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__label__cc	0.519329	0.480671	A Israeli venture capitalist explains why anyone against cooperation with China is ‘crazy’ Jul 10, 2018 \| International Politics \| 0 \| The US and China engaged in the first shots of a potential trade war last week when the Trump administration announced a 25% tariff worth $34 billion on Chinese products, including televisions, aircraft parts, nuclear reactors, and vehicles. China responded later that day with $34 billion worth of tariffs of its own, primarily on agricultural products. A full-blown global trade war could cost the world economy $470 billion by 2020, according to an analysis by Bloomberg Economics. Meanwhile, one country with significant ties to both countries’ economies is looking on nervously. Israel is particularly exposed to a global trade war. The country exports 30% of its GDP in goods and services and derives significant investment and growth for its booming technology sector via the US and China. With Isreal benifiting from over $38 billion dollars a year in aid money from the US, and that is without counting the defence contracts. The episode has left some Israeli businessmen, like legendary venture capitalist Erel Margalit, feeling caught in the middle. “The Chinese and the Americans need to find a better way to coexist from an economic standpoint. It’s extremely important for the world’s development,” Margalit told Business Insider. “China is developing new business models today that are ahead of anyone else.” He says, of the country whos giants Tencent and Alibaba started out by mimicing Google and Amazon. Jack Ma, Executive Chairman of Alibaba Group Holding, attends the World Economic Forum (WEF) annual meeting in Davos. Margalit is the founder of Jerusalem Venture Partners, one of the country’s oldest and most successful venture funds. The company has created and invested in over 120 companies in the US, Israel, and Europe. As of 2015, it also includes investment from Alibaba, China’s biggest tech company. While Israeli tech has long relied on American investors, it has increasingly turned to China in recent years. China’s total investment in Israel tripled to $16 billion last year. “We believe that China will be the largest investor in the Israeli market in the technology sector. It will surpass the US,” Edouard Cukierman, the French-Israeli chairman of Cukierman Investments House and managing partner at Catalyst-CEL, told The Jerusalem Post in December. “For many years, the Israeli hi-tech industry has been supported and led by American investors. Companies aimed for NASDAQ or the US market for exits, for IPOs.” The number of Chinese financial firms that invested in Israeli tech companies doubledfrom 18 in 2013 to 34 in 2017, but Chinese investment in venture capital funds has gone down over the same period. As Margalit looks at the global economy, he said it’s important to continue building “new dimensions of cooperation” between China, the US, and other global economies. But, he said, it needs to be done in a way that respects intellectual property and is non-threatening. Anyone against that, he said, is “crazy.” “The biggest social change in China is happening economically, not through Jeffersonian democracy,” Margalit said. “People need to understand it. It’s important for everybody that continues to happen.” Emphaszing that it’s all about the benjamins, not democracy. Human rights and sanctions violations with countries like Iran are jut the cost of doing business with china, and anyone who doesn’t accept that is “crazy”. It seems gaslighting is still as common a tactic as ever. This article orginally appeared on Business Insider PreviousIndia contributes US$100,000 for fund to ensure developing countries’ role in international cooperation on critical tax matters NextWhy Climate Change is a Security Matter What War Games Tell Us About the Use of Cyber Weapons in a Crisis The United Nations Relief and Works Agency, UNRWA facing financial crisis, risks exacerbating refugee migration crisis. The US Gets a “Win” at the UN — And No Other Country had to “Lose.” Real Border Security Comes From a Moral Foreign Policy	cc/2021-04/en_head_0041.json.gz/line3
__label__wiki	0.65208	0.65208	Posts Tagged ‘Wikipedia’ In the mix…democratizing access to data, data literacy, and predictable responses to proposed privacy bill 1) Infochimps launched their API. People often ask, are you guys doing something similar? Yes, in that we are also interested in democratizing access to data, but we’re focusing on a narrower area — information that’s too sensitive and too personal to release in the usual channels. In any case, we’re excited to see more movement in this direction. 2) Wikipedia began a trial of a new tool called “Pending Changes.” To deal with glaring inaccuracies and vandalism, Wikipedia made certain entries off-limits for off-the-cuff editing. The trade-off, however, was that first-time editors to these articles couldn’t get that immediate thrill of seeing their edits. Wikipedia’s trying out a compromise, a tab in which these edits are visible as “pending changes.” It’s always fascinating to see all the different spaces in which people in a community can interact online — this is a new one. 3) The Info Law Group posted various groups’ reactions to the privacy bill proposed by Representative Rick Boucher. Here’s Part I, here’s Part II. Fairly predictable, but it still never ceases to amuse me how far apart industry groups are from consumer advocates. 4) Great discussion continues on the concept of “data literacy.” I love this guest post from David Eaves on the Open Knowledge Foundation blog, with the awesome line: It is worth remembering: We didn’t build libraries for an already literate citizenry. We built libraries to help citizens become literate. Today we build open data portals not because we have a data or public policy literate citizenry, we build them so that citizens may become literate in data, visualization, coding and public policy. Tags: big data, Infochimps, open data, Open Knowledge, privacy legislation, Wikipedia Posted in Interesting Uses of Data, Protecting Privacy in Meaningful Ways, Public Policy \| No Comments » In the mix…EU data retention laws, Wikipedia growing 1) Australia thinking about requiring ISPs to record browsing histories (via Truste). Electronic Frontier Australia (EFA) chair Colin Jacobs said the regime was “a step too far”. “At some point data retention laws can be reasonable, but highly-personal information such as browsing history is a step too far,” Jacobs said. “You can’t treat everybody like a criminal. That would be like tapping people’s phones before they are suspected of doing any crime.” Sounds shocking, but the EU already requires it. 2) European privacy officials are pointing out that Microsoft, Google and Yahoo’s methods of “anonymization” are not good enough to comply with EU requirements (via EFF). As we’ve been saying for awhile, “anonymization” is not a very precise claim. (Even though they also want ISPs to retain browsing histories for law enforcement–confused? I am.) 3) Wikipedia is adding two new executive roles. In the process of researching our community study, it really struck me how small Wikipedia‘s staff was compared to the staff of more centralized, less community-run businesses like Yelp and Facebook. Having two more staff members is not a huge increase, but it does make me wonder, is a larger staff inevitable when an organization tries to assert more editorial control over what the community produces? Tags: Data Mining, Data Retention, EU, Google, Microsoft, Wikipedia, Yahoo! Building a community: who’s in charge? From http://xkcd.com/ We’ve seen so far that for a community to be vibrant and healthy, people have to care about the community and the roles they play in it. A community doesn’t have to be a simple democracy, one member/one vote on all decisions, but members have to feel some sense of agency and power over what happens in the community. Of course, agency can mean a lot of things. On one end of the spectrum are membership-based cooperatives, like credit unions and the Park Slope Food Coop, where members, whether or not they exercise it, have decision-making power built into the infrastructure of the organization. On the other end are most online communities, like Yelp, Facebook, and MySpace. Because the communities are all about user-generated content, users clearly have a lot of say in how the community develops. But generally speaking, users of for-profit online services, even ones that revolve around user-generated content don’t have power to actually govern the community or shape policies. Yelp, for example, allows more or less anyone to write a review. But the power to monitor and remove reviews for being shills, rants or otherwise violations of its terms of use is centralized in Yelp’s management and staff. The editing is done behind closed doors, rather than out in the open with community input. Given its profit model, it’s not surprising that Yelp has been accused repeatedly of using its editing power as a form of extortion when it tries to sell ads to business owners. Even if Yelp is innocent, it doesn’t help that the process is not transparent, which is why Yelp has responded by at least revealing which reviews have been removed. (As for Facebook, the hostility between the company and at least some of its users is obvious. No need to go there again.) And then there are communities that are somewhere in between, like Wikipedia. Wikipedia isn’t a member-based organization in a traditional sense. Community members elect three, not all, of the board members of Wikimedia. Each community member does not have the same amount of power as another community member – people who gain greater responsibilities and greater status also have more power. But many who are actively involved in how Wikipedia is run are volunteers, rather than paid staff, who initially got involved the same way everybody does, as writers and editors of entries. There are some obvious benefits to a community that largely governs itself. It’s another way for the community to feel that it belongs to its members, not some outside management structure. The staff that runs Wikipedia can remain relatively small, because many volunteers are out there reading, editing, and monitoring the site. Perhaps most importantly, power is decentralized and decisions are by necessity transparent. Although not all Wikipedia users have access to all pages, there’s an ethos of openness and collaboration. For example, a controversy recently erupted at Wikipedia. Wikimedia Commons was accused of holding child pornography. Jimmy Wales, the founder of Wikipedia, then started deleting images. A debate ensued within the Wikipedia community about whether this was appropriate, a debate any of us can read. Ultimately, it was decided that he would no longer have “founder” editing privileges, which had allowed him to delete content without the consent of other editors. Wikimedia also claims that he never had final editorial control to begin with. Whether or not Wikimedia is successful, it wants and needs to project a culture of collaboration, rather than personality-driven dictatorship. It’s hard to imagine Mark Zuckerberg giving up comparable privileges to resolve the current privacy brouhaha at Facebook. But it’s not all puppies and roses, as anyone who’s actually been a part of such a community knows. It’s harder to control problems, which is why a blatantly inaccurate entry on Wikipedia once sat around for 123 days. Some community members tend to get a little too excited telling other members they’re wrong, which can be a problem in any organization, but is multiplied when everyone has the right to monitor. Some are great at pointing out problems but not so good at taking responsibility for fixing them. And groups of people together can rathole on insignificant issues (especially on mailing lists), stalling progress because they can’t bring themselves to resolve “What color should we paint the bikeshed?” issues. Wikipedia has struggled with these challenges over the past ten years. It now limits access to certain entries in order to control accuracy, but arguably at some cost to the vibrancy of the community. Wikipedia is trying to open up Wikipedia in new directions, as it tries a redesign in the hope it will encourage more diverse groups to write and edit entries (though personally, it looks a lot like the old one). Ultimately, someone still has to be in charge. And when you value democracy over dictatorship, it’s harder but arguably more interesting, to figure out what that looks like. Tags: Facebook, Governance, How to build a community, online communities, Wikipedia, Yelp Posted in Best Practices \| No Comments » Building a community: Does a community have to be diverse to be successful? Last year, Wikipedia made headlines when a survey commissioned by the Wikimedia Foundation discovered only 13% of Wikipedia’s writers and editors are women. Among people who read but don’t write or edit for Wikipedia, 69% are men and 31% are women. The same survey found that Wikipedians were much more highly educated than the rest of the population, with 19% saying they have a Master’s degree and 4.4% saying they have a Ph.D. Facebook and MySpace have similarly gotten press for news that the demographics of the social networks’ members vary across race, class, and education. It shouldn’t surprise us that these sites, or any other sites, would be more popular among certain demographic groups. All communities, online or off, tend to reflect their founders and the worlds they come from. Mark Zuckerberg, Facebook Facebook was founded by Mark Zuckerberg while he was at Harvard. Facebook ended up more popular with Ivy League students. Wikipedia was founded using wiki technology and principles from the open source software movement. Wikipedians, not surprisingly, are “mostly male computer geeks,” as described by founder Jimmy Wales. Yelp started in San Francisco, and the irreverent, young tone echoes the tone of many Silicon Valley start-ups, attracting irreverent, young people. It’s not just that the sites’ founders attract people who are like them. They set the tone, based on values they hold, that tend to be shared by people similar to them. Jimmy Wales, Wikipedia Even as sites grow and expand beyond the first adopters, communities can develop cultures that are more attractive to certain groups than others. Women are allegedly more active than men on Facebook, whereas the opposite is true on Twitter. Although both sites involve sharing information, the mechanisms are quite different. I’m not going to hazard a guess as to why women are more drawn to Facebook or why men are more drawn to Twitter. I do think it’s funny when writers forget their personal preferences might not be universal. This writer, this writer, and this writer, who agree Twitter is much better than Facebook — all men. Here’s one prominent exception, Martha Stewart, who says, First of all, you don’t have to spend any time on it, and, second of all, you reach a lot more people. And I don’t have to ‘befriend’ and do all that other dippy stuff that they do on Facebook. Which sounds like a stereotypically male sort of thing to say. But it is worth noting that certain ways of interacting are more appealing to some groups than others, even when sites are not being marketed specifically to one group or another. Why does it matter? A successful community is not necessarily a diverse one. A forum for breast cancer patients won’t measure the health of its community by the number of men on it. One of the most attractive things about the Internet is its ability to concentrate people with esoteric interests. However, for communities with more universal goals, diversity is an important issue. It makes sense that Wikipedia has publicly been working on making its community of writers and editors more diverse. If Wikipedia’s goal is to create “a world in which every single human being can freely share in the sum of all knowledge,” it has to include the knowledge and perspective of people other than male computer geeks. (I can’t say for sure, but I would bet there were a couple of male computer geeks involved in the writing of this rather literal exposition of the “sanitary napkin.”) As part of that plan, Wikipedia is rolling out a redesign, which they hope will encourage more people to contribute their knowledge. Whether or not the redesign drastically affects Wikipedia’s numbers, the plan will likely involve a delicate balancing act. Wikipedia needs to attract new members without alienating the original members of its community. If the old interface was intimidating to some people, it was probably equally attractive to others. Those who didn’t find it intimidating could identify as part of a hard-core, committed group, an identity that can be crucial for energizing early members of a community. It’s the problem of any community that wants to grow – how do you grow without destroying the sense of community that helped it start in the first place? Large organizations have traditionally tried to maintain a sense of community with local chapters. The Sierra Club and Habitat for Humanity International are both built on a network of local affiliates that have a certain amount of autonomy. The Catholic Church and other religious organizations operate using a similar organizational structure, though with varying degrees of centralized control. Online, the examples are fewer. In fact, the only example of a community in our study that’s grown obviously beyond the boundaries of the original group is Facebook, and as I’ve discussed earlier, it’s an outlier. It contains communities but is not actually a community in and of itself. Despite the demographic differences