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Nightlife Official Video 3:23: 7 Songs, 33 Minutes Released: Jul 28, 2014 ℗ 2014 Avitone Recordings; Also Available in iTunes More By Jody Watley See All. Jody W
Jody Watley Nightlife Itunes Help
Larger Than Life by Jody Watley on Apple Music
Jody Watley Digital Update December 6 – 12 | Official Jody ...
Jody Watley – Nightlife Lyrics | Genius Lyrics
Jody Watley - Nightlife Lyric Video 1 #JodyWatley #NuDisco #DanceMusic
Jody Watley - Nightlife [Moto Blanco Club Mix]
Paradise by Jody Watley on Apple Music
Jody Watley, SRL, Shalamar Reloaded, Shalamar, Grammy ...
Official Jody Watley Website | Grammy Winning Trendsetting ...
MP3: @JodyWatley » #Nightlife • VannDigital
Jody Watley | Discography | Discogs
Jody Watley - Nightlife (Single Preview Edit) by ...
June | 2013 | Official Jody Watley Website
Jody Watley on Apple Music
Jody Watley - Nightlife Official Video
Jody Watley: From ‘Soul Train’ to “Nightlife” | theqhblend
I Love The Nightlife. | Official Jody Watley Website
Jody Watley Nightlife Official Video (Dave Doyle Remix)
Poptastic Confessions!: Nightlife Remixed by Jody Watley
JODY WATLEY vs SHALAMAR - " Nightlife 2 Remember " by ...
Also Available in iTunes More By Jody Watley See All. 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Jody Watley 1987 You Wanna Dance With Me? (Remixed) 1989 Greatest Hits 1996 Midnight Lounge 2001 Paradise 2014 50 million songs. Three months on us. Start your free trial * Learn more * New subscribers only. Plan automatically renews after trial. ... Written by Jody Watley (Jody Watley Music, BMI) Julien Aletti, Raphael Aletti (Aletti Brothers Music, BMI) -Original produced by Count De Money for Peace Bisquit and Jody Watley. Nightlife Moto ... Through the late 70's and into the 80's brought us some of the best rhythmic dance music ever recorded. Music that is now termed "Old School" is played on greatest hits stations everywhere. Where are the people responsible for the song? We'll find out, on The Old School Rewind.
Top 10 Tracks with Spotify remaining top streaming service for Jody Watley listeners Dec. 6 -12. Youtube link to Nightlife - all music can be found there if you're not a Spotify subscriber - it's also on Apple, iTunes, Amazon and so on - decades of quality music. Nightlife (Soulpersona Classic Soul Mix)… Discovered using Shazam, the music discovery app. To Be With You This song is by Jody Watley and appears on the album Intimacy (1993). Hello, my special one I'm captured by your charm I'm so sincere about you, boy Just let me show you how Let's create a mood of love And bathe by candlelight I've been wanting you for, oh, so long...
Nightlife Jody Watley. Nightlife Lyrics. Nightlife Spotlight Don't matter where you're from A worldwide phenomenon I love the nightlife Spotlight Don't matter where you're from A worldwide ... From her groundbreaking marriage of rap and R&B (1987's "Friends", ground-breaking collaboration with hip hop legends Eric B. & Rakim) to her vision forward-marriage of high fashion, street fashion and music in the 80's (long before it became the norm), to her fusion of jazz and underground club culture with keen pop instincts, and the ease with which she crossed and still crosses genre ...
50+ videos Play all Mix - Jody Watley - Nightlife Lyric Video 1 #JodyWatley #NuDisco #DanceMusic YouTube Celine Dion Greatest Hits Full Album - Best Love Songs of Celine Dion [HD] - Duration: 2:00:53. Lyrics to 'Looking For A New Love' by Jody Watley. Hasta la vista, baby / You gave me love, you did me wrong / Didn't know what to do / But baby, I'm strong, gonna get over you
Our new desktop experience was built to be your music destination. Listen to official albums & more. Lyrics to 'Everything' by Jody Watley. Lately / I feel so all alone / Can't find the joy / You know that I'd be with you now / If I had the choice / I know I hurt you when I said goodbye
Nightlife 4:15: 2 Dancer (feat. Luminodisco) 4:37: 3 ... 6:38: 6 Songs, 30 Minutes Released: May 6, 2016 ℗ 2014 Avitone; Also Available in iTunes More By Jody Watley See All. 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Jody Watley 1987 The Makeover 2006 Larger Than Life 1989 You Wanna Dance With Me? (Remixed) 1989 Greatest Hits 1996 50 million songs. Three ... Find the song lyrics for Jody Watley - Top Tracks. Discover top playlists and videos from your favorite artists on Shazam! If you did not order the LP from KING's website, your copy is bootleg. The official LP has a glossy cover, not the bootleg. The bootleg also has a bad quality print.
Jody Watley – Winter Nights EP due mid February. The first in a series of seasonal releases. Short, sexy and sweet with remixed by Alex Di Cio’ and a new song featuring SRL. The first in a series of seasonal releases. She’s an innovative music maker, a style-forging pioneer: since the 80s, Grammy-winning multi-talented Jody Watley has led the way as an entrepreneur working in the independent music world as one of the few already-established female best-selling artists to produce, create and own her recordings.
Finding a variety of ways to release my music remains important. When releasing “Paradise” EP in 2013 I discussed in many interviews that with short attention spans, albums not being the same experience with fans being able to pick and choose which songs to add to their own playlists EP’s would probably be the way to go. Lyrics to 'Workin' On A Groove' by Jody Watley. It's been a long while since we shared some special time alone / I think we should get away take a romantic holiday
Original content by VannDigital is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike International License. Not seeing a Scroll to Top Button ? Go to our FAQ page for more info. Jody Watley is the eponymous debut studio album by American singer Jody Watley, released on February 23, 1987, by MCA Records. Although the singer already found success as a part of the trio Shalamar, the impact of this album made Watley a cultural style icon in contemporary R&B, pop and dance music.
Born January 30, 1959 in Chicago, Illinois, USA. American singer, songwriter, and record producer. Starting her musical career through the U.S. television show Soul Train, Jody went on to be selected as one of the original members of Shalamar (1977 to 1983). A Grammy Award Winning singer-songwriter, producer and president/CEO of Avitone Recordings, she has had 6 top ten pop hits, 15 top 40 R&B ... Get the latest Jody Watley News: jodywatley.net--On the heels of her funky hit single, “Nightlife” becoming a Top 5 Urban and Top 10 Commercial Pop hit in the UK and Top 20 Hot Dance Club Play on Billboard gaining international success, dance music legend and Grammy-winning pop icon, Jody Watley continues to master her career.Jody’s individuality and style in Dance and R&B music is ...
Buy it NOW at iTunes and all digital outlets! WRITTEN BY: Jody Watley (Jody Watley Music, BMI), Julien Aletti, Raphael Aletti (Aletti Brothers Music BMI) PRODUCED by COUNT DE MONEY for Peace Bisquit and Jody Watley.Co Produced by Bill Coleman. Mixed by Count De Money and Bill Coleman. Executive Producers Jody Watley and Peace Bisquit. Mastered by Steve Hall for Future Disc Systems. Jody Watley Discography added a new photo to the album: JODY WATLEY Era — with Jody Watley. Discover releases, reviews, credits, songs, and more about Jody Watley - You Wanna Dance With Me? at Discogs. Complete your Jody Watley collection.
10 posts published by Admin during June 2013. UPDATE. Despite keeping a fairly low profile and out of tabloid grabbing headlines (thankfully), I’ve continued to evolve and release quality music, while raising my son and daughter who are now young adults and in college. Hier gibt’s die Offiziellen Deutschen Charts in ihrer ganzen Vielfalt. Denn: Hier zählt die Musik.
Grammy Award-winning vocalist, producer, and songwriter Jody Watley made a name for herself with the dance-soul trio Shalamar before she embarked on a solo career that brought her several Top Ten pop hits and a reputation as "The Queen of Cool." Watley was born in Chicago, Illinois, on January 30, 1…. Available with an Apple Music subscription. Jody Watley's eclectic range of guest appearances, collaborations and duets include the historic Band Aid single, modern funk's Dam-Funk, George Michael, Roy Ayers, Stevie Wonder, 4Hero, contemporary folk music's Peter Harper and more. Discover releases, reviews, credits, songs, and more about Jody Watley - Larger Than Life at Discogs. Complete your Jody Watley collection.
Arise Entertainment 360 with the Grammy Award Winning Musical Icon Jody Watley - Duration: 11:41. AriseEntertainment 360 14,179 views Artist information Sort name: Watley, Jody Type: Person Gender: Female Born: 1959-01-30 (61 years ago) Born in: Chicago, Illinois, United States Area: United States IPI code: 00086147264 ISNI code: André Cymone (born Andre Simon Anderson; June 27, 1958) is an American bassist, songwriter and record producer.Cymone was a bass guitarist for recording artist Prince's touring band, pre-Revolution. Cymone began a solo career in 1981. His song, "The Dance Electric" (written by Prince), reached number ten on the R&B charts.
In her fifth decade as a recording artist, Jody Watley bears no marks of fatigue. The Chicago born (and later) Los Angelino's intrinsic sense of cool and fashion-forward appeal pushed her from unforgettable 'Soul Train’ dancer staple to one-third of one of the most beloved / influential R&B groups of its era, Shalamar. After departing Shalamar in 1983, Watley relocated to the… Jody Watley, Actress: Mystery Men. She's an innovative music maker, a style-forging pioneer: since the mid-90s, Grammy-winning multi-talented Jody Watley has led the way as an entrepreneur working in the independent music world as one of the few already-established female best-selling artists to produce, create and own her recordings. Known for combining beauty and style as integral...
We're just getting started with the single. An official video, limited edition vinyl, remixes by Moto Blanco and Jodie Harsh being completed as I type. Initially, I wasn't going to do remixes because I want everything about this to be 'classic'. That said, these will service a broader club community while maintaining the integrity of… A website that collects and analyzes music data from around the world. All of the charts, sales and streams, constantly updated.
Written by Jody Watley (Jody Watley Music, BMI) Julien Aletti, Raphael Aletti (Aletti Brothers Music, BMI) Remix by Dave Doyle. Nightlife - the Top 5 Urban and Top 10 Commercial Pop Single, Music ... Although he never became a household name, Rakim is near-universally acknowledged as one of the greatest MCs -- perhaps the greatest -- of all time within the hip-hop community. It isn't necessarily the substance of what he says that's helped him win numerous polls among rap fans in the know; the ma…. Available with an Apple Music subscription.
Nightlife Official Video 3:23: 7 Songs, 33 Minutes Released: Jul 28, 2014 ℗ 2014 Avitone Recordings; Also Available in iTunes More By Jody Watley See All. Jody Watley 1987 The Makeover 2006 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Borderline - Single 2006 Midnight Lounge 2001 I Want Your Love - The Remixes ... Jody Watley now has the distinction of being among the few artists who have been to #1 on Billboard’s Hot Dance Music/Club Play chart in all of the past three decades (the 1980s, 1990s, and 2000s). The same year, Watley was invited to participate in the Force of Nature Relief Concert to aid the victims of the 2004 Indian Ocean earthquake. From Fly Girl to backup dancer for Janet …oh wait! I’m getting my DIVAS mixed-up. Let’s try this again … From Soul Train dancer to member of the 70s and 80s disco/R&B group Shalamar, to fashion icon and actress to dance floor D-I-V-A, Jody Watley truly is the shit! After leaving Shalamar in the early 80s, Jody took off for the UK and worked on a variety of projects.
Dear Poptastic Readers, Hopefully you have been enjoying one of the best tunes of 2013 ... "Nightlife" by Jody Watley. And now she has released a remixed EP on iTunes with some great mixes of her FABulous song. Jody Vanessa Watley (born January 30, 1959) is an American singer, songwriter, record producer, and artist whose music crosses genres including pop, R&B, jazz, dance, and electronic soul.
Stream JODY WATLEY vs SHALAMAR - " Nightlife 2 Remember " by Count de Money from desktop or your mobile device Jody Watley (1987) Looking For A New Love Still A Thrill Some Kind Of Lover For The Girls Love Injection Don't You Want Me Do It To The Beat Most Of All Learn To Say No (with George Michael) Larger Than Life (1989) Real Love Friends (featuring Eric B. & Rakim) Everything What'cha Gonna Do For Me...
Grammy Award-winning vocalist, producer, and songwriter Jody Watley made a name for herself with the dance-soul trio Shalamar before she embarked on a solo career that brought her several Top Ten pop hits and a reputation as "The Queen of Cool." Watley was born in Chicago, Illinois, on January 30, 1…. Available with an Apple Music subscription. Ipad home page safari. Buy it NOW at iTunes and all digital outlets! WRITTEN BY: Jody Watley (Jody Watley Music, BMI), Julien Aletti, Raphael Aletti (Aletti Brothers Music BMI) PRODUCED by COUNT DE MONEY for Peace Bisquit and Jody Watley.Co Produced by Bill Coleman. Mixed by Count De Money and Bill Coleman. Executive Producers Jody Watley and Peace Bisquit. Mastered by Steve Hall for Future Disc Systems. Delete itunes from imac. Also Available in iTunes More By Jody Watley See All. 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Jody Watley 1987 You Wanna Dance With Me? (Remixed) 1989 Greatest Hits 1996 Midnight Lounge 2001 Paradise 2014 50 million songs. Three months on us. Start your free trial * Learn more * New subscribers only. Plan automatically renews after trial. . Top 10 Tracks with Spotify remaining top streaming service for Jody Watley listeners Dec. 6 -12. Youtube link to Nightlife - all music can be found there if you're not a Spotify subscriber - it's also on Apple, iTunes, Amazon and so on - decades of quality music. Nightlife (Soulpersona Classic Soul Mix)… Nightlife Official Video 3:23: 7 Songs, 33 Minutes Released: Jul 28, 2014 ℗ 2014 Avitone Recordings; Also Available in iTunes More By Jody Watley See All. Jody Watley 1987 The Makeover 2006 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Borderline - Single 2006 Midnight Lounge 2001 I Want Your Love - The Remixes . Arise Entertainment 360 with the Grammy Award Winning Musical Icon Jody Watley - Duration: 11:41. AriseEntertainment 360 14,179 views Nightlife 4:15: 2 Dancer (feat. Luminodisco) 4:37: 3 . 6:38: 6 Songs, 30 Minutes Released: May 6, 2016 ℗ 2014 Avitone; Also Available in iTunes More By Jody Watley See All. 20th Century Masters - The Millennium Collection: The Best of Jody Watley 2000 Jody Watley 1987 The Makeover 2006 Larger Than Life 1989 You Wanna Dance With Me? (Remixed) 1989 Greatest Hits 1996 50 million songs. Three . We're just getting started with the single. An official video, limited edition vinyl, remixes by Moto Blanco and Jodie Harsh being completed as I type. Initially, I wasn't going to do remixes because I want everything about this to be 'classic'. That said, these will service a broader club community while maintaining the integrity of… Frontier email iphone setup. Jody Watley – Winter Nights EP due mid February. The first in a series of seasonal releases. Short, sexy and sweet with remixed by Alex Di Cio’ and a new song featuring SRL. The first in a series of seasonal releases. Stream JODY WATLEY vs SHALAMAR - " Nightlife 2 Remember " by Count de Money from desktop or your mobile device Nightlife Jody Watley. Nightlife Lyrics. Nightlife Spotlight Don't matter where you're from A worldwide phenomenon I love the nightlife Spotlight Don't matter where you're from A worldwide .
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Errata, 2020
Down & Across, 2020
Student Work (Playing The Standards I – V), 2020
The Long Term (A Measure of Intimacy I – V), 2020
It’s Just a Matter of Time, 2020
Long Casting (A Page on Regret), 2019
Margarita’s Music Book (Spes Vitae), 2018
Learning the Language (Present Continuous I), 2018
Learning the Language (Present Continuous II), 2018
To Our Parents, 2018
New York Public Library Picture Collection (Subject Headings), 2018
New York Public Library Picture Collection (Subject Headings – Cross References), 2018
Song, 2018
Revision, 2017
Der Familienroman (The Family Novel), 2017
The Difference Between Thirty Two and Forty Five, 2017
Forty Seven Drawings by Marion Milner, 2017
A Portrait of Sherrie Levine, 2017
Vanitas (From Remorse to Regret), 2017
Interlude, 2017
Words Like Love: Alphaville, First Scenes, 2017
The Inner Shadow, 2016
The Illustrated Adventures of Attention, Memory, and Expectation, 2016
Studies for a Series on Love (Wendy’s Hands), 2015
The Dreams I’ve Left Behind, 2015
Family Album (Aunts and Uncles), 2015
Index (With Feeling), 2015
Allegory, or, The Perils of the Present Tense, 2015
Mirrored Portrait, 2015
Untitled (Blue Frame), 2015
A Portrait of Robert Walser, 2015
Nine Lists, 2015
Words With Ruscha, 2014
Untitled (Remembered), 2014
The Style It Takes (Excerpts), 2014
A Truce Mistaken For Surrender, 2014
A Portrait of the Artist Approaching Forty, 2014
Musings, 2013
A Printed Portrait of Julie Ault, 2013
Shortly After Breakfast She Received The News, 2012
If in Time, 2012
Index (An Orphan), 2012
A Portrait of the Artist as a Young Man, 2012
Where I’m Calling From, 2012
An Abridged History of Regret, 2012
Four Modes of Experiencing Regret, 2012
Methodology, 2011
The Gift and the Retribution, 2011
The Reader, 2011
Fragile Images That Keep Producing Death While Attempting To Preserve Life: Flowers found in crimes scenes_001-004, 2011
Present Memory, 2010
Turning Some Pages, 2010
The Two Stories, 2009
Zeide Isaac, 2009
Everness, 2008
The Ramones (An Autobiography), 2008
Why work?, 2008
Broodthaers, 2008
Us, 2008
Stage Direction/Establishing Shot, 2008
Index (a Reading), 2007-2008
Retrospective (with John Baldessari), 2007
Marguerite Duras’s India Song, 2006
All the things you can’t forget / The shadow of the past, 2006
Footnotes, 2006
Here Comes The Sun, 2004
Untitled (Dante/Calvino), 2004
Love Poems, 2004
Prescribed Texts, 2003
Flowers, 2003
Index (A Novel), 2003
Tim Rollins & K.O.S. Works on Paper 1983–2003, 2003
Dedications, 2003
Fade Out, 2002
When I am Happy Drawings, 2002
Pictures, 2002
Help!, 2002
Scrabble, 2001
Felix Gonzalez-Torres, 2000
The Waltz Series, 2000
Index, 2000
Errata, 2020 close 1/1
2020, archival ink-jet print, 40 × 57 cm
Down & Across, 2020 close 1/1
Down & Across
2020, archival ink-jet prints, 47 × 32.5 (119 × 83 cm) inches each.
The series of drawings that make up “Down & Across” were made during the first months of Covid-19 lockdown and document, through color and received clues, a period of apparent suspended meaning.
Student Work (Playing The Standards I – V), 2020 close 1/1
Student Work (Playing The Standards I – V)
2020, archival ink-jet print, 36 × 27 cm (14 × 10.5 in)
I – As If it Were Melvin Edwards
II – As If it Were Isa Genzken
III – As If it Were Cy Twombly
IV – As If it Were Franz West
V – As If it Were Adrian Piper
This series economically addresses the nature of influence, learning, repetition and difference. The cube is a formal subjectiviation of an ideal, an aspiration as well as a point of departure (a standard, in the Jazz sense of the term). As is characteristic in Cesarco’s practice, the work challenges the contingencies of reading, translation and recontextualization.
The Long Term (A Measure of Intimacy I – V), 2020 close 1/2
The Long Term (A Measure of Intimacy I – V)
2020, archival ink-jet print, 147 × 57cm
From Marcel Duchamp’s or Stanley Brouwn’s meters, to Andre Cadere’s round bars of wood, to Guy Mees, or the Surface/Support group, these works carry a long line of references. However, they also refer to my own work portraying couples, their relationships, and the limits of language. The work stubbornly insists on questioning the sustainability of desire in the long term. In this case through allegorically measuring or quantifying the comforts of intimacy, its distance.
