootlegs of a lot of those Playboy After Dark performances. JS: Yeah. Hef’s always smoking a pipe, and Norm Crosby seems to always be there. Anyway, I called up Playboy Enterprises, and explained who we are and what we’re doing. I said that we wanted to license the performances. And I dealt with this woman with a real attitude. She said, “Even if we would license you this material, it’s gonna cost you $12,000-$13,000 a minute. And you can’t afford that. So you may as well forget it.” And I’m the wrong person to say that to. When I’m making a film, I can be…nice, but I can be relentless. I am also known in my circle for writing very passionate letters. So I wrote a Very Passionate Letter to Mr. Hefner, who I did not know. We Fedex’d it to the mansion. About three days later we got a call from his number two person out here. “Hef got your letter. He thought Harry was a great artist. He loves his music. You can have whatever you want. No charge.” Follow “the_musoscribe” on Twitter and get notified when new features, reviews and essays are published. Bill Kopp With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, will be published in 2021 by HoZac Books. Coming in 2021 from HoZac Books: Disturbing the Peace: 415 Records and the Rise of New Wave Learn more about Bill Kopp’s Reinventing Pink Floyd Album Review: Bobby Rush – Rawer Than Raw 30 Days Out, January 2021 #2: Travis Book Happy Hour, Sons of Ralph, Page Brothers, The Harrows Bonus Interview: Kevin Godley on ‘Consequences’ and the Gizmotron Kevin Godley: The Consequences of Remote Collaboration (Part 2 of 2) Archives Select Month January 2021 December 2020 November 2020 October 2020 September 2020 August 2020 July 2020 June 2020 May 2020 April 2020 March 2020 February 2020 January 2020 December 2019 November 2019 October 2019 September 2019 August 2019 July 2019 June 2019 May 2019 April 2019 March 2019 February 2019 January 2019 December 2018 November 2018 October 2018 September 2018 August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 February 2018 January 2018 December 2017 November 2017 October 2017 September 2017 August 2017 July 2017 June 2017 May 2017 April 2017 March 2017 February 2017 January 2017 December 2016 November 2016 October 2016 September 2016 August 2016 July 2016 June 2016 May 2016 April 2016 March 2016 February 2016 January 2016 December 2015 November 2015 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 September 2014 August 2014 July 2014 June 2014 May 2014 April 2014 March 2014 February 2014 January 2014 December 2013 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 May 2013 April 2013 March 2013 February 2013 January 2013 December 2012 November 2012 October 2012 September 2012 August 2012 July 2012 June 2012 May 2012 April 2012 March 2012 February 2012 January 2012 December 2011 November 2011 October 2011 September 2011 August 2011 July 2011 June 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 November 2008 February 2008 January 2008 December 2007 Tweets by @the_musoscribe 60s Today Big Plans for Everybody Joe Bonomo Bucketful of Brains Digital Meltd0wn Gary Pig Gold's Blog Off Your Radar PowerPop (Steve Simels) Powerpopaholic Powerpopulist Prog Archives Pulmyears (Paul Myers) The Day After the Sabbath PLEASE NOTE: I welcome comments; I really do. But the site was getting hammered by sleazy comment-spammers, so I've had to disable the commenting feature. My apologies. Feel free to email me (my-first-name at musoscribe dot com) with feedback, though. Or, hey: why not just use my online form. © Bill Kopp and Musoscribe.com, 1996-. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Bill Kopp and Musoscribe.com with appropriate and specific direction to the original content. Musoscribe: Bill Kopp's Music Magazine Copyright © 2021.	cc/2021-04/en_head_0009.json.gz/line24
__label__wiki	0.860139	0.860139	BPA Announces Wholesale Rate Hike, Hermiston Spared Hermiston Herald, July 28, 2011 The Bonneville Power Administration announced this week that BPA's wholesale power rates will go up 7.8 percent, a move prompted by needed improvements to the region's 31 federal dams and lone nuclear power facility. The rate increase will affect the City of Hermiston, but not the city's residents, according to Ed Brookshier, Hermiston's city manager. "We were expecting a rate increase," Brookshier said, stating the city included those added expenditures in the 2011-2012 budget. "It will somewhat diminish our reserves. We are not passing that on to the consumer." The added power cost will be offset by the conclusion of Residential Exchange Program negotiations, recently signed off on by BPA. The new agreement will ensure long-term stability for both investor-owned and publicly owned utilities. "That's put to bed now, thank goodness," said Russ Dorran, superintendent of Hermiston's energy services, alluding to the string of litigations and negotiations over the convoluted REP program. According to Dorran, Hermiston will receive $213,500 annually until 2019 as a result of the settlement. "It's not an insignificant amount," Brookshier said. That puts Hermiston on solid footing to deal with potential increases spurred by renewable wind energy costs. This month, a coalition of wind-power companies filed a complaint with the Federal Energy Regulatory Commission stating that BPA overstepped its bounds by shutting down wind production due to unusually high runoff this spring. According to BPA spokesman Dough Johnson, BPA needed the extra transmission capacity in order to deal with increased power production caused by the excess water. Spilling too much water can cause fish-killing nitrogen build up, something Johnson said BPA has committed to avoid. (bluefish notes: transmission capacity was rarely if ever a constraint on the system this spring when "Overgeneration" concerns arose.) To make up for shutting down the wind-power production, BPA filled the wind-power contracts at no cost to the companies. The wind-power producers, however, are upset because they will not receive renewable energy production tax credits, a multi-million dollar hit according to Johnson. Johnson said the loss was estimated by some sources to be as high as $37 million, but turned out to be much lower. "It was just a few million dollars," Johnson said. "They were losing revenue, and we're aware of that." Several utility companies, including the Northwest Requirements Utilities, a regional utility coalition that includes the city of Hermiston, filed statements of support for BPA. "If the wind generators get their way, ultimately it will increase costs," Brookshier said. "It would most definitely increase costs." At the heart of the issue is legislation passed in 2007 that requires a certain percentage of electricity production come from renewable energy sources. The legislation does not include in the "renewable" definition hydropower generated from facilities built prior to 1995, however. That has spurred the growth of wind power production. Johnson, however, stated that as the BPA updates its production facilities, some of the energy produced could be considered renewable. Adding new turbines that produce more power to existing dams could allow some of the power to fall into the renewable category, according to Johnson. 'Renewable' Requirements Make No Sense by Neill Woelk, Hermiston Herald, 5/20/11	cc/2021-04/en_head_0009.json.gz/line25
__label__wiki	0.812618	0.812618	Ken Haar: Incumbent Candidate for State Legislature News October 2, 2012 In June 2000, Ken Haar headed into the Colorado wilderness for a three-week backpacking trip. In all he hiked about 100 miles from Copper Mountain to where the Colorado Trail crosses US Highway 50—just 5 miles per day. But Ken says he’s glad that he could keep a leisurely pace, taking the time—indeed, having the time—to admire the microcosm of an anthill or take in the “the sheer beauty of the Collegiate Peaks.” Each night after cooking dinner and washing the dishes, Ken would secure his food from bears by hanging it in a tree—and even invented BearHooks, a device designed to simplify the process. Photo by: Mary Anne Andrei. Ken’s ongoing commitment to green energy doesn’t stop with policy making. He and his wife, Chris, live in Malcolm, Nebraska, in a beautiful light-filled green energy home they built themselves with the help of family and friends. “My time out there was a unique experience,” Ken says now, “but I’m 69, so my question is: ‘How old can you be and still backpack?’” He answers himself by quoting Finis Mitchell’s Wind River Trails: “You don’t quit hiking because you get old; you get old because you quit hiking.” Ken estimates that in his lifetime he has hiked thousands of miles in Colorado, Utah, Arizona, Wyoming, and Nebraska, but he especially admires the unique beauty of the Pine Ridge with its buttes and rugged bluffs rising up from the White River Plain and loves hiking around Fort Robinson, which he boasts is as high as Denver. Not surprisingly, the environment and education are two issues Ken is most passionate about. Following family tradition—his mother, brothers, and sisters were all teachers—Ken started out as a math and science teacher. “Service is a family value,” he says. But he wanted to serve the community beyond the classroom. In the 1980s, he became involved in the Lancaster County Democratic Party, and from 1989 to 1997 he served on the Lincoln City Council. Four years ago, he ran for the Nebraska Legislature and won by only twenty votes—not exactly a mandate. But that didn’t stop Ken from becoming the leading legislator for progressive politics in the state. “I always believed I could make a difference; I can and I have made a difference in Nebraska and its communities.” “Because of my interests,” he says, “I got onto the Natural Resources Committee, and that’s where I’ve done a lot of my creative work.” As a member of the committee, Ken led the charge against TransCanada’s routing of the Keystone XL pipeline through the Sandhills. For those who doubt the importance of state politics, he points to a moment of questioning a TransCanada spokesperson during the regular 2011 session: “I asked the guy, ‘What’s going to happen to the pipeline when it’s no longer needed?’ I think it was a slip of the tongue, but he said, ‘We could always transport water.’” Ken recalls his visceral response, “I thought, ‘Over my dead body are they going to take water out of Nebraska and transport it to Texas.’ Because I think water is our greatest resource.” In early August 2011, Ken was the first legislator to call for a special session to enact siting legislation to reroute the pipeline around the delicate Sandhills ecosystem and the Ogallala Aquifer. Ken’s tireless work culminated in a bill to reroute the XL pipeline. When I ask Ken how he felt when he scored that victory, he says, “I’ll tell you what I told the World-Herald: I think it’s a f***ing miracle.” (The World-Herald edited his comment to “Christmas miracle.”) Ken’s strong feelings come, in part, from his concern at our slow pace addressing the effects of climate change. “Climate change is happening,” he says. While you find a lot of debate in Nebraska whether or not it’s human caused, Ken points to the signs all around us: “Nebraska has been changed to a warmer horticultural zone”—from zone 4 to zone 5. “We’re finding armadillos in Nebraska, and some cranes have started to overwinter.” He hopes that “we’re not going to wait until everything is a crisis.” To this end, Ken introduced a bill that created a program called Wind for Teachers, which allows for wind and solar leases on school lands in Nebraska that will generate revenue for teacher performance pay. In 2010, Ken sponsored the Green Schools Summit at the University of Nebraska and introduced legislation to provide additional funds for schools to lower their energy costs and implement green projects—a bill vetoed by Governor Heinemann. Ken did secure passage of a bill that created a statewide net metering standard for Nebraska, which will make it easier for individuals to install and operate wind and solar energy systems. He also has been working with environmental organizations to pressure Nebraska Public Power to embrace renewable energy and significantly reduce its reliance on carbon-emitting coal. “I enjoy policy making,” Ken says, “but most of all I want to leave a legacy for my grandchildren. I want them to have clean air, clean water, and lots of opportunities.” Learn More and Volunteer: To learn more about Ken Haar or to volunteer for his campaign to continue serving as a State Senator in the Unicam, a position that will influence where Nebraska is heading on energy and other critical issues, visit Ken’s website at www.kenhaar.com. You can also find Ken on Facebook. About the Unicam: To find out if you are in District 21, or need to know who your State Senator is, visit www.nebraskalegislature.gov. District 21 covers parts of the counties of Lancaster and Saunders. Folks call the Unicam different names–State Legislature, Unicameral and State Senate. In Nebraska, we are unique and have one legislative body and it is non-partisan. We are the only state in the country to have our legislative branch of government under one “house” that does not organize by party. When a person is elected to serve in the Unicam, they are called a State Senator or State Legislator. Ken’s profile is part of a series to highlight candidates who embody “new energy.” Candidates who bring new energy, new faces or who are running on a platform of homegrown, sustainable energy deserve more focus and attention. These profiles will also be featured on the New Energy Voter website which will give Nebraskans a “voter guide” you can email to your friends. The New Energy Voter site helps you register online using the Rock the Vote tool and has a voter guide on candidates up and down the ballot. If you are on Twitter, make sure to use these tags #nevoter #nebpol and of course follow @boldnebraska. Bold Nebraska Email: info@boldnebraska.org	cc/2021-04/en_head_0009.json.gz/line27
__label__wiki	0.651919	0.651919	Alphabet Inc. (GOOG) reported its quarterly earnings on Thursday, October 29. The technology company posted increased revenue and net income. Revenue for the quarter came in at $46.2 billion during the quarter. This was up from $40.5 billion last year at this time. "We had a strong quarter, consistent with the broader online environment," said Alphabet CEO Sundar Pichai. "It's also a testament to the deep investments we've made in AI and other technologies, to deliver services that people turn to for help, in moments big and small." The company reported quarterly net income of $11.2 billion. This was up from $7.1 billion in the prior year's quarter. Despite the economic impacts of COVID-19, the parent company of Google grew its advertising revenue during the quarter. The company raked in $26.3 billion of revenue through its Google Search & Other category. YouTube ads brought in an additional $5.0 billion in revenue. Google Cloud and Other Bets brought in $3.4 billion and $178 million respectively. Alphabet Inc. (GOOG) shares ended the week at $1,621.01, relatively unchanged for the week. Amazon Delivers Earnings Report Amazon.com, Inc. (AMZN) released its latest quarterly earnings on Thursday, October 29. The company's earnings continued to grow during the quarter. Net sales came in at $96.1 billion for the quarter. Last year at this time, the company reported net sales of $70.0 billion. "Two years ago, we increased Amazon's minimum wage to $15 for all full-time, part-time, temporary, and seasonal employees across the U.S. and challenged other large employers to do the same. Best Buy and Target have stepped up, and we hope other large employers will also make the jump to $15. Now would be a great time," said Jeff Bezos, founder and CEO of Amazon. "Offering jobs with industry-leading pay and great healthcare, including to entry-level and front-line employees, is even more meaningful in a time like this, and we're proud to have created over 400,000 jobs this year alone." The company reported net income of $6.3 billion during the quarter, or $12.37 per share. This was up from $2.1 billion, or $4.23 per share during the same quarter last year. Over the years, Amazon has successfully expanded its footprint from an online bookstore to a multifaceted digital company offering Prime Video, Alexa-enabled smart devices and Amazon Web Services. Amazon's flagship commercial website has allowed the company to thrive during the global pandemic, as consumers around the world have shifted more heavily to online shopping. Amazon.com, Inc. (AMZN) shares ended the week at $3,036.15, down 5.1% for the week. Hasbro Reports Earnings Hasbro, Inc. (HAS) released its latest quarterly earnings on Monday, October 26. The company's revenue and profits rose year-over-year. The toy company reported revenue of $1.78 billion for the quarter. This was up from $1.58 billion during the same quarter last year. "Hasbro's third quarter performance was the result of great work from our global team and continued growing consumer demand for Hasbro