between Facebook and MySpace, Facebook has arguably grown so big, those differences have become negligible. It almost doesn’t matter if Facebook is somewhat more popular among certain groups when it has 400 million active users. At the same time, though, each Facebook user’s experience of Facebook is filtered through is or her friends. Even though the dilemma of whether to accept a friend request from a parent has become a common joke, most people on Facebook haven’t directly experienced how quickly Facebook has expanded. This may be why Facebook has managed to transcend its origins so quickly as an online social network for Harvard students. The feeling of intimacy and connection hasn’t changed for the average user. It’s questionable whether Facebook can maintain that sense of localized community with the various changes it’s made to how user information is shared, but Facebook is gambling that it can. Tags: communities, diversity, Facebook, Habitat for Humanity, How to build a community, MySpace, SIerra Club, Wikipedia, Yelp Building a community: Just because it’s a social network doesn’t mean it’s a community. Thursday, April 22nd, 2010 Yelp via Flickr Creative Commons Attribution-Noncommercial-No Derivative Works Yelp and Facebook have a lot in common. As I wrote in my last two posts, they both emphasize or require the use of real profiles and they use people’s concerns about their reputations to motivate activity and interaction on the site. But Yelp and Facebook are fundamentally different. In short, Yelp is a community and Facebook is not. Although Facebook is a social network, it is not a community. It began as a social network for Harvard students, basing itself on the existing connections within that community. When it grew, it grew from community to community, from Ivy League universities to all colleges to high schools and then certain corporations, before becoming open to anyone with an email address. When people interacted with other people on Facebook, it didn’t feel as funny or sleazy or strange as interacting with a stranger in a chatroom. You might not have personally known a new friend, but he likely knew someone you knew. Facebook emphasized real people and real connections. So Facebook certainly contains communities. It contains people who know each other from college, elementary school, an office, or even a party. But it is not in and of itself a community. There is no ethos or set of values that all Facebook users share together. Facebook users may be active on the site, but they don’t write status updates, upload photos, and play Farmville for Facebook. They do it for themselves and for the people they want to interact with. If another social network came along that was better, their friends were there, and it was easy to transfer their profiles, people would do it without a single pang of disloyalty. It’s why Facebook has resisted calls for portability of profile data. As addicted as people claim to be, no one calls himself a Facebooker. In contrast, many people consider themselves Yelpers and Wikipedians. Yelpers have inside jokes and a self-conscious recognition that Yelpers are a tribe. The Yelp Elite Squad gets together at events, while Wikipedians gather at Wikimania. Although Facebook may have more users interacting in the offline world than any other site, it’s never an activity organized by or devoted to Facebook. To me, the biggest reason for this difference is that Yelp and Wikipedia have a mission and Facebook does not. The Wikimedia Foundation obviously has a mission; it’s a nonprofit organization with altruistic goals. In a recent survey of Wikipedians, when asked why they contributed, 73% indicated, “I like the idea of sharing knowledge and want to contribute to it,” while 69% said “I saw an error I wanted to fix.” They’re motivated in part by their belief in Wikipedia’s mission, to provide knowledge for the world. Yelp may not have a mission in a traditional sense, but its goal to provide informative reviews of local businesses is one that’s shared enthusiastically by many of its reviewers. As a result, the users on Yelp are helping to create Yelp’s product, reviews, while the users on Wikipedia are helping to create Wikipedia’s product, the encyclopedia. Facebook, in contrast, has a stated mission but it means nothing to its users. No one joins Facebook because he believes in Facebook’s mission. He joins because that’s where his friends are. He is not interested in helping Facebook create a product. In fact, as Bruce Schneier put it, “Alice is not Facebook’s customer. Alice is Facebook’s product.” Facebook itself admits more or less that it has no interest in building a community. Rather, it’s building “info aggregation with a great photos app.”. It’s why it’s trying it’s hardest to become Twitter, and why it keeps trying to think of new ways to make more of its members personal information public. Tags: community, Facebook, How to build a community, social media, social networks, Wikipedia, Yelp Posted in Best Practices \| 1 Comment » Building a community — will the real Mrs. Del Toro please stand up? As I discussed in my last post, having real profiles can really change the dynamic in an online community. Yelp, which has more or less encourages Yelpers to use real identities, has created a community where people really care what other Yelpers think of them. In contrast, Wikipedians care about the work others are doing, but they’re not so invested impressing other Wikipedians with their taste in music or food. Yelp and Wikipedia have some similar incentives for people to create good stuff, like increased status and privileges, but Yelp feels like a social network while Wikipedia does not. So how does the power of real profiles play out within Facebook, which is a social network and nothing else? How do people’s concerns about their reputations play out when there are no reviews to write or encyclopedia entries to edit? And how does Facebook in this context encourage people to create content? (MySpace is a social network as well, but it’s so different from Facebook that I’m going to address it in a separate post.) Facebook cares even more than Yelp about having real people. Poor Peowtie, her Facebook account's been disabled. While Yelp encourages people to use real first names and last initials and a real photo, Facebook requires it. The Statement of Rights and Responsibilities states, along with other rules: You will not provide any false personal information on Facebook, or create an account for anyone other than yourself without permission. You will not use your personal profile for your own commercial gain (such as selling your status update to an advertiser). You will not use Facebook if you are under 13. You will not use Facebook if you are a convicted sex offender. You will keep your contact information accurate and up-to-date. You will not share your password, let anyone else access your account, or do anything else that might jeopardize the security of your account. You will not transfer your account to anyone without first getting our written permission. If you select a username for your account we reserve the right to remove or reclaim it if we believe appropriate (such as when a trademark owner complains about a username that does not closely relate to a user’s actual name). Although we all know people who’ve sneaked through with a profile based on the name of a pet or a nickname, Facebook is diligent enough that it was very difficult for Caitlin Batman, Tim Six, Becky Super, and others with unusual names to sign up for an account. My friend’s Peowtie Del Toro account, which she opened in October 2007, was disabled just this year. (The above is a mock-up as it is completely inaccessible to her now.) Facebook doesn’t create a product, like business reviews or an encyclopedia, separate from its social network. Its product is essentially human relationships, to the extent that they can be captured through status updates, photos uploaded, articles linked, and virtual gifts/pokes sent. For all the personal detail Yelpers put into their reviews, it doesn’t compare to how personal content is on Facebook. As real people, Facebook members are hyper-aware of their reputations. The fact that they are creating content that is solely about their lives means that Facebook users care even more about the way that content affects their reputations. It’s not just about whether they write witty Yelp reviews or edit correctly on Wikipedia — it’s about who they are. As much as they horrify middle-aged adults, the kids who post drunken photos of themselves on Facebook do care about their reputations. It’s just that at that moment in their lives, it’s more important that they project that image than a more staid, responsible one. Some people want to be the kind of people who have 900 Facebook friends; other people want equally strongly to be the kind of people who have 50. Some people want their friends to know they made pickles with seasonal ramps that weekend; other people want their friends to know they were watching football. And despite the fact that Facebook has become a symbol of our over-sharing culture, Facebook wants us to share even more. The more we share, the more it can make in advertising. The more we share, the more valuable its data becomes. But Facebook can’t give you a gold star for being a cool person… Because people on Facebook are creating content about themselves, Facebook can’t use the same incentive systems used by Yelp or Wikipedia. Yelp can promote good reviewers to the Yelp Elite Squad, Wikipedia can give privileges to reliable editors, but it would be laughable for Facebook to create a Facebook Elite Squad. Imagine if Facebook deemed some users’ vacation photos better than others, or gave karma points like Slashdot to those whose status updates were wittiest. Facebook, however, can use people’s concerns about their reputations to motivate and promote activity. There are ways for users to give each other the Facebook equivalent of badges, stars, and compliments: virtual gifts and “pokes.” Facebook’s ways of motivating activity are generally more subtle. Facebook doesn’t just ask people to share — it asks people to respond. I once had a friend ask me why I never commented on her status updates. She clearly cares whether people respond to what she says. It’s part of why she uses Facebook. If Facebook didn’t allow people to comment on each other’s status updates and posts, I imagine the level of activity would rapidly decrease. Facebook’s “like” button serves an interesting purpose in this context. Like Yelp’s “useful, funny or cool,” it lets people respond to their friends without having to write out an actual sentence. It’s equivalent to a nod or sympathetic “uh-huh” offline — it’s a way to show you’re paying attention. But of course, Facebook isn’t really satisfied with the level of activity currently happening. Everyday, I’m given suggestions, not only for new friends but ways in which I could interact with existing ones. I’m curious how many people actually see this and then go out and write on the wall of that elementary school friend who they haven’t communicated with since they accepted the friend request. (In my case, I feel like it’s always telling me to reach out to Alex Selkirk, who I see almost everyday.) It’ll be interesting to see what else Facebook tries as it works to monetize itself. I don’t see how it can ever give out gold stars or badges or create elite classes within Facebook. Not only would it be weird to rate a person for being a person, it would be difficult to come up with an incentive structure that appeals to its 400 million registered users. Being a member of some Elite Squad, having karma points, being the Mayor of a local business as FourSquare does, might be appealing to some people. It definitely won’t be appealing to all of them. Tags: Facebook, How to build a community, online communities, Wikipedia, Yelp Building a community — populated by real people or anonymous cowards Mimi’s comment on my last blog post about building communities made an important point – although both Yelp and Wikipedia reward their users for their activities with increased status within their communities, they do so in very different ways with very different results for their content. There are many, many differences between Yelp and Wikipedia. (I’m curious how many people are registered users on both sites.) But one really obvious one is that Yelp has created an active community of reviewers who largely use real photos and real names (or at least real first name and last initial), like peter d., a member of the Yelp Elite Squad. Wikipedia, in contrast, is a free for all. Many people who write or edit are anonymous. They may register with pseudonyms, or they may not register at all, so that their edits are only associated with an IP address. There are occasionally Wikipedians who reveal their real names and provide a lot of biographical information on their profile pages, like Ragesoss, who even provides a photo. But for every user like him, there are many more like Jayjg and Neutrality, who seems to identify with Thomas Jefferson, as well as users who have been banned. Obviously, there are other communities that encourage the use of real identities — Facebook, MySpace, social networks in general. And there are communities where being pseudonymous or anonymous is perfectly fine, even encouraged — Slashdot, Flickr, and many more. So how does the use of real identities affect the community? How does it affect the incentives to participate? The content that’s created? Yelp’s reward system, as described in my earlier post, is very focused on the individual. The compliments, the Elite Squad badge, the number of “useful, funny or cool” reviews written are all clearly attached to a specific person, such as peter d. above. Although people are complimenting peter d. for the content he’s generated for Yelp, they’re also complimenting him as a person, as he’s told that he’s funny, he’s a good writer, and so forth. Yelpers are encouraged to develop personas that are separate from the reviews they write. The profiles have set questions, like “Last Great Book I Read” and “My First Concert.” They know that it’s not just about one review they’ve written, but where they’ve eaten, where they’ve gone, what they’ve done, that shows something in a generation that recognizes tribes based on what people consume. There is a suggestion that Yelpers might interact outside of Yelp, and in the case of the Yelp Elite Squad, an assumption that they will, as one of the major privileges is that members get invited to local events. The reputation you seek to develop on Yelp is not necessarily so different from the reputation you seek to develop in real life. Yelp isn’t just a review site. It’s a social network that feels almost like an online dating site — you can see how easily compliments could be used to flirt. Wikipedia’s reward system, based on the open source software model, is more low-key. Wikipedia does rate articles as “good articles,” and notes which articles have priority within certain classes of subjects. If you write a lot of “good articles,” or otherwise contribute substantively, you can get various gold stars and badges as well, like the Platinum Editor Star Jayjg has on his profile page. But the compliments are less about the Wikipedia user, even when stars are given, and more about the Wikipedia-related contribution he or she has made. Some Wikipedians may be flirting with each other, but it seems really unlikely, at least not within any Wikipedia-built mechanism. Jayjg clearly feels no need to tell us where he’s from and what his first concert was — it’s not relevant here. The Wikipedians who do share more personal information aren’t required or even encouraged to do so by the Wikipedia system. It doesn’t matter who Jayjg is. It only matters what he does for Wikipedia. So although both sites use rewards and feedback loops to encourage participation, they’re creating fundamentally different content with fundamentally different communities. Yelp’s entry for the Brooklyn Botanic Garden has 126 reviews, each wholly written by a single user with that user’s photo, name, number of friends and number of reviews immediately visible. The reviews are clearly personal and subjective, as made obvious by references to what that person specifically experienced. In peter d.’s case, his review notes how his brother once pushed him into the Japanese Pond. When you look at Wikipedia’s entry on the Brooklyn Botanic Garden, you see a seamless, unitary document. Unless you click on the tabs that cover history or discussion, you won’t even see who worked on the article. There is no personal perspective, there is no author listed with stars next to his name, there are no buttons asking you to rate that author’s contribution as “useful, funny or cool.” This makes sense, given their respective missions. Yelp’s goal is to generate as many reviews as possible about local businesses, recognizing that taste is really subjective. Wikipedia’s goal is to produce a free encyclopedia with unbiased, objective content. Yelp doesn’t want you to write one review and go away. If you do, your review may not even show up, as the spam filter may decide you’re not trustworthy. But of the thousands and thousands of people who’ve edited Wikipedia, the vast majority have done a few, maybe even just one edit, and never come back. Wikipedia is a collective work; Yelp is a collection of individual works. I don’t have an opinion on whether a community of real profiles is better or worse than a community of anonymous and pseudonymous contributors. The different structures seem to shape the content of Yelp versus Wikipedia in appropriate ways. What’s less clear to me is how this difference affects the make