It’s Just a Matter of Time, 2020 close 1/1
It’s Just a Matter of Time
2020, curated section at ARCOMadrid
“It’s Just a Matter of Time”, curated with Mason Leaver-Yap, traces Felix Gonzalez-Torres’s influence on contemporary art practices. The exhibition presents a cross-generational group of artists, where influence is understood as the potential to simultaneously enable new productions and re-signify previous ones. Focusing on Gonzalez-Torres’s tendency towards infiltrating the forms and tools of critique, this exhibition grapples with the ways in which various institutional contexts conceive of and transform the body, and what resistances are produced by such interactions. Together, these works examine the ways in which knowledge has been structured, and how these structures exhibit or else conjure emotional residue.
Including works by: Tony Conrad, Henrik Olesen, Glenn Ligon, Danh Vo, Pepe Espaliú, Andrea Büttner, Wendy Jacob, Jem Cohen, Hudinilson Jr., Manon de Boer, David Lamelas, Jac Leirner, Kia LaBeija, Jack Pierson, Liam Gillick, Maria Eichhorn, Stanley Brouwn; a text by Julie Ault, and a Felix Gonzalez-Torres billboard throughout Madrid.
A series of talks, organized with Manuel Segade, included presentations by: Lynne Cooke, Hamza Walker, Tony Cokes, Laura Guy, Jorge Ribalta, Marta Echaves, Theodore (ted) Kerr.
Caption: Felix Gonzalez-Torres, “Untitled” (It’s Just a Matter of Time), 1992, billboard, dimensions vary with installation. © Felix Gonzalez-Torres. Courtesy: The Felix Gonzalez-Torres Foundation. Photo: Fernando Madariaga. One of twelve billboard installations throughout Madrid.
Long Casting (A Page on Regret), 2019 close 1/2
Long Casting (A Page on Regret)
This is the most recent in an ongoing series of indexes for books I have not yet written and most probably never will. The indexes are an ongoing project that map the development of my interests, readings and preoccupations and thus become a form of self-portraiture that unfolds over time. “Long Casting (A Page on Regret)” is particular within the series in that it does not go from A-Z and that there is a text (“Under The Sign of Regret”) that loosely shadows it.
Margarita’s Music Book (Spes Vitae), 2018 close 1/1
Margarita’s Music Book (Spes Vitae)
2018, archival ink-jet print, 95 × 119 cm
A photograph of Margarita Fernández’s sheet music for Manuel de Falla’s “Pour le tombeau de Paul Dukas”. Fernández chose to perform this work for “Learning the Language (Present Continous I)”. She had never performed the piece publicly, and due to her deteriorating eye-sight, had to exhume it from memory. She describes the work as if the chords are metal curtains that are falling or closing. The theme of finality and death are obviously central to the music; Fernández’s selection of it models the cross-generational acknowledging that occurs (between her and Cesarco) in the video.
Learning the Language (Present Continuous I), 2018 close 1/1
Learning the Language (Present Continuous I)
2018, video, color, sound, continuous loop (18:25 min).
“Learning the Language (Present Continuous I)” is part of a series of video portraits in which Cesarco borrows the vocabulary of the person portrayed to address some of his own recurrent concerns (memory, repetition, regrets, etc.). In this case who is portrayed is Margarita Fernández, an Argentinean pianist, performer, and music scholar. The portrait is constructed through a myriad of voices: Cesarco’s, Fernández’s, but also Morton Feldman’s. In addition, it includes piano interpretations of a section of Franz Schubert’s Andantino from the Sonata in A Major, as well as a fragmented rendition of Manuel de Falla’s “Pour le tombeau de Paul Dukas”.
Commissioned by Jeu de Paume, Paris, CAPC, Bordeaux, Museo Amparo, Puebla.
Learning the Language (Present Continuous II), 2018 close 1/1
Learning the Language (Present Continuous II)
2018, video, color, sound, continuous loop (15:25 min cycle).
“Learning the Language (Present Continuous II)” is part of a series of video portraits in which Cesarco borrows the vocabulary of the person portrayed to address some of his own recurrent concerns (memory, repetition, regrets, etc.). In this case, the work recreates a scene from Jean-Luc Godard’s film “La chinoise” (1967) in which a professor, traveling on a train, engages in conversation with one of his students. The same scene was recreated by Claire Denis in her short film “Vers Nancy” (2002). In Cesarco’s work the professor’s role is played by Brazilian psychoanalyst, critic and curator, Suely Rolnik, the student’s role is played by her assistant, Josy Panaõ. The conversation centers around the role and uses of repetition within psychoanalytical practice.
Commissioned by the 33rd São Paulo Biennial.
To Our Parents, 2018 close 1/1
To Our Parents
2018, Group show organized for the 33rd São Paulo Bienal.
The work of resignifying and repeating, through re-presenting, reframing and restating is taken up in diverse ways by the cross-generational artists included in the show. The impulse to displace or recontextualize suggests particular queries into cultural and aesthetic politics. A rose is a rose is a rose, until it is not.
Including works by: Andrea Büttner, Alejandro Cesarco, Sara Cwynar, Peter Dreher, John Miller, Matt Mullican, Louise Lawler, Oliver Laric, Henrik Olesen, Jennifer Packer, Cameron Rowland, Sturtevant.
New York Public Library Picture Collection (Subject Headings), 2018 close 1/1
New York Public Library Picture Collection (Subject Headings)
2018, 6 framed archival ink-jet prints, 86 × 58 cm each.
The NYPL Picture Collection contains well over one million original prints, photographs, posters, postcards, and illustrations from books, magazines, and newspapers, classified into more than 12,000 subject headings. Cesarco’s series of photographs looks into its organizing principles. The Subject Heading Binder is in some way the precursor to Google Image’s algorithm, but it is also a trace or a portrait of the librarians who have worked in the collection. The headings enable the navigation and use of the collection, while simultaneously signaling what is included and excluded from it.
New York Public Library Picture Collection (Subject Headings – Cross References), 2018 close 1/1
New York Public Library Picture Collection (Subject Headings – Cross References)
2018, 4 framed archival ink-jet prints, 76 × 55 cm each
A sister series to “New York Public Library Picture Collection (Subject Headings)”, these are photographs of the “in-house” explanation of the NYPL Picture Collection subject headings. The way information and knowledge is organized and presented has been an ongoing concern throughout Cesarco’s work.
Song, 2018 close 1/1
2018, book
This catalogue features an introduction by curator Solveig Øvstebø, a conversation between Alejandro Cesarco and Lynne Tillman, an essay by Julie Ault, and new short fiction by Wayne Koestenbaum in response to the exhibition.
Published by The Renaissance Society, Chicago.
Designed by Scott Ponik.
Hardcover, 26.5 × 19 cm, 112 p.
Revision, 2017 close 1/3
2017, 16mm film transferred to digital video, color, sound; 3 minutes.
A remake of the first chapter of “Everness” (2008) with the same actor, now almost a decade later. The characters in both videos recite a monologue on the meaning of Tragedy. The principal difference between the two is a linguistic shift from present to past tense. The presentation of these videos together invites close reflection on the passage of time, the demands on productivity, the potentials of re-reading, and the contingencies of meaning.
Der Familienroman (The Family Novel), 2017 close 1/5
Der Familienroman (The Family Novel)
2017, Four framed archival ink-jet prints, 102 x 134 cm each.
A photographic re-reading of the artist’s father’s Spanish edition of “The Complete Works of Sigmund Freud.” Cesarco simultaneously reads Freud through the lens of autobiography and looks at his father’s underlining and notations of Freud’s texts as a script to his own family history and dynamics.
The Difference Between Thirty Two and Forty Five, 2017 close 1/1
The Difference Between Thirty Two and Forty Five
2017, Framed two color silkscreen, 13 x 19 cm.
A humorous and literal depiction of the artist’s fears regarding aging as well as a direct wink towards the work of Larry Johnson.
Forty Seven Drawings by Marion Milner, 2017 close 1/2
Forty Seven Drawings by Marion Milner
2017, Framed archival ink-jet print, 43 x 61 cm.
A descriptive listing of all the drawings included in the English psychoanalyst’s classic text on creativity and its impediments, “On Not Being Able To Paint.”
A Portrait of Sherrie Levine, 2017 close 1/2
A Portrait of Sherrie Levine
2017, Two framed archival ink-jet prints, 76 x 56 cm each.
A portrait of the artist is created by way of the checklist for Levine’s “Mayhem” retrospective exhibition at the Whitney Museum of Art (NY, 20012). The politics of alignment, placement, historical crushes, admiration and influences are recurrent and central motifs in Cesarco’s work.
Vanitas (From Remorse to Regret), 2017 close 1/1
Vanitas (From Remorse to Regret)
2017, Four archival inkjet prints, 74 x 116 cm each.
Vanitas is a sub-genre of still life painting popular in the Netherlands in 17Century, they represent a collections of objects symbolic of the inevitability of death and the transience and vanity of earthly possessions (including achievements and pleasures); it exhorts the viewer to consider mortality and to repent. “Vanitas (From Remorse to Regret)” films some of the principle tropes of the genre and proposes a shift from repentance/remorse to regret. The principal distinction between regret and remorse is that remorse involves feelings about how one’s actions have influenced others (so questions of morality and the law/religion take prominence, as does guilt) while regret relates to how one’s actions affect oneself (so there is therefore a narcissistic quality to it, and hence shame). Simply put, regret involves blaming ourselves for a bad outcome, feeling a sense of loss or sorrow at what might have been or wishing we could undo a previous decision. Regret is a self-reproach for having gotten it wrong. A disturbance for not living up to our ambitioned potential.
Interlude, 2017 close 1/1
2017, 8mm film transferred to digital video, color, sound, continuous loop (2 minute cycle).
A short and tender portrait of the fleeting and involuntary nature of memory.
Words Like Love: Alphaville, First Scenes, 2017 close 1/4
Words Like Love: Alphaville, First Scenes
2017, billboard.
“Words Like Love: Alphaville, First Scenes” was installed on a 14-by-48-foot billboard over Jackson Avenue at the intersection of Queens Plaza in Long Island City. The work is a textual interpretation of the opening scene of filmmaker Jean-Luc Godard’s Alphaville (1965), an iconic science fiction/noir film that describes a futuristic dystopian society controlled by a supercomputer. Re-translating the film back into a screenplay, the project stresses the descriptive and prescriptive function of scripts: the text in this case is made to both mirror its surroundings and, to some extent, dictate the reality we see before us. Through its prominent placement over a busy intersection in Queens, the billboard points to how texts mediate public space and social life while locating critical and resistant capacities in the acts of reading and interpretation.
Commissioned through SculptureCenter‘s art education program Public Process.
Photos by: Kyle Knodell
The Inner Shadow, 2016 close 1/6
The Inner Shadow
2016, 8mm film transferred to digital, color, sound, 6:00 minutes
An intimate conversation between two people who are aware they are being listened to. A conversation that could well be a monologue. The couple take turns using words they like. Their tone is intimate but in the sense of intimation. The camera watches them and can’t help but judge them. The camera is, to a large extent, their consciousness or witness. What we see is more of a landscape than a portrait; the camera charts a field, a scenario, it maps out a dynamic. The hand-held camera documents a theatrical, rehearsed, ceremony depicting a complete and ideal love, or its breakdown. What is seen is the attempts of sustaining desire over a long term. What is negotiated is the difference between who we are and who we were. The work questions how our self image differs from who we really are or have become and how we deal with this difference. The scene follows a couple that looks back on failed expectations and unfulfilled promises. The tone of their conversation is highly personal, but also somewhat artificial. As noted, one of the questions the work poses is whether desire for the other is sustainable in the long term. An other question the work hints at is whether the pursuit of the other’s desire can avoid becoming a crisis of self-identification.
The Illustrated Adventures of Attention, Memory, and Expectation, 2016 close 1/1
The Illustrated Adventures of Attention, Memory, and Expectation
2016, drawing on paper, framed, 21 x 29.7 cm, 5 + 2 AP.
The anonymous drawing re-traced here originates from a 1950s advertising for an Argentinean publisher. The title refers to how Augustine conceived time as a “three fold present” in which the temporal dimensions of present/past/future are concentrated into the subjective orientations of attention/memory/expectation. These three modes are allegorized by the three characters illustrated: the older man, the book, and the younger fellow that trails behind (although no clear indicator is given as to which trait is assigned to whom). I drawing contrasts the question of temporality in relation to technologies of the book, and reading and looking more generally, to think about what modes of attention/memory/expectation contemporary art produces and requires as conditions of its experience.
The work was produced as an edition in support of n.b.k, Berlin.
Studies for a Series on Love (Wendy’s Hands), 2015 close 1/4
Studies for a Series on Love (Wendy’s Hands)
2015, two archival inkjet prints, framed 26.5 × 31cm (each)
Placed on opposite gallery walls, two slightly larger than life-size portraits of the artist’s partner’s hands appear to hold the exhibition space between their grasp. The two small works are a huge acknowledgement of the artist’s partner’s support as well as a public declaration of love. To give a hand, to take in hand, to keep at hand, the space between our hands, to embrace, to hold, to caress, to support, etc.
The Dreams I’ve Left Behind, 2015 close 1/2
The Dreams I’ve Left Behind
2015, silkscreen on wall 65.5 × 88 cm
In “The Dreams I’ve Left Behind,” a faint image of the wall behind the artist’s bed is silkscreened directly onto the gallery wall. What appears at first as a dry tautological exercise subtly reveals itself to be a vulnerable and deeply emotional displacement. Cesarco describes his use of color in this work, and in the wall treatment for “Allegory, or The Perils of the Present Tense,” as “muted melodrama.” He also described “The Dreams” “as if the gallery wall were blushing.” It is unclear however, if the wall is blushing because of the nature of the artist’s dreams or because he has left them behind.
Family Album (Aunts and Uncles), 2015 close 1/3
Family Album (Aunts and Uncles)
2015, archival inkjet print, 127 × 85 cm, framed
By way of the checklist for the “Pictures Generation 1974-1984” exhibition at the Metropolitan Museum of Art (NY, 2009), an adopted genealogy is constructed. The politics of alignment, placement, historical crushes, admiration and influences are recurrent and central motifs in Cesarco’s work.
Index (With Feeling), 2015 close 1/3
Index (With Feeling)
2015, framed digital c-prints, A-Z in 9 double page spreads, 30 × 40 inches each.
Most recent and largest in an ongoing series of indexes which Cesarco has composed for books he has not yet written and most probably never will. The indexes are an ongoing project that map the development of Cesarco’s interests, readings and preoccupations and thus become a form of self-portraiture that unfolds over time. “Index (With Feeling)” addresses particular states of weak affects: aesthetic categories grounded in ambivalent or even explicitly contradictory feelings.
Allegory, or, The Perils of the Present Tense, 2015 close 1/10
Allegory, or, The Perils of the Present Tense
2015, 16mm film transferred to digital, color, silent, 10:30 min., wall treatment
“Allegory, or, The Perils of the Present Tense,” is composed of a fragmented text, appearing as inter-titles, interspersed with snapshot-like images of memories (his own and from films — “screen-memories” of sort). Throughout the work conjectures about the past are balanced against promises of the future. By talking about the past the artist is also talking about his wants or desires. In this sense, talking about the past becomes a way of talking about the future; of fashioning a future.
Mirrored Portrait, 2015 close 1/3 1/3
Mirrored Portrait
2015, 16mm film transferred to digital, color, silent, 3:50 minutes.
In “Mirrored Portrait,” after sixteen years of not seeing each other Cesarco invites his first photography teacher, Panta Astiazarán, to take his portrait as Cesarco, in turn, films a portrait of him. “Mirrored Portrait” is the documentation of this action. The work aligns itself with Cesarco’s previous explorations of autobiography and representations of “father-figures”: principally, “Zeide Isaac” (2009) and “Present Memory” (2010).
Untitled (Blue Frame), 2015 close 1/3
Untitled (Blue Frame)
2015, archival ink-jet print, 16.25 x 20.5 inches
A Portrait of Robert Walser, 2015 close 1/2
A Portrait of Robert Walser
2015, framed ink-jet print, 40 x 52 cm.
A short text, taped to a window and partially obscuring the Manhattan skyline, describes some of the ways Robert Walser’s writing works.
Nine Lists, 2015 close 1/1
Nine Lists
2015, ink-jet print, 84 × 119 cm
Exhibition Titles.
Horses’ Names.
A group show curated by Matthew Brannon in 2008.
Lies.
Troubles.
An idea for a play.
Gallery Artists (gb agency).
Some Georges Simenon titles.
Nine Lists.
Words With Ruscha, 2014 close 1/1 1/2
Words With Ruscha
2014, two framed ink-jet prints, 50 × 40 inches (127 × 100 cm) each.
Two photographs with differing perspective of the same museum-like introductory wall text for a fictitious Ed Ruscha retrospective based chiefly around ideas of banality and boredom. The quality of the wall onto which the text is applied, and the nature of the text itself, gives us some definite clues as to where the exhibition might be taking place and who was tasked to write the introduction. The repetition of the scene, the double-take, in some ways illustrate the Ruscha quote included in the wall-text, “Good art should elicit a response of ‘Huh? Wow!’ as opposed to ‘Wow! Huh?'”
Untitled (Remembered), 2014 close 1/1
Untitled (Remembered)
2014, framed ink-jet print, 24 × 31.5 inches (61 × 80 cm).
“Untitled (Remembered)” is perhaps the domestic equivalent of “Words With Ruscha,” “Untitled (Remembered)” presents a text on methodologies and typologies of remembering among piles of books and a wide range of ephemera that range from a vintage postcard of a statue of Mercury in repose to a still of Monica Vitti in “L’ avventura.”
The Style It Takes (Excerpts), 2014 close 1/4
The Style It Takes (Excerpts)
2014, 6 archival inkjet prints, 33.5 × 22.5 inches each
“The Style it Takes (Excerpts)” are printed pages from a yet unwritten book that revolves around the possibilities of art, the social function of art, and the shifting roles of the artist persona.
A Truce Mistaken For Surrender, 2014 close 1/1
A Truce Mistaken For Surrender
2014, white gloss paint on wall, dimension variable.
A Portrait of the Artist Approaching Forty, 2014 close 1/3
A Portrait of the Artist Approaching Forty
2014, 3 framed archival inkjet prints, 5 x 7 inches each
“A Portrait of the Artist Approaching Forty I, Walking the Studio,” or “Of course life is a process of breaking down, but the blows that do the dramatic side of the work–the sudden blows that come, or seem to come, from the outside–the ones you remember and blame things on and, in moments of weakness, tell your friends about, don’t show their effect all at once.”
“Portrait of the Artist Approaching Forty II, Pacing the Studio,” or “There is another sort of blow that comes from within – that you don’t feel until it’s too late to do anything about it, until you realize with finality that in some regard you will never be as good a man again.”
“Portrait of the Artist Approaching Forty III, Mapping the Studio,” or “The first sort of breakage seems to happen quick – the second kind happens almost without your knowing it but is realized suddenly indeed.”
Musings, 2013 close 1/10
2013, 16mm film transferred to video, black and white / sound, 15:30 minutes
Co-produced by Contour Mechelen, Belgium and Neuer Berliner Kunstverein, “Musings” retells a series of anecdotes regarding premonitions, fate, dreams, and other types of messages that are the generative source for creative work. Compiled are stories by or relating to, amongst others, Susan Sontag, Ingmar Bergman, Maurice Blanchot, Italo Calvino, Julio Cortázar, and Agnes Varda. The selected stories also have in common that the resulting creative works (art, literature, or film) have very much to do with death and mortality. “Musings” proposes to triangulate the ideas of inspiration, influence and inheritance.
A Printed Portrait of Julie Ault, 2013 close 1/3 1/3
A Printed Portrait of Julie Ault
2013, ink-jet print, 46 × 34.5 inches
Shortly After Breakfast She Received The News, 2012 close 1/2
Shortly After Breakfast She Received The News
2012, 16mm transferred to video, color / sound, seamless loop
If in Time, 2012 close 1/4 1/4
If in Time
2012, HD video and 16mm film transferred to video, color / sound, 9:40 minutes
“If In Time” theatricalizes and references Cesarco’s previous video work, “Methodology,” produced for the Uruguayan Pavilion at the 2011 Venice Biennale. The new work takes up the two characters from “Methodology” and projects them 10 or 15 years into the future. The couple speaks to each other only through texts they read. She reads from her own literary production and he reads a text he is writing about her work. In spite of text being an alienating factor between them, it is also through this indirect address that they entertain an illusion of possibility: of understanding, of change, of contentment.