brands in most markets," said Hasbro's CEO, Brian Goldner. "Our broad, innovative product line, including leadership in gaming, excellence in global [ecommerce] and compelling marketing campaigns drove meaningfully better performance in the third quarter." Net earnings reached $220.0 million during the quarter. This was up 12.4% from $212.9 million at this time last year. The popular toy maker has experienced increased demand in its gaming category during the quarter. This was due, in large part, to families' increased time at home during the global pandemic. Gaming revenue reached $543.1 million during the quarter. This was a 21% increase from $449.4 million in 2019. Hasbro, Inc. (HAS) shares ended the week at $82.72, down 4.9% for the week. The Dow started the week at 28,186 and closed at 26,502 on 10/30. The S&P started the week at 3,441 and closed at 3,270. The NASDAQ started the week at 11,441 and closed at 10,912. Yields on U.S. Treasurys rose this week as economic indicators beat expectations. Initial weekly jobless claims and consumer spending both outperformed analysts' expectations this week. On Thursday, the U.S. Department of Labor announced 751,000 new jobless claims for last week. This was down 40,000 from the prior week and lower than the 778,000 new claims projected by experts. "We had expected that the steep decline we saw in claims last week would be too big to repeat, but downside momentum in claims remains intact," said Thomas Simons, an economist with Jeffries & Company. "The question going forward is going to be whether a surge in COVID cases and renewed measures aimed at containing the virus will lead to another spike in claims in the coming weeks." The benchmark 10-year Treasury note was at 0.865% during trading on Friday, up from 0.842% on Monday. The 30-year Treasury bond reached 1.743% on Friday, up from Monday's opening yield of 1.643%. On Friday, the Commerce Department released the latest personal consumption expenditures (PCE) numbers. PCE rose 1.4% in September to $201.4 billion. This outpaced analysts' expected increase of 1%. "We see that consumers are still spending," said Stifel Nicolaus & Co. Chief Economist Lindsey Piegza. "In many cases, they are spending differently, meaning the composition of goods and services in their basket are different now." Mortgage Rates Hold Steady Freddie Mac released its latest Primary Mortgage Market Survey on Thursday, October 29. Mortgage rates showed relatively little movement this week. The 30-year fixed rate mortgage averaged 2.81% this week, up from 2.80% last week. Last year at this time, the 30-year fixed rate mortgage averaged 3.78%. This week, the 15-year fixed rate mortgage averaged 2.32%, down from last week's average of 2.33%. During the same week last year, the 15-year fixed rate mortgage averaged 3.19%. "The record low mortgage rate environment is providing tangible support to the economy at a critical time, as housing continues to propel growth," said Sam Khater, Chief Economist at Freddie Mac. "Strong purchase demand is helping to lift the construction, manufacturing and transportation industries that build new homes and it is also leading to more consumer spending for owners, who are selling or improving their homes." Based on published national averages, the national savings rate was 0.05% for the week of 10/26. The one-year CD finished at 0.17%. Stitch Fix Reports Earnings	cc/2021-04/en_head_0009.json.gz/line33
__label__cc	0.673377	0.326623	Book Review: The Murderer’s Daughter by Jonathan Kellerman When fellow psychologist and thriller author of thirty Alex Delaware novels introduces a brand new protagonist, it’s got to be worth a look. And the debut of Dr. Grace Blades leaves me hoping to see more of her. I’ve always enjoyed Kellerman’s books. He really gets the psychology right in his psychological thrillers, delivers complex stories, solid dialogue, terrific description, nuanced characters. But I’ve also found Alex Delaware a bit lacking in the quirks that make a protagonist really compelling. Okay, he’s super smart, intense, has a cool bromance with the gay cop he solves cases with, but… So enter Grace Blades, brilliant shrink, damaged survivor, loner, risk-taker, and adrenaline junkie. Now we’re cooking! Kellerman’s well-paced story cuts back and forth between her harrowing childhood and equally chilling search for a psychopathic killer who has already stolen too much from her. You can just sense how much Kellerman is enjoying this break-out character. And so will you. I have a feeling this is the beginning of a beautiful friendship – and series. http://www.jonathankellerman.com/ Guest Post by Kristin Seaborg MD I don’t know about you, but during the holidays every year I always unwittingly transition to survival mode. Book marketing, blog writing, and social media posts are quickly replaced by the more present and pressing tasks of cookie baking, present wrapping, and schlepping the kids to their Christmas programs. I find myself repeating the mantra I’ll work on that after the New Year again and again to assuage my mounting worry over tasks left undone. But now that my memoir is published and I can finally – truthfully – consider myself an author, I’ve realized that there are many ways that I can write through the holidays without going near my computer at all. Sometimes when the living room is filled with children and presents and the dining room table is encircled with friends and family from near and far, I can find my inner voice more easily than ever. If I look through my Writer’s Eye, its easier to see that the cast of characters drinking Bloody Mary’s at 9 AM on Christmas morning could be fantastic protagonists for my next novel. The bright sweaters and loud laughter flirt with the senses and invite happiness and cheer. The fog of suspense that danced around my children on Christmas Eve as they slept in front of the fireplace to wait for Santa had the edge and authenticity of the best mystery novel. Parents and grandparents seated around the Christmas dinner table shared stories of their past which quickly became embedded in the narrative of my persona. The tears I shed of relief and exhaustion as I fell to bed yesterday evening had the bitterness of a drama that will undoubtedly be repeated every year, every holiday, every lifetime. No matter the circumstances, when I take time to observe instead of react, I can find stories worth repeating and rewriting in even the most mundane settlings. Even the task of cleaning the hurricane of the holidays provides me with subjects to write. There must be a story why that one partially wrapped present was left under the Christmas tree. The candy wrappers mark a path to and from the kids’ rooms like Hansel’s bread crumbs led Gretel. And even in the quiet aftermath of the holiday storm, I can still hear the voices, the stories, and echoes of laughter; a drama ongoing that will last until it’s reenacted again next year Though the keyboard is unfamiliar after over a week of absence, the keys are warm as I type and recount the stories of the past week. Perhaps writing is not always putting words on a screen but instead being present in the moment to create lasting memories. The words come quickly and artfully from the stories that have been written on my heart. Kristin is a practicing pediatrician in Madison, Wisconsin, where she lives with her husband and three children. She contributes magazine articles about pediatrics and parenting, and writes a blog about epilepsy, www.oneintwentysix.com. An advocate for epilepsy awareness, Kristin hopes that writing about her disease will help decrease the stigma associated with seizures. You can find Kristin at www.kristinseaborg.com, on Facebook at Kristin Seaborg MD, Author, and on Twitter @KristinSeaborg. Purchase The Sacred Disease On Amazon: http://amzn.to/1XXQLAS On Goodreads: http://bit.ly/1U5J4Ts Author Interview with Laura E. Koons Well, He Said, She Said is a writing guide, so it’s nonfiction. I suppose you could say that in this case the genre chose me. When we first started talking about putting out a series of writing manuals at Red Adept Publishing, I knew right away that I wanted to jump in and try my hand at a guide on dialogue. As a reader, I quite enjoy writing guides and books about the writing life. I’ve read quite a few—from the sort that are mostly how-tos to the kind that are more memoirs with some writing advice woven in. Writing can seem so overwhelming, especially if you’re staring down a blank page. It’s nice to turn to books that try to order all the aspects of the process and break them down into manageable bits. Putting butt in chair. In other words, actually making myself sit down and do the work. This is seriously the hardest part of writing for me and always has been. I envy people who find solace in their writing. For me it’s work—often enjoyable and rewarding work, but work all the same. So the lure of more immediately pleasurable activities—reading, watching TV, going for a walk, whatever—can be really hard to ignore. To be honest, I don’t always deal with it that well, but if the usual self-disciplining tricks—setting aside non-negotiable writing time, doling out little rewards (a cookie when I’ve written 1500 words!)—don’t work, establishing an external accountability process helps a lot. Enlist a friend whose disappointment will upset you to help you out. Tell them to yell at you if you don’t email them one thousand words by ten o’clock every night. I work best under deadlines. Doing something like this imposes a daily deadline that I can’t wiggle out of (a cookie because I wrote 900 words that were really hard), and that’s often really helpful. This changes a bit depending on what other things I have going on any given day, but usually early morning (often before I do anything else) at my computer in a spare bedroom that I’ve commandeered into an office. It has a door that shuts. This is key. I’m still very new to this, so I’m still very much learning, but: you have to work at it. Duh, right? But I think there’s this tendency to think, “Okay, the book’s written, and the edits are finished, so I’m done, right?” Nah. I think this might be like thinking that you’re never going to have to parent again just because you’ve gotten the kid safely graduated from high school. Sure, the most fundamental, foundational work is probably done, but you’re going to be called on again. Finishing things. First drafts, edits, final drafts, what-have-you. There’s this tremendous sense of accomplishment in closing the book (ha!) on a piece, even if I know I’ll be coming back to it. I get this little surge of “See? You can do this.” There’s nothing like it. I have to pick just one? There are so many writers I’d like to chat with—and for so many reasons. Some just to fangirl over, some to thank for writing books that have meant so much to me, some just because they seem like they would make fascinating dinner companions. But if I were truly trying to make the best use of my time, I’d have to pick someone I could talk about process with, I think. Jane Austen maybe, because there’s this image of her just fiddling away at a little table in the parlor and slipping her work under a letter or a blank sheet or something when people came to call. And, just, how—? Her plots contain such little intricacies, and she accomplishes so much through humor and point of view. I’d love to hear about her process—was she really writing like that, in the midst of family life going on right on top of her? If so, how did she manage to accomplish what she did in that environment? Or, if not Austen, J.R.R. Tolkien. I’m a procrastinator and a perfectionist, and I think he was too. I’d like to know if he has any advice about how to work well with those afflictions—or how to stop worrying about them and just carry on! Laura E. Koons attended Lycoming College and then completed graduate degrees in Creative Writing at both Ohio University and The University of Tennessee. She has worked on several literary magazines including Quarter After Eight, Drunken Boat: an online journal of art and literature, and Grist: The Journal for Writers, where she served as Fiction Editor for the inaugural issue. She currently edits for Red Adept Publishing. In her free time, Laura can usually be found with a book in hand, but sometimes she puts them down long enough to enjoy swimming, crocheting, and doing volunteer work at both her local library and history museum. She lives in Virginia with her husband and two ancient, snarky cats. On Red Adept: http://bit.ly/RAPHeSaid On Amazon: http://amzn.to/1PgVlUI Goodreads: https://www.goodreads.com/book/show/25784271-raining-embers Twitter: https://twitter.com/lycomayflower Guest Post: An Exercise for Strengthening Dialogue by Laura E. Koons One of the best ways to improve your own dialogue is to think about how you might change passages that you think fall short. Here’s a passage of dialogue I’ve written which might be improved upon. Think about what you might do to make this passage read better. Below the passage you will find a revision as well as a discussion of why I made the changes I did (you, of course, may have made other, equally effective changes). Dialogue Passage: “What should we get Carla for her birthday?” Toni asked Sue. “I don’t know,” Sue said and shrugged. “She’s been campaigning pretty hard for a puppy, but I don’t think Dad would appreciate that.” Toni snorted. “What do I care what Dad would appreciate?” she asked bitingly. “It’s not like he has any respect for any of us.” “Toni,” Sue said. “Don’t.” “Don’t what?” Toni asked. “Don’t tell the truth?” Sue shrugged. “Just don’t right now. I know he’s been awful to you—” “To all of us!” Sue nodded. “Maybe.” “Definitely, Sue.” “Whatever. I just don’t want to talk about it right now. Can we get back to Carla’s birthday? Maybe deal with Dad later?” Revised Dialogue Passage: (1)Toni poured coffee into Sue’s mug then sat down across from her at the scarred Formica table. “What should we get Carla for her birthday?” (2)Sue shrugged. “I don’t know. She’s been campaigning pretty hard for a puppy, but I don’t think Dad would appreciate that.” (3)Toni snorted. “What do I care what Dad would appreciate? It’s not like he has any respect for any of us.” (4)Sue’s eyes widened. “Toni. Don’t.” (5)“Don’t what? Don’t tell the truth?” (6)Sue ducked her head and rubbed one thumb along the handle on her mug. “Just don’t right now. I know he’s been awful to you—” (7)“To all of us!” (8)Sue gazed out the kitchen window and frowned. “Maybe.” (9)“Definitely, Sue.” (10)“Whatever. I just don’t want to talk about it right now. Can we get back to Carla’s birthday? Maybe deal with Dad later?” Line (1) provides a setting in which the dialogue takes place and therefore removes the need for a dialogue tag which identifies to whom the dialogue is addressed. Line (2) removes a dialogue tag since Sue’s gesture coupled with her dialogue is enough to indicate that it is her speaking. Line (3) removes a dialogue tag because the gesture is enough to identify who is speaking. The adverb attached to that dialogue tag is also unnecessary in any case since the description of Toni it provides is implied in the dialogue. Line (4) provides an action for Sue that makes the dialogue tag unnecessary. Line (5) removes the dialogue tag because it is clear, even without any attributed gesture or action, who is speaking. Line (6) gives Sue unique, characterizing gestures instead of the generic gesture (a shrug) which does little to tell the reader anything about Sue, specifically, as a character. It also brings the setting back into the dialogue exchange and helps keep the narrative going while the dialogue exchange unfolds. Line (7) remains unchanged. Line (8) gives Sue more characterizing gesture and again eliminates any need for a dialogue tag. Lines (9) and (10) remain unchanged. Doing quick exercises like this one with any dialogue you come across that you think doesn’t work should help you improve your own dialogue. Book Spotlight: Two Tales of the Moon By Jennifer Sun Two Tales of the Moon By Jennifer Sun Genre: Literary fiction Two lives converge over a high stake international deal between U.S. and China - Will Donovan, a successful cyber technology business owner and Lu Li, a Wall Street investment banker. From New York City to Washington, DC, to Shanghai, together they have to face ethical dilemmas, make life choices, and come to terms with their past. East meets West, past clashes with present. Blending romantic suspense with ethical intrigue. TWO TALES OF THE MOON is a compelling story that reveals that human struggle is the same regardless one's past or cultural upbringing. Clarion/Forward gave the book a four star rating, calls it "a thoughtful portrait of a modern woman who must choose between the burden of memory and a future of her own making...the writing takes on the sharpened focus of a play... the work effectively captures the effects of communism in searingly personal ways. BlueInk Review says: "Jennifer Sun draws on personal knowledge of China and a former career in