up of their communities. Wikipedia has recently been in the news as it examines the demographics of its users, which is “more than 80 percent male, more than 65 percent single, more than 85 percent without children, around 70 percent under the age of 30.” Its rewards system and its open source model clearly attracted the right kind of enthusiastic people who were willing to write encyclopedia entries without personal recognition and glory. Wikipedia wants more and different kinds of people to be writing entries. Would a system like Yelp’s that encourages a more explicit sense of community and social networking change who is attracted to Wikipedia? Or would it attract precisely the wrong kind of people, the ones who couldn’t work collaboratively without explicit credit and acknowledgment? Yelp isn’t a model of community building either, of course. Its users are more diverse than Wikipedia’s in that its breakdown by gender is 54-46, male-female, but it’s also a very young community. It’s less international than Wikipedia, partly because it grows city by city, but its American youth-oriented culture may not translate well either. It’s facing its own credibility problem as business owners accuse Yelp of extortion. It’s not surprising, as it’s fueled by people who are addicted to writing reviews and complimenting each other, but it’s paid for by advertisers who don’t participate in that same incentive structure. Both Yelp and WIkipedia have managed to attract active, enthusiastic contributors willing to do a lot for no pay (or mostly no pay in the case of Yelp, which has admitted to paying some reviewers.) But moving forward, which model of participation and rewards will be more attractive to more people for the right reasons? For more on this issue, see today’s New York Times article on how news sites are considering getting rid of the anonymous option for commenters. Or they could do what Slashdot does, which is call anyone who chooses to post anonymously an “Anonymous Coward.” Tags: Facebook, Governance, How to build a community, Organizational Integrity, Slashdot, Wikipedia, Yelp Building a community — with karma and elite squads In high school psychology, I learned that rats that are rewarded for good behavior, i.e., given positive reinforcement, will repeat the good behavior. Humans aren’t really that different. Several of the online communities I looked at need their members to do stuff to make their communities work. Some of them have decided to explicitly reward their members for good contributions. For example, Yelp is a site with reviews of local businesses. It knows that ratings alone aren’t very useful, as people have different standards, and it also knows one-line reviews claiming a restaurant is “great” or “terrible,” aren’t very informative either. Yelp encourages detailed, specific reviews in several ways. Yelp invites members to rate each other’s reviews as “useful, funny or cool.” Members can send each other compliments, little encouraging notes about what good writers they are or how cool they are. Yelp removes reviews it deems to be rants or shills. (This has led to some controversy as business owners have claimed Yelp removes reviews to extort business owners to take out ads, to which Yelp has responded with some changes.) The biggest gold star, literally a “badge” that gets attached to the user’s profile, is reserved for Yelpers in the Yelp Elite Squad. To be eligible to become a member of the Elite Squad, a reviewer must post a real photo, use a real first name and last initial, and “be active Yelp evangelists and role models, on and off the site.” Members of the Elite Squad are invited to local events, and they become another community onto themselves. As a result, reviews on Yelp are considerably more detailed than reviews on comparable sites, and there are more of them. For Abraco, a coffee shop in the East Village, Yelp lists 241 reviews. Menupages, which doesn’t do any of the things Yelp does, has 7, and they tend to be a bit more prosaic: Of course, everything has a downside. Yelpers have a tendency to be self-indulgent in the way they write, with details about their personal lives and more that aren’t always relevant to the business they’re reviewing at hand. But the details aren’t totally worthless. I appreciate the way Yelp encourages detailed reviews because the details are often helpful in helping me determine whether the reviewer is someone whose taste is similar to mine. When someone tells me that he doesn’t like Chinese food and thought the restaurant should be serving white chicken meat, I know instantly that he does not have the same taste as me, and I will not rely on his review. Whereas if that same person had only written, “Terrible food!”, I wouldn’t know enough to judge. If I really want to know more about the reviewer’s tastes and preferences, I can even click on the reviewer’s name and see what else he or she has reviewed. I can get a much better sense of who Mark L. is than of TheJuicyShow. Similarly, Slashdot uses “karma” to encourage smart comments. As a news aggregator for self-described nerds, Slashdot is as much a place to comment on stories as to read them. Anyone who has read open comments on popular blogs knows that they are often full of inflammatory rants where people spout rather than read/listen to what others are saying. Slashdot tries to deal with this by rating Slashdot users on their comments. The better your comments, the more “karma” you get, in the form of assessments that your comment is “insightful,” “interesting,” etc. Karma give you the power to moderate others’ comments, though you have to spend the points within 3 days. Good comments are considered an “achievement” that gets included on the profile of each user, which means, like Yelp, Slashdot users have personas that can be viewed by clicking on their profiles. Wikipedia awards activities in a slightly different way. Although Wikipedians also get rewarded with higher status, it’s not in as prominent a way as it is for Yelp or Slashdot users. There are no badges or notes like “Insightful.” Rather, as registered users contribute, they gain a reputation in that community. Those who meet the threshold for number of edits can vote in Wikimedia board elections, as well as be a candidate for the board. Other privileges, like administrator privileges, are granted to those who request them after a lengthy review of their contributions. Wikipedia is following the model of open source software projects where people are granted more responsibility, like commit privileges, as they demonstrate that they do good work. They’re rewarded with status, but not in as prominent a way as the badge Yelp Elite Squad members get. Offline organizations also reward good participation, with awards that recognize exceptional volunteers and positions of leadership. Habitat for Humanity affiliate chapters are often run by volunteers who have taken on responsibility after demonstrating their commitment. But because activities online are transparent to the whole community, the rewards given for those activities are similarly transparent as well. It’s easier to reward online activities in small as well as large ways. It’s also easier to keep track of large groups of people online. Thus, the reward system for these online organizations is more visible and more apparent than for offline organizations. And because the rewards systems are visible and apparent, they really affect the culture of the community. There are people who claim to be addicted to Yelp; there are also people who really don’t care about being made a member of an elite squad. Yelp’s reward system probably repels as many people as it attracts, and it’s important for anyone building a community to think about who they want to attract and how. Tags: comment moderation, How to build a community, online forum, rewards, Slashdot, Wikipedia, Yelp The meaning of membership Thursday, April 1st, 2010 BSA Member Card, Focht, Flickr/Creative Commons License Attribution-Noncommercial-No Derivative Works We’ve been talking about a “datatrust” for awhile now, why we think we need one, how we envision it as a long-lasting institution, what kind of technologies we might employ for it to provide measurable guarantees around privacy. But we’re now starting to get down to the nitty-gritty. How will it actually work? What will it mean to an actual researcher, nonprofit organization, policy-maker? To you? First and foremost, we imagine the datatrust as a member-based data bank where organizations and individuals can safely contribute personal information to inform research and public policy. The member-based part is key. We plan to be both non-partisan and absolutely transparent. We have no particular academic or policy ax to grind. Our only goal is to maximize the quantity, quality and diversity of sensitive data that is made available to the public. To ensure that decisions aren’t made even with an unconscious bias, we plan to build a decentralized structure that relies on the participation and contribution of members to build and sustain the datatrust. But the word membership can mean a lot of different things. When my local public radio station exhorts me to be a member, membership doesn’t seem to come with something more than a tote bag. In contrast, if you’re a Wikipedian, it means you’ve actually written or edited an entry, and the more you participate, the more access and privileges you get, including the right to vote for members of the Wikimedia Foundation Board. So for the past couple of months, I’ve been looking at member-based communities. Not all of them would call themselves member-based communities, but they all have in common a structure that requires participation from a large group of people. Some are nonprofits, some are businesses running social networks; most are online, a few are not. Over the next couple of posts, I’m going to summarize how these communities work, what motivates the members, how the communities monitor themselves, and how diverse they are, because all of these issues will inform the decisions we make in creating our datatrust. Here are the ten communities included in this study: MySpace is one of the world’s largest social networks with about 125 million users, though Facebook has in the last year surpassed MySpace with the number of users and pageviews both in the U.S. and the rest of the world. The look and feel of MySpace is very different from Facebook, since MySpace users are allowed to customize their pages. There’s also been a lot of press about the demographic differences between MySpace and Facebook, but those differences are probably disappearing as Facebook simply grows and grows. MySpace remains more popular than Facebook as a site for bands and music. Facebook is the world’s largest social network with about 400 million users. Despite its popularity and recent news that it even surpassed Google in Internet traffic, it’s also been the center of controversy, particularly regarding user privacy and terms of use, with each major change made to the site. Yelp is a social network-based user review site for local businesses in multiple cities in the U.S. It’s growing much faster than older sites like Citysearch, and its spawned offline events where really avid reviewers meet and socialize. It has also gotten controversy with accusations that it extorts businesses to take out ads in return for highlighting good reviews or pulling bad ones. Although Yelp has denied these accusations, a class-action lawsuit was recently filed against Yelp. Flickr is a popular social network-based photo-sharing site. Unlike many photo-sharing sites like Kodak Gallery or Photobucket, Flickr has emphasized sharing photos with the general public and organization by crowdsourcing via tags. Although it does have some services for printing photos and mugs, its main service is photo-hosting and storage, particularly for bloggers and photographers. In addition to hosting photos, Flickr also manages projects like “The Commons” with the Library of Congress and other institutions interested in putting their public domain photos in wider circulation. Slashdot is a news aggregator for self-professed nerds with estimated traffic of 5.5 million users per month. It shares news stories contributed by its users, who also comment on the stories and moderate the comments. Useful contribution is rewarded with karma points, which increases the privileges each user gets. Wikipedia is “the free encyclopedia anyone can edit,” run by the nonprofit Wikimedia Foundation. The number of named accounts for writers and editors is at about 11 million; about 300,000 have edited Wikipedia more than ten times. Despite early skepticism, Wikipedia has become one of the most trafficked sites online and has expanded into multiple countries around the world. Wikipedia has clearly developed a community of avid and enthusiastic users who contribute without monetary compensation, but in its tenth year, it is evaluating the lack of diversity among Wikipedians (only 13% of contributors are women, for one) and what steps it should take to provide access to a free encyclopedia all over the world. Wikipedia has also instituted a number of changes over the years to deal with vandalism and inaccuracies. Open Source Software – rather than look at one particular open source project, for this study, I focused on the book Producing Open Source Software by Karl Fogel, which describes how projects should work. Obviously, actual projects will vary widely, but we decided this was an area worth looking at because the open source movement has spent years figuring out how to structure shared work. The Sierra Club is one of the oldest grassroots environmental organizations in the U.S. It has 1.3 million members, but because it is not a primarily online organization, it isn’t easy to evaluate the activities of its members online. However, it recently created a series of social media sites for online networking among Sierra Club members and supporters and our report focuses primarily on this aspect of their member activities. The Park Slope Food Coop is a local cooperative grocery store in Park Slope Brooklyn. (DISCLAIMER: I’ve been a member since 2005, and my research on how it works is based on my experiences there.) Unlike many coops, membership is predicated on work. All of its approximately 150,000 members are required to work a two hour-45 minute shift every four weeks, which reduces labor costs and thus reduces prices. Despite being a place many people love to hate, it continues to thrive and attract new members. Habitat for Humanity International is a major nonprofit organization that seeks to eliminate poverty housing and homelessness by building decent housing around the world. (DISCLAIMER: I volunteered for Habitat for Humanity in high school and college and participated in a fundraising bike trip in 1999.) Like the Sierra Club, it is also an offline organization, but its website provided more detailed information on how its affiliates work and I drew on my personal experience in trying to understand how Habitat encourages and retains volunteers. Tags: Datatrust, Facebook, Flickr, Habitat for Humanity, My Space, Open Source Software, OSS, Park Slope Food Co-op, Slashdot, The Sierra Club, Wikipedia, Yelp Posted in Interesting Uses of Data \| No Comments »	cc/2021-04/en_head_0041.json.gz/line15
__label__cc	0.526953	0.473047	You Don’t Know What You’ve Got ‘Til It’s Gone By David M. Markowitz and Jeffrey T. Hancock J.K. Rofling This article is part of our special issue “Connected State of Mind,” which explores the impact of tech use on our behavior and relationships. View the complete issue here. Americans spend a lot of time on their smartphones. But what can we learn about the connected state of mind by observing what happens when we can’t use our devices? While much has been written about the effects of using our phones, from worries about addiction, concerns about feeling disconnected, or even apprehensions about personality change, our work has flipped this question on its head and begun to examine the behavioral, emotional, and even physiological effects of not using our phones. By looking at what happens to us when we can’t access our devices, we learn what they provide for us and our social life. In a study conducted at Stanford University, we asked students to sit in a room for six minutes. We told one group of students (the resistors) to put their phone on the table in front of them but not use it. We let another group of students (the users) use their phone as they wished, and for yet another group (the controls), we took their phone away and had them entertain themselves with their thoughts. You can think of the scenario as a media version of Walter Mischel’s famous Marshmallow Test. Throughout this six-minute experience, we tracked each participant’s level of skin conductance, which measures excitation and how the sympathetic nervous system responds to stimuli. At the end of the study, we also measured perceived levels of enjoyment and ability to concentrate during the experiment. By looking at what happens to us when we can’t access our devices, we learn what they provide for us and our social life. The videos of the resistors are telling (and funny), with a lot of fidgeting and staring forlornly at the phone they couldn’t use. Indeed, the resistors and the controls found it difficult to sit alone with their thoughts for the six minutes. The resistors, however, reported less concentration difficulty than the controls, and over time, their skin conductance levels were lower than the controls. It seems that just the presence of the phone can focus the mind and relax the body at least over a short time. (The results are described in a working paper.) Is this a sign that our students have become addicted