Index (An Orphan), 2012 close 1/1
Index (An Orphan)
2012, A-Z in 6 pages, digital c-prints, 30 × 24 each
‘Index (An Orphan)’ is the fourth in an ongoing series of indexes which Cesarco has composed for books he has not yet written and most probably never will. The indexes are an ongoing project that maps the development of Cesarco’s interests, readings and preoccupations; this particular one addresses the experience of mourning, the loss of childhood, and becoming an orphan as an adult.
A Portrait of the Artist as a Young Man, 2012 close 1/2
A Portrait of the Artist as a Young Man
2012, ink-jet print, 30 × 24 inches
“A Portrait of the Artist as a Young Man” is a condensed and personalized translation of James Joyce’s classic, consisting of all the months of January of Cesarco’s youth.
Where I’m Calling From, 2012 close 1/3 1/3
Where I’m Calling From
2012, four framed ink-jet prints, 30 × 40 inches
“Where I’m Calling From” is an imagined book, laid out in four prints, that compiles a series of photographs and texts that that reflects on and excavates the artist’s influences and early work. The compiled works and references are an unveiling of methodologies that act as a direct confrontation with the past, perhaps as a way to lay it to rest and to start anew.
An Abridged History of Regret, 2012 close 1/3
An Abridged History of Regret
2012, three framed ink-jet prints, 30 × 65 inches
The three large panels that comprise “An Abridged History of Regret” are a sort of “line drawing” which Cesarco produced by combing through his library, photographing passages of text that reflect on various paths not taken in relation to one’s professional and emotional life.
Four Modes of Experiencing Regret, 2012 close 1/1
Four Modes of Experiencing Regret
2012, framed ink-jet print, 30 × 40 inches
“Four Modes of Experiencing Regret” employs a pseudo-scientific method to uncover typologies of regret in relation to different literary genres and narratives. The four photographs that illustrate each genre (Romantic, Comic, Tragic, Ironic) are taken from Jean-Luc Godard’s film, “Une femme mariée.”
Methodology, 2011 close 1/3 1/3
2011, HD video, color / sound, 7 minutes, two tripod stands, gator-board screen
“Methodology” is a video that takes up secrecy as a narrative structure and a mode of address: what is said and what cannot be said, and the way people act in relation to what is alluded to, taken for granted, or ultimately silenced. This work was commissioned for the Uruguay Pavilion at the 54th Venice Biennale.
The Gift and the Retribution, 2011 close 1/1
The Gift and the Retribution
2011, 2 framed contact c-prints, 10 × 8 inches / 20 × 25 cm each
“The Gift and the Retribution” consists of photographs of the covers of the first editions of two books with crossed dedications: “The Goodbyes” by Juan Carlos Onetti and “Love Poems” Idea Vilariño. A recurring motif in Cesarco’s work, the dedication is a device for justifying the production of a work to a public.
The Reader, 2011 close 1/3 1/4
2011, color slide installation, synchronized sound, 17 minutes
“The Reader” links the figures of the detective with that of the reader; and the figure of the writer with that of the criminal. The text-slide projection is interspersed with a voice-over read by Lawrence Weiner.
Fragile Images That Keep Producing Death While Attempting To Preserve Life: Flowers found in crimes scenes_001-004, 2011 close 1/5
Fragile Images That Keep Producing Death While Attempting To Preserve Life: Flowers found in crimes scenes_001-004
2011, archival ink-jet prints, 28 × 21 inches
This work was initially conceived as part of Cesarco’s installation “The streets were dark with something more than night, or the closer I get to the end the more I rewrite the beginning,” for which he was awarded the 2011 Baloise Prize at Art 42 Basel.
Present Memory, 2010 close 1/5
Present Memory
2010, HD video and 16mm film, color no sound, 4 minutes
“Present Memory” is an intimate portrait of the artist’s father, shortly after the latter had been diagnosed with lung cancer. The work documents both a constructed and anticipated memory. The literal and metaphorical projection staged in the work is a rehearsal of fears: an attempt at dealing with a future absence, the process of mourning and remembering, mortality and letting go. Projected in the same location on three different levels of the museum, and aligned within the architecture as frames in a film strip, the work inserts a personal narrative into the institutional space, triggering a sense of déjà vu as visitors move through the building. Commissioned by Tate Modern.
Turning Some Pages, 2010 close 1/6
Turning Some Pages
2010, video installation, multiple screen/projection, variable time
“Turning Some Pages” presents a fragmented narrative that sets the tone for a particular way of looking that is also a way of reading. Commissioned by the Museum of Modern Art, New York.
The Two Stories, 2009 close 1/5
The Two Stories
2009, 16mm film transferred to video, 9 minutes
In “The Two Stories” a story is being read out loud to an audience in a private family room. What we hear is actually not the story being told but the thoughts of the person reading the story; the instances of distraction, nervousness, etc. The camera follows the reader’s gaze as it goes from the text to the different objects and people in the room. Based on a story by Felisberto Hernández. Commissioned by ArtPace, San Antonio.
Zeide Isaac, 2009 close 1/5
Zeide Isaac
2009, single channel installation, 16mm transferred to video, 6 minutes
In “Zeide Isaac” the artist’s grandfather, a Holocaust survivor, performs a script written by Cesarco and based on the elder’s personal story. The work explicitly address the possibilities, limitations and responsibilities of testimony. The layering of narrative voices and the passage of time between the event and it’s retelling, from first hand experience to third generation, is allegorically implied in his grandfather’s passage from witness to actor.
Everness, 2008 close 1/7
Everness
2008, single channel installation, 16mm transferred to video, 12 minutes
“Everness” is made up of 5 chapters: a remake of the very last scene of James Joyce’s “The Dead,” a monologue on the meaning of Tragedy, a breakfast scene, and two songs: one from the Spanish Civil War and another from Brazil’s Tropicalista movement. The work speaks of a first love and a loss of innocence and relates them to notions of classic literary tragedy. The work primarily centers around an emotionally handicapped couple at the moment when their inability to access their own passions is articulated through language.
The Ramones (An Autobiography), 2008 close 1/1
The Ramones (An Autobiography)
2008, 2008 digital c-print, 40 × 30 inches
“The Ramones (An Autobiography)” is a song list, organized in chronological order, of every Ramones song that begins with the pronoun I.
Why work?, 2008 close 1/1
Why work?
Broodthaers, 2008 close 1/1
Broodthaers
2008, offset print, 8.5 x 11 inches
Replica of stationary fabricated by Marcel Broodthaers for the project Musée d’art moderne, 1969.
Us, 2008 close 1/1
2008, digital c-print, 26 × 26 inches
“Us” was a component of the installation ‘Once Within a Room’, which was at once the synopsis, the set, the characters, and the props of a story – a spatial configuration dominated by the phantoms of particular pasts. It presented the classic trope of lover, beloved, and the space between them.
Stage Direction/Establishing Shot, 2008 close 1/1
Stage Direction/Establishing Shot
2008, black vinyl, to be placed by a window
A component of the installation “Once Within a Room,” which is at once the synopsis, the set, the characters, and the props of a story – a spatial configuration dominated by the phantoms of particular pasts. It presents the classic trope of lover, beloved, and the space between them.
Index (a Reading), 2007-2008 close 1/3
Index (a Reading)
2007-2008, A-Z in 10 pages, digital c-prints, 30 x 24 each
“Index (a Reading)” self-consciously addresses the idea of what constitutes an index, what is its relation to reading, writing, memory, history and forgetting.
Retrospective (with John Baldessari), 2007 close 1/3
Retrospective (with John Baldessari)
2007, 12 silk screens on aluminum, 48 × 36 inches (122 × 91 cm) each
“Retrospective” (with John Baldessari) is a collaboration that addresses the idea of looking back as a framing device and a narrative mode. Implicit in the project is a concern for the difference created by re-telling and re-presenting the past in the present. The segmentation of history is quite an arbitrary and conventional matter, a story for making the present intelligible. But who narrates, and for whom? What is included and what is left out of this narrative? The dangers of taking pleasure in the past and the benefits of remembering in order to reinvent operate along a very fine line.
Marguerite Duras’s India Song, 2006 close 1/5 1/5
Marguerite Duras’s India Song
2006, 2 channel video installation, red walls, 3 slow rotating fans, text
Marguerite Duras’s India Song is a video installation with sculptural elements and a commissioned short text by Argentine writer Daniel Link. The project continues Duras’s own transpositions from novel to novel and from novel to play to film, raising questions of intertextuality, mediums and forms. The installation takes an existing text, a pre-text, and re-tells it as a way of transforming discursive practice through repetition. At stake in this return to a previous text is a negotiation of the limit between repetition and reduplication. In the installation the love story of the play is retold by a voice over that recounts the narrative structure or device of how this love story is told, in turn the two video channels show establishing shots that are doubled or mirrored in Duras’s film. The installation dramatizes the possibilities of representation and recollection and uses the colonial aspiration of territorial, gender and cultural appropriation as a metaphor for practices of repetition and translation. Commissioned by Art in General.
All the things you can’t forget / The shadow of the past, 2006 close 1/2
All the things you can’t forget / The shadow of the past
2006, white text on black wall, dimmed light, room installation
To be installed on opposite walls. The text “All the things you can’t forget” (white font on black background) is to be placed almost as subtitles would appear on a film. “The Shadow of the Past,” is a blank, white wall with dimmed lighting. It is to have the same method of illumination as the rest of the room only significantly reduced, giving a yellowish, nostalgic coloring to the wall and shadow. A wall label indicating title, etc. should be placed on this wall.
Footnotes, 2006 close 1/2
2006, ongoing, vinyl on wall, dimensions vary
An ongoing series of wall drawings that may or not accompany (inform) other works.
Here Comes The Sun, 2004 close 1/1
2004, yellow paint on wall, dimensions vary with installation
An optimistic wall drawing.
Untitled (Dante/Calvino), 2004 close 1/5
Untitled (Dante/Calvino)
2004, 10 archival ink-jet prints, 16 × 20 inches each
“Untitled (Dante/Calvino),” is composed of ten different translations of Dante’s “Divine Comedy,” each titled after a chapter in Italo Calvino’s “If on a Winter’s Night a Traveler.” A reflection on the construction of narrative, the complicity between reading and writing, translation practices and the impossibility of a faithful repetition.
Love Poems, 2004 close 1/6
2004, (Austin, TX: Testsite/Fluent~Collaborative)
“Love Poems” is the first ever English translation of Uruguayan poet Idea Vilariño’s book “Poemas de amor” (1957), a covert form of appropriation that investigates the potential of literal translation as a visual act.
Prescribed Texts, 2003 close 1/1
“Prescribed Texts” is a study of melancholy from a therapeutical point of view. Not an allegorical substitution, sublimation, in face of loss but an attempt at overcoming through understanding.
Flowers, 2003 close 1/5
2003, 10 receipts, ink on paper, 8.5 × 5 inches each
A bouquet of flowers was sent to a selected group of people. A performance for a public of one. Flowers were sent to: Vija Celmins, Elizabeth Peyton, Roni Horn, Yvonne Rainer, Lynne Tillman, Louise Lawler, Yoko Ono, Rachel Harrison, Andrea Fraser, Sherrie Levine.
Index (A Novel), 2003 close 1/3
Index (A Novel)
2003, A-Z in 4 double page spreads, digital c-prints, 40 × 30 inches (100 × 76 cm) each
“Index (A Novel)” is a romantic novel of sorts, a repetition of romantic archetypes and melodramatic clichés.
Tim Rollins & K.O.S. Works on Paper 1983–2003, 2003 close 1/2
Tim Rollins & K.O.S. Works on Paper 1983–2003
2003, survey exhibition, Art Resources Transfer, NY.
Dedications, 2003 close 1/5
2003, publication
All the dedications from my library. A compilation of author’s affection for their muses, mentors and motivators. A definition of audience.
Fade Out, 2002 close 1/2
2002, single slide projection
In “Fade Out” a single slide of a young woman is projected continuously until the image fades out. (A physical effect produced by the light and heat emanating from the projector.) An exercise in forgetting. The duration of the “performance”, as with the persistence of our memories, is undetermined.
When I am Happy Drawings, 2002 close 1/2
When I am Happy Drawings
2002, ongoing, colour pencil on paper, 9 × 12 inches (23 × 30 cm)
“When I am Happy Drawings:” a stubborn belief that someday things will change and happiness will occur.
Pictures, 2002 close 1/3
2002, ongoing, archival ink-jet print, approx. 20 × 16 inches (50 × 40 cm) each
“Pictures” are photographed texts appropriated from magazine and journals of art critics’ descriptions of both my own and other people’s work.
Help!, 2002 close 1/1
2002, video/sound, 2 minutes
“Help!” is a non-metaphorical, though somewhat desperate and dramatized video. A dead-pan recitation of the lyrics to the Beatles’ song: “Help, I need somebody/Help, not just anybody/Help, you know I need someone …”
Scrabble, 2001 close 1/4
2001, video, 15 minutes
“Scrabble” is video registry of a scripted game. Four friends play Scrabble. A fixed camera shows the board where names of influences are composed according to script. Names accumulate on top of each other in a sculptural manner.
Felix Gonzalez-Torres, 2000 close 1/1
2000, Exhibition, curated with Patricia Bentancur, Museo Nacional de Artes Visuales, Montevideo, Uruguay.
The Waltz Series, 2000 close 1/1
The Waltz Series
2000, ink-jet prints, 20 × 16 inches each.
Bar Mitzvah photographs of the artist dancing with some of his classmates.
Index, 2000 close 1/3
2000, A-Z in 12 pages, digital c-prints, 20 × 16 inches each
This first “Index” was meant as a book of books, a meta book that would contain all books. A container that would become its own content. “Index” is half way biographical and half way theory text; it is extremely personal, yet full of clichés.
Alejandro Cesarco (born Montevideo, Uruguay) lives and works in New York. His most recent solo exhibitions include: “Song,” The Renaissance Society, Chicago (2017); “The Measure of Memory,” Galleria Raffaella Cortese, Milan (2017); Public Process, Sculpture Center, New York (2017); “Play,” Tanya Leighton Gallery, Berlin (2015), “Prescribe The Symptom,” Midway Contemporary Art, MN, (2015), “Loyalties and Betrayals,” Murray Guy, New York (2015), “Secondary Revision,” Frac Île-de-France/Le Plateau, Paris (2013), “A Portrait, A Story, And An Ending,” Kunsthalle Zürich, Switzerland (2013), “Alejandro Cesarco,” MuMOK, Vienna (2012), “Words Applied to Wounds,” Murray Guy (2012), “The Early Years,” Tanya Leighton (2012), “A Common Ground,” Uruguayan Pavilion, 54th Venice Biennial (2011), “One Without The Other,” Museo Rufino Tamayo, Mexico (2011), “Present Memory,” Tate Modern, London (2010). Group exhibitions include: “Under The Same Sun,” The Solomon R. Guggenheim Museum, New York (2014), “The Imminence of Poetics,” 30th Bienal de São Paulo (2012), “Short Stories,” Sculpture Center, New York (2011); and “Nine Screens,” The Museum of Modern Art, New York (2010.) He was the 2011 winner of the Baloize Art Prize, with his installation “The Street Were Dark With Something More Than Night Or The Closer I Get To The End The More I Rewrite The Beginning,” at Art 42 Basel. These exhibitions addressed, through different formats and strategies, his recurrent interests in repetition, narrative, and the practices of reading and translating. He has also curated exhibitions in the U.S., Uruguay, Argentina and a project for the 6th Mercosur Biennial (2007), Porto Alegre, Brazil. He is director of the non-profit arts organization, Art Resources Transfer.
For further information please visit:
Tanya Leighton
Raffaella Cortese
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About the Chicks
Posted by Jill Boniske aka Arty Chick on December 23, 2013
La Vie d’Adèle—Chapitres 1 et 2 aka Blue is the Warmest Colour was the hit of this year’s Cannes Film Festival winning top honors and scoring its young stars Léa Seydoux and Adèle Exarchopoulos the first ever shared acting Palme d’Or. It also stirred up some controversy for its very graphic depiction of lesbian sex and the intensity of the film shoot for its two young actresses. But beyond the stories about the film, it is a beautiful movie exploring first love and longing, that watches a young woman come into her own.
As the film opens, Adèle is a high school student in Lille dealing with boys and sex and all the things high school kids do everywhere. She sleeps with a cute guy only to break up with him because she realizes that she is strangely attracted to a girl with blue hair that she passes in the street. Later she meets the blue haired girl in a gay bar, and the two begin a passionate affair. It is here that the much talked about lesbian sex comes in. There is one very long, very explicit scene, which serves to tell the audience how intense the relationship is for both of the girls. (I’m not sure it had to go on as long as it did, but it is not all that film is about.) Emma of the blue hair is a somewhat older and clearly more worldly art student at École des Beaux-Arts, and she hangs with a very arty set, which confounds Adèle, just as Emma cannot fathom that Adèle would prefer to be a teacher rather than become a writer. Emma plays mentor to Adèle, and Adèle, muse for Emma. The film stays with the two of them for a number of years as they grow together and apart, but it is Adèle’s story and her evolution that drives the story.
While both actresses are wonderful, Adèle Exarchopoulos who plays Adèle is really exceptional. The camera is with her most of the film, and her ability to convey an amazing range of emotions, often as the same time, heralds an actress to watch. Not that Lea Seydoux is a slouch. The film is an incredible character study of a girl that it is hard not to care about. But Blue is the Warmest Colour is obviously not for everyone. It clocks in at just under 3 hours long (179 minutes!) and is rated NC-17 for its very explicit sex scenes. And you have to be willing to read subtitles. I know that seems like a lot to some people, but if you are looking for a film with depth and some great performances, go see it!
Other Recent Reviews Not to Miss
Review: The Marksman
Arty Chick’s Seven Flicks: Week 7
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Review: Da Five Bloods
Review: Small Axe: Mangrove
Arty Chick’s Seven Picks: Week 6
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Commission on Science and Technology for Sustainable Development in the South (COMSATS)
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COMSATS’ Science Ambassador Emeritus delivers Talk on Science Diplomacy
Home / COMSATS’ Science Ambassador Emeritus delivers Talk on Science Diplomacy
The second lecture under COMSATS’ Science Diplomacy Programme was delivered b y Executive Director COMSATS and COMSATS’ Science Ambassador Emeritus in the field of Science Diplomacy, Dr. Imtinan Elahi Qureshi, in a select gathering of scholars and academicians at the Faculty Development Academy of COMSATS Institute of Information Technology (CIIT), Islamabad, on February 29, 2016.
The lecture entitled ‘Science Diplomacy: An Overview’ outlined how ‘science’ and ‘diplomacy’ come together in various forms serving related but different purposes, i.e., one supporting the other and vice versa, as well as the two complementing one another for interaction with the outside world. Dr. Qureshi highlighted how the coupling of the two somewhat paradoxical terms leads to a whole that has helped individuals, groups and even nations overcome their intellectual and political differences, leading to stronger and wider collaborations across the globe.
The lecture provided a historical context of Science Diplomacy, as well as its re incarnation in the modern world. He highlighted the role of the American Association for the Advancement of Science (AAAS) and Royal Society for the advocacy of science in the past. Defining the scope and dimensions of Science Diplomacy, the related mechanisms in place in developed countries were also discussed. It was noted that Science Diplomacy is being used as soft power by developed countries through disbursement of aid, technology-transfer and sharing of scientific know-how. Dr. Qureshi quoted the successful Science Diplomacy ventures, such as: European Organization for Nuclear Research (CERN), International Thermonuclear Experimental Reactor (ITER), and International Space Station (ISS). How the developing countries could benefit from Science Diplomacy was also discussed, especially in the context of Pakistan. It was noted that Science Diplomacy can help the developing countries on three major fronts: Capacity Building; South-South Cooperation; and preservation of National Resources. Dr. Qureshi also lauded the science diplomacy efforts of specific nature made by Cuba (Medicine), and Brazil (Agriculture), as well as other initiatives and institutional mechanisms applied in Africa (NM-AIST), Asia (ECO), and the Middle East (ESCWA).