telecommunications/finance for her well-crafted debut novel about the meeting of East and West. Blending romance and ethical intrigue, Two Tales of the Moon is a unique novel, with characters of psychological depth. Jennifer Sun has a MBA from George Washington University and a B.A. in English Literature from Fudan University in Shanghai, China. She has held several executive financial management positions at Fortune 500 companies in telecommunication and web technology industries. She currently writes full time and lives with her husband in Vienna, Virginia. She is also an avid reader, a runner and a foodie. www.Facebook.com/JenniferSunAuthor @JenniferSun8 www.JenniferSunAuthor.com https://www.goodreads.com/author/show/14554078.Jennifer_Sun Available on Amazon: http://amzn.to/1Ns0irQ Family Album: The Fabulous Formans My maiden name was Freda Forman, daughter of Muriel, step-daughter of Leon and sister of Michael. Sadly, they have all passed. But today’s post is a holiday tribute, celebrating the year’s accomplishments by my surviving immediate family of Formans. What a trio of creative superstars! Besides her career in medical research, my sister-in-law, Judi Lowenberg Forman, is a brilliant jewelry designer. From a small home studio in Vermont, Judi Forman Designs generates dazzling, unique necklaces, earrings, rings, bracelets and more. Judi enjoyed several successful shows this year and you can find her creations on Etsy (holiday shopping hint). My niece, Hannah Forman (aka Hannah Neurotica) is the undisputed queen of women in horror. Founder of Women in Horror Month, Editor-in-Chief of the zine Ax Wound, Hannah is a writer and filmmaker. Her short film, Letting, garnered raves this year and she was a recent guest on NPR’s All Things Considered, speaking about holiday horror movies. Noah Forman, my nephew, is a writer, producer, actor and inspired comic. Known for his work on the Chris Gethard Show, Noah is a veteran performer with the improv troupe, UCB (Upright Citizens Brigade). This year he was hailed as a “comic genius” for producing and starring in an homage Seinfeld episode. Now, that’s fan fiction! Of course, those who knew my late brother Michael Forman would hardly be surprised. Writer, musician, humorist and teacher, he was a creative force. He’d be so proud of them.And so am I. Happy holidays, you guys. May the New Year bring even more great things! Author Interview with Deanna Martinez-Bey I write about books that are based on life transformation. When Life Gives You Lemons, Drink Coffee! is just that, a book about a woman who decides to change her life from a life lived to please others to a life lived to please herself. It falls under the “Fiction” genre. I chose this genre because it allows a great story to be told: a story that will hopefully inspire those who read it. There are days when it is nearly impossible for me to take the time to sit down and write. I have a job and a family in addition to my writing career. I have to just accept it, and press forward. Normally, when this happened, the next time I sit down to write is a fantastic session where I make a lot of progress! I have created a writing nook! I like to write in the same space each time. I have a few special pictures hung in my writing area. I enjoy writing in a neat space, with a window! I do my best writing mid-afternoon to early evening. Early morning, I am not nearly awake and by night, I’m super sleepy and ready for bed! The more the book is networked, the more people will see it which means the chances of people purchasing it are greater. Promotion and networking are crucial! I am proud to simply call myself an author! It has always been something I wanted to do…ever since I was a young girl. I am proud to have my work published. I am also proud that the focus of my work is life transformation and that my books can actually help the individual who chooses to read it! I absolutely love Martha Stewart! She is not only an author, but an independent woman who knows how to take care of herself without having to depend on any one else. I look up to her for that! I would ask her where she gets her strength and inspiration. I would also pick her brain about baking and organizational tips…we can all use more of those in our life! Deanna has been writing since she was 7 years old. At that time she wrote poetry and short stories. She now enjoys writing novels, self-helps and cookbooks. Deanna is from New Jersey, but now resides in Raleigh, North Carolina. She is a writer for Examiner.com and has been featured in Taste of Home magazine, Taste of Home “Best Of” cookbooks, Gooseberry Patch cookbooks, local publications and on Women’s Day online. Twinkle, Twinkle Christmas Star is Deanna’s first published work. In addition to writing, Deanna enjoys cooking, photography, running and fitness. Website: http://tastenccom.wix.com/authormartinezbey Writers Blog: http://bookwriterdeanna.blogspot.com/ Food Blog: http://tastenc.blogspot.com/ Facebook: https://www.facebook.com/bookwriterdeanna Purchase Twinkle, Twinkle Christmas Star: http://amzn.to/1NL9lkA Purchase When Life Gives You Lemons, Drink Coffee!: http://amzn.to/1lO2jVO Interview with Michael Bradley I write mostly thrillers with a supernatural twist to them. Early on, I tried my hand at mysteries, but I’m not very good at coming up with those obscure clues that are just ambiguous enough to mislead the reader. Thrillers are a bit more straightforward, not necessarily needing to have clues to guide the reader to the conclusion. Adding a supernatural spin gives me the ability to break accepted laws of reality. I always try to ground my stories in modern times, with all the usual things that one would expect: cars, mobile phones, etc. My characters have the same struggles that we all do, as well as the same joys and regrets. But, the supernatural twist provides a way to blur the line between the possible and the impossible. If you ask my editor, it’s my grammar. But, I think my biggest challenge is being patient with my writing. I often want to rush things along in order to finish sooner, resulting in a story not being quite as good as it could be. I hear all the time where it took years for an author to finish their first novel, and I would have a lot of difficulty being patient enough for that. But, I know that a story can benefit from having that extra time to mature. A good story takes time to develop, and needs to be nurtured to obtain its full potential. That’s where I struggle, being patient enough to give my stories the time that they need. Have I found a way to deal with it yet? It’s a work-in-progress. I’m improving, but there is still a lot of work to be done. I usually do my writing in the evening, setting aside a couple hours in whatever room in the house no one else is in. I’m easily distracted so I often need to find somewhere quiet. More often than not, I end up in the basement, sitting at a small desk in the corner, just me and my laptop. It takes a lot of time and energy. Writing a book isn’t just about putting words on paper, and books don’t sell themselves. There is almost as much, if not more, work involved in promoting the book and building your audience as there is in the actual writing. Promotion on social media, as well as maintaining an online presence through a blog and website, can be time consuming, but is necessary to engage and retain an author’s readership. If anything, it would be the two main characters from my debut novel, SIRENS IN THE NIGHT. I spent a great deal of time developing Samantha Ballard and Jack Allyn, and a lot of people have said that they loved those two characters. There was an early reviewer write to me to say that she was upset to find out what happened to Samantha and Jack at the end of the book. It felt good to know that readers were making a connection with Samantha and Jack. Terry Pratchett. Definitely Terry Pratchett. I’m a huge fan of his “Discworld” series. His novels have an infinite ability to entertain again and again with his ironic, and often, hilarious storytelling. Pratchett had an incredible ability to take an otherwise straight-laced fantasy world filled with dwarfs, goblins, wizards, vampires, and humans, and add just enough absurdity to turn the whole thing upside down. His characters have a charm all their own that draws me into with every novel. As for what we would talk about, I see my dinner with Terry Pratchett to be more of a “pupil sitting at the feet of the master” type meal. I’d want to know all about the inspiration for some of my favorite characters, how he developed his ideas, and what inspired him to write such hilariously twisted tales. About Michael Bradley Born and raised in southern New Jersey, Michael Bradley is an author and software consultant, whose frequent travels have brought him in touch with a variety of people throughout the United States. In his "day job", he has presented on a variety of subjects at several IT conferences, both in America and in Europe. When he isn’t on the road, working, or writing, Michael hits the waterways in one of his three kayaks, paddling creeks, streams, and rivers all over Delaware, Pennsylvania, Maryland, and New Jersey. Before working in information technology, Michael spent eight years in radio broadcasting, working for stations in New Jersey and West Virginia, including the Marconi Award winning WVAQ in Morgantown. He has been "up and down the dial" working as on air personality, promotions director, and even program director, providing a wealth of fond, enduring, and, sometimes, scandalous memories that he hopes to some day write about. Among the writers in which he finds inspiration, Michael favors P.D. James, Raymond Chandler, Leslie Charteris, Simon Brett, Terry Pratchett, and Ian Fleming. He lives in Delaware with his wife, Diane, and their three furry four-legged “kids”, Simon, Brandy, and Preaya. Web: www.mbradleyonline.net Twitter: @mjbradley88 Facebook: www.facebook.com/mjbradley88 Interview with Michael J. Bowler As a teacher, coach, youth leader, mentor, and volunteer, I’ve spent all of my life around kids and youth, so writing books for teens seemed a natural progression. Within the teen lit genre, I tell stories that mash up other genres – the connective threads are thematic and the main characters are teens, but the stories don’t fit into neat little boxes. I don’t write just urban fantasy or horror or contemporary, but mix them up to create something different. I feel that too much media today sends the wrong messages to kids, teaches them to self-obsess and feel entitled to everything in life without having to make real choices, choices that involve right and wrong. In the world of modern media there is no right or wrong – if something benefits “me” in some way, kids are told to go for it and never consider anyone or anything else in the decision-making process. I like to tell stories that challenge readers to look beyond themselves and their wants and see that life is bigger than them. I want them to see that we all have a responsibility to make this world a little better for our having lived in it. I tend to have numerous characters and plot threads in my books and I was never good at juggling. LOL So the challenge is to keep these various “balls” in the air until the precise moment each needs to drop, and then resolve every plot and character thread by the end of the book so readers feel satisfied. I usually do my writing in my upstairs office at home. I use my desktop computer, but if I have to travel, or even if I’m at the car dealership having my car serviced, I’ll bring my laptop and write wherever I happen to be. At home, I try to write most of the day unless I have other commitments. I’ve learned I’m not good at it. LOL I wish I had some brilliant pearl of wisdom about promotion that I could share with your readers, but I don’t. I would have to say that social media – which I use a lot – has proved to be an ineffective tool for me. I’ve gained lots of followers on Facebook and Twitter, but these people have no interest in reading my books, let alone buying them. I think, too, that teen lit is the toughest genre to promote because teens aren’t on social media to find books. For a teen lit author, gaining access to School Library Journal, Library Journal, and major publications seems to be essential. Thus far, I have failed to interest any major journal in reading/reviewing my books. It appears they only review books released by the “Big” publishers and aren’t interested in “indies.” I suspect they are obligated to read the new releases from big publishers and simply don’t have enough readers/reviewers on staff to also cover indie publications. That’s sad because there are some great books being released by indies these days. I made a choice to populate my books with characters not usually seen in mainstream lit – gay kids, gang members, kids of color, kids with physical and mental disabilities, abused kids, marginalized kids, incarcerated kids. My characters are not your standard-issue teen heroes because there is no such thing. Hollywood, and media in general, would have us believe that only white, suburban, smart, straight, drop-dead gorgeous kids can be heroes, and that’s simply not true. I want readers to know the kinds of kids I’ve spent my life with - kids who are extraordinary in their own way and deserve to be in the spotlight. So my books are very much outside the box, and that difference likely diminishes their sales potential. So be it. People who’ve read my books have come to love my different, outside the mainstream, flawed characters and embrace their stories. My philosophy is this: no matter what we look like or how much money we have or how smart we are, no matter our race, ethnicity, gender, or orientation, no matter our abilities or disabilities – at the end of every day we’re all the same. We’re all human. We’re human first, and everything else second. I want my teen readers to embrace their humanity, or rediscover that humanity if it has been lost along the way. I’d love to dine with Mary Shelley, the eighteen-year-old who wrote Frankenstein, and discuss how she conceived such an insightful look into the very heart of human nature for a piece of literature as relevant today as it was in 1818. Michael J. Bowler is an award-winning author of eight novels––A Boy and His Dragon, A Matter of Time (Silver Medalist from Reader’s Favorite), and The Knight Cycle, comprised of five books: Children of the Knight (Gold Award Winner in the Wishing Shelf Book Awards), Running Through A Dark Place, There Is No Fear, And The Children Shall Lead, Once Upon A Time In America, and Spinner. He grew up in San Rafael, California, and majored in English and Theatre at Santa Clara University. He went on to earn a master’s in film production from Loyola Marymount University, a teaching credential in English from LMU, and another master's in Special Education from Cal State University Dominguez Hills. He has also been a volunteer Big Brother to eight different boys with the Catholic Big Brothers Big Sisters program and a thirty-year volunteer within the juvenile justice system in Los Angeles. He has been honored as Probation Volunteer of the Year, YMCA Volunteer of the Year, California Big Brother of the Year, and 2000 National Big Brother of the Year. The “National” honor allowed him and three of his Little Brothers to visit the White House and meet the president in the Oval Office. He is currently working on a sequel to Spinner.His goal as a YA author is for teens to experience empowerment and hope; to see themselves in his diverse characters; to read about kids who face real-life challenges; and to see how kids like them can remain decent people in an indecent world. www.michaeljbowler.com FB: michaeljbowlerauthor Twitter: https://twitter.com/BradleyWallaceM Blog: sirlancesays.wordpress.com Goodreads: https://www.goodreads.com/author/show/6938109.Michael_J_Bowler Interview with Medric "Cous" Cousineau, SC, CD I write in the Nonfiction genre, and Further Than Yesterday (FTY) is the first volume of a trilogy and there will be two more installments of the “Further Than” series. The genre was literally thrust upon me as FTY is truly my story, very autobiographical and very personal. But it represents only a part of my life’s journey, one which I feel comfortable sharing so that others who struggle with Mental Health issues, primarily PTSD will reach out and get help. The appeal is in the results of watching others regain control over their lives as part of the treatment process. I believe the most challenging part of the process is objectively trying to evaluate the relevance of subjective experiences. Will the reader relate? Did I capture the emotions I was going for? Will this make sense to the reader? A huge part of the solutions to these questions comes in the edit and revisions phase. Having an editor who understands the issues and is willing to either call “BS” or conversely encourage you to delve deeper into areas that you may wish to gloss over. I find that my actual writing for me is done in front of the keyboard, in