to their phones? We think not. Instead, as colleagues at the University of Virginia and Harvard University have shown, people hate sitting alone with nothing to do because our brains seek external stimulation. As any meditation coach or yoga instructor knows, it takes serious effort and discipline to focus the mind without outside stimulation. The phone, even when it’s not being used, can serve as a cognitive reminder of connectedness, identity, security, and even provide a sense of control. Why might this be? While the phone is a single piece of physical technology, people use media for almost everything, from social connection to staying informed, from professional activities to entertainment, from sports to shopping. By not letting people use their phone, we can see what the phone offers. Regardless of whether it’s used, the mobile device fundamentally symbolizes the potential to be social. We believe that the power of the phone—to connect us to each other—is its most important, and under-appreciated, value. To support this point, we conducted another study, this time at a hospital, where we let some people use their phone in a situation when they usually cannot: while they were undergoing surgery (with a regional anesthetic). Patients with their phone were allowed to either play Angry Birds or communicate with someone by exchanging text messages during the operation. The patients who could not use their phone were six times more likely to require powerful opioids to get through the procedure than those who could communicate by text message with another person. And this wasn’t simply about distraction. Patients using the phone to communicate needed fewer opioids than patients playing Angry Birds. From these studies, we argue that understanding the effects of taking away our smartphones can reveal what the connected state of mind means for us individually and for society. When people cannot use technology to connect with one another, to stay informed, and to entertain themselves, they may lose out on important psychological benefits. Psychology has provided decades of evidence that social connection is incredibly important for well-being, and that a desire for information and entertainment are core human needs. There is also plenty of evidence that we have social brains that have evolved and become highly tuned to seeking out social information. This is precisely what using the phone, with its access to vast amounts of social media, can provide. We should not throw out decades of research from psychology and communication just because technology is involved, especially when these literatures suggest that the phone can facilitate important social and psychological needs. When people cannot use technology to connect with one another, to stay informed, and to entertain themselves, they may lose out on important psychological benefits. This is not to say that there is no value in disconnecting. There clearly is—turning phones off during social gatherings, paying attention to the people we are with, and having time alone and unplugged to recharge are all important. There’s a reason we drive and fly around the world to visit others, despite various social media in our life, because physical connection and interaction are human needs. But to assume that our constant state of connection with the phone constitutes an addiction is to miss the point. Instead, we believe that it’s much more important to consider what the phone is being used for. With this approach, we see one important warning sign of the connected state: Companies that provide media content for the phone are using psychology and strategic communication research to get us to spend as much time on them as possible. The incentives of the attention economy place a high premium on getting, and keeping, a user’s attention. Unfortunately, some psychological techniques are used to manipulate our attention to maximize a company’s profit rather than support our goals, including behavioral primes, distracting alerts, gamification techniques, auto-play of videos, and clickbait posts. These techniques, when used to manipulate us rather than support us, need to be fought against through regulation and education. The changes that technologies facilitate certainly influence our attention, our memory, and our relationships—sometimes for the worse. But this has been true for every technology that has come before, from writing and the alphabet to the advent of radio and television. These changes, however, are systematic and predictable by carefully considering the interaction between psychology and technology. So the next time you’re separated from your phone, instead of worrying about addiction, use that moment to consider the value that the phone brings to your life. The value isn’t the phone itself or how often its used, but who it allows us to connect with and what it allows us to accomplish. David M. Markowitz David M. Markowitz is a PhD student in the Department of Communication at Stanford University, and will start as an assistant professor at the University of Oregon in 2018. His research uses computational methods to analyze how language is affected by psychological dynamics, and evaluates how communication media modify social and psychological experiences. Jeffrey T. Hancock Jeffrey T. Hancock is a professor in the Department of Communication at Stanford University and director of the Stanford Center for Computational Social Science. Professor Hancock works on the psychology of social media, examining how technology affects deception and trust, emotional dynamics, intimacy and relationships, folk theories and well-being. Markowitz, D. M., Hancock, J., Bailenson, J. N. & Reeves, B. (2017). The Media Marshmallow Test: Psychological and Physiological Effects of Applying Self-Control to the Mobile Phone. Working paper available at SSRN. (Link) Guillory, J. E., Hancock, J. T., Woodruff, C., & Keilman, J. (2015). Text messaging reduces analgesic requirements during surgery. Pain Medicine, 16(4), 667-672. (Link) Baym, N. (2015). Personal connections in the digital age (2nd ed.). Cambridge, UK: Polity. (Link) Campbell, S. W. (2015). Mobile communication and network privatism: A literature review of the implications for diverse, weak, and new ties. Review of Communication Research, 3, 1-21. (Link) Clayton, R. B., Leshner, G., & Almond, A. (2015). The extended iSelf: The impact of iPhone separation on cognition, emotion, and physiology. Journal of Computer-Mediated Communication, 20, 119-135. (Link) Przybylski, A. K., Murayama, K., DeHaan, C. R., & Gladwell, V. (2013). Motivational, emotional, and behavioral correlates of fear of missing out. Computers in Human Behavior, 29, 1841-1848. (Link) How Algorithms Can Fight Bias Instead of Entrench It By Tobias Baer Why We Should Crowdsource AI Ethics (and How to Do So Responsibly) By Edmond Awad and Sydney Levine	cc/2021-04/en_head_0041.json.gz/line17
__label__cc	0.623728	0.376272	Guide Buying Diamonds Chances are you’ve already heard of the cardinal “4 C’s” when it comes to making a diamond purchase: cut, color, clarity and carat weight. But what exactly do these terms mean? Use Beladora’s guide for purchasing diamonds as your resource to ensure you get the quality diamond jewelry that you or your special someone deserves! Confusion often starts here. Cut should be distinguished from shape: the cut refers to the way a diamond is faceted so as to reflect the light; shape refers to the silhouette of the diamond. A diamond’s cut is important because the manner in which light is refracted in a diamond is determinative of how sparkly and fiery the diamond is; the wrong cut results in a diamond that appears dull, dark and lifeless. There are a variety of different types of diamond cuts, and the right choice depends on the shape, size and quality of the diamond, as well as your own personal preference. The Asscher cut is a vintage cut, similar to the emerald cut. As with the emerald cut, flaws are not disguised by the Asscher cut and a higher quality diamond should be used when possible. Created in the early 20th Century in Holland, the world’s capital of diamond cutting, by the Asscher brothers, the eponymous Asscher cut diamond has continued to be one of the most sought after of all diamond cuts. Asscher cut diamonds are step cut, typically in a square shape, with high crowns and large canted corners. Similar to an emerald cut diamond, the Asscher cut diamond has highly desirable scintillation. For many years, other diamond cuts became more fashionable, especially the round brilliant diamond in a solitaire mounting. Over the last decade we have seen a new excitement surrounding the Asscher cut. Some of the most spectacular jewelry ever created was made in the Art Deco Period. A key feature of Art Deco jewelry was the emphasis on geometry, symmetry and architectural design. Emerald and Asscher cut diamonds, with their geometric step cuts were the diamonds of choice for Art Deco jewelry. The brilliant cut typically refers to a round diamond shape and is the most popular shape in diamond engagement rings. The cut is designed to maximize the amount of sparkle from the diamond. It refers to facets that radiate outward around the diamond. This type of cut can also be used with pear, oval, heart, cushion and marquise shaped diamonds. Variations of the brilliant cut are the old mine cut and the old European cut, often found in vintage diamond jewelry. Old Cushion Cut The Old Cushion cut diamond is an antique cut that has recently seen a resurgence in popularity. Cut in a modified oval with large facets like an Old European cut diamond, this diamond cut has a vintage look that many people prefer. The best way to describe the Old Cushion shape is to say that it has a soft look that resembles a cushioned pillow that you would have on a sofa. The Old Cushion cut diamond was out of fashion for many years as round, radiant and princess cut diamonds with more brilliance became popular. Today there is a new appreciation of the soft vintage quality of Old Cushion cut diamonds but they are relatively rare compared to other more popular diamond cuts. For those who desire the Cushion shape, but with additional sparkle, there is also a Modern Cushion cut which has brilliant faceting. Old European Cut and Old Mine Cut Before the modern Brilliant cut was made possible by advances in technology in the 20th Century, the Old European and Old Mine cuts were among the most popular for diamond jewelry. These elegant multi-faceted cut can be found on much of the antique jewelry from the 19th Century. Both Old European cut and Old Mine cut diamonds are easily recognized by a large open culet. Old Mine is an antique type of cut diamond with a roughly round shape. The asymmetric circular top usually features squared off corners and closely follows the natural shape of a rough diamond. The Old European cut is a later update of the Old Mine cut. These stones feature greater symmetry and roundness with a more even faceting that prefigures the modern Round Brilliant cut. While the Old European cut is still occasionally used today, it is usually seen in vintage or antique jewelry. To the eye of many jewelry lovers, European cut diamonds are extraordinary graceful and sophisticated, calling to mind a refined and majestic past. There is a special charm in vintage jewelry – particularly that which features European cut diamonds. Often referred to as a Square Brilliant diamond, the Princess cut diamond remains popular for its superb sparkle. If you want a diamond that is exceptionally brilliant, a Princess cut can be an excellent choice. Developed in the 1960’s, Princess cut diamonds take full advantage of the stone’s beautiful interior “fire”. In fact, of all diamond cuts, the Princess cut takes the most advantage of the original rough diamond. For this reason, as well as for their brightness, Princess cut diamond are becoming more and more popular. Unlike other square and rectangular diamonds, the corners of the Princess cut diamond are not cropped off, and therefore it is important to make sure that the corners of the Princess cut diamond are protected by prongs to prevent chipping and damage to the diamond. Step Cut (Emerald Cut) The Step cut is a term used for a diamond with stair-like facets. Step cut square and rectangular diamonds are often referred to as Emerald Cut diamonds, and this cut is also used for diamond baguettes as well. With their sophisticated rectangular shape, Emerald cut diamonds possess a clean and elegant style that was popular in the Art Deco period and remains popular as a way to show off a diamond of good color and clarity. The Radiant cut is a relatively modern style of diamond cut that blends the qualities of a step cut and a brilliant cut. Essentially, a Radiant is an Emerald cut diamond with extra faceting. A Radiant cut has 70 facets that catch light and produce maximum sparkle. The Radiant cut is especially popular for colored diamonds. Rose Cut Rose cut diamonds are among the most classic types of vintage diamond cuts, dating as far back as the 1500s. They are faceted across the top of the stone and flat across the bottom. The vague resemblance to the petals of a rose lends the cut its romantic name. Rose cut diamonds are prevalent in antique jewelry and their gentle sparkle can be strikingly beautiful. The designs of Georgian, Victorian and Edwardian jewelry are generally the best place to find rose cut diamonds, although we also find rose cut diamonds in jewelry from more modern eras. Color is another factor to consider when making a diamond purchase. The presence of color in a diamond may either increase or decrease the diamond’s value. In white diamonds, the absence of color is desirable, as more light is able to enter and be refracted in a clear diamond, giving it that extra sparkle. Sometimes color in a diamond, however, is considered valuable in what are called fancy color diamonds in colors such as pink and yellow. For white diamonds, quality in terms of color is graded on a scale provided by the Gemological Institute of America. The scale ranges from D, the highest grade given to diamonds that are colorless, to Z, the lowest grade given to off-color, yellow-tinted diamonds. While diamonds graded D through F are incredibly rare and the most valuable, diamonds of lower grades G through I still appear colorless to the naked eye and are excellent choices as well. An additional consideration when deciding what diamond color grade to purchase is the type of metal the stone will be set in. Platinum or white gold will bring out the yellow in a lower grade diamond, as opposed to diamonds that are set in yellow gold. In addition, your diamond color preference might actually be for a diamond containing some yellow for the warmer appearance that might complement your skin tone. Rare Natural Colored Diamonds While most diamonds used for jewelry are white diamonds and colorless diamonds are treasured, diamonds come in a variety of colors. Most of these colors are extremely rare and valuable. In different shades and intensities, pink, blue, yellow or brown colored diamond may have an almost otherworldly quality, but in actuality their color is caused by natural alterations in their chemical structure. Among the most rare of natural colored diamonds are blue diamonds, the most famous example of which is the Hope Diamond which is a deep blue. Natural colored diamonds represent a very small percentage of the total diamonds mined. Yellow diamonds, which is probably the most popular of the fancy colored stones, constitute less than 1 percent of all known diamonds. Red, brown, and pink diamonds make up an estimated 1.8 percent of natural colored while blue or grey diamonds account for less than 1 percent. Red diamonds are considered to be the rarest type of natural colored diamonds. The most comprehensive collection of rare natural colored diamonds is on display at the Smithsonian Museum in Washington DC. A diamond’s clarity is based on the presence or absence of flaws, or inclusions. The grade is determined by the size, number and location of the imperfections. Naturally, diamonds with fewer inclusions are more valuable. The Gemological Institute of America has created a grade scale in order to aid buyers in assessing the quality of a diamond. When making a diamond purchase based on this scale, keep in mind that for the majority of grades, flaws are only visible with the aid of 10x magnification and therefore affect the value, but not the appearance of the diamond. FL/IF – Flawless/Internally Flawless. Extremely rare, indicating that the diamond contains no internal flaws. VVS – Very Very Slightly Included. There are two levels within this grade, VVS1 and VVS2, the former being more valuable. The flaws in these diamonds are difficult to see under magnification. VS – Very Slightly Included. There are two levels within this grade as well, VS1 and VS2. Again, the flaws in these diamonds are not visible to the naked eye and are somewhat difficult to detect under magnification. SI – Slightly Included. There are two levels within this grade, SI1 and SI2, and though not necessarily visible to the naked eye, the flaws in these diamonds can be detected more readily with magnification. I – Imperfect. There are three levels within this grade, I1, I2 and I3. The flaws in these diamonds do not require magnification to be detected. Carats are units of measuring a diamond’s weight: the larger the number of carats, the bigger the diamond. The word “carat” is derived from the ancient practice of weighing diamonds in relation to carob seeds. Large diamonds are much rarer than small diamonds and therefore a single large diamond is more valuable than several smaller diamonds of equal total weight, all else being equal. However, bigger is not always necessarily better, as you should also weigh the other factors previously discussed such as the color and clarity of the diamond. Round, marquise, pear, heart, oval, triangle – diamonds can be cut in all manner of shapes and what shape you choose should be a function both of your personal aesthetic as well as the purpose for which you are making the jewelry purchase. Certain shapes may be currently fashionable but, given the cyclical nature of trends may be difficult to sell in the future compared to a more classic silhouette. The setting of your diamond ring is an important component in the piece’s overall look. There are a number of settings to choose from, and some are better suited than others depending on the size or shape of the diamond. The prong setting is where the diamond is held in place by small metal prongs to secure the stone while only minimally detracting from the diamond itself. The bezel setting features a collar of metal that wraps about the diamond to hold it in place. The channel setting is where a row of diamonds is placed inside a “channel” of metal, a popular setting for wedding bands. The pave setting is a look with a lot of sparkle, in which small diamonds are placed in holes drilled out of the metal in the jewelry with minimal space between the diamonds, giving the appearance of a paved coating of diamonds. For only a subtle hint of glitter and a modern look, choose a flush setting where when the diamonds are placed within metal so that they are level with the metal’s surface. And for a true vintage look with a lot of sparkle, choose the ballerina setting with diamond baguettes framing a center stone in a waving curve resembling a ballerina’s skirt.	