Apart from COMSATS’ science diplomacy efforts since its creation in 1994, the organization’s recent activities in this regard after the first Round Table Meeting on Science Diplomacy in the South in February 2015 were recounted, which included: designation of Science Ambassadors, entering into collaboration with The World Academy of Sciences (TWAS) and, participation in AAAS – TWAS joint training programmes, initiation of public lectures, and necessary media projection of the Science Diplomacy programme. Dr. Qureshi also indicated COMSATS’ other important interactions in this regard that include active liaison with the diplomatic missions in Pakistan and other Member States, and joint research programme, entitled COMSATS’ International Thematic Research Groups.
Dr. Qureshi concluded his lecture with two proposals from COMSATS for urging the Government and other relevant institutions of Pakistan; one urging appointment of a Science and Technology Advisor to the Prime Minister of Pakistan, and the other institutionalizing ‘Grand Challenges Pakistan’ for identifying and addressing major issues of Pakistan and working out their practical solutions through Science and Technology. It was noted that Canada, India, Israel, Thailand, Ethiopia, Brazil, Japan, China, as well as Africa are already benefitting from such initiatives taken by governments or independent organizations. Such programmes should be emulated to have targeted solutions for specific issues of the countries based on indigenous existing or improvised means.
The lecture was followed by a questions and answers session that had participation from individuals belonging to various fields of specialization and backgrounds, including, biosciences, mathematics, physics, chemistry, management sciences, environment, and public policy. In addition to making queries regarding the contents of the lecture and making relevant recommendations, the participants appreciated COMSATS’ aforementioned proposals and advocated necessary campaigning in this regard. They also took stock of the fields of science and technology in Pakistan that need to be aided through Science Diplomacy, such as food security and health. It was agreed that politicians and policy makers need to be sensitized on such pressing matters by scientists and relevant organizations and institutions. Moreover, it was urged that science diplomacy should be fully utilized to motivate collaborations in matters of trans-border nature, such as climate change, pandemics, and regional conflicts.
At the conclusion of the event, Dr. Qureshi urged the participants to make concerted efforts to realize the objectives of Science Diplomacy, as well as to achieve the goals and targets suggested in their recommendations. Hoping to regularize the lecture series to a lecture every month, he invited them to become active participants of COMSATS’ Science Diplomacy Programme.
COMSATS strengthened ties with its Focal Point in Nigeria and Pakistani High Commission in Abuja
RSS, Jordan, holds The First Middle East and South Asia Conference on Epigenetics and Genomics of Infectious Diseases
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Performance Archives - Diversifying the Classics
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WORLD PREMIERE OF THE BLADE OF JEALOUSY BY HENRY ONG
The Blade of Jealousy, Henry Ong’s adaptation of Tirso de Molina’s La celosa de sí misma, will be playing at 7pm every Sunday from June 24th to August 26th, at the Whitefire Theatre in Sherman Oaks. Directed by Denise Blasor, Ong’s play dramatizes in modern-day Los Angeles Tirso’s exploration of how social circumstances affect self-identity and the capricious nature of love. Blade, first developed as part of the UCLA Golden Tongues initiative to adapt the comedia to contemporary LA, demonstrates the lasting relevance of the questions that the Spanish playwright explored four centuries ago.
Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks, CA. 91423
For an interview with the playwright, https://better-lemons.com/featured/playwright-henry-ong-sharpens-his-blade-always-aiming-to-pay-it-forward/
For tickets, https://thebladeofjealousy.brownpapertickets.com
For theatre information: http://www.whitefiretheatre.com
Be sure to use discount code TBOJ.
ANNOUNCING LA ESCENA – LOS ANGELES’ FIRST HISPANIC CLASSICAL THEATER FESTIVAL
September 21-23, 2018 will bring LA ESCENA, Los Angeles’ first Hispanic classical theater festival, to the Greenway Court Theater (544 N. Fairfax).
Cutting-edge Mexican company EFE Tres will present Lope de Vega’s El príncipe inocente (The Innocent Prince), a meditation on political power and culpability reimagined as a dialogue in a prison cell, and El Merolico (The Mountebank), a reworking of Cervantes’ comic interludes as delivered by a traveling performer in small-town Mexico (in Spanish, with English subtitles).
Playwrights’ Arena will present the fourth Golden Tongues, brand-new comedia adaptations from LA playwrights in staged readings: Madhuri Shekar’s School for Witches, or Friendship Betrayed, based on María de Zayas’ La traición en la amistad; Janine Salinas Schoenberg’s Like/Share, a riff on Calderón’s Los cabellos de Absalón; and Michael Premsrirat’s La locura de los ángeles/The madness of angels, adapted from Lope de Vega’s Los locos de Valencia.
Sylvia Blush and Jean Carlo Yunen Arostegui will direct Women and Servants, Lope de Vega’s exploration of class, loyalty and desire in a very modern Madrid. The play, only recently rediscovered after 400 years, has been translated into English by UCLA Professor and LA Escena director Barbara Fuchs.
Schedule and ticketing information to follow. For inquiries, please write to LAEscena2018@gmail.com.
LA ESCENA is made possible by the UCLA Center for 17th– & 18th-Century Studies, Center for Medieval and Renaissance Studies, Center for European and Russian Studies, Latin American Institute, and Departments of Spanish and Portuguese and English, as well as by the generous support of UC Riverside’s College of Humanities, Arts, and Social Sciences.
For more information and updates, follow us on Facebook (La Escena Festival), Instagram (@la_escena_festival), and Twitter (@LAescenaLA), and keep an eye out for our hashtags #diversifyingtheclassics and #laescenafestival
Diversifying the Classics Visits UC Riverside
On April 24th, from 1:00-3:00PM, we will be taking our show on the road. Destination: UC Riverside.
One of the goals of Diversifying the Classics is to share the scholarly work that we conduct during our translation meetings at UCLA with the larger Los Angeles community, to engage in a meaningful dialogue with students, actors, and theatergoers attracted by the endless possibilities of Hispanic Golden Age plays. Last year we presented our work at two workshops: the first, in November 2016, at the Pacific Ancient and Modern Language Association (in Pasadena), and the second in May 2017 at Cal Poly Pomona.
This April we will visit UC Riverside, where Dr. Erith Jaffe-Berg, Chair of the Department of Theater, Film & Digital Production, is organizing an event that will allow us to share our work with the Latino/a Play Project. The LPP is a student-driven group that puts on a play or reading every quarter, performing on campus as well as at the Barbara and Art Culver Center in Downtown Riverside. Dr. Jaffe-Berg is the group’s faculty advisor for the academic year, and has proved invaluable in creating a connection between our initiative and LPP.
We look forward to introducing the students to the rich possibilities of Hispanic classical theater by discussing our recent translations. We will also share five or six previously translated monologues and dialogues with LPP members, who will in turn prepare and offer a brief reading of the pieces. The presentations will be followed by a Q&A session open to the entire audience.
We invite you to join us in what promises to be an engaging and interactive afternoon. Stay tuned for an update on the specific event location.
April 7 CMRS Symposium on Henry VIII and Calderón’s La cisma de Inglaterra
The Los Angeles Bilingual Foundation of the Arts is staging a classic of the Spanish Golden Age during April 13–22. In La cisma de Inglaterra, or The English Schism, Calderón de la Barca tells the story of Henry VIII, Anne Boleyn, and the English break with the Catholic church. While this rich drama of severed religious bonds and the dissolution of centuries of connection between England and Spain suggests comparison with Shakespeare’s Henry VIII, the English context also allows Calderón a dramatic space from which to advise King Philip IV of Spain against contemporary abuses of authority. Calderón’s complex political and psychological portrait invites audiences to reconsider England and Spain in the 17th century as well as the quest for power that continues to drive politics in our own time.
In preparation for this enticing theatrical event, the UCLA Center for Medieval and Renaissance Studies and the Asociación Internacional de Teatro Español y Novohispano de los Siglos de Oro (AITENSO) will host a symposium organized by Susana Hernández Araico of California State Polytechnic University, Pomona. Speakers will include Marta Albalá Pelegrín and Javier Patiño Loira of the Diversifying the Classics project, as well as other international scholars of Spanish Golden Age drama.
The full schedule, registration, and transportation information is available here: http://cmrs.ucla.edu/event/enrique-octavo-henry-viii-calderon-1627-la-comedia-y-la-corona-spanish-play-power/.
The Labyrinth of Desire at USC
Caridad Svich’s The Labyrinth of Desire, an adaptation of Lope de Vega’s La prueba de los ingenious will be performed at USC’s Scene Dock Theater from March 29-April 1. Directed by Denise Blasor, Labyrinth tells the story of Florela, who is abandoned by her fiancé when he sets off to win the heart of the beautiful Laura. Florela’s relentless and ingenious efforts to win back her beloved drive the plot of this romantic comedy, which subtly explores the broad range of emotions we feel when in love: delight, excitement, and vulnerability, as well as an irrational sense of infatuation, possessiveness, and jealousy.
Performance Dates & Times
Thursday, March 29, at 7:30 p.m.
Friday, March 30, at 7:30 p.m.
Saturday, March 31, at 2:30 p.m.
Saturday, March 31, at 8 p.m.
Sunday, April 1, at 2:30 p.m.
Tickets purchased in person at the USC Ticket Office: students, $8; faculty and staff, $8; seniors, $10; general public, $15.
Tickets purchased by phone of online are subject to an additional $2 per ticket fee and a $1 order fee over the entire order.
Discounted parking is available for $10. Please inform the gate officer you are attending a School of Dramatic Arts performance.
For more information, go to: https://dramaticarts.usc.edu/the-labyrinth-of-desire/
2018 Nuevo Siglo Drama Festival at The Chamizal National Memorial
The 2018 Nuevo Siglo Drama Festival will take place April 7-14, 2018 at The Chamizal National Memorial (El Paso, Texas).
This year’s festival will feature contemporary plays by Luis Valdez and Xavier Villanova as well as original versions and adaptations of classics by Lope de Vega, Calderon de la Barca, and Cervantes. This is a new direction for the festival, which has traditionally focused on Hispanic classical theater.
On Saturday, April 7, Los Actores, a company from El Paso will perform Luis Valdez’s Bernabé, a play about the personal and spiritual journey of a man who is widely believed to be crazy and suffers social marginalization in a small town in Mexico. Bernabés deep connections to his mother, the natural environment, and his Aztec ancestors accompany him on the way to the play’s dramatic conclusion.
On Sunday, April 8, the XIPE Colectivo Escénico of Puebla, Mexico will present Aquerón: The River of Tragedy, by Xavier Villanova. Featuring actresses Aline L. Bernal and Cinthia Pérez Navarro, and directed by Martín Balmaceda, Aquerón is an allusive and highly symbolic account of human migration from Mexico to the United States, which calls attention to questions of personal and cultural identity, social injustice, power and vulnerability.
Wednesday, April 11 will bring Nuevo Siglo’s first classic, Pedro Calderón de la Barca’s La vida es sueño. Cuba’s Jazz Vilá Project, a company dedicated to encouraging youth interest in theater, will present Calderón’s timeless reflection on free will and predestination, the story of King Basilio, Segismundo—the son he has imprisoned—and the revolt that imperils a reign.
Another canonical favorite, Lope de Vega’s Fuenteovejuna will be performed on Thursday, April 12 by Ciudad Juárez’s Telón de Arena theater company. In the words of Telón de Arena’s Perla de la Rosa, Lope’s famous meditation on despotism, justice, and solidarity is as relevant as ever in today’s Mexico, a “betrayed motherland,” where “the voices of the characters in this mythical town echo in the depths of our hearts.”
Rosaura, Paula Rodríguez and Sandra Arpa’s adaptation of Calderón’s Life is a Dream told from the point of view of its main female character, will be staged on Friday, April 13. Teatro Inverso, a Madrid company that aims at preserving Hispanic classical theater through modern interpretations, sees Rosaura, not Segismundo, as the driving force for change in the story, as she asserts herself in a patriarchal society. Using modern theatrical techniques, Rodríguez and Arpa actively engage audiences in Rosaura’s fight to right the wrongs she sees around her.
The festival will close on Saturday, April 14 with El Merolico: Entremeses Bululuados, performances by Mexican company EFE Tres Teatro of Miguel de Cervantes’ fast-paced entremeses, or comedic interludes. Combining the figures of the “merolico,” a typically Mexican kind of charlatan street merchant, and the “bululú,” a traditional figure in Hispanic theater who performs several roles in a one-man-show, EFE Tres will transport to modern-day Mexico three of Cervantes’ short works for the stage: “El Viejo celoso,” “El retablo de las maravillas,” and “La cueva de Salamanca.”
For more information, please visit: https://www.nps.gov/cham/planyourvisit/2018-siglo-festival.htm.
Love’s a Bitch at UVA
Last weekend I had the pleasure of watching Dave Dalton’s Love’s a Bitch, an agile and very funny adaptation of Tirso de Molina’s Don Gil de las Calzas Verdes, at UVA: http://drama.virginia.edu/news/story/576
Dalton, an assistant professor of drama, has made a name for himself with adaptations of the classics, including a pro-wrestling-inspired version of Wagner’s Ring cycle and lively takes on Gilbert and Sullivan’s H.M.S. Pinafore and Lope de Vega’s Dog in the Manger. In Love’s a Bitch, he combines freshness and humor with a keen eye for the stakes of the text.
Dalton pares away much of the bewildering complexity of Tirso’s play, but leaves enough of its whirlwind quality to keep the audience guessing about what will come next. From the very first scene, his adaptation has a kind of x-ray effect, peeling back the layers of the original to reveal its raw ideological and emotional core. Instead of a cross-dressed Juana relating her erotic travails to a servant, Dalton opens with a powerful scene of the runaway discovered by her father. Defying him, she forces him to give her his clothes and continues undaunted to Madrid to right her wrongs. And this is just the beginning!
The production’s pared-down scenery helped the audience focus on the language and characters, while the extravagant costumes, by Gweneth West, underscored the key connection between dress and identity in the play. The acting was strong across the board, with the two female leads, Mimi Robinson as Juana and Natalie Pernick as Inés, as real standouts.
In Dalton’s hands, the comedia is not only well served but hugely invigorated. Here’s to many more such adaptations and productions!
—Barbara Fuchs
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Worlds Biggest Companies
Baidu CEO Robin Li: The Real Rags To Riches Story
Billionaires Rags To Riches May 12, 2012 Mousumi Saha Kumar
Robin Li, Photo Credit: forbes
Born: November 17, 1968 in Yangquan, Shanxi, China
Company: Baidu, working as CEO
Wealth Source: Technology, self-made
Baidu Co-founder and Internet entrepreneur Robin Li is the richest man in China whose personal net worth, according to Forbes, stands at about $10.2 billion.
In 2000, he teamed up with Eric Xu and together they founded the most popular search engine in China, Baidu.Com. In 2004, he became CEO of Baidu and in 2005 the company was enlisted on NASDAQ. As of now, the search engine ranks #5 on Alexa and receives about 220 million pageviews per day.
Early Life, the Hardships and Education
Robin Li was born in Yangquan of Shanxi Province in northern China to factory worker parents. Back then, Yangquan was an underdeveloped prefectural city that did not offer much to its people and most of them would migrate to other parts of China for better prospects. Like most of the kids in the neighborhood, Li spent his childhood in acute hardships and lack of better education. His mother, however, taught him to stay motivated for a better tomorrow. He grew up remembering his mother’s words, “We don’t have a back door, if you want a better life, a better job in the future you will have to study hard and ensure you get into the best college.”
Li never forgot his mother’s words and studied religiously. He cleared the entrance of Peking University and completed Bachelor of Science degree in library information management. On completion of studies in 1991, he took up a temporary job and worked for one and a half years. Li moved to the U.S. on a Fellowship program and attended The State University of New York at Buffalo and earned a doctoral degree in computer science. In 1994, he received his Master of Science degree but didn’t continue with the PhD. The same year in 1994, he served at New Jersey division of Dow Jones and Company, IDD Information Services, as a software developer for the online edition of The Wall Street Journal. In 1996, Li received a U.S. patent for his development of the ‘Rankdex’ which is a site-scoring algorithm for search engine page ranking. In 1997 he left the company to start working on his own search engine.
In 2001, he was honored with the title “the Chinese Top Ten Innovative Pioneers”, in 2007 he was in CNN Money’s annual list of “50 people who matter now”, in 2011, he was enlisted as one of the 15 Asian Scientists To Watch by Asian Scientist Magazine and was ranked 95th in the Forbes Global List with an possessions worth of $9.4 billion. He was also chosen as the “Most Influential Business Leader in China” as well as “Best Business Leader” by Fortune and American Business Weekly and several for his accomplishments.
Info Source: About.Com wikipedia
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Mousumi Saha Kumar is Co-founder and Chief Contributor at Brain Prick. She covers the stories that inspire people to strive for the better and meaningful life. By profession, she is a social media marketing and online branding strategist with experience exceeding 5 years in related fields.
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UNICRI Director, Antonia Marie De Meo
Antonia Marie De Meo Biography (as of 1 July 2020)
Antonia Marie De Meo is the Director of the United Nations Interregional Crime and Justice Research Institute (UNICRI), based in Turin, Italy. She is a citizen of the United States and Italy.
Prior to this position, she served as the Chief of the Human Rights, Transitional Justice and Rule of Law Service at the United Nations Support Mission in Libya (UNSMIL) and Representative of the Office of the High Commissioner for Human Rights (OHCHR) in Libya (2018-2020). She also served as Chief of Staff of the United Nations Relief and Works Agency for Palestine Refugees (UNRWA) from 2014 to 2017. Ms. De Meo has held senior management positions with the United Nations Children’s Fund (UNICEF) in Sri Lanka and Sudan (2011-2014), the United Nations Resident Coordinator’s Office in Sudan (2011-2012), and the United Nations Office for Project Services (UNOPS) in Palestine, Iraq, and Jordan (2009-2011). She was the Anti-Trafficking and Gender Adviser for the Mission to Moldova of the Organization for Security and Co-operation in Europe (OSCE) (2005-2007) and Deputy Registrar of the Human Rights Chamber for Bosnia and Herzegovina (2000-2003). A trial lawyer by training and a former prosecutor, she commenced her overseas development work for the American Bar Association’s Central and East European Law Initiative in Moldova (1999-2000).
Ms. De Meo holds a Master’s degree in Public Administration from the John F. Kennedy School of Government of Harvard University, a Juris Doctor degree from Lewis and Clark Law School, and a Bachelor of Art’s degree from Wellesley College. She is admitted to practice law in the States of Oregon and Washington.
16: Peace, justice and strong institutions Peace and justice United Nations agencies
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Meeting on supporting aviation industry and air transportation
Vladimir Putin held a videoconference on supporting the aviation industry and air transportation.
Taking part in the videoconference were Chief of Staff of the Presidential Executive Office Anton Vaino Vaino AntonChief of Staff of the Presidential Executive Office , Acting Prime Minister Andrei Belousov Belousov AndreiFirst Deputy Prime Minister , Deputy Prime Minister Yury Borisov Borisov YuryDeputy Prime Minister , Presidential Aides Igor Levitin Levitin IgorAide to the President and Maxim Oreshkin Oreshkin MaximAide to the President , Transport Minister Yevgeny Ditrikh Ditrikh Yevgeny , Industry and Trade Minister Denis Manturov Manturov DenisIndustry and Trade Minister , Economic Development Minister Maxim Reshetnikov Reshetnikov MaximMinister of Economic Development , Finance Minister Anton Siluanov Siluanov AntonFinance Minister , Defence Minister Sergei Shoigu Shoigu SergeiDefence Minister , Special Presidential Representative for Environmental Protection, Ecology and Transport Sergei Ivanov Ivanov SergeiSpecial Presidential Representative for Environmental Protection, Ecology and Transport , Head of the State Council working group on transport and Head of the Republic of Buryatia Alexei Tsydenov Tsydenov AlexeiHead of the Republic of Buryatia , First Deputy Minister of Transport and Head of the Federal Agency for Air Transport Alexander Neradko, Director General of Russian Post Maxim Akimov, Director General of the United Engine Corporation Alexander Artyukhov, Director General of State Corporation for the Promotion of the Development, Manufacture, and Export of High Tech Products Rostec Sergei Chemezov Chemezov SergeiCEO of Rostec State Corporation , Director General of United Aircraft Corporation Yury Slyusar, Chairman of the State Development Corporation VEB.RF Igor Shuvalov Shuvalov IgorChairman of the State Development Corporation VEB.RF , as well as the heads of Russian Helicopters, Red Wings Airlines, Utair Aviation, State Transport Leasing Company, Aeroflot, Azimuth Airline, S7 Group, and the International Airports Association.