my office/den. I tend to be surrounded by my books, my dog, my aquarium, my music and my ever present coffee cup. I am truly addicted to coffee. But there are times when I will go to certain areas to write as the setting is such an integral part of the setting that you need to have been there or be present to truly capture the nuances of the environment. If you want to write about deserted beaches go walk one, soak in the experience, make notes, take pictures and try and employ as many senses as possible while there. It will reflect in the authenticity of your writing. I think the biggest lesson I have learned in promotion to individual readers is to set the hook and let the reader delve in and find out where the book takes them. In a group setting the strength lies in being to address the group, and lend a true voice to a passage that you read. It will help the readers throughout the rest of the book. I often read a passage called “The Nightmare Begins” and then take them into a later passage which gives them a glimpse into the Hell that PTSD is and how my service dog has had such a positive effect on my life. I think that the pride comes from hearing individuals relate to capturing the raw emotions and how it has served as the springboard for them to reach out for help for themselves or a loved one. Inspiring others to take action was the goal, and I know I have hit it. The book speaks to veterans, military personell, mental health sufferers and advocates, those with PTSD, Service Dog Handers and dog lovers as a whole. With so many interested segments in the readership, it is a balancing act. But those who suffer who need inspiration, Further Than Yesterday, That’s All That Counts delivers the message of Hope and Motivation. Wow, the Million Dollar question. I am going to go with someone who has passed because there is always hope that I will cross paths with the living. That being the case, going with Abraham Lincoln. Specifically I would love to sit down and talk about the Civil War, the anguish he went through in the tough decisions, but mostly I want to talk about the “Gettysburg Experience” immediately following the Battle and during the period of the Gettysburg Address. Cous, a Royal Military College graduate with a degree in English, was injured doing Search and Rescue in 1986, and was awarded the Star of Courage. He has battled PTSD ever since, and in 2012 was paired with his PTSD Service Dog, Thai. As a result, his wife Jocelyn and he co-founded Paws Fur Thought, an initiative that fund raises and advocates to pair other disabled veterans with their Service Dogs. “Further Than Yesterday” is the first volume of a pending trilogy. Cous has been awarded a Mental Health Inspiring Lives award and recognized as the PetLynx Urban Animal Innovator of the Year in 2014. When not busy writing and delivering motivational speeches, Cous can be found reading, traveling, studying history, fishing, listening to music and walking his dog at the beach. Cous also shares the house with his wife, her Service Dog, several cats and their grown daughter Jennifer when she chooses. On Facebook: Paws Fur Thought - http://on.fb.me/1RADHd5 On Facebook: Further Than Yesterday - http://on.fb.me/1H9Ftwk @pawsfurthought1 www.furtherthanyesterday.com On Amazon: http://amzn.to/1H9FdgG	cc/2021-04/en_head_0009.json.gz/line41
__label__wiki	0.684396	0.684396	2007-02-22: Like A Daffodil Roleplay Logs » Volume 01: Beginnings » 2007-02-22: Like A Daffodil A mysterious fire is set at a local junior high, shaking Lee out of a dead-end afternoon and prompting Tamara and D.L. to intervene. Date It Happened: February 22nd, 2007 Like A Daffodil John Philip Sousa Junior High School, #142 Lee sits at his desk. The blackboard behind him says 'FRAME OF REFERENCE' in big block letters, directly over his head. Underneath that is written things like "Civil Rights" and "Unions" and "Lobbyists". He is looking at the class, which is boredly looking back at him, or at each other, notes they're writing. They could care less about what he's saying, he could care less that they care less, and everyone in the room can easily sense each others boredom with one another. It's a beautiful afternoon, but the windows of the crumbling old, rambling building that is the central feature of John Philip Sousa Junior High School #142 have bars on them and haven't been properly cleaned in years. Tamara hasn't set foot on the grounds of a junior high school in a couple of years, but she's slight enough to pass as a student. You know, those young people who're sitting listening /attentively/ to one teacher or another right now and not wandering around the halls. …Well, she's wandering around the halls. Apparently the hall monitors haven't spotted her yet - but then, she only came in the door just a bit ago. And Tamara doesn't want to be seen by them, anyway. Fingertips of one hand brushing along a row of lockers, the girl hums softly under her breath, just walking down the corridor. Rental Car. D.L. spent the last of his money on it. Why? Because he needed to go on a road trip across the country to find his wife who ran off. Again. She does that a lot lately. At the present moment, the quaint rental car is parked across the street from JPSJHS #142. Curled up in the back seat and covered by a blanket? Micah Sanders. He's fast asleep. But where's his father? Up at the corner, on the pay phone. "Listen. I'll be back as soon as I can. It's a family…" He rolls his eyes and punches at the wall. "You're firing me?! You're… hello?! Son of a —" D.L. slams the phone down and shoves himself away from the pay phone. He sighs and turns around, leaning back against the wall to look at the school across the street. "Dammit, Niki…" A thickset, balding man passes Tamara in the hall without a second glance at her. The fire alarm goes off a few moments later, and kids and teachers come into the halls with bored and desultory looks, and begin to stream outwards, through the metal detectors which add their buzz to the beeping sound of the alarm. Laughing and joshing around, the occasional scuffle, the normal roar of 13 year olds, no sense of urgency. At first. But then someone sees smoke and things start to move a lot faster. Blue eyes track the man as he passes by; Tamara's humming stops, and she turns to watch him go. But because he's going, she turns away again. Her hand falls away from the lockers, and the girl's head lifts slightly, tipping to one side as she looks into the distance of the now-crowded hall. After a moment, she seems to reach a decision and starts threading her way through the throng with comparative ease; finding the possibility that takes her from point A to point B with the fewest traffic jams. Wherever point B is… it doesn't seem to be outside, where everyone else is fleeing to. D.L. is busy with the sulking. He shakes his head a little bit and starts back towards the vehicle. He tosses his hands into his pockets and steps around something or other. He's taking his sweet time, for he has to figure out how in the world to break this news to Micah. He finally gets back to his car and looks inside. Micah's still sleeping. He sighs and has a strange spider-sense style tingling type deal involving the school behind him. Turning around, he raises an eyebrow and just tries to figure out why kids are filing out of the building like so. Lee stands outside his classroom, getting the students into line and saying, "That way, that way, just follow the line…" Smoke begins to be visible in the hall near him, at the ceiling, and it thickens quickly, the kids starting to run instead of walking in an orderly fashion. "Jose, put your phone away, now's not the time to be shooting video, and… Maria! No, the other way, the other way!" Lee says. It's a bit of a cul-de-sac of rooms and a staircase where the smoke is thickest and the kids are thinnest. Smoke is visible at the windows, and even the orange flicker of smoke in one room. The sprinklers kick on with a gurgle…but only in a few areas. Bad maintenance strikes again. Walking into the cul-de-sac without, apparently, much regard for the gathering smoke, Tamara steers one wayward student back into line and points them towards the way out. Her gaze is focused on Lee, pupils dilated far enough that their blue color is little more than a token ring. "Slow." Whether that's a direction or a warning isn't quite made clear. "Sand's running." Marginally clearer. D.L. is watching the fire thing happen, but he's not sure if he's needed. He checks through the window to make sure Micah's still asleep, which is all well and good. He keeps looking over shoulder to see that everything's taken care of, but without any fire trucks in the vicinity… well, that's not going to be a good thing at all. He sighs to himself and runs across the street, pushing past whomever's already gathered outside. "Is anybody still in there?" he tosses the question at random people that may or may not be listening. Sometimes he wishes he has something like X-Ray Vision. "Mr. Jones went after Maria!" says a wide-eyed black youth wearing gang colors, pointing into the building. The adults are busy corralling the kids across on the other side of the basketball court. Lee is lifting his soaked coat collar to cover his mouth. "What?" he says to Tamara, eyes confused and wide. "What?" A CRASH of something collapsing comes from up the hall and a burst of flame and smoke gouts inwards, spreading rapidly. "Maria!" yells Lee. "Maria, this way!" Tamara looks over her shoulder, back down the hall. Then she leans forward and grabs Lee's arm; it's not exactly a /strong/ grip, what with her build and all, but it's quite firm. "Wait," she instructs him, tugging back a bit. Turning her face away from the burst of fire, Tamara lifts her fingers to her lips, casting a piercing whistle into the smoke-filled corridors. It might carry far enough; it might not, but she deems it worth a try. That isn't good. Not at all. D.L. looks from the building that's burning back to the car that has his son in it. Nothing to say, since he's not exactly sure of what's going on or who Mr. Jones is, but he's pretty sure that means that they could be in some sort of trouble. He breaks through the small crowd and makes a bum rush towards the wall. Caring not if anyone sees him, he runs right on through it like there's nothing there. No brick, no anything. Once on the inside, he can hear the loud whistling and looks towards the sound. "Anybody in here?! Hey!" Smoke and flames kind of make it hard to see. Okay, a lot hard to see. Lee was just about to charge forward recklessly when Tamara pulls him back, which prevents a small slide of bricks and timber from smashing into his head as the roof, sagging, half-collapses, water and steam pouring off as a busted pipe spews upwards. "Is there someone in there? Look, look for Maria!" yells Lee. "Yellow hair!" He breaks down coughing, returning his coat to his mouth. The fire is burning hot, but in a limited area so far. The sound of sirens begins to become audible. "Here!" Tamara calls for D.L.'s benefit. She starts walking backwards, attempting to pull Lee along with her. "Away," she says, now speaking to Lee. "Come away." Her intonation is peculiar - not really very concerned at all. Or only in a distant sort of manner. The teen looks down the hall. "Can you find her?" she asks, despite D.L. still being around the bend and out of view. He's /almost/ here, and that's close enough for her. "Get out if you can! I'll find her!" D.L. calls through the fire and the flames. He narrows his eyes, trying to see if he can see through whatever smoke has filled the hall that he's on. "Maria! Maria!" This is him calling out to some girl with yellow hair. He's hoping it's actually yellow and not like blonde or something. These ghetto schools tend to have both, if you really want to stop and think about it. He turns and slides himself through another wall, peeking his head around to see if and where there's a girl. He doesn't have much time, he's assuming, before the fire spreads. Which would be a bad thing. "Where are you…" This is said more to himself than actually as a searching yell. The yellow haired girl - and the hair really is yellow, yellow like a daffodil - has fallen beneath the layer of smoke, which is good for her chances, if she can get out. "No, through…" Lee calls out, confused about how DL's yelling voice got from here to there, but there's too much confusion. "Through there…she went into 118! 118…back towards us! Come towards us!" He turns to face Tamara for the first time. "Go that way." he says, indicating the exit, leaning down to talk at her level so he doesn't have to cough again. "Whose room are you in? They're looking for you probably." He does move with her a bit away from the fire, but he still has a student unaccounted for. The girl's free hand, she uses to pat Lee's shoulder gently, acknowledging his concern. "He got her. Farther," Tamara directs, tugging a little harder on his arm. After a moment, she wraps both hands around his arm and starts to /pull/, glancing briefly to the thicker smoke and the flickers of fire. "She was fine. /You/…" Her voice trails off, and, if anything, Tamara drags harder at his arm. D.L. blinks. "Oh now they tell me." Sliding out of the wall to look at the door to his room, he figures that he's not at the right one. 118 is what he's looking for and that means he's going to have to go through fire. Since he's not a superhero or anything, he turns and proceeds to pull some majorly awesome special effects out of the woodwork as he literally passes through the flames to step into corridor where he can find the right room. "Gotcha'." Whether or not the door to 118 is on fire matters not to the likes of D.L and he passes through it with ease. "Maria? Maria, you in here?" He spots the yellow hair amidst the smoke and he's doing that crouching negro, hidden hero thing to offer her his hand. Lee says, "Whose /room/ are you in? I…" insists Lee, but he's walking Tamara back towards the door. Maria reaches out weakly, she's still conscious, barely, overcome by the smoke but not badly burned. Sirens are wailing as they near the place. With Lee now following, Tamara eases up on the pulling, but she doesn't stop. She seems to think he still needs direction, the better to get them down and out. "Over there," she says, in some attempt to be helpful. But without the pointing which would give the phrase any sort of practical significance. "Time to go," the girl adds, a note of cheer now under her voice which is entirely at odds with the tense situation. "I got you, don't worry. I got you." D.L.'s all trying to sound like he's the man with the plan, but he actually isn't planning anything. He grabs Maria up into his arms, holding her close and immediately gets to phasing both him and her. So the smoke can flow through their bodies of course. "I got her!" is yelled into the burning building, but he doubts if they can hear him. Still, look, there's a wall. And a wall on this side of a building usually leads to a corridor. Corridors lead to outside. Taking Maria through the wall with him, he comes out somewhere a little less burn-y and proceeds to head for the wall that will lead them outside. Smoke. Smoke. Fire. Smoke. Wall. Sunlight. The beautiful afternoon, Lee and Tamara exit one way, DL and Maria another. "Whose room are you in?" he asks Tamara one more time. He keeps looking behind himself - he totally misses DL's dramatic exit with his student. "Did you see who that guy yelling was?" "Yes. No." Now that they're outside, she releases Lee, twisting back to look over her shoulder at the building even as she continues walking away from it. Tamara's lips press into a thin line; then the teen offers Lee a wan smile. "Sorry about your room." She gives the gaggle of students a look, then shakes her head a bit; pressing one hand against her temple, Tamara moves off on a tangent to the group, rather than going to join them. D.L. is not one for being a hero. Well, he is, but he doesn't really need to stick around for all the theatrics afterwards. He sets Maria down, making sure that she's still capable of walking. And breathing, since there's no smoke outside. "There you go. Your friends…" He points off in the random direction of what can only be the crowd of people around the corner of the building. Not even waiting for her to leave, he turns to make his exodus off in the general direction of his rental car. "Micah…" He's remembered that his son is still asleep in the car! Along with, well, whatever's in the trunk. Lee sees D.L. withdrawing one way and Tamara withdrawing the other way. "But…" he says, protesting weakly, "The door…I…hey!" He heads towards D.L.'s back, and Maria. He reaches the girl first, and she needs help, so he stays with her. "…hey?" he finally says again, left behind, and unsure what just happened why. The thickset man emerges unnoticed from the administration building with files under his arm and disappears, the only one that knows. dlleetamara	cc/2021-04/en_head_0009.json.gz/line42
__label__cc	0.648614	0.351386	