cc/2021-04/en_head_0041.json.gz/line18
__label__cc	0.555791	0.444209	Page last updated at 12:10 CST6CDT, Wednesday, 17 February 2010 PH The Best Business School In late 2006 when I told my friends that I would be taking a sabbatical leave to teach and do research at the IESE Business School in Barcelona, Spain, the frequent reaction was “IESE what?” Unknown to them, the IESE Business School was already ranked by the The Economist in 2006 as offering the best MBA program among all the business schools in the world. In 2007, IESE obtained the same accolade. This year, the same thing has happened. The Economist ranked IESE Number One among the business schools all over the world offering an MBA program. My alma mater, Harvard, ranked only number 5. Among the other top five were IMD in Switzerland (2), University of California at Berkeley in the U.S. (3) and the University of Chicago in the U.S. (4). The Economist ranked a total of 100 business schools all over the world. The highest-ranking Asian business school was Hong Kong University of Science and Technology (30). As I reflect on the two academic years I spent at IESE in 2007-2008, I can explain why the prestigious magazine The Economist ranked the IESE Business School as offering the best MBA program in the world. The first thing I can say is that the graduates of IESE’s MBA program do not receive the highest salary offers among the European business schools. In fact, other European business schools have graduates receiving higher salaries than those from IESE. That is why, in the 2009 ranking of the Financial Times—which gives high importance to starting salaries—IESE ranks only number 6. What impressed me most in the corporate culture of IESE is the emphasis on business ethics and the social responsibility of business. The students are taught to focus on what they can do for society, while making reasonable profit, and not on obtaining the highest salaries and bonuses possible. The more than 100 full-time faculty members, 99 percent with doctoral degrees, spend a lot of time mentoring the students individually and helping them not only to be competent business managers but also virtuous leaders. As a visiting professor, I myself spent much time chatting individually with the MBA students, especially those coming from Asia, to help them improve their professional skills and to acquire human virtues, especially those that are directly relevant to the business world such as prudence, justice and benevolence. I was also very much impressed with the untiring efforts that the administration and faculty spend on the continuing education of the more than 30,000 alumni of the various programs of the school. IESE’s professors are constantly traveling all over the world to update the alumni on the theories and practices of business management. I myself had to travel all over Europe, Latin America and Asia giving lectures to IESE alumni on global economics, social ethics and emerging markets. This sterling service to alumni is what makes IESE stand out among all the business schools all over the world. From what I know, alumni activities of most business schools are limited to fund raising and socializing or networking. It is about time that young Filipino professionals planning to get an MBA degree abroad should redirect their attention away from the traditional U.S. schools and consider the European business schools such as IESE. Those interested in the program of IESE may consult the website www.iese.edu. For comments, my address is bvillegas@uap.edu.ph.	cc/2021-04/en_head_0041.json.gz/line20
__label__wiki	0.562781	0.562781	New study from Harvard first to link imidacloprid directly to Colony Collapse Disorder Fri, 04/06/2012 - 00:27 — webmaster [Press release Harvard School of Public Health] Imidacloprid, one of the most widely used neonicotinoid pesticides, has been named as the likely culprit in the sharp worldwide decline in honey bee colonies since 2006. Researchers at the Harvard School of Public Health say their new research provides "convincing evidence" of the link between imidacloprid and colony collapse disorder. "It apparently doesn't take much of the pesticide to affect the bees," says Alex Lu, associate professor of environmental exposure biology at Harvard's Department of Environmental Health, "Our experiment included pesticide amounts below what is normally present in the environment." The Harvard team's research results will appear in the June issue of the Bulletin of Insectology. Lu and his research team hypothesized that the rise in CCD resulted from the presence of imidacloprid, a neonicotinoid introduced in the early 1990s. Bees can be exposed in two ways - through nectar and pollen from treated plants or through high-fructose corn syrup which beekeepers use to feed their bees. As most U.S.-grown corn (maize) is treated with Imidacloprid when it is planted, imidacloprid is also found in corn syrup derived from those plants. In the summer of 2010, the researchers conducted an in situ study in Worcester County, Massachussetts, aimed at replicating how imidacloprid may have caused the CCD outbreak. Over a 23-week period, they monitored bees in four different bee yards; each yard had four hives treated with different levels of imidacloprid and each yard contained one un-treated 'control' hive. After 12 weeks of imidacloprid dosing, all the bees were alive. But after 23 weeks, 15 out of 16 of the imidacloprid-treated hives - 94% - had died. Those exposed to the highest levels of the pesticide died first. Lu says the characteristics of the dead hives were consistent with CCD - the hives were empty except for food stores, some pollen, and young bees, with few dead bees nearby. When other conditions cause hive collapse-such as disease or pests-many dead bees are typically found inside and outside the affected hives. Strikingly, said Lu, it took only low levels of imidacloprid to cause hive collapse, less than what is typically used in crops or in areas where bees forage. Download full study: Lu et al, 2012 In situ replication of honey bee colony collapse disorder Bulletin of Insectology 65 (1): 99-106, 2012 http://www.hsph.harvard.edu/news/press-releases/2012-releases/colony-col... Home page of researcher: http://www.hsph.harvard.edu/faculty/chensheng-lu/ Weaknesses in the Harvard study We recommend to read the commentary by Randy Oliver (scientificbeekeeping.com) on "The Harvard Study on imidacloprid and CCD" Also of interest is the official reaction by Bayer Cropscience: Bayer CropScience Says Bee Study is “Seriously Flawed”. Bayer fails hovever to mention that a major fraction of corn in US is treated with other neonicotinoids such as clothianidin or thiamethoxam. See for instance the study by Krupke et al. 2012: Multiple Routes of Pesticide Exposure for Honey Bees Living Near Agricultural Fields.	cc/2021-04/en_head_0041.json.gz/line22
__label__cc	0.628172	0.371828	All-abilities Easter egg hunt to be held at Shriner’s Hospital Local News. An Airman monitors an F-35A Lightning II during a hot pit refuel Sept. 14, 2020, at Hill Air Force Base, Utah. Hill Aerospace Museum Merchandise (1) Hill AFB Merchandise (4) Jackets (1) Made in the USA (33) Magnets (6) Models (46) Mugs (7) Pins (5) Rosie the Riveter (19) Shirts (33) Shop (3) Shop All Products (130) Toys (33) Miscellaneous Items Currently, there are 0 confirmed COVID-19 cases at Hill Air Force Base. 2020 Utah Air Show Schedule June 27th and 28th, 2020. SALT LAKE CITY, Utah (ABC4 News) – On Thursday, Nov 12, the Utah Department of Health reported a daily total of 3,919 additional cases of COVID-19 and nine more deaths. Stephen Ministers are members of Hill Air Force Base Chapel Community who have gone through 50 hours of training in providing high-quality Christian care to individuals experiencing crisis or challenge such as divorce, grief, loss of job, hospitalization, relocation, or loneliness. ... Easter Egg Hunt *The event has already taken place on this date: Sat, 03/19/2016 ... Hill Air Force Base. 2020 Utah Easter Egg Hunts and Easter Events. Check back for more details on the 2020 Utah Air Show schedule. The Hill Aerospace Museum “Annual Easter Egg Hunt” draws thousands of people to the museum. The Museum, which opened in 1986, was founded in 1981 as a part of the United States Air Force Heritage Program. A few are having drive-in Egg Hunts, most are simply canceling in 2020 to return in 2021, and holding an online service this year. Hill AFB is … HILL AIR FORCE BASE, Utah --The 75th Air Base Wing is working to provide Hill Air Force Base up-to-date information regarding the current coronavirus (COVID-19) situation. ... Operation Egg. More than 10,000 plastic eggs, treats and prized are carefully places around the museum grounds. by: Staff. The base will observe Thanksgiving Most Easter egg hunts are being held on the Saturday a week before Easter, or the day before Easter Sunday. HILL AIR FORCE BASE — Many Hill Air Force Base offices and services will be closed or have limited hours for the Thanksgiving holiday weekend. Airmen from the active duty 388th Fighter Wing and Reserve 419th Fighter Wing participated in a two-week exercise to simulate a deployed environment. Easter Sunday will be April 12, 2020. HILL AIR FORCE BASE — In recognition of the Veterans Day federal holiday, many offices and services will be closed or have limited hours at Hill Air Force Base Wednesday, Nov. 11. ... 2020. HILL AIR FORCE BASE, Utah --In recognition of the Veterans Day federal holiday, many offices and services will be closed or have limited hours at Hill Air Force Base Wed., Nov. 11.Here is what's open and closed: Airman and Family Readiness Center: Closed Airman Leadership School: Closed Arts and Crafts/Auto Hobby: Closed Bowling Center: Closed Boyer Hill Military Housing: Open 8 a.m. to 5 p.m. United States. This is a great opportunity for the community to visit the Hill … Hill AFB, UT, 84056. Happy Easter! Hill Aerospace Museum is located on approximately 30 acres of the northwest corner of Hill Air Force Base, five miles south of Ogden, Utah. ... Hill Air Force Base (Davis County) – More than 10,000 plastic eggs, treats and prized are carefully places around the museum grounds, sectioned off by age groups. The following is what’s open and closed: hill air force base easter egg hunt 2020 Experience Design Principles, Car Stereo Stores, Historic Homes For Sale In Wyoming, Yamaha Yas-207 Lowest Price, Skyrim Myrwatch Bugs, hill air force base easter egg hunt 2020 2020	cc/2021-04/en_head_0041.json.gz/line23
__label__wiki	0.831041	0.831041	Zamalek building evacuated due to land subsidence related to Cairo metro construction Residents of the building, who were evacuated, said they feared it might collapse Zeinab El-Gundy , Sunday 26 Jul 2020 Egypt’s National Authority for Tunnels said on Sunday that slight land subsidence had occurred around a landmark building in the affluent Zamalek district, but denied that the nearby construction of a Cairo metro extension had caused the building to partially collapse. “Slight ground subsidence occurred at one of the corners of building number 17 in Brazil Street in Zamalek as well as at the front yard and fence of the [adjacent] Bahraini embassy," read the statement. The building, which was once home to a number of Egypt’s golden age stars, is located near ongoing excavation work to extend Cairo's underground metro to run through Zamalek. Residents of the 12-storey building, who have been evacuated, said they feared it might collapse. Photos and videos were shared online showing deep cracks in the building's walls and slight subsidence outside the building and the adjacent Bahraini embassy, amid anger from the residents. The tunnels authority said that engineering teams had taken the necessary measures to secure the building, adding that it was conducting studies to ensure the safety of the building. The residents were given EGP 30,000 each in order to find a temporary residence until they are able to return to the building, Transport Minister Kamel El-Wazir said in TV comments late on Sunday. Cairo Governor Khaled Abdel-Aal ordered the formation of an engineering committee to assess the building's condition. According to the governor’s statement, preliminary inspections showed that the building had suffered some damage and vertical cracks, as well as subsidence in its garage; the neighbouring Bahraini embassy building also suffered subsidence. The governor said the building is made of two sections: one overlooking Brazil Street with 37 residential units, including 16 currently occupied, and a second section overlooking Aziz Abaza Street, with 33 flats, 28 of which are inhabited. The health ministry sent three ambulances to the area as a precautionary measure, but no injuries have been reported. Since the announcement that the extension of the third metro line would pass through Zamalek, many residents of the upscale district have expressed concerns, including about the impact of the construction on the island’s older buildings. The incident on Sunday revived those concerns. “The Zamalek Association reminds all Zamalek residents that, back in 2016, we had a meeting with the head of the Tunnel Authority and we presented a list of nine technical queries...requesting an answer to the fears and concerns of Zamalek residents," said the Zamalek Association, a local civil society group, in a statement in English. "Their technical team promised to reply and three weeks later we were sent a CD of six hundred pages of the technical data of the whole project, irrelevant to our queries." The association said it had replied in a formal letter saying that the tunnels authority’s cooperation was insufficient and that “it never heard from them again.” The metro’s extended third line will run from Heliopolis to the Attaba district in Downtown Cairo and then through a Maspero stop to a new Zamalek stop, on to the densely populated district of Imbaba on the Giza side of the Nile. Cairo metro	cc/2021-04/en_head_0041.json.gz/line25
__label__wiki	0.911128	0.911128	i’m going to disneyworld by Head Mouse \| May 21, 2009 \| news To celebrate the newly opened “American Idol Experience” attraction at Walt Disney World Resort in Florida, Kris Allen shouted the famous words “I’m Going to Disney World!” immediately after being crowned the newest “American Idol” in the show’s star-studded season finale on May 20, 2009 in Los Angeles. Disney camera crews captured Allen’s celebratory pronouncement on the Nokia Theatre stage mere moments after “American Idol” host Ryan Seacrest announced the champion’s name to millions of viewers watching worldwide. © Copyright Disney \| Paul Hiffmeyer, photographer Not only does the newly crowned Idol shout “I’m Going to Disney World!” at the spot’s conclusion, Allen’s voice also is featured throughout the ad as he performs the iconic song, “When You Wish Upon A Star.” And with the same immediacy that has made the Disney spot one of the most beloved commercials of all-time, the newest “I’m Going to Disney World!” commercial aired on television within hours of the “American Idol” finale. Starring in a role usually occupied by sports stars – including Super Bowl heroes and World Series champs – Allen is the second singer to ever star in the Disney commercial in its 20+-year history. (2008 “American Idol” champion, David Cook, was the first.) The “American Idol” champion’s role in the newest “I’m Going to Disney World” commercial celebrates “The American Idol Experience,” the new “American Idol”-themed attraction that had a February 2009 grand opening Disney’s Hollywood Studios, part of Walt Disney World Resort in Florida. “The American Idol Experience” – the first major theme park attraction in the world based on the popular television series – was developed by Walt Disney Imagineering in conjunction with FremantleMedia Enterprises and 19 TV Ltd. In the attraction, Disney guests are able to experience the glitz and glamour of the “American Idol” television show, whether they are auditioning for a Disney producer, performing on-stage in front of a packed theater or voting for their favorite performance from their audience seats. Performers who receive the most audience votes in the preliminary shows return to star in that evening’s grand finale show. In addition to their new-found theme park fame, the top vote-getting guest in the finale show receives “The American Idol Experience” Dream Ticket – which allows an eligible holder to schedule a front-of-the-line audition at a future regional audition for the “American Idol” television show. By starring in the Disney commercial, Allen joins a lineup of superstar professional athletes who have shouted the famous “I’m Going to Disney World” line. Fittingly, the new “American Idol” will make his celebratory visit to Walt Disney World Resort as Disney Parks asks guests “What Will You Celebrate?” The strength of Disney’s brand within the American experience is evidenced in the importance of this simple phrase, “I’m going to Disney World“, and how it has become part of the vernacular of our society.Congratulations to this season’s winner and we’ll see you at Disney World.	