Let us get down to work.
However, before we discuss measures to support our air carriers and the aviation industry, I would like to say the following. We hold regular meetings on the individual industries, but the crucial part is that all of our plans and projects are implemented on time and in full.
This is what I have in mind. On May 11, after a serious discussion with the Government and the Executive Office, I proposed a set of measures to support the people and businesses. On the next day, over a million requests had been posted on the Public Services Portal by those who hope to receive the one-time assistance of 10,000 rubles per child aged through 15 years. Then the portal crashed. I know that our colleagues from the Communications Ministry have now repaired it, but I would like you to take notice of this, as well as of other such similar matters.
Even during these difficult times – it is also difficult for the budget, because budget revenue has decreased considerably due to the falling prices of our traditional products, that is, oil and energy – we nevertheless found the means to support our people, the economy in general, as well as individual industries and companies. Once we started doing this, we must carry it through, for otherwise we will not achieve the result that we want and that the people expect us to achieve.
This also concerns, as I mentioned last time we met, additional payments to our medical personnel. As I said on May 11, regrettably, these payments have been made in far from all of the regions. As of now, only two or three regions have not made these payments. We only had to point at the drawback, and it was immediately remedied. Why cannot we do everything properly from the very start?
I am asking you to pay more attention to performance standards.
As I have already mentioned, we regularly hold industry meetings to support the economy and jobs, employment and the incomes of citizens. Today, as agreed, we will discuss the airline industry. Together with business representatives, we will consider the current state and development tasks of domestic airlines, airports, as well as aircraft manufacturing enterprises.
As I have already noted, due to the coronavirus epidemic, air traffic – both in our country and abroad – is facing forced restrictions. Perhaps the most serious decline among all types of transport occurred in aviation. The numbers of users on domestic flights decreased significantly, by 88 percent. International air traffic has almost stopped: there is a reduction of more than 90 percent. The number of passengers at Russian airports has dropped to a minimum.
Companies, airports are losing revenue, which certainly affects their financial situation and, most importantly, their employees and the well-being of people involved in air transportation.
Let me remind you that we have already decided to allocate emergency assistance – over 23 billion rubles – to Russian airlines so that they can pay salaries to crews, personnel, airport services, leasing expenses and other purposes and thereby ensure the stability of enterprises.
I would like to ask business representatives today to tell us how this work is being organised and whether all the issues have been resolved. Although I do know that not all the issues have been resolved, and in fact, the organisation of this work within the allocated funds requires more serious consideration. Let us talk about this today. Let us talk about how effective and sufficient the incoming support is.
I would also like to note that last week, following a meeting on transport, I gave instructions to especially support airports during the epidemic, to allocate federal funds – almost 11 billion rubles – for their urgent needs. I would like to ask the heads of the federal departments to report on how the decisions made are being implemented.
Let me emphasise that our common task is to provide for reliable, high quality and safe airline service in Russia. Meanwhile, it is important for the industry to see the prospects of its development and further growth. However, it is also important for the Government to understand these prospects. I think that any of our actions to support this or that sector should proceed from a clear long-term model of its operation. I am asking the Minister of Transport to tell us today which structural changes in the industry are expected in the years to come and what the Government is going to do in this respect.
We are talking not only about major aviation. I suggest talking about small, specialised, sanitary aviation operating in remote areas where it, in fact, has no alternative.
And, of course, in the current circumstances it is necessary to support the foundation of the industry, namely the aircraft-building enterprises, and give work to those complex and, in many ways, unique production facilities.
Russia is, by the way, among the few countries that can produce the entire range of military and civil planes and helicopters. It is a huge competitive edge and an embodiment of our industrial, economic, scientific and educational potential.
Russia-made aircraft can compete in many specifications on equal terms with their foreign counterparts and global market leaders and, by the way, speaking of combat aircraft, largely surpass them.
In addition, the capacity of the Russian aircraft industry makes it possible to work on new and promising models. Above all, I mean the MS-21 medium-range civil airliner that is being tested. I believe, it has already made over 300 flights, which is a third of the required number.
I have already said that it is a matter of principle to provide our aircraft plants with orders and raise the demand for Russia-made aircraft. It will encourage the creation of jobs, the upgrade of production facilities and the development of new aircraft models.
I believe that the right thing to do would be to take the following decisions in this regard:
First, we need to launch a support programme for the leasing and operation of Russian aircraft. To this end, I propose offering leasing companies state guarantees in 2020–2021, as well as subsidies in order to reduce the per-hour flying cost for Russian aircraft. According to our estimates, this programme will enable Russian plants to manufacture 59 new civilian aircraft in the first two years alone.
At the same time, we need to simplify and streamline these leasing subsidies for carriers and aircraft manufacturers, including by directly linking the purchase of a specific aircraft to receiving the subsidy. In other words, the money will follow the aircraft.
Second. We are paying a great deal of attention to developing regional air services by subsidising direct region-to-region flights bypassing the Moscow Aviation Hub. We are doing this primarily in the interests of the people, the passengers, since non-stop flights are much more convenient and of course cheaper.
Every year, the government earmarks about 8 billion rubles from the federal budget to this effect, and regions chip in as well. However, the demand for subsidies largely exceeds the allocated funds.
We need to consider the possibility of expanding this programme. In addition, we need to fine-tune this mechanism in order to prioritise destinations operating Russian aircraft.
I would also like to remind you about the decision adopted in December 2019 when I asked you to draft proposals on creating a dedicated airline operating a fleet of Russian-made passenger and cargo aircraft in Russia’s Far East, including hard-to-reach territories. I would like to hear a progress report on this instruction.
Third. The state will have to place more orders to support demand. This is a universal and effective approach that we use to support automobile manufacturers, other industrial sectors, as well as infrastructure construction. Of course, for the aviation industry this could be even more relevant than for any other sector.
We have planned to purchase aircraft as part of the national projects and state programmes. I propose fast-forwarding these transactions in order to give work to our manufacturers right now, when they are going through a challenging period. I am referring, among other things to the purchase of 66 helicopters as part of the programme to develop air medical services. I strongly believe that expediting these deliveries will be totally worth it.
State-owned companies must become involved as well. I know for example that Russian Post will have to modernise its cargo fleet in the near future. I would like to ask the company’s chief executive to report on its long-term plans for buying aircraft.
Actually, this applies to other companies that are fully or partially owned by the state. Overall, in this situation we have to be very rational and generous. We need to look at what aircraft our state-owned companies wanted to buy and in what quantities, including oil and gas companies and other businesses, sum up this data to understand the magnitude of these orders, and make the corresponding adjustments. It may be the case that we should also expedite defence procurement orders.
Let us get down to work. I would like to give the floor to Deputy Prime Minister Borisov.
Please, go ahead.
Deputy Prime Minister Yury Borisov: Mr President,
Aircraft manufacturing companies have been able to fulfil defence procurement orders, provide for the combat readiness of the Air Force, and carry out civilian aircraft manufacturing programmes, and all this thanks to your unwavering attention to this sector and the timely and expeditious government decisions.
At the same time, we need to recognise that the troubled loans that have been pilling up over the past years have a negative effect on this sector in general. United Aircraft Corporation alone has over 400 billion rubles worth of these debts and spends over 30 billion rubles in interest on arrears every year.
The government commission that was established under your Executive Order reviewed the long-term financial restructuring programme of United Aircraft Corporation. This programme provides for government support measures, including a capital increase and the restructuring of UAC’s troubled loans for a 15-year term; streamlining the corporate structure and governance within a three-year term and overhauling UAC’s R&D block within a five year term, which is expected to save about 300 billion rubles; and divesting the corporation’s non-core assets for an estimated 17 billion rubles.
The commission carried out a detailed review of UAC’s financial restructuring scenarios by comparing the key indicators, and analysed the aircraft line-up and the manufacturing programme for the entire programme period.
The financial restructuring programme will enable UAC to complete the investment stage of the ongoing aviation programmes and step up serial manufacturing of new aircraft, as well as create stable conditions for carrying out civilian and defence aviation programmes in the future. The restructuring programme provides for expanding UAC’s capacities for assembling MC-21, Il-114 and other aircraft.
In addition, we brought forward the timeframe for import substitution projects, including changing the deadline for completing the Sukhoi SuperJet import substitution project to 2023 instead of 2024.
The government commission adopted the financial restructuring programme on May 12, 2020, taking into consideration the adjustments to state support measures that the Industry and Trade Ministry and the Transport Ministry will report on today, as well as having agreed with the Defence Ministry on cancelling fines and penalties under defence procurement orders for the past few years.
In order to place the financial restructuring programme on more stable footing, I am asking you, Mr President, to instruct the Industry and Trade Ministry together with the Defence Ministry, the Finance Ministry, the Economic Development Ministry and Rostec state corporation to find ways to minimise the penalties for failure to perform or improper performance under state contracts over the past few years.
It goes without saying that the corporation’s executives will be personally liable for fulfilling the programme’s main parameters, as we have agreed.
The financial restructuring programme that has been adopted, along with the additional measures to support the aviation sector and ensure air transportation that the participants in this meeting will present, will lay the groundwork for putting the aviation sector on sustainable footing.
Vladimir Putin: Thank you, Mr Borisov.
Publication date: May 13, 2020, 15:50
http://en.kremlin.ru/catalog/keywords/63/events/63348
Last updated at May 13, 2020, 18:57
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Electronic version
Trade and Markets
Guest pages
Fish breeding in Armenia
Successful transition from carps to high-value species
This article was featured in EUROFISH Magazine 4 / 2020
Armenia has favorable climatic conditions for the commercial breeding and growing of species of trout (Salmonidae) and sturgeon (Acipenseridae). The country’s rich resources of subterranean water and its suitable climate enable the commercial production of these fi sh all the year round.
The potential of the fishing sector has been recognized by private companies who have contributed to developing the industry. Their efforts have meant that Armenia today has a large number of companies with extensive experience in the production of fish and efficient management skills.
Fish farming contributes to the wellbeing of remote communities
At present, 17-18 tonnes of commercial fish are produced in the country, the bulk of which is the golden trout—Salmo ischchan. The fish is in high demand in the Russian Federation and other countries thanks to its high quality and about 20% of the production is exported. Fish farming contributes to the efficient use of water resources, increases the production of farmed fish, and provides hundreds of families in remote mountain communities with a livelihood. It is therefore important that the regulatory framework supports the development of the sector. Fish farming in the Republic of Armenia has been pursued for decades. In the 1920s the first fish breeding farms were set up in Karchaghbyur and Gavar to produce Sevan trout for consumption and restocking. Later, fish farms were established in Sevan and Lichq village of Sevan region. Each year these farms released 7m trout, more than 100m khramulya (Varicorhinus capoeta sevangi), and more than 20m whitefish (Coregonus lavaretus) larvae and fingerlings into Lake Sevan. The next stage of development in the fish industry started in the 70s when commercial fish farming expanded. Several big fish farms were established that used the water resources and wetlands of the Ararat valley. Apart from herbivorous fishes, golden trout and red-finned-fish (karmrakhayt) were also bred for commercial purposes. In the 1980s the water surface of fish farms in Armash and Sis communities of Ararat province and Yeghegnut community of Armavir province constituted around 6,000 ha and the annual production of commercial fish (common carp, Cyprinus carpio, and other carps) amounted to 5,000 tons. At the same time, fish farms in Taronik village of Ararat valley cultivated almost 100 tonnes of golden trout. Production of salmonids and sturgeons overtakes that of carps The third stage of fish industry development in Armenia started at the end of the 20th century. Investments by companies led to the creation of a number of big and efficient fish farms. Apart from grow out ponds, some of these companies established hatcheries, fish processing facilities, and sales and distribution networks within the country and abroad. Currently, frozen and processed fish and caviar are exported to the United States, Georgia, Russian Federation, Ukraine, and several countries in the Middle East, among others. The last years have seen rapid growth in the production of high-value fish, trout and sturgeon species. Of the roughly 17 thousand tonnes of fish produced in Armenia, 65-70& are species of trout and sturgeon. The main fish species commercially produced in Armenia are, Sevan summer trout (Salmo ischchan aestivalis), Gegarkuni (Salmo ischchan gegarkuni), golden trout, red-finned-fish (karmrakhayt), sturgeons and common carp, silver carp (Hypophthalmichthys molitrix), and white (Ctenopharyngodon idella) and black (Mylopharyngodon piceus) amur. Today, within the industry, there is a higher degree of cooperation than in the past. For example, smaller fish farms work together or have contracts with large companies that supply fry and feed and buy the market-sized fish. Over the last decade the range of species cultivated has become wider, and the structure of production in the country has changed dramatically. In the past, 90% of the farmed fish comprised common carp and other carp species, while golden trout was produced in small quantities. Today, this ratio has changed in favour of valuable salmonid and sturgeon species. Altogether some 40 species and sub-species of fish can be found in natural and artificial water resources, of which 15 are used for commercial purposes. Four fifths of fish farms are in just two provinces Fish species that are not endemic to Armenia such as white and black amur, silver carp, Japanese carp (koi), African catfish, Siberian and Russian sturgeon are successfully bred for commercial purposes. These together with the salmonids (golden trout, Gegarkuni, golden trout, red-finned-fish (karmrakhayt)) constitute almost 70% of the production of commercial fish in Armenia. At present there are 180 fish farms in the country of which 83% are in the Armavir and Ararat provinces. A programme to restore trout reserves in Lake Sevan to enable the sustainable exploitation of the fish was established in 2014. A company associated with the programme, Sevan Trout, processes the fish into a wide range of products including freshly frozen fish, fillets, and cans, which are sold under the brands Nairyan and Sevan Ishkhan.
Levon Ter-Isahakyan, Tigran Aleksanyan, Ministry of Economy, Armenia
Eurofish Magazine is a product of Eurofish International Organisation.
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Ex Libris Association
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history:biographies:brown_je
Jack Ernest Brown
Associations/Committees:
Honours:
b. Mar. 1, 1914, Edmonton, AB; d. Jan. 17, 1996, Ottawa, ON
1938 BA (University of Alberta)
1939 BLS (McGill University)
1940 MA (University of Chicago)
1940-1942 Librarian, Edmonton Public Library (chief of circulation and reference)
1943-1945 Library Assistant, New York Public Library
1946-1947 Assistant Librarian, Brown University
1947-1957 Librarian, Science and Technology Division, New York Public Library
1957-1974 National Science Librarian, National Research Council, Ottawa
1974-1978 Director, Canada Institute for Scientific and Technical Information, Ottawa
Visiting Lecturer at university library schools at Toronto, McGill, and Ottawa
Brown, Jack E. (1940). The extension of public and school library services in the province of Alberta. MA thesis, University of Chicago, Graduate Library School.
Brown, Jack E. (1942). “Edmonton’s Street Car Library.” Library Journal 67(2): 62–64.
Brown, Jack E. (1960). “National documentation services in Canada.” Special Libraries 51(1): 25–29.
Brown, Jack E. (1962). “Science literature and the public library.” Ontario Library Review 46(2): 69-72.
Brown, Jack E. (1962). “Preliminary survey of science and technology libraries in Canada.” Special Libraries 53(10): 595–596.
Brown, Jack E. and P. Wolters. (1963). “Mechanized listing of serials at the National Research Council Library.” Canadian Library 19(3): 420–426.
Brown, Jack E. (1964). “Applications of data processing at the Canadian National Research Council Library.” In Proceedings of the 1964 Clinic on Library Applications of Data Processing, pp. 105–11. Urbana, Illinois: Graduate School of Library Science, University of Illinois at Urbana-Champaign.
Brown, Jack E. (1965). “The National Science Library: information centre for industry.” Industrial Canada 65(1): 1–7.
Brown, Jack E. (1966). “Survey milestones: Canadian libraries.” Library Journal 91(20): 5525–5528.
Brown, Jack E. (1969). “CAN-SDI Project: the SDI program of Canada’s National Science Library.” Special Libraries 60(8): 501-509.
Brown, Jack E. and Wolters, P.H. (1971). “CAN/SDI System: user reaction to a computerized information retrieval system for Canadian scientists and technologists.” Canadian Library Journal 28(1): 20–23.
Brown, Jack E. (1971). “CAN/SDI plus two: Canada's National SDI Service for Science and Technology.” In Proceedings of The Israel Society of Special Libraries and Information Centres International Conference on Information Science, Tel Aviv, 29 August-3 September, 1971, pp. 619-628.
Brown, Jack E. (1972). The Canadian National Scientific and Technical Information (STI) System: a progress report. Philadelphia: National Federation of Science Abstracting and Indexing Services.
Brown Jack E. (1973). “Science policy and information networks: an introduction.” In Canadian Association for Information Science; Proceedings of The First Open Conference on Information Science in Canada, Montebello Quebec, May 14-15, 1973. pp. 134-137.
Brown, Jack E. (1974). “The National Science Library and its program.” In Library Services Cross Borders: Minutes of the Eighty-Fourth Meeting, May 9-10, 1974, pp. 14–19. Washington: Association of Research Libraries.
Brown, Jack E. (1975). “Canada Institute for Scientific and Technical Information.” Bulletin of The American Society for Information Science
1(8): 29-30.
Brown, Jack E. (1978). “Information users versus information systems.” Canadian Library Journal 35(6): 433-436.
Secretary-Treasurer, Alberta Library Association,1941-1942
Councillor, Canadian Library Association, 1961-1964
Director, Association of College and Research Libraries, 1961-1964
Vice-President, International Federation for Documentation, 1965-1967
1965 LL.D, University of Waterloo
1978 LL.D. McMaster University
1979 Canadian Association of Special Libraries and Information Services Award for Special Librarianship in Canada
1980 CLA Outstanding Service to Librarianship Award
1995 Centennial Medallion, International Federation for Documentation
1996 National Research Library renamed “J.E. Brown Building”
After graduating with a BLS at McGill, Jack Brown received a Carnegie Fellowship to study at Chicago’s graduate library school. He worked for many years at New York Public Library where he built a reputation for promoting science and technology library services. It was due in large part to his vision that the National Research Council Library achieved international recognition. In 1974, a modern building opened as the Canada Institute for Scientific and Technical Information. It was renamed in his honour in 1996. Brown, who began his career as a public librarian, always stressed public service, collegiality, and teamwork. Robert Shanks, his executive assistant at CISTI, said Brown was a “man of great principle who was admired by all”. Upon retiring in 1978, Brown continued teaching at the McGill School of Library Science until 1983.
Canadian Who’s Who, vol. 13, 1973-75.
“Dr. Jack E Brown.” (1996) Feliciter 42(2): 54.
“Dr. Jack Brown.” (1996). Ottawa Citizen, 20 January, p. C3.
Paramount Pictures 1942 video of the Edmonton's Street Car Library on YouTube [accessed 1 Sept. 2017].
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AEP consideration of retiring Marshall County coal plant continues trend, rouses both sides of debate over coal's future in WV
There have been 10 conventional steam coal plants retired in West Virginia since 2005, and there are only nine left in the state, according to U.S. Energy Information Administration data.
At least one of the remaining nine could be retired before the decade is done, continuing a trend of dwindling coal plants across West Virginia as the coal industry fights to preserve itself amid a shift toward renewable energy that is taking shape more quickly outside the Mountain State's borders than inside them.