Animals, etc. This blog, begun in connection with Animals: A Novel, was originally devoted entirely to posts about human and non-human animals. It now also includes posts about Rising Stories: A Novel, and occasional posts relating to a range of other topics, including the visual arts, prose fiction, sports, poetry, politics, and film. For those interested in the novels, there is more material posted on my website, http://www.donlepan.com/. Eating for a Greener Planet I've been very quiet on the blog the past few months--largely because a lot of my spare time has been taken up with working as part of a group trying to try to bring about change within the Green Party of Canada. I can now report that five of the nine candidates running for the party leadership (Judy Green, Meryam Haddad, Amita Kuttner, Dimitri Lascaris, and David Merner) have declared their support for a new approach to animal agriculture—phasing out subsidies to animal agriculture (and increasing support for plant-based alternatives), as well as including animal agriculture GHG emissions under the provisions of the Greenhouse Gas Pollution Pricing Act. In other words, there’s now a very good chance that we can elect a party leader who will make the Green Party of Canada the country’s first major party committed to taking seriously the harms caused by animal agriculture—and by eating animals. Anyone who would like to make that happen can help by joining the Green Party of Canada before 11:59 pm on September 3, and taking part in the voting later that month. Membership in the Green Party of Canada costs just $10; any Canadian or permanent resident aged 14 can join. I hope you’ll join us! I’ve just posted more information on this website: https://donlepan.wixsite.com/greener-planet Posted by Don LePan at 10:52 PM No comments: Labels: Green Party Rhyme of New Orleans Maureen and I were thinking the other night that there are too few poems written that have something to them of joy. As you may have experienced recently, there's been a move in some circles to circulate poems--poems that people have found engaging and affecting, particularly in a joyous or uplifting sort of way. There is of course no shortage of engaging and affecting poetry in the world, but E.E. Cummings and a few others excepted, there has been a dirth of poets who frequently write poetry expressive of joy--whether in some pure form or admixed with other emotions. One such poem that comes to mind is Alice Oswald's "Wedding"; another is Carol Ann Duffy's "John Barleycorn." The latter is a poem very largely composed of the names of English pubs; re-reading it the other day (before I passed it along as a reading recommendation to one of these "Poem Exchange" groups) made me think that one could perhaps do something of the same sort with the names of bars in New Orleans. The poem below is the result of my effort to do just that (drawing on some of the material I'd included a few years back in a poem for Maureen). It didn't end up with as many bar-names as I'd thought it would, and the joy is certainly admixed with a few other emotions, but joy there is. For what it's worth: New Orleans don’t rhyme with beans, or with means— That’s what they’ll tell you, uptown or downstream: New Orleans don’t rhyme with beans. But Satchmo did it—you know what it means...: When it’s music it all becomes different, it seems, The notes and the words flow like water, like dreams— Like the dark and the deep of the river’s wide dreams As it curls in the sparkle of night through New Orleans. Rhyme New Orleans. Rhyme New Orleans and the music begins, With full rhymes, fat rhymes, light rhymes, slant rhymes, With high notes, low notes, bank notes. Light sins. Rhyme thick air. Rhyme black and white and good times, Rhyme Abita and amber, and rhyme good health, Rhyme night and stomping, rhyme black and blue, Rhyme like the river, turned back on itself And stretching, aching, thrusting round, surging through, And once or twice a lifetime, swamping The city that once was the place where they sold the enslaved, City of graves, city of cotton, Time stretched, time lost, but nothing forgotten, ‘Cept some days let’s pretend last night never happened. The night is warm, the beer is cool, There’s jazz, there’s blues, there’s someone rappin, DBA, Hi Ho, they’re passing the hat, Vaughan’s, the Mother-in-Law, Spotted Cat, Blue Nile, Maple Leaf, the Candlelight Lounge, Spare a dollar? I tell ya, I just gotta scrounge A few bucks, buy a coffee, a meal; I can tell ya, nobody here really wants to steal. Tipitina’s, Lost Love, the Friendly Bar All open late, and the door’s ajar: That’s Chris Kohl’s clarinet, smooth as a knife; Eight to the bar, hold a note like forever. Like life. That tune? You can’t lose it; Time? You can’t choose it. It’s time like the always and never of music, Of everything music, of mockingbird music, Like the always and never of Living, of loving. Of love. Posted by Don LePan at 1:53 PM No comments: Labels: Abita Amber, Alice Oswald, bars of New Orleans, Carol Ann Duffy, Chris Kohl, Christopher Kohl, John Barleycorn, Louis Armstrong, New Orleans, poem exchanges, poetry of joy, Spotted Cat, Wedding Cross-Cultural Scholarship: A Cautionary Tale My original intention was to call my first book The Birth of Expectation: A Cognitive Revolution in Western Culture. But when I told the publishers, Macmillan, of my tentative plans for a follow-up volume they decided they wanted a grander title; when it came out in 1989 the book had acquired a definite rather than an indefinite article at the start, and bore the title The Cognitive Revolution in Western Culture, volume 1: The Birth of Expectation. In a quiet way it’s received a good deal of attention over the years—though, in recent years, not of a sort that makes me at all happy. The monograph originated in the Masters thesis I had completed at Sussex more than a decade earlier (working under the brilliantly wide-ranging scholar, and wonderfully warm-hearted human being A.D. Nuttall), the central insight of which had been that there was a yawning divide between the plotting techniques employed by Shakespeare and Marlowe and the plotting techniques employed by their medieval (and even their immediate Tudor) predecessors. Shakespeare and Marlowe crafted plots that facilitate the formation of expectations in the minds of the audience members; typically, characters’ intentions are revealed before they act on those intentions. That became the most common template for plots through to our own day; audiences (or readers, or viewers) are provided with raw material that encourages them to form expectations of what is likely to happen as the action moves forward. But almost all plots from the medieval period operate on a very different basis; one thing happens, and then another thing happens, and then another thing happens after that, without our being given information that would allow us to form expectations as to what is likely to happen. The question I was left with when I had completed the short Master’s thesis was why. Why would such a drastic change in dramatic plots have occurred? And the conclusion I eventually came to was that most people in pre-Shakespearian England had not developed the sorts of temporal and causal thought processes that, for educated individuals in technological societies, have become sufficiently ingrained to make the formation of expectations as to what is likely to happen a deep-rooted habit. It was a conclusion reached largely through a comparison of the evidence from medieval English (and medieval European) culture with evidence from a wide range of other pre-literate societies. But it was a conclusion carefully qualified in a number of ways. First, I made clear that the generalizations I was making concerned the great majority but not every individual; I was not suggesting that highly educated individuals such as Thomas Aquinas or Geoffrey Chaucer had not developed the ability to form expectations of this sort. Second, I made clear that the differences I was postulating were the result of environmental factors and subject to change; they were not innate. “Indeed,” I suggested, “it seems self-evident that a baby born into [San society on the Kalahari] but brought up from infancy and educated in Toronto will grow up with modern Western habits of thought, and that the reverse is also true.” Though my focus in looking at developed societies was on those of the Shakespearian and post- Shakespearian Western cultures, I in no way suggested that non-Western literate cultures had not developed causal and temporal cognitive habits of very much the same sort as those developed in the literate West. I said very little about non-Western literate cultures, either in earlier eras or today. Then as now, it seemed obvious to me that even a glance in the direction of the history of China should be enough to make clear that, over much of the past 2,000 years and more, Chinese culture evidenced causal and temporal thought processes at least as sophisticated as those found anywhere in the West at the same time. It seemed clear to me too that many “developing” countries were indeed developing not just economically, but also in terms of people developing more complex patterns of temporal and causal thought. Of Zimbabwe, for example—a country where I lived for three years in the early 1980s, teaching at a rural high school—I observed that generalizations about causal and temporal thought processes which “still hold for the bulk of the rural population, most of whom are untravelled and (despite the massive developments in the years since Independence) only semi-educated, are manifestly untrue of the growing number of Zimbabweans who are possessed not only of a high level of formal education but also what one can only refer to as urban sophistication.” Most important of all, I repeatedly made clear that my argument should not be taken to suggest an over-arching superiority of any sophisticated culture over any less sophisticated one. Indeed, my contention was that even where most people in pre-literate cultures may tend to think in quite different –and even less logical ways—than most people in more highly educated and sophisticated cultures, they may still be equal or superior to more “developed” peoples in spheres such as the moral and the aesthetic. I also suggested that pre-literate cultures often possess a poetic vitality that has been largely lost in the developed West, and argued strenuously that a highly educated society in which the majority of people possess highly complex temporal or causal thought processes is no more likely to be a wise or a morally good society than is the most undeveloped of pre-literate societies. The one thing I regret about the way I expressed the argument of The Birth of Expectation: A Cognitive Revolution in Western Culture (as I much prefer to call the book) is that, instead of referring to “pre-literate societies” or “elemental ways of thought” I used a term that, although controversial, was in the 1980s still fairly common in reputable scholarly discourse; I referred to “primitive societies” and “primitive ways of thought.” I soon realized that I had made a mistake. The 1995 paperback edition of the book includes the following note, which bears repeating: I have become convinced that the frequent use in the text of the word “primitive” was ill-advised. In the book’s first long note and at many other points I am at pains to point out that I see the proper use of the term as being purely descriptive (to mean “original; primary”) rather than pejorative. But as others have now persuaded me, … one doesn’t get to make the language; once a word such as “primitive” has been corrupted by prolonged pejorative use, it may not be enough to argue that it should not carry negative connotations. The text [of the paperback edition] has not been reset, and troublesome word thus remains. (Nor am I sure of the best substitute; I suspect “elemental” might serve better than any other.) But at least the paperback may carry a prominently placed apologia for my having used a word that I should have recognized carried with it the risk of tainting for many people the thesis of the entire book, and of allowing it to be suspected of perpetrating the very sorts of preconceptions that it was written largely to challenge. As it happened, the book was not attacked for its use of the word "primitive," or for its thesis; the scholarly reviews were not numerous but they were on the whole very favorable. I nevertheless am deeply saddened by its reception. It has had virtually no impact in the field of serious literary studies, and I make no complaint about that; it’s the fate of most scholarly monographs, particularly when they put forward arguments that go nowhere near the currents of a discipline’s main stream. What saddens me is where the book has made an impact. Despite all the disclaimers, despite all the careful qualifiers, the book has been cited again and again by those whose goal is to paint the West as superior to the rest. Typical is an article by Ricardo Duchesne, posted on the “Counter-Currents” website and entitled “Jean Piaget and the Superior Psychogenetic Cognition of Europeans.” Counter-Currents Publishing—a self declared voice of “the North American New Right” –dedicates itself to principles such as this: “We live in a Dark Age, in which decadence reigns and all natural and healthy values are inverted.” It declares that it “aims to promote the survival of essential ideas and texts into Golden Age to come.” Those “essential” ideas, it is made very clear, are European ideas—evidently code for “white people’s ideas,” given that white North Americans are surely included in the "North American New Right." Ricardo tries to use my work to support what to me are entirely misguided claims for the supposed “superior intellectual powers and superior creative impulses” of Western culture. He refers to the “he uniqueness of the West,” “the higher fluidity of the Western mind, the multiple intelligences of Europeans”—repeatedly suggesting that “Europeans” are innately superior to other peoples. Duchesne does acknowledge at one point in his discussion that “LePan carefully distances himself from any claim that Europeans were genetically wired for higher levels of cognition.” But he suggests that the sorts of evidence I present can and should be taken to draw such a conclusion. More, he ascribes to writers of my ilk a fear of confronting the truths my work supposedly points to: The uniqueness of the West frightens academics. They have concocted every imaginable explanation to avoid coming to terms with the fact that Europeans could not have produced so many transformations, innovations, renaissances, original thinkers, and the entire modern world, without having superior intellectual powers and superior creative impulses. To draw any such conclusions about the world’s various groups of humans is to my mind not only wrong in point of fact; it is also morally repugnant. It is telling that Duchesne dismisses the final chapter of The Birth of Expectation (“Postscript: Zimbabwe, 1995”—to my mind perhaps the best-written part of the book) as simply “strange.” He observes archly that “LePan praises the cultural ‘vitality’ of this African country,” as if that were all I praised about Zimbabwean culture—and as if any praise at all for an “African country” were to be wondered at. Anyone who knows anything of the culture of Zimbabwe—the engaging and intelligent fiction of such writers as Charles Mungoshi, Tsitsi Dangaremba, and NoViolet Bulawayo, for example, or the unforgettable music of such songwriters and musicians as Thomas Mapfumo, Oliver Mtukudzi, and Leonard Zhakata—will be aware of its rich complexity and its wide-ranging intelligence as well as its vitality. But writers such as Duchesne evidently have no interest in non-European cultures in and of themselves; such cultures seem to be of interest only insofar as information about them can be twisted so as to suggest that they are inferior to “European” cultures. It is in the Postscript that I argue most powerfully that “the Shakespearean moment” in our own culture occurred when new cognitive processes were emerging among the majority of the population, but the poetic vitality of pre-literate culture was also still very much alive in the mainstream of society. Given the degree to which such vitality has now been blunted by the post-renaissance emphasis on rationalism, I argue that another such moment has become impossible in our own society—and that “if a new Shakespeare is to emerge,” it is far more likely to be “from the valleys of the Niger or the Zambezi than the skyscrapers of New York or London.” I believed that then; I still do. Labels: A.D. Nuttall, medieval drama, pre-literate societies, right-wing writing, Shakespeare's plots, Zimbabwe Ag Gag Laws Continue to Spread Across the US—and Now They’ve Come to Canada In many areas of the world trespassing is a relatively minor offence under the law, and offenders are liable to relatively minor punishments. The maximum fine for a first offence in the