cc/2021-04/en_head_0041.json.gz/line27
__label__cc	0.711825	0.288175	Caritas (Latin equivalent word for charity) was founded in 1897 in Freiburg, Germany. In 1972, the Jesuit Brother Elie Maamari founded Caritas South Lebanon in cooperation with this region bishops. It became Caritas Lebanon on September 9th, 1976. In 1981, the Assembly of Catholic Patriarchs and Bishops of Lebanon approved Caritas Lebanon’s status and designated it as the official socio-pastoral arm of the Church to assist both individuals and communities and to support charitable and social activities. Caritas Lebanon is a member of Caritas Internationalis, one of the largest humanitarian networks in the world, counting 165 Catholic organizations working in 200 different countries. Caritas Lebanon, the common official socio-pastoral arm of the local Catholic Church in service of the poor and the promotion of love, charity and justice, provides economic development, livelihoods, health and social care, education, migration services, emergency and crisis intervention, human and humanitarian relief and aid, environmental stewardship, as well as advocacy and protection for all individuals and groups of people in need. We accomplish this, in concert with Catholic Bishops and priests in their respective dioceses and parishes, as well as other key stakeholders in their communities by: Holding ourselves to high Christian morals and standards Embracing a socially entrepreneurial network orchestration model Increasing agility and responsiveness to constituents’ developing needs Ensuring efficiency, transparency and visibility of our work Recognizing, valuing and acknowledging the work of all Caritas family members Constantly developing and empowering our teams spiritually and professionally Enabling re-activation of all our fellow Caritas alumni as multipliers and role models to our teams in the delivery of our efforts and services Strengthening coordination and transparent collaboration with our Caritas Partners, governmental and non-governmental institutions, local civic associations and all other benefactors and international donors Encouraging and enabling partnerships between the church, religious institutions, individuals, businesses, local networks, expatriate networks, academia, technological and entrepreneurial hubs, municipalities and the central government, for sustainable human, spiritual, and evidence-based local socio-economic development Delivering a wide range of ethical quality and sustainable community-based services to include development, livelihoods, health care, social care, education, human and humanitarian rights, holistic migration services, emergency intervention, crisis response, relief, aid, protection, peace building, advocacy and empowerment to all vulnerable, marginalized and disadvantaged individuals and groups, in collaboration with the local Caritas champions Safeguarding the environment by committing to intergenerational solidarity and ensuring equal access to resources for current and future generations. Working with, investing in, developing, incubating, accelerating and empowering the youth to take pro-active role in building a cross-generational solidarity by innovating as well as shaping and ensuring an inclusive and egalitarian future where others are not left behind Increasing access through micro-finance and micro-credits and early stage investments for vulnerable people to include youth, women and others Fostering Eco-Systems and Platforms to enable multidisciplinary technological collaboration with technologists and scientists to ensure those most in need are integrated and benefit from advances, while also ensuring modernization, efficiency and promptness in our daily operations and services delivery. Caritas Lebanon strives for an environmentally sustainable economically inclusive developed world in which all people lead peaceful, just, and dignified lives in harmony and intergenerational solidarity To achieve our vision we strive for an overall human, social, economic and environmental development, to improve the quality of life or all people in need. We are committed to helping every person in need regardless of race, creed, identity or beliefs. 1. Commitment to the Church and its Catholic Social Teaching At the heart of our work is our commitment to God and his body, the Church. As socio-pastoral arm of the Church, we are devoted to one another in God’s love, in loving one another as he has loved us, and allow the peace of Christ to rule our hearts and enlighten us to take care of all people in need in accordance with the Catholic Social Teachings so that we may be called one body, the Church. We are all one in Christ’s Justice and Love [Galatians 3:28]. 2. Humanity and Human Dignity We advocate, demand and work to guarantee free and full development of every individual and full respect of the personality of each individual regardless of life style, culture, beliefs and personal values. Our love and unconditional commitment to respect every person and all people and treat them with dignity irrespective of their circumstances is our mission towards humanity and human dignity. We are all God’s Children and we all have an equal right to a dignified life [Galatians 3:26]. 3. Subsidiarity We believe that a community of a higher order should not interfere in the internal life of a community of a lower order, depriving the latter of its functions, but rather should support it in case of need and help to coordinate its activity with the activities of the rest of society, always with a view to the common good [Quadragesimo Anno, 1931]. Our national presence through our dioceses, parishes and 36 sectors privileges us to advocate this and fulfill this principle. We stay close to the people, support and empower them to decide on and solve the problems they are facing, and intervene on their behalf when they are not able to do so themselves. Our work mirrors God’s relationship to humanity, requires restraint and an acceptance of the humble role of a servant leader [Laudato si’, 2016]. 4. Solidarity It is our firm and persevering determination to commit and carry our work to the good of all and of each individual by combining our collective assets, capabilities and intellects in harmony across all generations. We believe that we are all one body and if one part of the body suffers, the whole body suffers with it [Corinthians 12:26]. We are all brothers and sisters, one human family, and we all depend on one another [One Human Family, 2011]. 5. Justice and Charity While we are committed to enabling people to give from their abundance, we are bound by duty to share more broadly in benefits of God’s creation. We therefore strive for justice and work to promote inclusiveness, equity, diversity and prospects for all by committing ourselves at the same time to ensure that all individuals can fulfill their human potentials to the fullest. We consistently work to fight inequalities of wealth and income and promote equal prospects for dignified lives for all. We work on providing short term relief and strive for long term solutions just a Jesus embodied both Justice and Charity [Deus Caritas Est, 2005]. 6. Integral Ecology We value the natural resources we have, as scarce and precious. We are committed for prudent use of our resources and durable actions for protecting the environment by meeting today needs without compromising the ability of the future generations to meet their needs. We are stewards of God’s creation [If You Want to Cultivate Peace, Protect Creation, 2005]. 7. Partnership for the Common Good We work by partnering at the local, national and international levels for the fulfillment of our Gospel’s commandment on respecting and serving the poor. We live up to this commitment for the Common Good through short and long-term partnerships that are informed by continuous and effective consultations with our communities and all stakeholders, built on trust and mutual respect. The foundation of all our decisions and work is inspired by God’s words and the church’s teachings, which reinforce the spirit of partnership and solidarity. United with our partners, we share knowledge, capabilities and resources to take on local and global challenges while advocating a preferential option for the poor [Deus Caritas Est, 2005]. 8. Selflessness, Service, and Humility We are determined to be selfless and humble in the service of our communities in the image of Jesus Christ, our Lord and Savior. We aspire to greatness by humbling ourselves and being servants to those in need [Mark 10:43]. 9. Equal Opportunity We believe in the equality of men and women and value diversity [Catechism of the Catholic Church: Social Justice, 1938]. We welcome all people to join our family as long as they adhere to our values. We firmly advocate and pursue social justice so that all people may have equal access to opportunities and services without any form of discrimination. We love all God’s creations [Matthew 6:25-34]. 10. Integrity, Professionalism, Transparency, and Accountability We understand that serving our communities is a duty and a privilege. As we hold ourselves to high integrity norms, global management standards, and Christian morals, our work is informed by evidence-based planning and delivery, in full transparency and accountability to our people, communities, and partners, by informing them about our work, services and their impact. We understand that true success means achieving dignified lives for vulnerable, marginalized and disadvantaged individuals and groups. We therefore commit to high quality standards in the delivery of services and provision of assistance to meet their needs. We commit our work, heartily, to our Lord and His Glory [Colossians 3:23]. 11. Peace building and Reconciliation We understand that peace building is founded and inseparable from the principles of justice, development, subsidiarity and solidarity. In our work and partnerships, we strive for the fulfillment of these principles and aim for strategic peace building. We readily intervene at the different stages of the conflicts and at all necessary levels of interactions. Our approach is comprehensive and holistic, where we focus on the root causes of conflicts to solve them, while we educate on, and promote non-violent pursuit of change and justice. We devote ourselves to arrive at reconciled, stable and peaceful communities and societies. We follow in the true footsteps of Christ the non-violent change and pursuit of Justice [Post-Synodal Apostolic Exhortation Africae Munus, 2011]. Director of Programs & Operations	cc/2021-04/en_head_0041.json.gz/line29
__label__wiki	0.648943	0.648943	Tag Archive \| "2019" Posted on 10 March 2020. Tags: 2019, Abbey Road Studios, Live, Signs, Tesla Tesla visited famed iconic recording studio Abbey Road Studios for a one-night musical event capturing the band performing songs from their legendary arsenal including “Love Song” and “What You Give” along with their classic covers of “Signs” and “We Can Work It Out.” Additionally, the band performed live for the first-time-ever their new song “California Love Song” from their latest album Shock including “Tied To The Tracks” and “Forever Loving You.” The performance was recorded and filmed in 4K high-definition, bringing forth the band’s newest live album Five Man London Jam as an homage to their critically acclaimed live acoustic album Five Man Acoustical Jam. Five Man London Jam will be available on Blu-ray, 2LP vinyl, CD and digital. Five Man London Jam Five Man London Jam [Blu-ray] Miles Away (Live At Abbey Road Studios, 6/12/19) Posted in Hair Metal VideosComments (0) Backyard Babies – Yes To All No Posted on 14 November 2019. Tags: 2019, Backyard Babies, Sweden Backyard Babies are celebrating their 30th anniversary with their newest album “Sliver & Gold“. Backyard Babies demonstrate that they definitely have not lost their grit and feel for amazing songwriting over the years. From upbeat party anthems like “Bad Seeds” to more expressive songs like “Laugh Now Cry Later”, this album takes you on a journey through the most intense album the band has ever produced. “Sliver & Gold” is Backyard Babies‘ eighth studio album, but hardly their last. Energetic and powerful, the band prove that they’re in better shape than ever and most certainly have enough material to last the coming 30 years. Sliver and Gold [Explicit] Good Morning Midnight Shovin’ Rocks [Explicit] Miss Crazy – My Heart Aches Posted on 10 October 2019. Tags: 2019, Aches, Heart, Miss Crazy A generation ago, historic rock artists like Alice Cooper, David Bowie, and KISS showed your parents that they were not living in the 50’s or 60’s anymore. These legacy bands incorporated stunning imagery and stage theatrics to elevate the standards of rock performance worldwide. Many 90’s bands like Marilyn Manson, Slipknot and AFI continued the tradition in spirit, while blazing their own sonic trails. Now, a generation later, Miss Crazy arrives on Earth to reignite the flame of hard rock while honoring the visual standards set by their forefathers. Expertly produced by Ronnie Borchert, Miss Crazy is bringing the sound of excitement back to jaded music fans around the world. Your parents might compare Miss Crazy to their old favorites like Def Leppard, AC/DC, Kix, or Cinderella. However, kids today won’t have anything to compare Miss Crazy to! No other major band today sounds like Miss Crazy! [ebayfeedsforwordpress feed=”http://rest.ebay.com/epn/v1/find/item.rss?keyword=%28Miss+Crazy+Can%27t+Get+Enough%2CMiss+Crazy+Resurrection+Hard+Rock+%E2%80%8E%29&sortOrder=EndTimeSoonest&programid=1&campaignid=5337480716&toolid=10039&listingType1=All&feedType=rss&lgeo=1″ items=”3″] Mötley Crüe – Same Ol’ Situation (S.O.S.) Posted on 08 October 2019. Tags: 2019, Motley Crue, Same, Situation Official music video for ‘Same Ol’ Situation (S.O.S.)’ by Mötley Crüe with additional footage from The Dirt. Same Ol’ Situation was on their 1989 album Dr. Feelgood. Released in 1990 as the album’s fifth single, it peaked at #78 on the Billboard Hot 100 and #34 on the Mainstream rock charts Introduced me to her lover In a cellophane dress Then they bid me a sweet farewell Last time I saw them They were kissing so softly To the sound of wedding bells Well, all around the world It’s the same ol’, same ol’ situation It’s the same ol’, same ol’ ball and chain I said no, no, no No, no, no, alright Girl it’s the same ol’, same ol’ situation You know we just gotta say I’ll tell ya girl it’s the same ol’, same ol’ situation Yeah, uh uh, yeah yeah no, no, yeah yeah [ebayfeedsforwordpress feed=”http://rest.ebay.com/epn/v1/find/item.rss?keyword=M%C3%B6tley+Cr%C3%BCe+t-shirt&sortOrder=EndTimeSoonest&programid=1&campaignid=5337480716&toolid=10039&listingType1=All&feedType=rss&lgeo=1″ items=”3″] Lipstick Generation – Eyes of Love Posted on 13 September 2019. Tags: 2019, Cover, eyes, Kiss, Lipstick Generation, Love Lipstick Generation have released their first music video under the band’s new name. Previously a colorful and theatrical band called Lipstick, the band has debuted a darker and gritter image alongside a music video covering the Eric Carr song “Eyes of Love”. The song first released on Eric Carr’s album Rockology (1999). Eric Carr was the drummer for KISS between the years of 1980 and 1991. He remained a member of Kiss until his death from heart cancer on November 24, 1991. Before Carr’s death, he was working on a series of demos intended for release as songs on future Kiss releases. The demos were eventually released by his former KISS bandmate Bruce Kulick in the year 1999 on an album called Rockology. Lipstick Generation chose to cover the opening track from Eric Carr’s Rockology, “Eyes of Love”. The song and video is meant to pay tribute to rock of yesteryear while also defining the band’s harder and edgier direction. ABOUT LIPSTICK GENERATION: Lipstick Generation is a hard rock band based in Nashville, TN. The band is a musical collective led by two core musicians, Greg Troyan (vocals) and Stephen Smith (bass) with a large number of backing musicians filling out the rest of the lineup. Notable collaborators of the group include Billy Morris (Warrant, Quiet Riot), Phil Shouse (Gene Simmons, Ace Frehley), Tom Pappas (Superdrag) and Kyle Hebert (Dragonball Z, Street Fighter). The band have previously released two albums, Lipstick and Lipstick II. Ron Keel Band – Fight Like A Band Posted on 13 May 2019. Tags: 2019, band, Fight, Ron Keel After selling millions of albums and touring the world as both a metal screamer (Keel, Steeler, and a brief encounter with Black Sabbath) and an outlaw country artist, he has combined those elements into a powerful brand as the Metal Cowboy. In addition to Ron, RKB features lead guitarist Dave “DC” Cothern, bassist