Appalachian Power and Wheeling Power said in a recent filing with the Public Service Commission of West Virginia that the Mitchell coal-fired generating facility in Marshall County would cease operation in 2028 if the companies choose to retire the plant rather than make an additional investment to ensure that the plant complies with federal guidelines limiting wastewater to continue operating beyond that year.
The companies say they could make modifications to comply with the wastewater rule and a federal rule regulating coal combustion residuals at the Mitchell plant, the John Amos plant in Putnam County and the Mountaineer plant in Mason County that would allow each of those plants to operate until 2040, and the filing argues that it would benefit customers to ensure compliance at the John Amos and Mountaineer plants and keep them operating until the end of their projected useful lives in 2040.
But the companies report that performing only the coal combustion residual compliance work at Mitchell and retiring the plant in 2028 has "comparable costs and benefits" to making the additional wastewater compliance investment to allow the plant to operate beyond 2028. Replacing a portion of the retired Mitchell capacity with a portion of Appalachian Power's excess capacity in 2028 would result in savings to West Virginia customers of approximately $27 million annually from 2029 to 2040, the companies said in the Dec. 23 filing.
Appalachian Power and Wheeling Power are seeking permission to perform all of the work at all of the plants, which they estimate would cost $317 million, and listed potential project-related residential, commercial and industrial rate increases of 1.59%, 1.52% and 1.72%, respectively. The proposed increased project-related rates and charges would produce $23.5 million annually in additional revenue, according to the companies.
The Mitchell plant began operating in 1971 and was West Virginia's sixth-largest plant in generation and fourth-largest in capacity, according to EIA data.
Wheeling Power and Kentucky Power Company each own 50% interest in the plant, according to the Dec. 23 filing. Those two companies and Appalachian Power are regional electric utilities of Columbus-based American Electric Power.
AEP has retired or sold nearly 13,500 megawatts of coal-fired generating capacity in the past decade, according to Nick Akins, AEP's chairman, president and CEO.
"As we look at the future of our power plant fleet, we've balanced the remaining life and economic viability of each of our coal-fueled generating units with other options for delivering power to our customers," Akins said in a November statement in which AEP said it planned to continue operating the Amos, Mountaineer and Mitchell plants while retiring two Texas plants in 2023 and 2028 as it prepared to make environmental upgrades. "We continue to add lower cost, cleaner resources, like renewables and natural gas, as we diversify our generating fleet to benefit our customers and the environment."
West Virginia's number of coal plants has steeply declined as the U.S. shifts away from coal toward renewable energy. The EIA last year reported that the nation's annual energy consumption from renewable sources in 2019 exceeded coal consumption for the first time in more than 130 years, largely reflecting the continued decline in coal used for electricity generation over the past decade, as coal consumption in the U.S. decreased nearly 15% from 2018 to 2019 as renewable energy consumption rose 1%. Electricity generation from coal in 2019 fell to its lowest level in 42 years, according to the EIA.
But in West Virginia, coal-fired power plants still account for almost all of West Virginia's electricity generation. In 2019, coal comprised the smallest share of state generation in more than 20 years, and it exceeded 90% anyway.
Less than 3% of the more than 23,000 operating generators across the U.S. are conventional steam coal facilities, but that clip remains above 20% in West Virginia, according to a Gazette-Mail analysis of EIA's operating generators as of October. Still, West Virginia's percentage of operating generators that use conventional steam coal technology has declined nearly 8% in the last five years as the national clip fell by 2.3%.
The Mitchell plant emitted just over 5 million tons of carbon dioxide, just under 1,900 tons of sulfur dioxide and just over 2,000 tons of nitrogen oxides in 2019, per EIA data.
All those numbers have pushed environmentalists in West Virginia toward embracing renewable energy as an alternative to coal-fired generation.
"The dictates of the market, along with the need to address the health and climate costs of burning coal, mean that much of the nation is taking part in the renewable energy revolution," Vivian Stockman, executive director of the Ohio Valley Environmental Coalition, said. "West Virginia would do well to embrace this change now and make every effort to shift our economy to one that can provide just transitions for former coal workers and sustainable livelihoods for all West Virginians."
The state Public Service Commission last month approved a settlement between FirstEnergy subsidiaries Mon Power and Potomac Edison and energy efficiency advocates including Solar United Neighbors that requires the utilities to justify continuing coal plant operations and provide an economic analysis of plants for which they plan major improvements.
"Renewable energy generation and energy efficiency measures are increasingly more cost-effective options for utilities and ratepayers than continuing to rely on an aging, expensive fleet of coal-fired power plants," Autumn Long, regional field director for Solar United Neighbors, said Monday.
The EIA does predict that coal-fired generation will stabilize after declining through the mid-2020s as more economically viable plants stay operational, and Chris Hamilton, president of the West Virginia Coal Association, said he sees the coal industry "stabilizing about where they are at the present time," noting the prominent role coal still plays in the Mountain State's economy.
Hamilton says the Coal Association was surprised to learn of AEP's plan to potentially close the Mitchell plant, adding that the organization plans to get involved in the PSC proceedings to lobby to keep the plant from retirement.
"We're not sure that [American Electric Power] is looking at the totality of the economics surrounding that plant," Hamilton said, noting that the Coal Association is considering an independent economic evaluation of the plant.
Hamilton estimated that the plant generates "a couple hundred million dollars" of economic support for the Ohio River valley.
"Those range from the hundreds of mining jobs that provide the base fuel, all the vendor supply jobs that support the mining industry in that area, and … the plant workers, all the maintenance workers that service that plant," Hamilton said.
American Electric Power officially retired the Kanawha River coal plant in Kanawha County in 2017 and the Philip Sporn coal plant in Mason County in 2015, while AEP Generation Resources, Inc. retired the Kammer coal plant in Marshall County in 2015.
FirstEnergy pledged in November to transition away from coal-fired power by 2050 in an effort to achieve carbon neutrality in an effort to combat climate change, and Akins noted an "aspirational" goal of zero emissions by 2050 in 2019.
Hamilton alluded to those goals with a call to action in an open letter to "Friends of Coal" last week.
"We are deeply concerned with what the future holds, and you should be as well," Hamilton wrote. " … [W]e must be prepared to stand up for coal."
Enlighten Radio
Socialist Economics
afl-cio georgia updates
via Sherry Breedon, WV AFL-CIO
Georgia AFL-CIO President Charlie Flemming:
Election Day Is Here
"It's finally here. Today is Election Day for Georgia's Senate runoff campaign—where millions of us will decide the fate of the U.S. Senate and the future of our country," said Georgia State AFL-CIO President Charlie Flemming (IAM).
"Election Day is always an exciting time, and for me it's a testament to the incredible hard work every single union member, whether here on the ground in Georgia or across the nation, has put into these two runoff Senate races. In such a short period of time, in such unprecedented conditions, we have phone banked hundreds of thousands of voters. And thanks to major efforts from our affiliates and partner organizations, we have safely knocked on millions—yes, millions—of doors. We have hosted dozens of caravans, rallies and literature drop events. And we have welcomed both the Rev. Raphael Warnock and Jon Ossoff into our event spaces on multiple occasions. Early voting ended with a record 3 million votes. And as the rest of the votes come in today (polls close at 7 p.m.), I could not be prouder to serve Georgia's working people."
Day of Action for Union Members in Augusta
Dozens of union volunteers in Augusta, Georgia, hit the streets over the weekend for a get-out-the-vote (GOTV) day of action. Five teams of volunteers reached some 400 union household doors and made more than 100 phone calls to remind union families to get out to the polls to vote if they haven't already done so. Volunteers included members from the Painters and Allied Trades (IUPAT), the Augusta/East Georgia Central Labor Council, AFGE, Transport Workers Union (TWU) and other groups.
A video montage of the day of action can be found here.
UFCW Votes Program Offers Resources for
Georgia Voters
During Georgia's Senate runoff, the United Food and Commercial Workers Union (UFCW) utilized its UFCW Votes program to provide Georgia voters with resources such as state voting information, voting schedules, poll locations, ballot tracker links and more. In addition, UFCW Local 1996 President Steve Lomax (pictured, right) has been hosting phone banks, text banks and postcard distributions for local union members to help get out the vote.
National Postcard Writing Campaign
Reaches 400,000 Voters
Across the country, thousands of union members participated in the AFL-CIO's Georgia Postcard Campaign. Launched Dec. 1, the program targeted both union and nonunion voters who needed an extra push to make sure they vote early, by mail or on Election Day, Jan. 5.
We'd like to extend a special thank you to everyone who went above and beyond in this effort. In a matter of three weeks, over the peak holidays, the AFL-CIO state and local central bodies, affiliates, constituency groups, allies and the Committee on Working Women ordered postcards in droves. The numbers speak for themselves: In total, 400,209 postcards were ordered, shipped, distributed, handwritten and then sent back out to voters. The Labor Council for Latin American Advancement sent more than 5,600 postcards, the Coalition of Black Trade Unionists sent 4,500, and all of the labor movement's allies and constituency groups stepped up in a big way.
Phone Banking Campaign Connects with Hundreds of Thousands of Voters
For months, AFL-CIO members from coast to coast hosted virtual phone banks to reach hundreds of thousands of union and nonunion voters in Georgia. Altogether, thanks to efforts from our affiliated unions, state federations and local labor bodies, the AFL-CIO's virtual phone banks made over 618,456 calls. Virtual events, such as the Texas AFL-CIO's "Solidary Phone Bank for Georgia en Español," Pride At Work's collaborative phone bank with the Asian Pacific American Labor Alliance and countless other events, made a real difference in this election.
Mike Roberts: The Brexit deal [feedly]
The Brexit deal
https://thenextrecession.wordpress.com/2020/12/29/the-brexit-deal/
The UK finally leaves the European Union on 31 December, after 48 years of membership. The initial decision to leave, made in the special referendum back in June 2016, has taken over four tortuous years to implement. So what does the deal mean for British capital and labour?
For British manufacturers, the tariff-free regime of the EU's internal market has been maintained. But the British government will have to renegotiate new bilateral treaties with governments across the world, whereas previously they were included within EU deals. People will no longer be able to work freely in both economies by right, all goods will require significant additional paperwork to cross borders and some will be checked extensively to verify they comply with local regulatory standards. Frictionless trade is over; indeed, that's even between Northern Ireland and mainland Britain with a new customs border across the Irish Sea.
And that's just goods trade, where the EU is the destination of 57% of British industrial goods. The British government fought tooth and nail to protect the fishing industry (and failed), but it contributes only 0.04% of UK GDP, while the services sector contributes over 70%. Of course, most of this is not exported, but still services exports contribute 30% to UK GDP. And 40% of that services trade is with the EU directly.
Indeed, while the UK runs a huge goods trade deficit with the EU, that is in part compensated by running a surplus in services trade with the EU. This surplus is in mainly financial and professional services where the City of London leads. Exports of UK financial services are worth £60 billion annually compared to imports of £15 billion. And 43% of financial services exports go to the EU.
The Brexit deal with the EU has done nothing for this sector. Professional services providers will lose their ability automatically to work in the EU after the Brexit deal failed to obtain pan-EU mutual recognition of professional qualifications. This means that professions from doctors and vets to engineers and architects must have their qualifications recognised in each EU member state where they want to work.
And the deal does not cover financial services access to EU markets, which is still to be determined by a separate process under which the EU will either unilaterally grant "equivalence" to the UK and its regulated companies or leave firms to seek permissions from individual member states. Over the next year, there may well be bit by bit agreements on trade in these areas. But the UK service sector is bound to end up worse off for its exports than was the case within the EU.
And that's serious because the UK is a 'rentier' economy that depends heavily on its financial and business services sector. Financial services contribute 7% of UK GDP, some 40% higher a contribution than in Germany, France or Japan.
The UK is a country of bankers, lawyers, accountants and media people, rather than engineers, builders and manufacturers. The UK has a huge top-heavy banking sector, but a small manufacturing sector compared to other G7 economies.
What about the impact on working people? On leaving the EU, what little British labour has gained from EU regulations will be in jeopardy within a country which is already the most deregulated in the OECD. The EU rules included a 48-hour week maximum (riddled with exemptions); health and safety regulations; regional and social subsidies; science funding; environmental checks; and of course, above all, free movement of labour. All that is going or being minimised.
Around 3.7% of the total EU workforce – 3 million people – now work in a member state other than their own. Since 1987, over 3.3 million students and 470,000 teaching staff have taken part in the EU's Erasmus programme. That programme will exclude Britons from now on. Immigration into the UK from EU countries has been significant; but it also works the other way; with many Brits working and living in continental Europe. With the UK out of the EU, Britons will be subject to work visas and other costs that will be greater than the total money per person saved from contributions to the EU.
On balance, EU immigrants (indeed all immigrants) have contributed more to the UK economy in taxes (income and VAT), in filling low-paid jobs (hospitals, hotels, restaurants, farming, transport) than they have taken up (in extra cost of schools, public services etc). That's because most are young (often single) and help pay pension contributions for those Brits who are retired. The Brexit referendum has already brought about a sharp drop in net immigration into the UK from the EU, down 50-100,000 and still falling. That can only add to the loss of national income and tax revenues down the road.
Most sober estimates of the impact of leaving the EU suggest that the UK economy will grow more slowly in real terms than it would have done if it had remained a member. Mainstream economic institutes, including the Bank of England, reckon that there would be a cumulative loss in real GDP for the UK over the next ten to 15 years of between 4-10% of GDP from leaving the EU; or about 0.4% points off annual GDP growth. That's a cumulative 3% of GDP loss per person, equivalent to about £1000 per person per year.
The UK's Office for Budget Responsibility reckons that one third of this relative loss has already taken place because of the reduction in the pace of business investment since the referendum as domestic businesses stopped investing much, due to uncertainty about the Brexit deal along with a sharp drop in foreign inward investment.
And then of course, the COVID pandemic has decimated business activity. In 2020., the UK will suffer the largest fall in GDP among major economies apart from Spain and recover more slowly than others in 2021.
British capitalism was already slipping badly before the pandemic hit. Its trade deficit with the rest of the world had widened to around 6% of GDP; and real GDP growth had slid back from over 2% a year to below 1.5%, with industrial production crawling along at 1%. The UK economy already had weak investment and productivity growth compared with the 1990s and with other OECD countries.
Investment in technology and R&D has been poor, more than one-third less than the OECD average.
And the reason for this is clear. The average profitability of British capital has been falling. Even before the pandemic hit in 2020, average profitability (according to official statistics) was 30% below the level of the late 1990s and, excluding the Great Recession, was at an all-time low.
Since the referendum of 2016, UK profitability has fallen by nearly 9%, compared to small rises in the Eurozone and the US. And the Eurozone AMECO forecast for profitability will leave the UK 18% below 2015 levels by 2022!
As a result, investment by British capital is set to plunge and is forecast to be down a staggering 60% by 2022 compared to the referendum year of 2016.
But maybe the UK can confound these dismal forecasts, as the government claims, because UK industry and the City of London can now expand across the world 'free from the shackles' of EU regulation. And it is increasingly clear how it thinks it can do this – by turning Britain into a tax and regulation-free base for foreign multinationals. The government is planning 'free ports' or zones; areas with little to no tax in order to encourage economic activity. While located geographically within a country, they essentially exist outside its borders for tax purposes. Companies operating within free ports can benefit from deferring the payment of taxes until their products are moved elsewhere or can avoid them altogether if they bring in goods to store or manufacture on site before exporting them again.
Unfortunately, for the government, studies show that free ports might simply defer the point when taxes are paid, as imports would still need to reach final customers across the country. And the incentives may also promote the relocation of activity that would have taken place anyway, from one part of the UK to another. Moreover, tax breaks could mean a loss of revenue for the Treasury. And free ports risk facilitating money laundering and tax evasion, as goods are usually not subject to checks that are standard elsewhere. A deregulated Britain will not restore economic growth, let alone good, well-paid jobs for an educated and skilled workforce. It will only boost the profits of multi-nationals, using cheap, unskilled labour.
In sum, the Brexit deal is another obstacle to sustained economic growth for Britain. But the COVID pandemic slump and the underlying weakness of British capital are much more damaging to the UK's economic future than Brexit. Brexit is just an extra burden for British capital to face; as it also will be for British households.
End of the Year Thoughts on Inequality and Its Remedies [feedly]
Lots to discuss here -- Dean's year end reflections would be a great topic for educationals on real political economy in the coming period. Certainly more useful and productive than the phrasemongering, feet planted in mid-air rants, that at times masquerade as political economy on the Left. I do not concur with parts of his analysis, but it has two great virtues: 1) It is concrete in its analysis of the US inequality -- it deals in real, not dogmatic or categorical choices in policy; 2) He affirms that among the several approaches one may take toward inequality, you cannot run away from its class character. You cannot raise the incomes of middle and lower working class people, unless you take it from the rich.
If you are having dinner with a billionaire, or a CEO, it is not going to be a win win situation
Dean Baker: End of the Year Thoughts on Inequality and Its Remedies
http://feedproxy.google.com/~r/beat_the_press/~3/KwG6EY98SRE/
The approach of the end of the year seems a good time to sum up thoughts. My comments here will not be news to regular readers, but may be to others. Also, this exercise is helpful for me to keep my thoughts clear. (I also expect to take next week off, so you won't be hearing from me for a while.)
Most of my work for the last several years has been focused on ways to reduce before tax inequality by reducing the amount of before-tax income that goes to those at the top of the income distribution. For better or worse, there don't seem to be a lot of progressives that share this beat. There are a few points that are worth making.
First, my focus on reducing income at the top doesn't mean for a second that I don't see efforts at raising income for those at the bottom (and middle) as being important. I have long been involved with or worked alongside people trying to raise minimum wages, protect or increase Social Security benefits, and increase unionization rates.
These are very important efforts, but at the end of the day, our ability to raise incomes at the middle and bottom will depend on reducing incomes at the top. This gets to the old pie-cutting story. If we want those at the middle and bottom to have much bigger slices of the pie, the folks at the top will have to get by with smaller slices.
To see how skewed the pie eating has gotten, if the federal minimum wage had kept pace with productivity growth since 1968, as it did from its establishment in 1938 until 1968, it would be $24 an hour today. That means a single full-time minimum wage earner would have an income of $48,000 a year. A two-earner couple getting the minimum wage would have an income of $96,000 a year.
This is a striking counter-factual, but we can't just go from here to there. In order for the economy to allow for this sort income and consumption by those at the middle and bottom, we have to reduce income and consumption at the top.
We can talk about expanding the pie, but I don't think that I, or anyone else, has a magical formula to hugely expand the size of the pie. There are areas where better policy can lead to a more productive economy, but we are more likely talking about one to two percent rather than ten to twenty percent, and even these gains are likely to be a long-term story, not gains we can see in two or three years.
It is also worth focusing on what pie-eating among the top means. There are many progressives who have made a sport of highlighting the enormous wealth that Jeff Bezos, Mark Zuckerberg, and other super-rich types have accrued from recent stock market gains. While the wealth of the super-rich is obscene, reducing these fortunes will actually not free up much room for more income lower down the ladder.
As a practical matter, Jeff Bezos and Mark Zuckerberg probably don't consume much more in a given year than your average single-digit billionaire. This means that if we took away $100 billion from each of them, it would not free up much consumption for those at the bottom. If we want to create the economic space to substantially expand incomes at the middle and the bottom, we will have to substantially reduce the consumption of not just some tiny segment of super-rich people, but also the rest of the top one percent and even the top five percent. (That gets us a cutoff in household income of around $300,000.) We might even have to knock down the income a bit of the next five percent (cutoff of household income around $200,000).
There is the political issue of the enormous influence that the super-rich can buy with their wealth. This is a huge problem, but it is best addressed in the near-term by increasing the opportunities for ordinary people to have a voice.
I know many on the left want to use taxes to reduce the income, and therefore consumption, of those at the top. While we can and should make our tax system more progressive, there are real limits on how far we can push progressive taxation. Rich people don't like to pay taxes. They can and do find ways to avoid and evade taxes. Insofar as they are successful in these efforts, we fail to reduce their income in the way intended, we create a huge tax-gaming industry, which is a source of economic waste and itself a generator of inequality, and we undermine faith in the system.