province of Alberta, for example, was until recently $2,000; for a second offence the maximum was $10,000. (Penalties for trespassing are typically the same regardless of whether the premises are a private individual’s home and yard, a business owner’s warehouse and parking lot, or a farmer’s fields and farm buildings.) But under the provisions of a bill rushed through the Alberta legislature by Premier Jason Kenney’s Conservative government late last year, an individual in that province who has been found guilty of trespassing is now subject to a fine of up to $10,000 for a first offence—plus six months in jail. A second offence is now subject to a fine of up to $25,000, plus a further six months in jail. An organization involved in sponsoring or directing an act of trespass is subject to a fine of up to $200,000. If one is deemed to have gained access under “false pretenses” (for example, by falsely saying as you start a job at a pig farm that you have no intention of taking photographs of any animals being abused), one is subject to the same penalties. Why prescribe such harsh punishments for such a minor offence? The key is in another part of the bill, where it is specified that such penalties apply even when property is not fenced off and no notices forbidding trespassing have been posted—if the offence occurs on farmland or “on land that is used for the raising of and maintenance of animals.” Alberta’s Bill 27 is legislation of a sort familiar to many Americans as “ag gag” legislation—legislation intended to gag those who would inform the general public of what goes on behind the closed doors of the agricultural operations where the 10 billion or so mammals and birds killed every year in North America for human food live out their brief, unhappy lives. As in many other North American jurisdictions, such operations in Alberta are in practice exempt from almost all provisions of animal cruelty legislation. Typically, such legislation prohibits only the causing of “unnecessary” pain, suffering or injury to an animal, and in many jurisdictions any practice is allowed if it can be classed as part of “generally accepted” practices of animal management or animal husbandry. Given that those have for decades included such practices as confining sows in crates so small that the animals can never turn around, and confining egg-laying hens to cages in which they each have no more than 67 square inches of living space, a phrase such as “generally accepted practices” leaves a lot of room for cruelty. But not enough room to satisfy the animal agriculture lobby. Over the past decade and more, undercover operations at animal agriculture facilities across North America have revealed horrific examples both of what constitutes “generally accepted practice” and of abuses that exceed anything that could possibly be described as “necessary cruelty” or “generally accepted practice.” As Camille Labchuk, executive director of the organization Animal Justice, has pointed out, “whistleblowing employees are often the only way the public has to monitor the conditions animals endure on modern farms.” Alberta is not the only province that has moved to criminalize such whistleblowing; in the province of Ontario Premier Doug Ford’s Conservative government has just introduced similar legislation. In doing so, the two provinces are following in the footsteps of the many American states that have passed such legislation (in three of which the legislation has been ruled unconstitutional—legal battles continue elsewhere). At stake is not only the treatment of non-human animals, important though that is; it is also freedom of speech. A society in which whistleblowers are prevented from drawing the attention of the public to horrific abuses is a society that gives license to the powerful to do anything they please. But surely, many may say, property owners have a right to do as they please on their own property; should we not do everything we can to protect that right? Perhaps the best response to such arguments is to imagine a situation in which those being abused are not calves and piglets and chicks but puppies and kittens—or human children. In any such scenario it becomes clear that we instinctively feel private property rights to be far outweighed by those of the general public. The public in such cases has a right to know—and the public has as well a responsibility to do everything possible to stop the abuse. (That’s particularly the case given that agricultural operations enjoy the benefits of considerable government subsidies in almost every North American jurisdiction.) Yet Governments in Alberta and Ontario—just like governments in many American states—are doing everything possible to keep the public from knowing what’s going on—and nothing whatsoever to stop the cruelty. Animal activist and free speech groups are likely to challenge the constitutionality of the Canadian laws, just as such legislation has been challenged in America. But it is hard to keep up; though the issue receives little coverage in the mainstream media, in America the problem has been getting worse rather than better. Ag gag laws have been attempted in a total of 28 states; they have now become law in a total of at least 11. Even in Iowa, where the state ag gag law was ruled unconstitutional in January 2019, the legislature within two months managed to pass a new ag gag bill. And in some states with ag gag laws—notably, North Carolina—the legislation is worded so broadly as to deter whistleblowing in almost any industry in almost any context. Today’s media give a good deal of attention to alleged threats to freedom of speech coming from progressives on university campuses; it is time more attention was paid to these far more serious threats to freedom of speech that are coming from industry and from government. Labels: ag gag laws, Alberta ag gag, Animal Justice, Camille Labchuk, Doug Ford, free speech, Jason Kenney, Ontario ag gag, private property Baseball Hall of Fame Criteria It's too seldom noticed that, of the six criteria to be considered when deciding who should be admitted to the baseball Hall of Fame, three have nothing to do with anything that can be measured by WAR: Voting shall be based upon the player's record, playing ability, integrity, sportsmanship, character, and contributions to the team(s) on which the player played. Far from being unreasonable, keeping the likes of Curt Schilling out of the Hall of Fame is standing up for what's most important--in sports, and also in life. Larry Walker, we celebrate your entry into baseball's Hall of Fame! Labels: baseball Hall of Fame, character, Curt Schilling. Hall of Fame Criteria, Hall of Fame, integrity, Larry Walker Textbook Prices Columbia University professor Tim Wu published an interesting piece in The New York Times this week on textbook prices. I sent the following letter to the editor; The Times has not published it, so I'll post it here. Tim Wu is absolutely right that many university textbook publishers have been ripping off students for years ("How Professors Help Rip Off Students: Textbooks Are Too Expensive," Dec. 12). Some large publishers in particular have long made a practice of setting hugely inflated prices for bound book textbooks—and then turning around and saying to academics—"but look! We can offer you digital products much more cheaply.” (What they don’t draw attention to is that these digital products increase their profit margins by killing off the used book market.) But before concluding that the only choices are between overpriced bound book textbooks and digital options that often offer lower quality and less flexibility than they seem to promise, I would encourage academics not to tar all publishers with the same brush. Smaller and mid-sized independent publishers such as Hackett, Broadview, and Norton (as well as several university presses) have for many years offered high quality textbooks at reasonable prices in both bound book and e-book formats—and we continue to do so. Canada's Green Party - Which Way Forward? In his Nov. 8 Globe and Mail column, Gary Mason puts forward the interesting argument that the Green Party of Canada should either merge with the NDP or “try to build a broader, more serious platform that is palatable to a greater cross-section of Canadians.” By taking this latter path, Mason suggests, “the Greens in Germany reinvented themselves” to become a major player on that country’s political scene. Let’s look more closely at the German experience. The Greens in that country have indeed been riding high in the polls, and they have indeed put forward a broad, serious platform. But have they done so primarily in the way that Mason suggests—by watering down their environmentalism in order to make themselves “more attractive to centrist voters”? That's highly debatable. The German Greens recognize—as, in Canada, even the Green Party is sometimes hesitant to do—that fighting climate change and protecting our future isn’t only a matter of reducing the production and consumption of fossil fuels. In particular, they recognize that industrial animal agriculture is damaging to human health in a wide variety of ways, and is responsible for a very significant percentage of global warming. Here are some highlights from the German Green Party’s set of agricultural policies (which together form a central part of their overall program): We will replace intensive factory farming over the next twenty years by livestock welfare-centred husbandry. We will enforce higher animal welfare standards by law, based on the needs of animals, and on ending agonising breeding techniques and intensive animal farming. … We will restructure Europe’s tax billions to ensure that environmental protection and animal welfare become new income opportunities for farmers, because the new agriculture will depend on these farmers. A German Green party spokesperson recently confirmed that the party supports increased taxes on meat consumption, with the proceeds being directed to improving animal welfare. In all this, the German Greens are considerably bolder than the Green Party in Canada—which is currently the only major Canadian party to engage at all seriously with the damage done by industrial agriculture. (The NDP echoes the Liberals, the Conservatives, and the Bloc in their enthusiastic defence of the status quo in the Canadian agriculture sector—including massive subsidies to animal agriculture.) A few years ago things were different for the Greens in Germany; in 2013 their support fell dramatically when they proposed a once-a-week Veggie Day, on which cafeterias would be required to offer only vegetarian choices. The change in the party’s fortunes is partly a result of having pulled back on coercive policies of that sort. But it’s also a result of real changes in public opinion. Germans may still be opposed to any party trying to tell them they can’t eat meat on any given day. But many seem no longer to be opposed to putting a price on the damage done by industrial animal agriculture. Slowly—ever so slowly—Canadians may be starting to move in the same direction. A 2018 survey by Sylvain Charlebois of Canadians’ eating habits reported that 7.1% of Canadians self-identify as vegetarian, with over 2% of those being vegan. (By comparison, just 3% self-identified as vegetarian in 2003.) A further 10.2% described themselves as “flexitarian” or as having a “primarily vegetarian diet”; that’s over 17% either vegan, vegetarian, or flexitarian. And of those Canadians who do eat meat, fully 51% reported that they were willing to consider reducing their meat intake. I would argue that the Canadian Greens should be gently encouraging Canadians to move in just those sorts of directions. The Greens should take the lead not only in calling for an end to government subsidies for the fossil fuel industry, but in doing the same when it comes to animal agriculture. And the new Green leader (whoever he or she may be) should speak to us as individuals as well, pointing out that we’re all in this together, that our governments can’t do it all, and that, just as we should all do what we can to reduce our impact when it comes to driving, flying, and heating our homes, so too should we do what we can for our environment, our health, and our children’s future when it comes to choosing what we eat and drink, what we wear, how we live our lives. The German Greens have been doing just that—and public opinion now seems finally to have caught up with them. Labels: agriculture policy, climate change, diet, flexetarian, Gary Mason, German Green Party, global warming, Globe and Mail, Green Party of Canada, vegan, vegetarian How to Be Good with Words cover, How to Be Good with Words Rising Stories cover, Rising Stories: A Novel Chicago: Vacation City Poster discussed in Chapter 7 of Rising Stories Animals - American edition Animals - Canadian edition Don LePan	cc/2021-04/en_head_0009.json.gz/line45
__label__wiki	0.755203	0.755203	Stage Left: Christina West January 24 - March 8, 2018 In this immersive installation, Christina A. West integrates figurative sculptures into a space that is suggestive of a house, playfully alluding to the idea of the home as a stage set. “Stage left” is a term used in theatre to direct actors as they move around the stage. Though a term traditionally used to orient, it is used here as a foil to highlight the viewer’s disorientation within the fabricated space, while reinforcing theatrical associations with the installation. As people move through the gallery, spaces recede and reflect, sometimes offering a glimpse into another room, sometimes reflecting back the space one is in, and occasionally reflecting a reflection. Additionally, exposed studs on one side of each wall create a sense of front and back (or stage and backstage) that shifts throughout the gallery. Objects such as sheets, blinds, and picture frames conjure the context of the home, charging this “stage” with a sense of a private space. As viewers bend, squat, and peek around corners to view tableaus, their own reflections appear throughout the space highlighting their participation in the scenes. 10,000 Shards of Bliss (the rhythm that forgets itself) For his film installation at The University of Tennessee Knoxville’s Downtown Gallery, in conjunction with the 2018 Big Ears Festival, Los Angeles based collage film artist Lewis Klahr will present a looped, rotating selection of his films that explore the vicissitudes of time and memory. Lewis Klahr uses found images and sound to explore the intersection of memory and history. He is primarily known for his uniquely idiosyncratic films, which he began creating in 1977 and has screened extensively in the U.S., Europe and Asia. Lewis Klahr teaches in the Theater School of the California Institute of the Arts and is represented by The Anthony Reynolds Gallery, London. On the Fringe of Conformity: Clarence Morgan This exhibition of drawings and paintings explore linear patterns that operate in a pictorial space. Utilizing random shapes and biomorphic forms within an intricate network of drawing, collage elements, and subtle color, Morgan's work ranges from highly patterned organic painting compositions to meticulously articulated and somewhat minimal collage-drawings. A native of Philadelphia, PA, Clarence Morgan has been a professor in the Department of Art at the University of Minnesota since 1992. Every day, Knox County art teachers devote their time and energy to cultivating creativity and critical skills in their students. For more than a decade, ARTSOURCE, the exhibition dedicated solely to Knox County art educators, has given these same teachers an opportunity to nourish and showcase their own artistic talents. Celebrating the Life and Art of Kimberly D. Iles Kimberly D. Iles was known for her vivacity, generosity of spirit, and passion for the arts. She graduated with honors from the University of Tennessee in 1990, earning a Bachelor of Fine Arts degree. As a graphic designer, she poured her talent and energy into her work for clients ranging from Oak Ridge National Laboratories to the White House tech corps, and started her own very successful design firm, Ilesnet Design. She designed a web-based textbook – the first of its kind – for the Computational Science Education Project, a K-12 educational program to teach the principles of high-performance computing. She later transitioned into a full-time career in fine art, exhibiting her paintings and photographs in juried shows around the world. Iles and her husband, Dr. James J. Hack, established the Kimberly D. Iles Art Scholarship Endowment in 2015. The endowment supports multiple scholarships awarded annually to undergraduate students in the School of Art. Alumni in the Permanent Collection The Dirty Dozen - First Year MFA Exhibition August 31 - September 1, 2018 Exhibiting students are: Alissa Walls, Washington & Lee University Quynh Nguyen Duc Diem, University of Architecture, Ho Chi Minh City Erin Wohletz, University of Nevada-Reno Mary Climes, Art Institute of Chicago Gina Stucchio, University of South Florida