El Diablo (aka Geno Arce, also a longtime member of Keel and other Ron Keel projects), Jeff “The Rev” Koller on drums and keyboardist Dakota Scott Schmitt (the latter two are both members of the South Dakota Rock & Roll Hall Of Fame). They have been together for four years – starting out as the House Band for a Sioux Falls entertainment complex called Badlands Pawn. During that era, they toured heavily on their own and with Midwest legends Hairball, and backed up other singers like Paul Stanley, Jack Blades, Kip Winger, Mark Slaughter, Don Dokken, and Stephen Pearcy – and for a 2016 Sioux Falls performance they did a set of covers mixed with Megadeth hits with EMP founder David Ellefson. Those experiences tightened the band into a well-oiled musical machine and cemented their bond as friends. So, when Badlands Pawn went out of business, they chose to stick together and “fight like a band,” hence the inspiration behind the title track of the new album. “We’ve been to hell and back together,” Keel confesses. “Everyone in the band sacrificed a lot, leaving their homes, gigs, families and friends to be a part of that. When it folded, this group was too strong to stop, so we renamed it Ron Keel Band and kept doing what we do – kicking ass.” Ron also credits the band and their music with helping him stay strong as his wife Renée battled breast cancer last year. “This album is a monument to our fans and the tough guys in this band…and it’s the most personal musical statement I’ve ever made.” Fight Like A Band Good Songs Bad Times The Right to Rock Crazy Lixx – Silent Thunder Posted on 13 May 2019. Tags: 2019, Crazy Lixx, Silent, Sweden, Thunder Swedish hard rockers Crazy Lixx are back with another gem of an album that harkens back to the best of ‘80s hard rock, while also keeping a foot firmly planted in the 21st century. “Forever Wild” further cements the band’s status as one of the leaders of the Scandinavian led hard rock revival, cleverly melding a sleaze/hair metal approach (reminiscent of Motley Crue, Warrant, and Winger) with voracious hooks and melodies. With huge choruses, instantly memorable riffs, wailing, emotive guitar solos, and massive production by Danny Rexon and Chris Laney, “Forever Wild” is sure to resonate with old fans and new listeners alike. Singer Danny Rexon says, “Ruff Justice was the first album where I took on the full role of producer, including recording, engineering, editing and some of the mixing. Naturally, there were things that I learnt along the way and, in retrospect, things that could have been done better. On the new album, I was once again the producer, but this time I brought in a whole lot more experience with me and had a clearer picture of what needed to be done to get a GREAT sounding album. So, you could definitely say that the new album is a natural progression from ‘Ruff Justice’. It’s actually the first time in the history of the band where the same band members have recorded under roughly the same conditions, in the same studios, with more or less the same equipment and with the same producer. For the first time, you can hear continuity from one album to the next, so I’d say if you’re a fan of ‘Ruff Justice’, I bet you’ll enjoy this new album the same, if not even more!” The band explores a wider range of styles than ever before on “Forever Wild”. From the hard rocking and anthemic opening track “Wicked” to the AOR inspired upcoming single “Silent Thunder,” to songs like “Eagle”, that sounds like it came off a Bon Jovi album circa 1986, Crazy Lixx manage to blend a love and reverence for ‘80s hard rock with their own unique stamp on each track. Rexon continues, “I think the way the album turned out has a lot to do with the current line-up that we established in 2016. I’ve always been a fan of melodic hard rock and hair metal, but with previous members, we’ve been pulling a bit more in different directions at times, so the result hasn’t always gone towards the goal I’d like them too, certainly not as much as it has on this album. I can honestly say that the way Crazy Lixx sounds today is a lot closer to how I envisioned the band to sound in the early 2010’s (around the time of ‘New Religion’) than how we actually sounded 5-6 years ago.” With “Forever Wild”, Crazy Lixx have set the bar very high against their own revered and celebrated catalog. Their best album yet? We’d say so! Don’t miss Crazy Lixx while they’re on the road in support of the album either, as their live shows are a sight to behold! Danny concludes, “On release day (May 17th), we have an album release show in our hometown of Malmö, along with fellow Frontiers band Creye. I’d recommend this event for all the fans that want to see some new songs live for the first time and get a chance to hang out with the band, get the new album signed, and all that fun stuff. After that, we’re lining up a bunch of summer festivals to kick off touring. I think there is a definite summer vibe to this album and the new songs will really fit well on an outdoor summer festival. Really looking forward to this summer’s shows.” Forever Wild Crazy Lixx – Forever Wild Forever Wild-Crazy Lixx Sweatshirt\|Hoodie for Men Women Black Crash Kelly – Touch Me Posted on 13 May 2019. Tags: 2019, Canada, Crash Kelly, Touch Crash Kelly are back with their first single (“Touch Me”) in ten years and the release of a lyric video for it. Crash Kelly, founded and lead by Canadian guitarist, singer, songwriter and author Sean Kelly, is returning to rock n roll duty with a brand new single, “Touch Me”, produced by Sean and multi-platinum producer/engineer Frank Gryner (Rob Zombie, A Perfect Circle) Crash Kelly‘s sound is best described as 70’s Glam Rock on the early 80’s Sunset Strip… T-Rex and Mott The Hoople by way of Mötley Crüe and Hanoi Rocks, with more than a fair dose of Alice Cooper, Cheap Trick and Thin Lizzy thrown in for proper effect. Initially active between 2002 – 2009, Crash Kelly released two critically acclaimed cult classics, ‘Penny Pills‘ and ‘Electric Satisfaction‘ via Century Media’s rock n roll imprint Liquor and Poker Music, followed by a third album, ‘One More Heart Attack‘ via Opening Day/Universal Music. All three albums were released in Japan via Spiritual Beast/Universal, and a European “Best Of” compilation, ‘Love You Electric‘, was released via the Bad Reputation, earning the band an 8/10 full page review in Classic Rock Magazine. The band toured North America as support for Alice Cooper on his 2006 Dirty Diamonds tour, and also toured the US alongside Century Media label mates Backyard Babies. Crash Kelly also toured the UK and Europe alongside The Quireboys and Enuff Z’Nuff, and in their native Canada as support to ex-Guns N’ Roses guitarist Gilby Clarke (who also produced ‘Electric Satisfaction‘ and ‘One More Heart Attack‘ in his Los Angeles based Redrum Studios). The decade that Sean spent away from Crash Kelly saw him become a highly in demand guitarist, songwriter, producer and collaborator. He has toured the world and recorded with a number of multi platinum acts including Nelly Furtado, Helix, Lee Aaron, Coney Hatch, Honeymoon Suite, Gilby Clarke, Alan Frew (Glass Tiger) Carole Pope/Rough Trade, Harlequin, Trapper, Howie D, Doc Walker and many more. He has recorded four classical guitar albums, two of which charted in the US Billboard Top 10. In 2015, Sean was cast to star alongside Twisted Sister lead singer Dee Snider and Taylor Dayne in Dee Snider’s Rock N Roll Christmas Tale, which ran during the Holiday Season at Toronto’s famed Winter Garden Theatre and played to over 20,000 people. Sean is also the author of the Amazon chart-topping book Metal On Ice: Tales from Canada’s Hard Rock and Heavy Metal Heroes (Dundurn Press), and is a sought after guitar clinician and music educator. He currently teaches Music with the Toronto Catholic District School Board. With the new single “Touch Me”, Sean returns to his glam rocking roots. Musical support comes from Dave Reimer on bass and Tim Timleck on drums. This is the first release for Canadian Shield Music, a new imprint formed by Kelly and Gryner to bring 70s and 80s influenced hard rock to a very specific audience who longs for the days of glossy rock magazines, fully stocked record store shelves, loud guitars and big hooks.” Metal on Ice: Tales from Canada’s Hard Rock and Heavy Metal Heroes	cc/2021-04/en_head_0041.json.gz/line36
__label__wiki	0.833432	0.833432	Aberdeen Gardens Historic Museum 55 & 57 Mary Peake Boulevard www.AberdeenGardens.org Tours by appointment. Established in 1934 by President Franklin D. Roosevelt’s New Deal as a model for housing following the Great Depression. Aberdeen Gardens was built to provide African American shipping workers with modern homes. The 440-acre land tract included 158 homes that had indoor plumbing, a furnace, great room that served as living and dining rooms, kitchen, closets, bathroom and second level bedrooms, front and/or back interior porch, attached garage, and spacious yards for gardens, fruit trees, and chicken coops. The neighborhood served as a model other communities could emulate. The museum presents an original home as it would have been furnished. Casemate Museum at Fort Monroe Casemate 20, Bernard Road Open to the public daily, 10:30 a.m. to 4:30 p.m. Free for leisure visitors; group reservations required. The National Historic Landmark features the quarters in which Confederate President Jefferson Davis was imprisoned following the Civil War for treason, mistreatment of Union prisoners, and complicity in the assassination of Abraham Lincoln. Additional historic sites to note within the stone-fort walls include the Chapel of the Centurion, Lieutenant Robert E. Lee’s living quarters, the Flag Bastion atop the fort walls and Quarters One, the oldest Army constructed building at Fort Monroe and the quarters where Abraham Lincoln stayed when he visited the post to strategize on how to take Norfolk during the Civil War. Emancipation Oak Located on Emancipation Drive near the entrance to Hampton University. A living symbol of freedom for African Americans and a National Historic Landmark whose age is unknown, the expansive Emancipation Oak grows at the entrance to Hampton University. President Abraham Lincoln’s Emancipation Proclamation issued on January 1, 1863 formalized the abolishment of slavery in the states that had seceded from the Union. It was beneath its embracing branches that residents gathered to hear for the first time a reading of Lincoln’s Emancipation Proclamation. Federation House 123 E. Pembroke Avenue Not presently available for touring, the house was the 1960’s headquarters of the Virginia State Federation of Colored Women’s Clubs, a group Janie Porter Barrett formed in 1908. Barrett, an 1884 Hampton Institute graduate and activist who worked on behalf of women and children, was also founder of Locust Street Social Settlement in 1890 and the Virginia Industrial School for Colored Girls in Hanover County, Virginia in 1915. Hampton History Museum 120 Old Hampton Lane HamptonHistoryMuseum.org Hampton’s remarkable history is presented in ten galleries that span from pre-European arrival through the 20th century. In a new addition to the main galleries, a small but critical new exhibit is present in the Port Hampton Gallery on the first floor. In this powerful exhibit, the Museum explores more deeply the arrival of Africans in English North America. Dedicated heritage tours may be arranged by contacting the museum’s educator. The museum is also the home of the main Hampton Visitor Center. Hampton University Museum Hampton University Huntington Building Hampton, Virginia 23668 Free, Open to the public Mon-Fri, 8 a.m. – 5 p.m., Sat, noon to 4 p.m. Closed Sunday. Founded in 1868, it is the oldest African American museum in the nation and one of the oldest museums in Virginia. The collection of more than 9,000 objects and works of art represents cultures and people from around the world and is the largest in southeastern United States. A changing gallery showcases the work of both new and established artists. Hampton University Campus Tour Begin at the Huntington Building Open Mon – Fri, 9 a.m. to 4 p.m. Established in 1868 as Hampton Normal & Agricultural Institute, the school’s name was changed to Hampton Institute in 1930 and Hampton University in 1984. Today, Hampton University is one of the nation’s top ranked private universities and enrolls approximately 6,000 students of 50 countries. The waterfront campus contains 110 buildings, which include the following National Historic Landmarks: Academy Building (1881), Virginia-Cleveland Hall (1874), Memorial Chapel (1886), Mansion House (1828) and Wigwam Building (1878). For organized campus tours contact Hampton University Museum; smartphone tours and self-guided tours available. Little England Chapel 4100 Kecoughtan Road Tours by appointment Free, donations accepted Virginia’s only known African American missionary chapel, this church was built in 1879 to serve African American landowners in the surrounding Newtown section of Hampton. The chapel offers a permanent exhibit and video program to help visitors understand the religious lives of post-Civil War African Americans in Virginia. The chapel is recognized on the Virginia Landmarks Register and the National Register of Historic Places. Old Point Comfort Site of the arrival of the first Africans to British North America. Present day site of Fort Monroe in Hampton, Virginia. Political Pioneers Luncheon African American Political Pioneers Luncheon and Panel Discussion at the Hampton Convention Center Friday 8/23, 12 - 3pm Teachers apply now for the K-12 Summer Learning Institute	cc/2021-04/en_head_0041.json.gz/line37
__label__wiki	0.640969	0.640969	Two die in Addis Ababa bomb explosion Reviewed by Momizat on Oct 14 . ADDIS ABABA, (Reuters) - A bomb blast in the Ethiopian capital Addis Ababa killed two people on Sunday, state radio said. There was no immediate claim of ADDIS ABABA, (Reuters) - A bomb blast in the Ethiopian capital Addis Ababa killed two people on Sunday, state radio said. There was no immediate claim of Rating: You Are Here: Home » World News » Two die in Addis Ababa bomb explosion Two die in Addis Ababa bomb explosion Posted by: Mursal Posted date: October 14, 2013 In: World News ADDIS ABABA, (Reuters) – A bomb blast in the Ethiopian capital Addis Ababa killed two people on Sunday, state radio said. There was no immediate claim of responsibility for the bombing, but Ethiopia says it has thwarted plots of attacks in the past two years and blames rebel groups based in the south and southeast, as well as Somalia’s al Shabaab insurgents. “A bomb blast occurred at a residential house in the Bole district and killed two unidentified individuals,” a report on national radio said, quoting the National Security and Intelligence Service. The explosion occurred in the city’s upscale Bole district, about 5 km (3 miles) from a soccer stadium where thousands of fans were queuing for tickets to a World Cup qualifier against Nigeria and gathering at squares in the capital to watch the match on giant screens. The radio did not mention any suspected link to the match.It quoted the security service as saying it was investigating the incident and gave no more details. Ethiopian troops have been fighting al Qaeda-linked al Shabaab militants in Somalia since 2011, alongside African Union forces from Uganda and Burundi and Kenya. However, the Horn of Africa nation has so far been spared the sorts of attacks the militants have carried out in nearby countries – such as the siege at the Nairobi mall last month and the attack on soccer fans in Uganda in 2010 – although it has been hit by sporadic explosions in recent years. Thirteen people were wounded when an explosive device ripped through a bus near the border with Eritrea in 2010, while a bomb explosion near a court in the capital wounded two in 2011. (Reporting by Aaron Maasho; Editing by Alison Williams) Ethiopia says state of emergency will last six months Miraa transporters in Kenya change route over threat from Al-Shabaab Exclusive: U.S. suspends aid to Somalia’s battered military over graft Ethiopia Used Israeli-made Surveillance Technology to Spy on Journalists, Dissidents	cc/2021-04/en_head_0041.json.gz/line38
__label__cc	0.649048	0.350952	Sep-4 Volcanology (is the study of volcanoes, lava, magma and related geological, geophysical and geochemical phenomena (volcanism). The term volcanology is derived from the Latin word vulcan. Vulcan was the ancient Roman god of fire) Wolframite, WO4, is an iron manganese tungstate mineral that is the intermediate between ferberite and hübnerite. Along with scheelite, the wolframite series are the most important tungsten ore minerals. Wolframite is found in quartz veins and pegmatites associated with granitic intrusive Xalnene Tuff Footprints (are a geological academic controversy, concerning a 2005 discovery of 269 markings in a geological layer in the Valsequillo Basin, south of the city of Puebla, Mexico, which were originally interpreted to be human and animal footprints. The layer was variously dated to 40,000 years Before Present or 1.3 million years BP, both dates significantly before the currently accepted date for the settlement of the Americas. A 2010 study argues that the marks were made by recent mining activities) Ytterbium is a chemical element with the symbol Yb and atomic number 70. It is the fourteenth and penultimate element in the lanthanide series, which is the basis of the relative stability of its +2 oxidation state. Zeno's Paradoxes (are a set of philosophical problems generally thought to have been devised by Greek philosopher Zeno of Elea (c. 490–430 BC) to support Parmenides' doctrine that contrary to the evidence of one's senses, the belief in plurality and change is mistaken, and