It is far better if we change economic structures in ways that don't allow people to get so rich in the first place. As a political matter, it is hard to defend an institutional structure that is both inefficient and a large generator inequality. As a practical matter, it is much easier to design systems that don't give rich people billions of dollars in the first place, than to try to impose taxes that pull most of their billions back after the fact.
This is the basis of my thinking in much of my work. I lay out the case most completely in Rigged (it's free), but I am constantly looking for new areas where altering rules can lead to less inequality, without jeopardizing efficiency.
Patent and Copyright Monopolies
I like to begin with patent and copyright monopolies both because this is the clearest case, and also because the most money is at stake. The basic point is painfully simple: patent and copyright monopolies are not intrinsic to the market, they are government policies designed to promote innovation and creative work.
As policies, they can be altered as we choose. They can be shorter or longer, stronger or weaker. We also can use other mechanisms to promote innovation and creative work.
These policies transfer an enormous amount of income from the bulk of the population to those in a position to benefit from patent and copyright monopolies. I calculated that these policies may transfer over $1 trillion a year from the rest of us to the beneficiaries of patent and copyright monopolies. This is an amount that is larger than the military budget, it is close to half of all before-tax corporate profits. In other words, it is real money.
Prescription drugs are the largest single chunk of this sum. Drugs are important, not only because of the money involved, but also because people's lives and health are at stake. The drugs that sell for tens, or even hundreds, of thousands of dollars would almost invariably be cheap in a world without patent monopolies and related protections. While any price is expensive for the poor, for most people, paying for drugs would not be a big problem if they sold for ten or fifteen dollars per prescription. Doctors could freely prescribe what they view as the best drug for their patients, without regard to price. (We need to make sure that government programs pick up the tab for the poor.)
There is also the issue of the perverse incentives created by patent monopolies. Drug companies routinely misrepresent the safety and effectiveness of their drugs to maximize their sales and therefore the benefit of monopoly pricing. The most extreme case (which no one ever talks about) is the opioid crisis, which was worsened as a result of drug companies widely pushing drugs that they knew to be more addictive than claimed.
The inequality story is also straightforward. Dishwashers and custodians don't benefit from patent monopolies. A very limited group of workers are in a position to get big gains from these policies. Bill Gates would likely still be working for a living if not for the patent and copyright monopolies on Microsoft software. When economists say that "technology" has increased the returns to education and inequality, they actually mean that patent and copyright monopolies have increased the returns to education and inequality, but it sounds much better to blame inequality on an abstract force than government policy.
The Corruption of Corporate Governance
There is a simple point here that seems to largely escape people on the left. CEOs are not worth their $20 million paychecks. That is not a moral assessment of the value of their work, that is a dollar and cents calculation about their value to the companies that employ them.
At this point there is a considerable body of research that shows the pay of CEOs is not closely related to the returns they provide to shareholders. Bebchek and Fried have a somewhat dated collection of research on the topic. I reference some more recent material in chapter 6 of Rigged. A couple of years ago, Jessica Schieder and I also contributed a piece to this literature.
The fact that CEOs are not worth their pay matters because it means that they are effectively ripping off the companies for which they work. There is a widely held view, that in recent decades, companies have been run to maximize returns to shareholders. However, if CEOs have been earning huge paychecks at the expense of the companies they work for, then it is not the case that companies are being run to maximize returns to shareholders.
The fact that returns to shareholders have not been high by historical standards over the last two decades supports the view that CEOs are not maximizing returns to shareholders. It is also worth noting that the shift of income from labor to capital only explains about 10 percent of the upward redistribution of the last four decades.
The fact that CEOs might be gaining at the expense of shareholders is not just a question of which group of rich people get the money. At the most basic level, there is reason to prefer the marginal dollar goes to shareholders, since even with the enormous skewing stock ownership, a substantial portion of shares are owned by middle class people in their 401(k)s and pension funds. By contrast, every dollar going to a CEO is going to someone in the top 0.001 percent of the income distribution.
But more importantly, the bloated pay of CEOs has a huge impact on pays scales throughout the economy. If the CEO is getting $20 million then it is likely the chief financial officer and other top tier executives are getting close to $10 million. And the third tier can be getting $2 or $3 million. By contrast, if we had the pay scales of forty years ago, the CEO would be getting $2 to $3 million. The second tier would be correspondingly lower, and the third tier may not even crack $1 million. The excess pay at the top in the corporate sector also leads to bloated pay for top executives in universities and private charities. And, with all this money going to the top, there is less for everyone else.
Anyhow, it should be apparent both that lowering the pay for CEOs will be a huge step in reducing income inequality, and that shareholders should be allies in this battle. Changing the rules of corporate governance (these are set by the government) to give shareholders more control over CEO pay can lead to lower pay at the top and therefore less inequality.
Globalization is a Policy, not an Exogenous Event
A popular story among elite types is that we can't have good-paying factory jobs that can support a family because of globalization. The deal is that workers earning $30 an hour, plus benefits, can't compete with workers in places like Mexico and China, who can do the same work for less than one-tenth as much.
This is true. But the fact that our factory workers were put in direct competition with low paid workers in the developing world was not just something that happened, it was the result of deliberate policy. Our trade deals were designed to make it as easy as possible for U.S. corporations to outsource work to developing countries and bring manufactured goods back into the United States. The massive loss of manufacturing jobs in the years from 2000 to 2007 (pre-Great Recession) was not an accident, that was the point of our trade deals.
We could have constructed our trade deals differently. Instead of putting manufacturing workers in competition with their counterparts in the developing world, we could have designed our trade deals to put doctors, dentists and other highly paid professionals in direct competition with their counterparts in the developing world. This would have meant standardizing licensing requirements in ways that ensured safety standards, while making it as easy as possible for foreign professionals to train to meet these standards and then practice freely in the United States.
While doctors are not among the super-rich, their average pay is close to $280,000a year, putting them in the top two percent of wage earners. They also earn roughly $100,000 more annually than their counterparts in other wealthy countries. If we got doctors' pay down to the levels in Germany or France, it would save us close to $100 billion a year. That comes to $700 per year per household.
When I have raised this issue with other progressives, many first dispute the idea that we could get foreign doctors that meet our standards. When I convince them of the absurdity of this position (there are plenty of very smart people in places like Mexico and India who would be happy to train to our standards for the opportunity to practice medicine here), they often respond with comments like people like their doctors or that they personally like their doctor.
I get that, but there is some serious logic missing. I like the person who cuts my hair; she doesn't earn $280,000 a year. Essentially, these progressive types are expressing class solidarity with very highly paid professionals. They are welcome to do so, although it is an odd position for people who consider themselves progressive, but there is a more fundamental and simple point at stake.
The fact that autoworkers have to compete with low-paid workers in the developing world, and doctors don't, is a political choice. This was not the result of an exorable process of globalization, it was the result of how policy types chose to structure globalization. No one should be surprised if manufacturing workers, and workers without college degrees more generally, who have been hurt by the loss of good-paying manufacturing jobs, are resentful of this decision.
The Financial Sector: Economic Bloat and the Bloated
The financial sector is the source of many of the country's great fortunes, it is also a source of enormous waste. Finance is an intermediate good, like trucking. It is very important to the economy; we need an industry that allocates capital and makes payments. But just as we want as few resources as possible involved in shipping our goods from Point A to Point B, we also want as few resources as possible tied up in the financial sector.
In fact, the financial sector has exploded in size relative to the rest of the economy over the last five decades. We have seen a massive increase in financial transactions, as new financial assets are being constantly created and the existing ones are being traded more frequently. It is difficult to see much gain to the real economy from this explosion in the size and complexity of the financial sector, even if it has meant big fortunes for many people in the sector.
My favorite remedy is a financial transactions tax, which can be thought of as equivalent to the sales tax we impose on most of the goods we buy. A modest tax could easily raise $100 billion a year (0.5 percent of GDP), which would come almost entirely at the expense of the industry.
I find that many people have difficulty understanding how the tax would come at the expense of the industry and not investors. They insist that that banks and brokerage houses will just pass on the tax to investors. This is largely true but it misses the point.
There is considerable research showing that the volume of trading falls roughly in proportion to the increase in the cost of trading. This means that if the cost of trading rises by 40 percent, then the number of shares bought and sold will fall by roughly 40 percent. This means that, for a typical investor, the increase in the cost per trade due to the tax will be offset by the reduction in the number of trades they or their fund manager make.
This means that the total amount that they spend on trading will be little changed, but money they used to pay to the industry for carrying through trades will instead be paid to the government in taxes. Since trades are on net a wash (every trade has a winner and loser, this averages out for all but the most astute investors), investors will not be hurt by a reduction in trading volume.
This one often leaves people baffled, since if they aren't gaining from trading now, they could reduce their volume of trading and save money. That view is correct, they could save money with fewer trades, but nonetheless many people choose to bet that they, or a fund manager will be able to beat the market.
Anyhow, the point here is that if we just applied similar tax treatment to the financial sector as we apply to most goods and services we buy, we would have a radically downsized sector and many fewer great fortunes being earned there.
The other simple quick fix would be to crack down on private equity funds, which are a source of great fortunes for fund partners. My colleague Eileen Appelbaum, along with Rose Batt, has documented many of the abuses the industry has developed to maximize their returns.
In addition to cracking down on abuses, which can get complicated, a simpler issue is that private equity is no longer giving above market returns. In the 1980s and 1990s private equity companies were able to find many underpriced companies, turn them around and make large profits reselling them when they took the company public. This no longer seems to be the case as their returns have largely followed the market since 2006. This means that there is no reason for pension funds, the major source of private equity funding, to be tying up their assets with them.
Even though pension funds may not be gaining by investing with private equity, many of their managers are convinced that they do. There is an easy remedy here. Just require the terms of all contracts of public pension funds with investment managers, including private equity, be posted on the fund's website, showing in clear terms what the managers get paid and the return on the investment. It is likely that the mediocre returns on private equity funds, coupled with the large payments to the private equity managers, would soon discourage pensions from continuing to turn over large amounts of money to these funds.
There are other areas where we can both make the economy more efficient and reduce the opportunities for large fortunes in the financial sector. The most obvious is cleaning up the room for abusive credit practices that the Consumer Financial Protection Bureau was designed to target. There is no economic reason to give clever lawyers and accountants incentives to design ways to rip-off their customers. If these practices are blocked, by regulation or law, it a pure gain for the economy.
As a general rule when it comes to the financial sector, we want it small and we want it simple. If we see lots of resources being devoted to the sector, it is clear indication we have a problem.
Fixing Facebook and Social Media: Treat Them Like Other Media
The battle over Section 230 of the 1996 Communications Decency Act has taken a bizarre turn in recent months because Donald Trump seems to have been convinced that repealing it would mean that Twitter and Facebook couldn't comment on or take down his posts. Actually, the opposite is true. In their current form, without Section 230 protection, Twitter and Facebook would probably be more likely to remove material posted by Donald Trump because it could be libelous and make them subject to legal actions.
But ignoring the Trump confusion, the issue with Section 230 protection is why should Internet outlets be protected from damages, when the exact same material in a traditional print or broadcast outlet could lead to a lawsuit costing millions? Just to be clear, the issue is not directly posted material. If Facebook itself were to post libelous material it would face the same legal liability as the New York Times or CNN. The issue is third party content, where social media companies are completely protected.
If we applied the same rules to Facebook, Twitter, and other social media companies as we do to traditional news outlets (I describe how this could be done in more detail here), we would likely see a radically downsized Facebook and Twitter. There would still be considerable opportunities to make money in this sector, but likely much less than Mark Zuckerberg has made to date.
Even more important than downsizing Mark Zuckerberg's fortune is the issue of democratic control. In both the 2016 and 2020 elections, the public was in the position of begging Mark Zuckerberg to be responsible in the material he was allowing to be spread across his network. We should never be in the position of hoping some billionaire media mogul acts responsibly, with enormous consequences for democracy if they don't. This is a very good argument for breaking up Facebook, so that Mr. Zuckerberg's decisions do not have so much impact on our political process, but repealing Section 230 may get us to the same place through a much simpler mechanism.
Wishing You a Happy and More Egalitarian New Year
Well, that's the list for now. I have other schemes, as my regular readers know, but these are the big ones. The point is that we should never take market outcomes as simple givens. We can structure the market in an infinite number of different ways. Any political strategy that doesn't acknowledge this basic point is doomed to failure.
The post End of the Year Thoughts on Inequality and Its Remedies appeared first on Center for Economic and Policy Research.
AEP consideration of retiring Marshall County coal...
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Indian Senior Men’s team lose to hosts Chinese Taipei in Over Time thriller
Team Ekalavyas
(Features Image is a file photo from the recently concluded SABA Qualifying Round)
New Delhi/ Bengaluru, 25th July 2016: Threatening to turn the corner, the Indian Senior Men’s National Basketball Team continued to show significant improvement in the 38th William Jones Cup International Basketball Tournament 2016, with a tense 70-76 overtime loss to hosts Republic of China’s A team (Chinese Taipei). The William Jones Cup is being held at the Hsinchuang Gymnasium in the city of New Taipei, Taiwan.
If one were to simply go by world rankings, a victory today would have been considered a mini-upset, as Chinese Taipei is ranked 48th in the world, as against India’s 53.
These are exciting times for India basketball which is growing from strength to strength with each passing year. It is to be remembered that the Indian men’s team was invited to participate in this prestigious invitational championship on the back of its 8th place finish (best in 12 years) in the 2015 FIBA Asia Championship.
Considered as a key warm up event in the run up to the FIBA Asia Challenge to be held later this September, the Indian coaching staff led by Mr CV Sunny & Mr Sebastian PJ, have been doing an excellent job in testing out various combination of players in the three games so far, first against USA on Day 1, yesterday against Japan and today against Chinese Taipei.
Chinese Taipei led 22-17 at the end of the opening period before the momentum slightly shifted towards India, as it first matched Taipei 14-14 in the second quarter, before outscoring Taipei 25-20 in the second half to force the game into an extra five minutes of play.
In overtime, the hosts went on a 10-4 run to seal the deal. For India, multiple players stepped up throughout the course of the match. Power forward Amjyot Singh dominated on offense grabbing an unbelievable 10 offensive rebounds to go along with his 18 points. Centre Rikin Pethani shone on the defensive end with 13 huge rebounds (17 in total), 3 blocks and 4 steals. Streaky guards Talwinderjit Singh and Prasanna Venkatesh had 16 points each, while the always consistent Vishesh Bhriguvanshi ended with 11 points, 4 assists and 3 steals.
However, despite all these statistical highlights, in the end India fell just short.
Team India is now 0-3 and faces Korea (WR-30) tomorrow at 12:30 pm.
Republic of China Team A bt India (Amjyot Singh 18 pts 12 reb, Prasanna Sivakumar 16 pts 9 reb, Talwinderjit Singh 16 pts, Rikin Pethani 17 reb 3 blk 9 pts 4 stl, Vishesh Bhriguvanshi 11 pts 4 ast 3 stl) 76-70 [22-17, 14-14, 11-14, 19-21, 10-4(OT)]
Indian Squad for the 38th William Jones Cup 2016
Family Name(s)
/Last Name
/Given Name
(City and State)
(ft & inches)
Arshpreet Singh
190 (6’ 3’’)
G/F
Bhriguvanshi
195 (6’ 4.5’’)
Amritpal Singh
Ganna Pind
Sulthanbathery
184 (6’ .5”)
Pethani
Rikin
Sajiavadar Amreli
Annadurai
Arumugam
Amjyot Singh
Punjab/ Haryana
Bhardwaj
Sivakumar
Prasanna Venkatesh
Akilan
180 (5’ 10.8’’)
Talwinderjit Singh
*PG – Point Guard / Feeder, G – Guard, F – Forward, G/F – Wing, PF – Power Forward, C – Centre, PF/C – Pivot
13) Coach: Sebastian Padipurakkal Joseph
14) Coach: Sunny Cheruthottil Varghese
15) Physiotherapist: Navaneeth Atholi Thiruvoth
16) Manager: Chengalraya Naidu Talipinani
About the 38th William Jones Cup
Tournament Specifics
The venue for the tournament is the Hsinchuang Gymnasium in the city of New Taipei, Taiwan. 9 teams are set to participate, and this includes 2 local Taipei teams. Matches will be played between 23rd of July to the 31st.
The final placement of teams will be based on their performance in a single round robin format. This will mean that every team will face every other team once.
The William Jones Cup is one of the, if not the, biggest non-FIBA Asia tournament conducted in the Asian continent as it is regularly used for the top teams in Asia as a warm-up event for the regular FIBA Asia competitions. This marks the first time since 2005 that the Indian Men’s National Team was invited. The invitation comes after India made history in back to back years, in 2014 by beating China for the first time ever and in 2015 by reaching the quarterfinals for the first time in 12 years.
The list of participating teams range from National teams to amateur club and University teams, as follows:
1. Egypt National Team (WR-41)
2. Iran National Team (WR-17)
3. India National Team (WR-53)
4. Japan National Team (WR-48)
5. Korea National Team (WR-30)
6. Philippines (Mighty Sports Club team in the Pilipinas Commercial Basketball League or ‘PCBL’)
7. U.S.A (California State University, Sacramento)- NCAA Div I Team
8. Republic of China (ROC) Team A (WR-48)
9. Republic of China Team B
India’s Upcoming Schedule [Timings in IST]
vs Korea – 26th July, 12:30 PM
vs Egypt – 27th July, 10:30 AM
vs Phillipines – 28th July, 10:30 AM
vs ROC B – 29th July, 10:30 AM
vs Iran – 31st July, 10:30 AM
Tournament History and India’s Participation
The William Jones Cup is a prestigious annual invitational tournament, the inaugural edition of which was held in 1977. The Cup was conceived and named to honour Dr. Renato William Jones, who served as one of the founders of FIBA and served as its first Secretary General for 44 years. Dr. William Jones was also instrumental in the creation of an Asian Zone for FIBA, which he did at the FIBA World Congress in Tokyo in 1964.
Iran is the defending champion, while United States is the most successful participant in the competition, with 15 gold medal finishes.
The last time the Indian men’s team competed at William Jones was way back in 2005. Subsequently, the women’s team participated in 2011 and 2012. In the 2011 edition, India finished (1-3), and was placed 4th, with the team’s sole win coming against South Korea (63-69). This game was notable Prashanti Singh’s shooting heroics as well as for Anitha Pauldurai top scoring (24 points) and Geethu Anna Jose’s 11 rebounds. In the following 2012 edition, India finished 4th again but fared better, going 2-3, by beating the Malaysian National Team and the Division III Chapman University, US.
About Basketball Federation of India
The Basketball Federation of India or BFI is the governing and controlling body of basketball in India, and is responsible for the development and promotion of the sport at all levels. BFI has been involved in conducting camps, clinics, events, and training sessions at its academies for the development of basketball. BFI came into being in 1935 and took complete control over Indian basketball in 1950. Prior to that time, the Indian Olympic Association handled the conduct of Indian basketball championships. Since 1950, the BFI has been conducting various such championships, from the grassroots to senior team participation in international tournaments. In addition, the BFI has been responsible for the establishment of strong sub-junior and junior level programs. The BFI has to its credit produced several international players of repute, among them 17 have been bestowed with the honour of Arjuna Awards. Earlier in June 2015, 19-year-old Satnam Singh Bhamara made history by becoming the first Indian national to be drafted by an NBA team, when he was selected by the Dallas Mavericks. More information at www.basketballfederationindia.org.