Kate Clark, University of Minnesota- Twin Cities Conor G. McGrann, Syracuse University Nyasha Madamombe, Chinhoyi University of Technology, Zimbabwe Lauren Terry, VCU Lilly Saywitz, Boston University Kelsie Conley, VCU Jake Miller, Western Illinois University Ben Seamons The UT Downtown Gallery is pleased to present an exhibition of work by Ben Seamons. Ben received his MFA in Painting from the University of Tennessee in 2012. He passed away in 2016, and this exhibition is in celebration of his life. Chakaia Booker: Auspicious Behavior Sculptor Chakaia Booker fuses ecological concerns with explorations of racial and economic difference, globalization, and gender by recycling discarded tires into complex assemblages. Booker began to integrate discarded construction materials into large, outdoor sculptures in the early 1990s. Tires resonate with her for their versatility and rich range of historical and cultural associations. Booker slices, twists, weaves, and rivets this medium into radically new forms and textures, which easily withstand outdoor environments. Face To Face - Joseph Delaney Death Rock City: Dannielle Tegeder Featuring new and recent work, Death Rock City examines how New York artist Dannielle Tegeder challenges the two-dimensional boundaries of traditional painting through the integration of animation, sculpture into her work. Dannielle Tegeder earned her BFA from the State University of New York at Purchase and her MFA from the School of the Art Institute of Chicago. She has had solo gallery exhibitions in Paris, Berlin, New York, Los Angeles, Chicago, and Houston and participated in numerous group exhibitions at PS1/MoMA, The New Museum, The Brooklyn Museum, and the Museum of Contemporary Art, Chicago.Her work is in the collections of a number of museums including the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago, and the Weatherspoon Art Museum at the University of North Carolina at Greensboro. New Topology: Paul Krainak March 7 - March 29, 2014 "Topology" employs elements of early modern logic and its attendant forms in art and technology. It considers aesthetic and industrial incentives originating in rural America and calls into question modernism's strictly urban mythology. Grids, cruciforms, and wood grain details are embedded in extended patterns calling to mind Constructivist and Bauhaus Schools' principals of industrial hybridity and utopianism. But the site of industry here is agriculture with distilled forms taken from domestic textile design, land management diagrams, and vernacular architecture. Paul Krainak is an artist, critic, and Chair of the Art Department at Bradley University. As one of the Dogwood Arts Festival's featured exhibits, NEXUS, showcases national and international artists working in contemporary sculpture and 3D media. Indoor sculptures comprising all styles and genres from emerging and established artists will be selected by esteemed professor, Laticia Bajuyo, for exhibition at the University of Tennessee's Downtown Gallery. MFA Exhibition: Eric Cagley http://www.ericcagley.com Marion Greenwood in Tennessee Marion Greenwood in Tennessee features her mural of the history of Tennessee music painted for the University Center at the University of Tennessee in 1954; "The Partnership of Man and Nature," a WPA mural painted in 1940, graciously loaned by the Crossville, TN Post Office; preparatory sketches loaned by UT Special Collections; and lithographs from the permanent collection of the Ewing Gallery of Art and Architecture. Ask Me, I can Help. An exhibition of the incoming class of 2017 MFA candidates. Twelve student artists feature their current work as they begin their graduate studies at the University of Tennessee, School of Art. Exhibiting students are: Corinna Ray, Anna Wehrwein, Jing Qin, Josh Shorey, Jessica Gatlin, Abigail Lucien, Elysia Mann, Adam Higgins, Meg Erlewine, Geoff Silvis, Chris Spurgin, and Bailey Davenport. AIR of UT Air of UT is an exhibition of the Limited Box Edition project, curated by artists Wade Guyton '95, Josh Smith '98, and Meredyth Sparks '94. The Limited Box Edition project is part of a fund raising campaign to support the School of Art's Artist-in-Residence in Painting and Drawing program. Now in its 32nd year, the Artist-in-Residence (A.I.R.) program enriches a student's experience by bringing a different artist to spend the semester teaching undergraduate and graduate students. The resident artists are selected because they have launched successful careers in the contemporary gallery and museum world nationally and internationally. They furnish students with significant role models and faculty with new professional connections beyond Knoxville. Each of the organizing alumni -- Wade Guyton, Meredyth Sparks, and Josh Smith -- benefited from this program, and have asked their former School of Art peers as well as past Artists in Residence to contribute images to the three curated portfolios making up the Limited Box Edition. AIR of UT and the Limited Box Edition is a celebration of the legacy and impact of the Artist in Residence program on the School of Art and its graduates. DeWitt Godfrey: Drawings, Proposals, Plans, Models, Diagrams, Documents DeWitt Godfrey is a Professor of sculpture in the department of Art and Art History at Colgate. Godfrey completed his undergraduate work at Yale University, was a member of the inaugural group of CORE Fellows at the MFA Houston, and received his MFA from Edinburgh College of Art, Edinburgh, Scotland. He is the recipient of numerous grants and fellowships, including a National Endowment for the Arts Artist's Fellowship, a New York Foundation for the Arts Artists Fellowship, a Japan Foundation Artist's Fellowship, and a Louis Comfort Tiffany Foundation Artist Fellowship. His work is in the collections of the Museum of Fine Arts, Houston, Texas and the Brooklyn Museum, Brooklyn, New York. His commissioned work includes "Concordia" for Lexarts, Lexington, KY; "Waverly Place" Cambridge Arts Council; "Greenwich South" a visioning exercise by the Downtown Alliance, New York, NY and installations at Frederik Meijer Garden and Sculpture Park, Grand Rapids, MI; The DeCordova Museum and Sculpture Park, Lincoln, MA; and the Kennedy Art Museum, Ohio University, Athens, OH. Louis Chan: My Home My Home is an on-going project aimed to help define my identity as a Chinese American and attempt to preserve generations of memories and experiences of Chinese immigrants through photography. My Home serves as a contemporary marker for Chinese Americans to reflect on the hopes, dreams, and sacrifices made for them by older generations in order for their children to have a chance of a better life in America. Of A Feather Artists throughout history have found inspiration in the form of birds. Man imbued birds with mystical and religious meaning due to their fascinating ability to exist in two worlds – the earthly world, and the sky, or heavenly realm. Drawn primarily from the Ewing Gallery’s permanent collection, Of a Feather features works from historic and contemporary artists who represent birds in a diverse assortment of styles. While some artists approach the bird as studies of simplified form others utilize strategies of space and distance to take a more poetic or analytical look at the economic and social issues attached to birds. Works range from hyperrealism to whimsical to abstract. This exhibition incorporates a number of artists of artists from New York and Chicago including Keith Haring, Michael Kirk, Keith Long, Diane Churchill, and Laurie Hogin; regional artists, Howard Finster, Todd Johnson, Kelly Hider, Heather Middlebrooks, Gary Monroe, and Richard Jolley, as well as distinguished faculty from the University of Tennessee – Jered Sprecher, Diane Fox, Beauvais Lyons, Marcia Goldenstein, Don Kurka, Bill Kennedy, Clark Stewart and Byron McKeeby. The artworks on display consider themes of scientific inquiry, symbolism, environmental consciousness, and the rituals of birding, among others. The exhibition is in tribute to the late artist Ellen Lanyon who often used images of birds in her art. In the summer of 2013, six students accompanied Ewing Gallery director, Sam Yates to New York, Philadelphia, Boston, New Haven, and Washington DC. They visited major art museums, had studio visits with artists, and learned about the contemporary art world. The work on display was inspired by their travels. The exhibiting students are, Alexandra Gellis, Eric Cagley, Brandon Donahue, Sarah Campbell, Jessica Beeler, and Kelly Householder. Chad Curtis: Panorama of Desire Chad D. Curtis is an artist and technologist living and working in Philadelphia. Drawing inspiration from both digital technology and homebrew DIY makers, Curtis's work examines the abstraction of materiality in the digital age and the effects of high technology on the relationship between human beings and the natural environment. Curtis has exhibited internationally, including more than fifty solo and group exhibitions in the past ten years. He holds an M.F.A. from Alfred University and is an Associate Professor at the Tyler School of Art, Temple University. William Lamson: Fieldwork William Lamson is a Brooklyn-based artist who works in video, photography, performance, and sculpture. His work is in the collections of the Brooklyn Museum, the Dallas Museum of Art, the Museum of Fine Arts, Houston, and a number of private collections. Since graduating from the Bard M.F.A. program in 2006, his work has been shown at the Indianapolis Museum of Art, the Brooklyn Museum, P.S.1 MOMA, and the Museum of Fine Arts in Santa Fe, among others. Lamson is currently working on two installations for Storm King Art Center in Mountainville, New York. March 25 - April 6, 2013 As one of the Dogwood Arts Festival's featured exhibits, NEXUS, showcases national and international artists working in contemporary sculpture and 3D media. Indoor sculptures comprising all styles and genres from emerging and established artists were selected by nationally recognized juror, Durant Thompson, for exhibition at the University of Tennessee's Downtown Gallery. Durant Thompson is an Associate Professor of sculpture in the Department of Art at the University of Mississippi. In 1997, Durant received a BFA in Sculpture from the University of Tennessee at Knoxville and in 2001 he earned an MFA in Sculpture from Louisiana State University. He has also worked at The Johnson Atelier School of Technical Sculpture in New Jersey and at the University of Southern Mississippi as a technician and instructor before accepting his current position. MFA: Greg Daiker, Alex Merchant, Shelly O'Barr, and Neil Ward Knoxville Watercolor Society 50th Anniversary Exhibition June 7 - 29, 2013 The KWS celebrates its 50th anniversary with an exhibition of works by the current members as well as highlighting the founding members: Robert Birdwell, Ted Burnett, Richard Clarke, Kermit "Buck" Ewing, George Galloway, Martha Godwin, Arlene Goff, David Joyner, Josephine Mayo, Margaret Scanlan, Walter "Holly" Stevens, Carl Sublett, and Betsy Worden. Print Resonance Fifty graduate students and faculty members at five universities: the University of Alberta, Canada; the University of Tennessee, Knoxville; the Royal Academy of Fine Arts, Antwerp, Belgium; Silpakorn University, Thailand and Musashino Art University, Tokyo, Japan created prints specifically for this project. The participating artists made their prints on the same size paper, allowing the viewer to focus on the image, rather than the scale of the work. The audience is encouraged to consider the artistic expression from each university and to find commonality across geographic and cultural borders, as the printmakers share ideas about their own interests, lives, and values. The works were created using various print techniques, which include inkjet, etching, drypoint, chine-colle, lithography, woodcut, intaglio and blind printing. This portfolio is a limited edition of 10 copies, two for each of the five universities, with the goal of further development of printmaking education around the globe. The University of Tennessee Downtown Gallery is excited to present "20 Years Later, UTK School of Art, MFA Class of 1993." This exhibition features the work of 14 MFA artists from the UTK School of Art Class of 1993. Artist's will be displaying work that is current or important in their journey in fine arts over the last 20 years. The UT MFA program attracts students from different regions of the United States as exemplified in this exhibition, which include artists from Mississippi, Florida, Minnesota, New York, Michigan, Kentucky and Tennessee. Artists included in the exhibition: Scott Palmer -- Ceramics, Annette Bongers - Ceramics, Melody Reeves -- Printmaking, Rob Tarbell -- Painting, Eric Fracassi -- Sculpture, David Deitrick -- Graphic Design, Eric Smith -- Graphic Design, Joel House -- Sculpture, Melanie McLaughlin -- Graphic Design, Kris Rehring Jones -- Graphic Design, Debi Henry Danielson -- Painting, Brad Cantrell -- Ceramics, Laurie Robichaux -- Ceramics, Earl Watson -- Graphic Design. Echo of the Object "Echo of the Object" is an exhibition by the artists and Ball State faculty members: Hannah Barnes, Jennifer Halvorson, David Hannon, and Jacinda Russell. This exhibition will bring together several series of works in drawing, painting, photography, and sculpture. Each body of work explores how objects of symbolic or personal significance play a role in the construction of memory, identity, and meaning. The metaphor of containment is a consistent theme in each artist's work, both in the use of objects whose literal function is to contain (bags, jars, boxes), and also in the suggestion that seemingly insignificant objects have a certain capacity to become filled with meaning. Time, humor, absurdity, the domestic, and the everyday are additional themes this exhibition will seek to explore. Ossuary: A project by Lorrie Beth Clarke Three hundred artists have contributed to Ossuary. Their work, in many media, includes single bones, clusters of bones, and art works inspired by, using, or playing with the idea of bones. These bones are political statements and personal elegies, memorials to individuals and statements about mortality. They represent connections to our ancestors and/or to our descendants. Some works are serious and some use bones in a completely playful manner. Ossuary was developed in response to the repositories of bones that have accrued in countries like Cambodia and Rwanda, but Ossuary is not a project about those traumas. Rather, Ossuary offers a poignant counter-image to mass violence. It is a project about the hope that art brings. Images and statements for all the bone works from this iteration can be found online at www.ossuaries.net. Ossuary is a cummulative traveling project. It began in Madison, Wisconsin. Artists interested in contributing bones to future exhibitions should write to ossuaries@gmail.com. This relational project was initiated and developed by the artist Laurie Beth Clark. Clark, who is a Professor in the Art Department at the University of Wisconsin, has shown work in galleries, museums, theatres, and public spaces in North and South America, Europe, Asia and Africa. Extensive documentation of prior projects can be found at www.lbclark.net. AAA 75th Anniversary Print Portfolio This is the first digitally produced portfolio published by American Abstract Artists. All past portfolios—1937, 1987, 1997—were produced using various forms of lithography and means of transferring image to plate. Unlike traditional printmaking, the digital inkjet process does not involve a physical matrix from which ink is transferred to paper. This marks both a technical and a conceptual shift in printmaking. Our choice of the medium situates this portfolio squarely in the current century and is an indication of the group's forward momentum. The artists were asked to provide a digital file meeting predetermined specifications, yet no restrictions were placed on how the file could be created. The digital process enabled a wide variety of approaches that include abstract and documentary photography, scanning of flat-work made expressly for the project, digital compositing and image manipulation, as well as the use of vector-based software and hand-coded algorithms. The results are as varied as the artists' individual sensibilities.	cc/2021-04/en_head_0009.json.gz/line46
__label__wiki	0.620894	0.620894	Imagework Built in 1902 construction was aided by a temporary cable car from the cliff installed for the transport of workers and building materials to an iron ocean platform adjacent to the lighthouse. 3,660 tons of Cornish granite were used in the construction of the tower. For more than 80 years, the red-and-white striped tower was manned by three lighthouse keepers. Their primary job was to maintain the revolving light, which was then visible 26 nautical miles out to sea. For most of the 20th century cooking was done on a solid-fuel range and the accommodation was lit by paraffin lamps. Electricity first reached the lighthouse in 1975, whereupon an electric lamp was installed in the optic. The pier at Eastbourne, located on the East Sussex Coast. ‘A little English seaside town, as ridiculous as these sorts of places always are… too many draughts and too much music.’ Claude Debussy, 1905. It was here, on the South Coast, that Debussy completed the proofs of his masterpiece La Mer, spending the summer in the Grand Hotel while continuing his clandestine affair with Emma Bardac, discretely registered as Mrs Debussy. He stated 'its a peaceful and charming spot' where he could 'relax like an animal' Built in 1902 construction was aided by a temporary cable car from the cliff installed for the transport of workers and building materials to an iron ocean platform adjacent to the lighthouse. 3,660 tons of Cornish granite were used in the construction of the tower. For more than 80 years, the red-and-white striped tower was manned by three lighthouse keepers. Their primary job was to maintain the revolving light, which was then visible 26 nautical miles out to sea. For most of the 20th century cooking was done on a solid-fuel range and the accommodation was lit by paraffin lamps. Cuckmere The Seven Sisters Cliffs and Coastguard Cottages showing Cuckmere Haven. "In September 1783 gangs of 200 or 300 men arrived at Cuckmere Haven twice within a week and defiantly carried off their goods, despite opposition and the fact that the sea was extremely rough. A contemporary newspaper reported that it was quite common to see a dozen smuggling vessels lying off the coast in broad daylight at this time”. Numerous shipwrecks at Beachy Head in the 17th and 18th Centuries eventuated in the construction of the Belle Tout Lighthouse. Completed in 1834, its use of 30 oil lamps meant that the lighthouse required two gallons of oil every hour. Unfortunately its cliff top location caused visibility issues when the sea mists obscured the light, obviously problematic for a lighthouse, and it was decommissioned in 1902. Erosion over the years meant the entire lighthouse had to be relocated in 1999. © Imagework 2014 \| +44 (0)20 3397 2628	cc/2021-04/en_head_0009.json.gz/line47
__label__wiki	0.765208	0.765208	Gander Streets Egdar Baird by Frank Tibbo When the Town Council of Gander named a street in honour of Edgar Baird, they recognized one of the true pioneers of the town. Baird, who first came to Gander in the spring of 1948, was one of the first to realize that something had to be done to accommodate the people stuffed in buildings surrounding the airport, and he lobbied the government to establish a permanent town site near the Gander Airport. He then went on to become the first chairman of the Local Improvement District and the first to complete a house in what was to become the Town of Gander. (His house was built in conjunction with the Veterans Land Act Administration, an agency of the Federal Department of Veterans' Affairs. Although not directly concerned with the establishment of the Town site, Veterans’ small holdings were established just outside the original Town site limit before 1950 and were included in the Municipal Area when the Local Improvement District was established.) Prior to World War II and prior to there being a Gander, Edgar Baird was involved with the use of aircraft, especially as it related to the Newfoundland forests. It was about this time that he had considerable influence in persuading the Newfoundland government to use aircraft to help protect the forests. He is considered the pioneer in the use of aircraft for combating forest fires in Newfoundland. He was born in Campbelton, Notre Dame Bay, Newfoundland, on May 28, 1911. He attended the one-room school in Angle Brook, finished Grade XI and went on to Memorial College. Next came a combined interest in flying and forests. In 1935 he was appointed the Chief Woods Ranger of Newfoundland by the Governor on a recommendation from London and stayed in the position until 1937. During that period, he was flown around by Doug Fraser (Fraser Road, Gander). Fraser and Cliff Kent (Kent Place, Gander) were the two pilots employed with Imperial Airways. That company, among other things, conducted on behalf of the Geodetic Survey of Canada, an aerial survey of Newfoundland in 1937. War changes a lot of lives, and Edgar Baird's was no exception. His first thought in 1939, considering his knowledge and experience, was to join the Overseas Forestry Unit. He volunteered and was appointed District Superintendent with the Newfoundland Overseas Forestry Unit in Scotland. He took charge of the largest contingent of men ever to sail from Newfoundland in any service. John Arrowsmith, Lieut. Commander in the Royal Navy wrote to Captain Jack Turner, O.B.E., Officer in Charge of the Newfoundland Forestry Unit: "Dear Sir, I have had the honour of being Liaison Officer to Mr. Edgar Baird of the Newfoundland Forestry Unit on a voyage from St. John's, Newfoundland to the United Kingdom. Mr. Baird was in charge of nearly a thousand Newfoundland Foresters and their conduct and behaviour was so exemplary that I feel it a duty to bring this to your notice." F.H. Daicokovski, Master of the "Chrobry" on which the men were transported, wrote a similar letter. Three months later, while the "Chrobry" was engaged in the Norwegian campaign, it was sunk with all hands. _ As did many other Newfoundlanders, Baird decided to apply for a transfer to the Royal Air Force. The RAF accepted him in April 1941, and he received his officer's commission as soon as he earned his RAF pilot's wings in 1942. He must have impressed the RAF because they decided to keep him at the training school as a flying instructor. First it was on twin-engine aircraft at Service Flying Training Units and later on Advanced Flying Training Units. He eventually taught pilots the intricacies of "blind" flying in Beam Approach Training ("BAT") School. Baird's natural modesty comes through in this statement: "That's all we did. We'd take the pilot out and get him lost, and we'd teach him how to get back on instruments. Not much to it, really, when you know how." His wife, the former Mary Snartt, was the secretary to the Newfoundland Trade Commission in London when they married in 1944. When you are in the military, you do as you are told. Baird was told that his unit, RAF No. 33 Service Flying Training School, was being transferred to Manitoba. "The works of us were shipped off – the whole station: cooks, mechanics, dishwashers, instructors, to train RAF pilots in Canada!" The reason was the weather, more space, the danger in England, and available airfields in Canada. The RAF also sent whole units to Rhodesia. In March 1944, Baird was sent back to England again. This time he was sure he was going to be assigned to bombers because the Allies were involved with the massive bomber raids on Germany. But he was told that he was needed to continue to give advanced training to pilots who needed instrument flying training. By war's end, he had obtained the rank of Flight Lieutenant. When he returned to Newfoundland, he naturally gravitated toward the woods operation and Bowaters hired him as a superintendent of their woods operation. He stayed with them from 1946 to 1948; but their philosophies were far apart. "After a while I couldn't stand the sight of Bowaters and Bowaters couldn't stand the sight of me so we parted company." Edgar has been one of the most articulate and thoughtful advocates that this province has known. His passion for the cause of establishing a town for Gander Airport residents can be determined by reading the following excerpts from a full page article in dated February 16, 1950. “Gander is to air transportation what Suez or Panama is to shipping. Gander is the crossroads of the world. ... There is no menace to Gander's future unless an earthquake should throw up another island some hundreds of miles further out in the Atlantic, or unless some artificial and manmade restrictions forbid its use. If, for instance, the people of this new province are prepared to sit idly by and allow the Air Transport Board to barter our position and importance for the privilege of getting T.C.A. a run to New York. ... If you lose your job or change your job you lose your home. What is even worse is that no one is allowed to build a home within five miles of Gander. That is a restriction laid on during the war and may have been necessary. It is kept on still, for God knows what reason. ... There are many people who wish to build their homes here. That can surely be no crime. ... What we want at Gander is a free town with simple, democratic constitutions, where the rule is the rule of the majority; where a man may own his own home on his own land and engage in any business or occupation he may choose within the laws of the land and the bylaws of the town; where private enterprise will be encouraged, not prohibited; where home building, cultivation and improvement will be counted a virtue, not a crime, and above all where freedom and democracy will rule.” (The Evening Telegram, 1950) It wasn't long before Baird went back to flying. On July 14, 1947, he obtained Senior Commercial Pilot's Licence No. 8 from the Newfoundland government's Civil Aviation Division of the Department of Public Works. (After Newfoundland joined Canada, he was issued a Canadian licence – No. SC-47.) Speed Baird (no relation), Ewan Boyd and Chuck Heron, an American, formed Terra Nova Aviation. "Speed and Ewan were also pilots, but they had other jobs; so I was the only full-time pilot on the Piper Cruiser. Later we got a four-seater Stinson. Our company got contracts from the Fire Patrol of Newfoundland, an association of Bowaters, A.N.D. and the Newfoundland government." "It was while I was flying with Terra Nova Aviation that I saw Joey Smallwood for the first time. We used Deadman’s Pond quite a bit. One day I landed there and there was this poor bedraggled fellow looking for a lift to the airport, I had left a vehicle there so I gave him a lift. I asked him who he was and he said 'I'm Joe Smallwood' Now there was a great deal of talk about Smallwood at that time and I asked him if he was Joe E. Smallwood that we hear so much about and he said, 'yes but it's Joey not Joe. E.” “I flew him around a few times. They put a loud-speaker in the aircraft that I was flying; and as we got close to the place where he would be speaking that night, I would fly over the town and he'd announce over the loud speaker where the meeting would be that night. The loud speaker came in handy a few times. Once I was returning from St. Anthony flying south along the east coast of the Great Northern Peninsula and seeing all those poor little schooners struggling through the ice up north. I used to fly over them and tell them where the ice was – wasn't supposed to be doing it of course.” "I then went flying for Newfoundland Airways for a couple of years, which was owned by Maritime Central. There were three of us, Carl Fisher, an American, Joe MacGillvery and me." (The Evening Telegram, 1950) He also purchased a Fox Moth (CF-BNM) on skis and floats from Carl Burke. "I paid sixteen hundred dollars for it, used it for two years and sold it for the same price. I needed the money for a truck." Baird started Caribou Cabins around 1949 and operated it for five or six years. He also formed Gander Lumber Company around 1954, a lumber business and building supplies company. That lasted for about 15 years and got a contract for exporting wood to Italy, Spain and England from Carmanville. Gander Lumber Company built quite a few houses in Gander with Phil Gillett as chief foreman and had as many as 50 people in the construction business and approximately 200 people working at the pulpwood. "We did very well with the pulp wood business but the government came up with a law that in order to get the pulpwood contracts again it was necessary to harvest the large trees and have a saw mill. I built a saw mill and it burned after a very short time and there was no insurance carried." (The Evening Telegram, 1950) It was interesting to find out why the first houses were built on what is now Memorial Drive, an area already under construction when the government decided to build a town site for those living around the airport. It seems that the Canadian Army in Gander during the war were worried about depending on the rail-road as the only transportation link between Gander and Lewisporte. (The port of Lewisporte was the only source of fuel for the aircraft.) They decided to build a road and started on both ends and in the middle. They were stopped because the opposition party in Ottawa complained that roads were being built unnecessarily in a foreign country out of taxpayers’ money. It is also possible that approval had not been received from the appropriate authorities. The result was that when the construction was stopped; there were two or three pieces of road going nowhere. "I had been suggesting to the authorities that we be given permission to build houses under the Veterans Land Act (VLA). The road that the army had started ('Glenwood Road' and now 'Memorial Drive') seemed to be an ideal location and we eventually got land grants and started to build. People "told us we were nuts." My house was the first of six to be finished followed soon by Ernest Peyton, Elmo Baird, Charlie Taylor, Scotty Tulk and Bob Walsh. We moved from Building 2 on the American Side to our new our house in June, 1951." "Al Vivian, the general manager of CMHC, approached me and asked me if I would serve on the Local Improvement District, the others were Rex Tilley representing Transport, Bob Walsh and a representative from CMHC." Baird went on to become the first chairman, an office equivalent to that of mayor." (The Evening Telegram, 1950) One of Baird's biggest concerns was for the town to develop as one cohesive unit. "… rather than a number of 'half-assed' villages – we already had Union East, Radio Range, Plumberville, Hillcrest and other budding villages. I am glad that we succeeded, and I believe that everyone is. It is noteworthy that in Gander there is no Snob Lane and no slum area. Incidentally, we (the Local Improvement District Board of Trustees) condemned to death a proposal by some Ottawa bureaucrat that the town should be named AIRLANDIA!" "You'll notice that I never seemed to stick with a job very long, the job of Chief Woods Ranger was one of the best jobs in Newfoundland, but I left that and went with the Island Timber Company. I suppose I should have stayed with a government job, then I could have had a pension, but I almost considered it a form of slavery, having to work for someone else." (The Evening Telegram, 1950) Ed note, also read; When Time Was Ripe For A New Town Site Contributed by F. Tibbo	cc/2021-04/en_head_0009.json.gz/line49
__label__cc	0.741018	0.258982	Acting Resume Reels & Clips Business CV Posts Tagged "Candle Cafe" Home » Posts Tagged "Candle Cafe" I'm Single!? Posted by Gary Ploski on Apr 18, 2008 in Blog How did that happen!? All of a sudden — Poof! I’m single. The ring (displayed to the right) is gone. And it didn’t even cost me anything! No heartache. None of those money things. None.... On Stage/Film Breakfast Smoothie Time Cast to Curtain NY news Archives Select Month August 2017 July 2017 December 2016 November 2016 February 2015 December 2014 November 2014 October 2014 August 2014 July 2014 May 2014 April 2014 March 2014 November 2013 October 2013 September 2013 August 2013 July 2013 June 2013 April 2013 January 2013 June 2012 May 2012 April 2012 March 2012 February 2012 December 2011 October 2011 September 2011 August 2011 July 2011 May 2011 April 2011 March 2011 February 2011 January 2011 December 2010 November 2010 October 2010 September 2010 August 2010 July 2010 June 2010 May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 January 2009 December 2008 November 2008 October 2008 September 2008 August 2008 July 2008 June 2008 May 2008 April 2008 February 2008 January 2008 December 2007 November 2007 October 2007 September 2007 August 2007 July 2007 June 2007 May 2007 April 2007 March 2007 February 2007 January 2007 December 2006 November 2006 October 2006 September 2006 August 2006 July 2006 June 2006 May 2006 April 2006 March 2006 February 2006 January 2006 December 2005 November 2005 October 2005 September 2005 August 2005 July 2005 June 2005 May 2005 April 2005 March 2005 February 2005 January 2005 December 2004 November 2004 October 2004 September 2004 August 2004 July 2004 June 2004 May 2004 April 2004 March 2004 February 2004 January 2004 December 2003 November 2003 October 2003 September 2003 August 2003 August 2002 July 2002 June 2002 May 2002 April 2002 March 2002 February 2002 January 2002 December 2001 November 2001 October 2001 September 2001 August 2001 July 2001 June 2001 May 2001 April 2001 February 2001 January 1999 July 1998 June 1998 May 1998 April 1998 March 1998 February 1998 January 1998 December 1997 November 1997 October 1997 September 1997 August 1997 July 1997	cc/2021-04/en_head_0009.json.gz/line51

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