Jul 26, 2016 Team Ekalavyas
4 years ago Announcements, Basketball, Breaking News, Press Releases, Tournaments38th William Jones Cup, Chinese Taipei, Indian Senior Mens Team, Taiwan, William Jones Cup95
Is Shooting Form Really as Vital as They Say?Indian Men's U18 team on the verge of reaching knockouts after 12 years
Indian women begin 39th William Jones Cup with a loss to New Zealand
The Indian women’s basketball team opened its campaign at the 39th William Jones Cup earlier today with a 52-75 loss to New Zealand. The top performers for the Indian team were captain Anitha Paul Durai with 15 points, and R Rajapriyadharshini with 8 rebounds, while Micaela Cocks led New Zealand with 21 points. Next up, […]
Indian women’s basketball team set to depart for the 39th William Jones Cup
The Indian women’s basketball team is all set to participate in the 39th William Jones Cup International Basketball Tournament, which will be played from 5th to 9th July 2017 at Chinese Taipei The team is led by veteran cager Anitha Paul Durai, and coached by newly appointed head coach Zoran Visic, and Asst. Coach Shiba […]
Indian men’s basketball team cruises into the semis of the 21st Super Kung Sheung Cup
The 21st Best Mart 360° Super Kung Sheung Cup International Basketball Invitation Championship is being held in Hong Kong at the Queen Elizabeth stadium between 13th to 18th India has beaten the National Team of Thailand 86-65 and is now through to the semis. Hong Kong, 15th December 2016: Earlier this afternoon, the Indian […]
Indian Senior Men post first ever win at the William Jones Cup
(Featured Image is from the SABA Qualifiers and is being used purely for the purposes of representation) New Delhi/ Bengaluru, 29th July 2016: Earlier today, the Senior Indian Men’s team posted its first ever win at the William Jones Cup, the 38th edition of which is underway in Taiwan. Prior to the ongoing edition, […]
Indian finish in 7th place on a 3- Decade High
*Continuing to make its rise among the Asian ranks, India beat Taipei 80-68, to end FIBA Asia Challenge 2016 in 7th place. It is to be recalled that India had also upset China and Philippines earlier on in this competition. Considering the higher number of teams this time around, this is India’s best ever performance […]
Indian men showcase balanced scoring effort against Korea in day 2 of the 39th William Jones Cup International Basketball Tournament
The Indian men’s basketball team lost to South Korea 67-92 on day 2 of the 39th William Jones Cup International Basketball Tournament. The William Jones Cup is an exposure trip for India ahead of the FIBA Men’s Asia Cup to be held in Lebanon from 8th to 20th August 2017. India’s positives included its balanced […]
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Tag Archives: one-man band
March 31, 2017 Samia
Had a cozy chat with Bloodshot Bill, the revered rockabilly one man band from Montreal and learned some things about his early years as a budding rock’n’roller, his hoarding habits, and his love for ballads.
When did you realize you had this talent to be a musician?
It’s more like realizing you enjoy it, so I realized I enjoyed it and just wanted to do that.
I started playing drums when I was 13 or something, I was playing with friends and stuff. When I realized when I wanted to do it, probably like around when I met you, during those Jailhouse days. I was working all crappy jobs, so many shitty jobs.
So, at that point you started playing more?
I used to drink more than I played so I didn’t really take some opportunities that I could have, with people offering me to play out of town and stuff like that.
As a solo artist, or in bands?
Both, I was doing both. I started out playing alone, not the way I do it now with the one man band type of thing, it was just with a guitar. I played with Dom and stuff like that.
Were you in bands in high-school?
I was playing drums in high school. Being the drummer I didn’t really have so much control, so I had to learn to play guitar to do my own thing.
And when did you start singing or realizing you could sing?
Well I didn’t realize I could sing, I just figured I should try this if I want to do stuff I like. That happened pretty late when I was like 19 or 20.
I know people call you hillbilly or rockabilly, what’s the difference? What do you consider yourself?
Just rockabilly, rock’n’roll or just rockin’. I guess hillbilly loses that rock part of it, and I like that style, that’s what I try to go for. You try to go for what you like. Like if you are a writer you want to write something you want to read, right? So, I try to make songs that I obviously want to hear.
You’ve met some of your idols? Like Hasil Adkins
I never met Hasil but we used to talk on the phone a lot. I got his number a long time ago.
So, did you just call him up?
I called him up and he talked to me like we knew each other for years. It wasn’t like who are you? It was so cool. And we used to play songs to each other over the phone. And after he passed away his girlfriend wrote me, sent me a letter saying, “Is this Bloodshot Bill, you used to talk to Hasil on the phone” I was like “yeah”. He used to tape record his phone conversations which I didn’t know and she was like “I have a tape of you guys talking, would you like it?”. She sent me this tape and we’re talking, and playing songs over the phone to each other, it’s cool.
Great, that’s awesome! Where do you think your passion and energy comes from?
Hmm, I don’t have that many interests, I’m not interested or knowledgeable on many things because I have no interest in them, except for a few things I think are cool. Music, different musicians I like, and so I guess that’s it.
But you have tons of energy, put out so many records, and your energy on stage?
It’s just from liking what I do, I guess. Liking it. If it’s a live thing, then you also get the energy from the crowd. So if they’re going nuts then you get to go more nuts.
You seem to be entrenched in 50s music, style and subculture. If you could travel back in time to that time what would be the first thing you would do?
Go shopping! Find all the cool stuff I have to dig for nowadays. Even if it’s clothes, gear, or guitars, whatever. Meeting people, going to shows, all that stuff.
What fascinates you about retro signs?
I don’t know, they’re just cool, they don’t make them like they used to kind of thing.
And I know I saw you had some garage sales over the summer?
Well because I moved and I’m a super amazing hoarder. I travel a lot to so it makes finding things and finding things easy. That’s one of the fun things about going on the road. What’s in this town, and what’s in that town.
Do you ever have problems bringing stuff back?
No, as long as it can fit in the car I’ll take it. But I did find pieces of signs that I couldn’t take back and I was kind of bummed about that. But I usually find small things that I can fit in the car. So back to when we were moving, I was just like, how am I going to move all this stuff, I have so much stuff, I can get rid of this stuff, I had so much so I was kind of panicking. I was like okay, I’ll sell some of these guitars and I just got flooded with emails in 15 minutes, while I was packing and I couldn’t answer all these things, so I just answered like the first email. A guy came over and he bought a guitar and I just didn’t bother answering the others, maybe later I’ll do a garage sale or something.
So you still have a lot of stuff?
Yeah, out of all that stuff I only sold one guitar, really cheap too. But at my last show, I don’t know if that’s what you are talking about. I did a little purge of some clothes and comics. I didn’t bring too much stuff because I had to bring my gear also.
That’s an interesting concept.
It worked out good! It worked out good! I’ll try and do that more.
It’s a great way to get rid of stuff.
Way way too much stuff.
Do you drive to most of your show, like in the US?
I fly and I drive. I have kids now so I don’t do crazy long cross country drives.
With your family now it must be harder to go out and tour?
I kind of keep it at two weeks tops if I do go out, and that’s rare even. And I try to keep it to weekends, so if’s its somewhere far I’ll fly.
Do you have any favorite places you like to play? I know you play a lot of clubs, festivals, parks?
In the summer I do like playing outdoors, that’s always fun. Festivals, I like the outdoor ones, there’s this one I do every year in Massachusetts called the New England Shake Up, that’s a lot of fun, my friend puts it on, so I been doing the pre-party. And during the festival if a band cancelled we’ve been filling in, but there’s all sorts of different ones. But it’s weird, I find I’m able to play these sort of rockabilly festivals, and these other different ones, like if you categorize me as a rockabilly band I play festivals that other rockabilly bands wouldn’t…
Like a folk festival?
I did play a folk festival last year. You know you hear about a folk festival but not all the bands are folk bands. Like a blues festival, not all the bands are blues. The jazz fest in Montreal, perfect example, they’re not all jazz bands.
Are there any cities or places that are more into 50’s more than others, or in Europe?
I don’t know if it’s so much the cities, it’s just the crowd that puts on the show, or the festival that gears it toward that crowd. Europe definitely has a lot more festivals than North America, more for that kind of stuff.
So what’s your typical set up and has it changed over the years?
A guitar, an amp and a drum, when I’m playing alone, it’s the drum and the high hat. I read reviews where it’s like, “Bloodshot Bill playing harmonica” and stuff like that, I’m like, what, no, I never played that, they probably think cause I’m a one man band I have a harmonica. I think they kind of think, he had a maraca in his sock, or something, or a harmonica, or whatever. They just figure you’re trying to play so many things.
They just have a great imagination.
Or they’re just not watching, maybe they hear that, I don’t know, it’s kind of funny. But I keep it pretty basic, I just keep it simple for myself, I don’t try to like…I’ve seen other one man bands who try to play a million things, it’s cool or whatever, but for me if music is about expressing yourself you don’t want to make it hard on yourself to do that.
Do you write lots of originals or do you do mostly covers?
I do a mix of both. On all my records, I do covers too, and originals.
So I know you mentioned having a lot of jobs before. Did you ever imagine yourself on a different path?
Sometimes doing what I do now, it’s all me, I don’t have a manager, I book myself and stuff like that so I really have to hustle a lot to make it work, so sometimes I’m like it would be so much easier if I had a fuckin 9 to 5 job but I think I’d just blow my brains out if I did after a while, you know. But with all the stuff I’m hoarding I think I’d like to open up my ideal shop, you know, selling junk! (laughs)
That’s cool!
Yeah it would be cool.
What’s the emotion most felt in 50s music?
I don’t know, the music I go for, even if it sounds inept to some people, it’s the enthusiasm maybe.
Are there more love songs?
I love ballads. On my records I put a lot of ballads but reviews of me, the things I read of me, it’s like “the wild man!” but I don’t think people know that I love ballads. But I think that it was a lot of teenagers playing this kind of music, and they had a lot of energy because they are young and it’s just the enthusiasm I guess.
Do you play for your daughter?
Yeah, I mean sometimes. She tells me to stop. (laughs) Stop. She’s funny too.
Where do you spend time writing and practicing? At home?
Yeah usually at home, in the basement or something in the winter.
Who are some of your main influences?
There’s so many but I always have my holy trinity, Hasil Adkins, Charlie Feathers, and Link Wray.
Kary once told me that there was a song you once wrote about her and Johnny (Bergeron/Crap)…How did you come up with that?
Yeah, a long time ago, Johnny Crap. I don’t know, I think we all used to hang out at Jailhouse. It was weird, they are still together and that’s great, but I think after a week of them knowing each other Johnny went and had her name tattooed on him and we were like, oh what, dude, hope it works out! I guess it has worked out. I think that’s even a line in the song I think. “Johnny loves Kary, Kary loves John, wasn’t that a new tattoo on his arm, Johnny Crap!” Haha something like that!
Wow, that’s so cute! What’s going on with some of your side projects? The Tandoori Knights, The Ding Dongs?
Not much, those things just started out as…you know those guys, they don’t live in town anymore…
What about The FireJacks?
These were all recording projects. I get together with my friends, and it’s like – hey let’s record a song! And then it’s another and another song and then we have enough to put something out. Tandoori Knights, we actually did do a tour. We might put out some more stuff. The Ding Dongs, with Mark, we put out 2 albums and a single. We put out a bunch of stuff, with The Ding Dongs we played a bunch of shows, FireJacks – were these guys from the States, The Two Timin’ Three was the name of their band and we had plans to, they were always touring and I was always touring, so let’s tour together and we’ll put out an album, and then I got banned from the States like shortly after. And one of those guys that was in that band got in a motorcycle accident and died, yeah, so that never happened. We got to play one show.
So that whole banning in the States was because of paperwork?
And now you have the right papers? Do you have to pay for that?
Yeah, it’s a lot, it’s so stupid, for Canadians to play in the states you have to do all the paperwork to play, and wait, and gather all this information, but for Americans to come to Canada I could write them a note five minutes before they hit the border, and be like they’re coming to play, oK, and that’s it. Yeah it’s so stupid.
The look of your album covers are really cool looking. Who comes up with that?
Some of them I’ve done. The Norton stuff they take care of their stuff. I’ve loved that label forever so I’m like please do it, keep doing what you do, do it to my stuff cause I love you, I trust you.
Do you have a weirdest show you ever played?
I definitely do. One time I played in this giant fridge, that was in Montreal, some art thing. One time also in Montreal in March they got me to play in the Old Port right by the water, and it was freezing, it was an outdoor 5 a 7, open bar, it was really weird, like bad timing, like why are you doing this in the winter? Lots of weird shows. I just played with Mungo Jerry, I mean it wasn’t weird but it kinda made sense as I was watching his show, cause I only knew “in the summertime, when the weather gets hot…”, his hit song, but it seemed weird when my friend asked me to play it.
And what’s the show tonight, you got lined up?
Tonight I’m in a store, my friend’s store, Kitsch’n Swell, and they have a new sign and they’re having a party around it.
And who are the Hick-ups?
The Hick-ups are my latest band, I travel around a lot, but in the winter I’m home a lot, so I usually start a new band in the winter, this one I started a couple of years ago, it’s more like a traditional rockabilly sound, like a trio, 2 guitars and a bass, that’s what that is.
So did you listen to music early, like as a little kid?
Yeah, that’s when I got into rockabilly, was like my best friend in grade 1 or 2, he had an older brother who was into that so we kind got into it through that…he had a cousin too, an older cousin that even had a band, and I recently got to play with that guy too, which was kind of neat. He lives in Ottawa now. So that was an influence that kind of steered me early on I guess.
So I was looking at your site and saw these cool promotions you did for a hamburger joint in a bowling alley…
Yeah that was on the south shore, they were introducing some new burger, they always have little restaurant in the bowling alley, and I love bowling and I love hamburgers so it was perfect. They were introducing this new burger called the Dégueu burger which is the disgusting burger as you know.
With this brown sauce?
Yeah they had a sweet one and a spicy one and they were really good. The spicy one wasn’t spicy enough for me. But they wanted me to be the Colonel Sanders, the face of Wendy’s, the face of this burger, the Disgusting, so it was perfect, and they wanted me to write a song and we did a video.
And what about that restaurant, I never even heard of it, the Madrid?
Somebody asked me to write.. do you know this place? it’s on the Hwy 20 on the way to Quebec, it’s a truck stop and they had monster trucks and dinosaurs, but they were switching owners or selling it, so some of my friends in Granby were like let’s make a tribute album to Madrid, so I made that song, and made that crappy video just for the hell of it.
Oh, it’s so awesome!
I like it too! It’s short and funny.
Did they ever see it, like the owners, or anything?
I forget, I think one of them did, and they were just like – thanks!
Bloodshot BillDégueu burgerHasil AdkinsHillbillyJailhouseJohnny CrapKitsch'n SwellMontrealNew England Shake upNorton Recordsone-man bandRock'n'rollRockabillyTandoori KnightsThe Ding DongsThe FireJacksThe Hick-ups
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Bank must compensate woman for sharing info with estranged husband
India, Feb. 26 -- A bank has a relationship of fidelity with its customers and it cannot share their personal information or financial statement with anyone else, the Delhi State Consumer Commission said while holding a private bank, HDFC, guilty of deficient service by providing account details of a woman to her estranged husband without her consent. The consumer commission also asked HDFC Bank Ltd to pay a compensation of Rs 50,000 to the complainant, whose financial details were given to her husband with whom she had strained relations owing to a matrimonial dispute. "The relation of the bank and the customer is of fidelity and therefore, bank cannot supply financial statement or any information to another person except that of the court order," the commission said. "Considering the totality of facts and circumstances, the only conclusion drawn is that the statements were provided to the husband with the connivance of the bank officials. The same amounts to deficiency in service on part of the bank...," the commission further stated while dismissing the bank's appeal against a district forum order directing it to pay the compensation. According to the complaint filed by Delhi resident Gurpreet Kaur, her salary account details were released by the bank to her husband without her consent and knowledge. The bank, while denying the allegation, had claimed that it got a formal application for the release of account details but failed to submit it before the commission, saying it was unable to trace the same.
Next Article Emami Biotech plans plant in western India to expand footprintMonday, June 09, 2014
Supreme Court bans sale of BS-III vehicles from April 1 Thursday, April 27, 2017
Microbiological limits for milk/milk products applicable at retail level too Thursday, April 27, 2017
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A PANEL DISCUSSION WITH MANAN AHMED ON HIS NEW BOOK, THE LOSS OF HINDUSTAN: THE INVENTION OF INDIA
Virtual event - registration required
Distinguished Lecture
Friday, January 29 | 10:10am – 12:00pm
A panel discussion with Manan Ahmed (History)
On his new book, The Loss of Hindustan: The Invention of India
Vishakha Desai (Chair, Committee on Global Thought)
Purnima Dhavan (History, University of Washington)
Ayesha Ramachandran (Comparative Literature, Yale University)
Co-sponsored by the Committee on Global Thought, the Heyman Center for the Humanities, and the Institute for Social and Economic Research and Policy
Manan Ahmed is Associate Professor in the History Department at Columbia University. He is an historian of South Asia and the littoral western Indian Ocean world from 1000-1800 CE. His areas of specialization include intellectual history in South and Southeast Asia; critical philosophy of history, colonial and anti-colonial thought. He is interested in how modern and pre-modern historical narratives create understandings of places, communities, and intellectual genealogies for their readers. Prof. Ahmed’s second book, The Loss of Hindustan: The Invention of India (Harvard University Press, 2020), tells a history of the historians of the subcontinent from the tenth to the early twentieth century. The core of the book is the history Tarikh-i Firishta which was written by Muhammad Qasim Firishta (b. ca. 1570) in the Deccan in the early seventeenth century. Broadly, the book presents a concept-history of “Hindustan,” a political and historiographic category that was subsumed by the colonial project of creating British India and the subsequent polities of “Republic of India” and “Islamic Republic of Pakistan.”
Dr. Vishakha N. Desai is Chair, Committee on Global Thought; Senior Advisor for Global Affairs to the President of Columbia University; and a Senior Research Scholar for the School of International and Public Affairs at Columbia University. She also serves as Senior Advisor for Global Programs to the Solomon R. Guggenheim Foundation. From 2004 through 2012, Dr. Desai served as President and CEO of the Asia Society, a global organization dedicated to strengthening partnerships between Asia and the U.S. In 2012, in recognition of Dr. Desai’s leadership in the museum field, President Barack Obama appointed her to serve on the National Museum and Library Services Board. An internationally renowned scholar of Asian art, she has published and lectured extensively on the intersection of traditional and contemporary arts and policy in diverse countries of Asia. Dr. Desai holds a B.A. in Political Science from Bombay University and an M.A. and Ph.D. in Asian Art History from the University of Michigan, in addition to honorary degrees from Williams College, Centre College, Pace University, The College of Staten Island, and Susquehanna University.
Purnima Dhavan is an Associate Professor in the Department of History at the University of Washington. Her Fields of Interest include Comparative Gender; Environmental History; Islamic Studies; Literature; Science and Technology; and South Asia. Her research interests encompass the social and cultural history of early modern South Asia, 1500-1800. The ways in which religious, linguistic, and status identities shaped the political and cultural institutions of the Mughal period are central to her work. Prof. Dhavan’s first book, When Sparrows Became Hawks: the Making of Khalsa Martial Tradition (2011) examined the transformation of North Indian peasants into high-status warriors as they became members of the Sikh warrior order, the Khalsa. Her second book project, The Lords of the Pen: Literary Associations in Early Modern South Asia, examines the literary activities of poets in emerging urban centers of the Mughal Empire to understand how participation in literary associations shaped understandings of caste, gender, and religious identity, to engage with larger questions of how notions of the “public” and “common good” emerged in different parts of the world.
Ayesha Ramachandran is an Associate Professor of Comparative Literature at Yale University. Her research interests include Early modern European literature and cultural history; Renaissance poetry; history of science and technology (sixteenth and seventeenth century); cartography and literature; early modern empires and international law; history of philosophy; Europe and the Indo-Islamic world. Her recent work focuses on Europe’s relations with an expanding world. Her first book, The Worldmakers (University of Chicago Press, 2015) charts transnational encounters and the early mechanisms of globalization from the late fifteenth to the early eighteenth centuries. It was awarded the MLA’s Scaglione prize in Comparative Literary Studies (2017), the Milton Society of America’s Shawcross Prize for the best book chapter on Milton (2016), and the Sixteenth Century Studies Association’s Founder’s Prize for the best first book manuscript (2015). In addition to literary and intellectual historical questions, Prof. Ramachandran is interested in early modern maps (particularly world mapping), the history of science and technology, early modern empires, and the rich visual archive of illustrated books in the period). Her current book project, Lyric Thinking: Humanism, Selfhood, Modernity, argues for the central importance of lyric form and language in shaping new intellectual possibilities for the self in the early modern period and beyond.
» A PANEL DISCUSSION WITH MANAN AHMED ON HIS NEW BOOK, THE LOSS OF HINDUSTAN: THE INVENTION OF INDIA
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