in particular that motion is nothing but an illusion. It is usually assumed, based on Plato's Parmenides (128a–d), that Zeno took on the project of creating these paradoxes because other philosophers had created paradoxes against Parmenides' view. Thus Plato has Zeno say the purpose of the paradoxes "is to show that their hypothesis that existences are many, if properly followed up, leads to still more absurd results than the hypothesis that they are one." Plato has Socrates claim that Zeno and Parmenides were essentially arguing exactly the same point) Off to work..................... Edited September 4, 2020 2:44 pm by Tammy27 (DoubleMsMom) Round 2 ... Asparagus, or garden asparagus, scientific name Asparagus officinalis, is a perennial flowering plant species in the genus Asparagus. Its young shoots are used as a spring vegetable. It was once classified in the lily family, like the related Allium species, onions and garlic. However, genetic research places lilies, Allium, and asparagus in three separate families—the Liliaceae, Amaryllidaceae, and Asparagaceae, respectively—with the Amaryllidaceae and Asparagaceae being grouped together in the order Asparagales. Sources differ as to the native range of Asparagus officinalis, but generally include most of Europe and western temperate Asia. It is widely cultivated as a vegetable crop. Everything's better with bacon! Edited September 4, 2020 3:46 pm by LvlSlgr Msg 368.31943 deleted Boyle's law, also referred to as the Boyle–Mariotte law, or Mariotte's law, is an experimental gas law that describes how the pressure of a gas tends to increase as the volume of the container decreases. Calamity Jane (Martha Jane Cannary) - was an American frontierswoman. In addition to many exploits she was known for being an acquaintance of Wild Bill Hickok. Late in her life, she appeared in Buffalo Bill's Wild West show. She is said to have exhibited compassion to others, especially to the sick and needy. This facet of her character contrasted with her daredevil ways and helped to make her a noted frontier figure. She was also known for her habit of wearing men's attire. Also a musical and album by the same name featuring Doris Day a dodecahedron is any polyhedron with twelve flat faces. The most familiar dodecahedron is the regular dodecahedron, which is a Platonic solid. There are also three regular star dodecahedra, which are constructed as stellations of the convex form. All of these have icosahedral symmetry, order 120. Edited September 4, 2020 5:09 pm by PTG (anotherPTG)	cc/2021-04/en_head_0041.json.gz/line39
__label__wiki	0.675465	0.675465	Showing posts with label Jonathan Libman. Show all posts RESCHEDULED! THE MUSHROOM CURE at Greenhouse Theater Center Now Playing May 9 – June 9, 2019 ChiIL Live Shows on our radar RESCHEDULED! New Dates Announced for the THE MUSHROOM CURE at Greenhouse Theater Center Adam Strauss. Photo by David Allen Now Playing May 9 – June 9, 2019 The Greenhouse Theater Center today announced Adam Strauss has postponed his hit one-man show THE MUSHROOM CURE, originally scheduled for April 4 – May 5, 2019. The engagement has been rescheduled for May 9 – June 9, 2019. For ticket exchanges and refunds, please contact the Greenhouse Theater Center box office at (773) 404-7336 or boxoffice@greenhousetheater.org. The new press opening is Saturday, May 11 at 8 pm. Written and performed by Adam Strauss and developed with and directed by Jonathan Libman. THE MUSHROOM CURE is the true story of one Strauss’s attempt to treat his severe OCD with psychedelics. The Chicago premiere of the off-Broadway hit, presented in association with The Marsh, will play in The Greenhouse Theater Center’s Downstairs Main Stage, 2257 N. Lincoln Ave. in Chicago. Tickets for the new engagement are currently available at greenhousetheater.org, in person at the box office or by calling (773) 404-7336. Inspired by a scientific study showing that hallucinogenic mushrooms may cure obsessive-compulsive disorder (OCD), Adam Strauss embarked on a program of vigilante psychopharmacology. The true tale of Strauss’ hilarious, harrowing and heartrending attempts to treat his debilitating OCD with psychedelics, THE MUSHROOM CURE was named a Critics’ Pick by Time Out New York, which praised it as “riveting… true-life tour de force” and hailed by The New York Times as “mining a great deal of laughter from disabling pain.” THE MUSHROOM CURE first ran in the Edinburgh Festival Fringe garnering widespread acclaim. Critics called the show “hugely intelligent and incredibly engaging,” (The Scotsman) “outstanding,” (Edinburgh Festivals Magazine), and “a revelation” (Broadway Baby). Strauss’ riotous tale appeared next in the New York International Fringe Festival, winning the Fringe’s Overall Excellence Award for Solo Performance. It then was given its Off-Broadway premiere at New York’s Cherry Lane Theatre, where it had a sold-out, extended run, before transferring to The Marsh in San Francisco for its West Coast premiere with a sold-out, extended run. The show then moved to Theatre 80 St. Marks in New York, where it ran for over a year before closing in January. THE MUSHROOM CURE is produced by the Greenhouse Theater Center, in association with The Marsh, a breeding ground for new performance. Location: The Greenhouse Theater Center’s Downstairs Main Stage, 2257 N. Lincoln Ave, Chicago Dates: Previews: Thursday, May 9 at 8 pm and Friday, May 10 at 8 pm Press Performance: Saturday, May 11 at 8 pm Regular run: Sunday, May 12 – Sunday, June 9, 2019 Curtain times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 3 pm. Please note: there will not be a performance on Thursday, May 16; there will be an added performances on Saturday, May 18 at 2:30 pm. Tickets: Previews: $25 Regular run: $29 - $35. Discounts: $19 students, seniors, teachers, military and industry. Group discounts are available. Tickets are currently available at greenhousetheater.org, in person at the box office or by calling (773) 404-7336. Adam Strauss is a writer and performer based in New York City. He won the Leffe Craft Your Character Storytelling Competition and the New York Fringe Festival’s Overall Excellence Award for Solo Performance. He is also a stand-up comedian who performs throughout the US and the UK. Strauss received his BA in psychology from Brown University. His upcoming solo show The Uncertainty Principle will receive its world premiere at The Marsh in May 2019. Jonathan Libman is currently directing and writing for Amy Schumer's ensemble company The Collective. As a member of the Actors Studio Playwrights/Directors Unit, Jonathan is directing Chazz Palminteri (A Bronx Tale) in Palminteri's new play The Bench, and National Endowment for the Arts recipient David Libman’s play The Townhouse, featuring Joey Collins. He recently worked with Christina Masciotti (2016 Guggenheim Fellow) on her play Raw Bacon From Poland, featuring Sean Carvajal (2018 Lucille Lortel and Obie Awards for Best Actor). Jonathan won a scholarship to write and direct at Tony Spiridakis' Manhattan Film Institute, and has just finished writing two original television pilots, The Little People and Accidents Waiting to Happen. In 2019-20 he will be directing new work by Nicole Pandolfo (2017 Dramatist Guild Fellow), Sam Kahn (Chatter), Eli Walker (Drunk Yoga) and Daniel Mitura (The Picture of Dorian Gray). About the Greenhouse Theater Center The Greenhouse Theater Center (GTC) is a producing theater company, performance venue and theatre bookstore located at 2257 N. Lincoln Ave. in Chicago’s Lincoln Park neighborhood. GTC began its producing life in 2014 with the smash hit Churchill, followed by 2016’s much-lauded Solo Celebration!, an eight month, 16 event series highlighting the breadth and depth of the solo play form. In 2017-18, the Greenhouse presented its first full subscription season, including Machinal (4 stars from Chicago Tribune's Chris Jones) and the Chicago premiere of Birds of a Feather. As a performance venue, the Greenhouse complex offers two newly-remodeled 198-seat main stage spaces, two 60-seat studio theaters, a newly-built 44-seat cabaret space, two high-capacity lobbies and an in-house rehearsal room. GTC also houses Chicago’s only dedicated used theatre bookstore, located on the second floor the complex. The Greenhouse Theater Center’s mission is first and foremost to grow local theatre. GTC seeks local theatre companies and artists to partner on co-productions, offering partners a multitude of resources including an equitable split of production costs, production manager, full-service box office and front-of-house staff, artistic consultation, marketing and public relations support and a full-service bar with concessions. For additional information, contact Nicholas Reinhart at (773) 404-7336, ext. 13. About The Marsh The Marsh, known as a "breeding ground for new performance," was launched in1989 by Founder and Artistic Director Stephanie Weisman, and now annually hosts more than 600 performances of 175 shows across the company's two venues in San Francisco and Berkeley. A leading developer and outlet for solo performers, The Marsh's specialty has been hailed by the San Francisco Chronicle as “solo performances that celebrate the power of storytelling at its simplest and purest.” The East Bay Times named The Marsh one of Bay Area's best intimate theaters, calling it “one of the most thriving solo theaters in the nation. The live theatrical energy is simply irresistible.” For more info about The Marsh, visit www.themarsh.org or email artisticdirector@themarsh.org. Posted by Bonnie Kenaz-Mara at 7:18 AM No comments: Labels: Adam Strauss, Greenhouse Theater Center, Jonathan Libman, rescheduled, THE MUSHROOM CURE, Theatre Chicago Chicago Premiere of THE MUSHROOM CURE at Greenhouse Theater Center April 4 – May 5, 2019 Chicago Premiere! Greenhouse Theater Center, in association with The Marsh, Presents Written and Performed by Adam Strauss Developed with and Directed by Jonathan Libman April 4 – May 5, 2019 I'll be out for the press opening April 6th, so check back soon for my full review. The Greenhouse Theater Center, in association with The Marsh, is pleased to present the Chicago premiere of the off-Broadway hit THE MUSHROOM CURE, the true story of one man's attempt to treat his severe OCD with psychedelics. Written and performed by Adam Strauss and developed with and directed by Jonathan Libman, THE MUSHROOM CURE will play April 4 – May 5, 2019 in The Greenhouse Theater Center’s Downstairs Main Stage, 2257 N. Lincoln Ave. in Chicago. Tickets are currently available at greenhousetheater.org, in person at the box office or by calling (773) 404-7336. Dates: Previews: Thursday, April 4 at 8 pm and Friday, April 5 at 8 pm Press Performance: Saturday, April 6 at 8 pm Regular run: Saturday, April 6 – Sunday, May 5, 2019 Curtain times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 3 pm Labels: Adam Strauss, Chicago premiere, Greenhouse Theater Center, Jonathan Libman, opening, The Marsh, THE MUSHROOM CURE, Theatre Chicago	cc/2021-04/en_head_0041.json.gz/line43
__label__wiki	0.886581	0.886581	Showing posts with label Stacy Keach. Show all posts OPENING: STACY KEACH RETURNS AS ERNEST HEMINGWAY IN PAMPLONA BY JIM MCGRATH AT GOODMAN THEATRE THROUGH AUGUST 19TH Chi IL Live Shows On Our Radar: PAMPLONA BY JIM MCGRATH AT GOODMAN THEATRE *STACY KEACH RETURNS AS ERNEST HEMINGWAY IN ROBERT FALLS’ WORLD PREMIERE PRODUCTION; OPENING NIGHT IS JULY 15, RUNS THROUGH AUGUST 19* Stage and screen (CBS’ Man with a Plan, Mike Hammer Series, Goodman Theatre’s King Lear) veteran Stacy Keach is Ernest Hemingway in Pamplona by Jim McGrath, directed by Robert Falls—now appearing in the Owen Theatre through August 19. Originally scheduled for spring 2017, Pamplona appeared for 11 preview performances, but never opened: Goodman Theatre canceled the run after Keach suffered a mild heart attack and doctors ordered recuperation. Pamplona marks Keach’s second exploration of the literary legend: he earned a Golden Globe Award and an Emmy Award nomination for his portrayal of Hemingway in the eponymous 1988 television mini-series. The creative team includes Kevin Depinet (set), Noël Huntzinger (costumes), Jesse Klug (Lights), Michael Roth (composer and soundscape), Adam Flemming (Projections) and Lauren V. Hickman is the Production Stage Manager. Pamplona appears through August 19 in the Owen Theatre. Tickets ($25-90, subject to change) are available at GoodmanTheatre.org, by telephone, 312.443.3800, or in person at the Goodman Box Office (170 N. Dearborn). In Pamplona, after the prize comes the pressure. Basking in the glory of career-defining awards—the 1953 Pulitzer Prize and the coveted Nobel Prize for Literature in 1954—legendary writer Ernest Hemingway insists his best work is yet to come. Five years later, holed up in a Spanish hotel with a looming deadline, he struggles to knock out a story about the rivalrous matadors of Pamplona. But his real battles lie outside the bullfighting arena; in declining health, consumed by his troubled fourth marriage and tormented by the specter of past glories, he must now conquer the deepening despair that threatens to engulf him. Pamplona is generously sponsored by the Elizabeth F. Cheney Foundation and The Peninsula Chicago is the Corporate Sponsor Partner. TICKETS AND DISCOUNTS Tickets ($25-$90) – GoodmanTheatre.org/Pamplona; 312.443.3800; Fax: 312.443.3825; TTY/TDD: 312.443.3829 Box Office Hours –12noon - 5pm; on performance days, the box office remains open until 30 minutes past curtain Group Sales are available for parties 10+; 312.443.3820 MezzTix – Half-price day-of-performance mezzanine tickets available at 10am online (promo code MEZZTIX) $10Tix – Student $10 advance tickets; limit four, with valid student ID (promo code 10TIX) Teen Arts Pass (TAP) – $5 day-of-performance tickets for teens ages 13-19; subject to availability; limit two, with valid TAP identification. Sign up at TeenArtsPass.org (promo code TAP) CityKey – CityKey Cardholders access half-price mezzanine tickets; limit four, with valid CityKey ID. Sign up at ChiCityClerk.com/ChicagoCityKey (promo code CITYKEY) Gift Certificates – Available in any amount; GoodmanTheatre.org/GiftCertificates Open Captioned Performance, August 12 at 2pm – LED sign presents dialogue in sync with the performance ASL Interpreted Performance, August 15 at 7:30pm – Professional ASL interpreter signs the action/text as played Touch Tour, August 19 at 12:30pm – A presentation detailing the set, costume and character elements Audio Described Performance, August 19 at 2pm – The action/text is audibly enhanced for patrons via headset Visit Goodman Theatre.org/Access for more information about Goodman Theatre’s accessibility efforts. Ernest Hemingway (1899 – 1961) was born in Oak Park, IL, and got his start as a journalist writing for The Kansas City Star after attending Oak Park and River Forest High School. Shortly after, he joined the Red Cross during World War I, receiving the Italian Silver Medal of Bravery in 1918 for assisting soldiers, an experience that would inspire one of his most beloved works, A Farewell to Arms (1929). Following the war, he spent time in Paris, befriending the likes of Gertrude Stein, James Joyce and F. Scott Fitzgerald, and published his first collection, Three Stories and Ten Poems (1923). Next came his first novel, The Sun Also Rises (1926), about a group of British and American expatriates traveling to Pamplona, Spain. Among his many other great works are the Pulitzer Prize-winning The Old Man and the Sea, For the Whom Bell Tolls (Pulitzer Prize nomination), Green Hills of Africa, Death in the Afternoon and To Have and Have Not. On assignment, Hemingway was also present for some of World War II’s most noted events, including the liberation of Paris, and received a Bronze Star for bravery for his coverage of the war. Following the war, he spent an extensive amount of time in Cuba and in 1954, shortly after publishing The Old Man and the Sea, received the Nobel Prize for Literature. Hemingway was married four times, often tumultuously, to Elizabeth Hadley Richardson, Pauline Pfeiffer, Martha Gelhorn and Mary Welsh Hemingway. He had three sons, Jack, Patrick and Gregory. Troubled by financial issues, familial burdens and alcohol abuse, Hemingway took his own life in Idaho in 1961. Stacy Keach (Ernest Hemingway) performed in top motion picture and television projects while continuing to add to his stage work, both classical and Broadway. His most recent motion picture, Gotti, starring John Travolta, is set to premiere in 2018. Other recent films include director Stephen Gaghan’s Gold, starring Matthew McConaughey, Edgar Ramirez and Bryce Dallas Howard; Truth, teamed with Cate Blanchett and Robert Redford; and the film adaptation of the Stephen King novel Cell, also starring John Cusack and Samuel L. Jackson. Keach’s filmography also includes John Huston’s Fat City co-starring Jeff Bridges, Alexander Payne’s Academy Award-nominated Nebraska, If I Stay, The Bourne Supremacy, Sin City: A Dame To Kill For, The Ninth Configuration,; The Heart Is A Lonely Hunter, Doc, Up In Smoke, American History, and the classic western The Long-Riders, which he produced with his brother James Keach. Keach recently finished filming the second season of the CBS award-winning comedy series Man With A Plan, alongside Matt LeBlanc and Kevin Nealon. He was one of the stars of the NBC comedy series Crowded, and he guest-starred on Showtime’s Ray Donovan, starring Liev Schreiber and Jon Voight. He also guest-starred on Starz’s second season of Blunt Talk, starring Sir Patrick Stewart, and continues on a recurring role on CBS’ Blue Bloods, starring Tom Selleck. His prior television series credits include his title role performance in Mickey Spillane’s Mike Hammer and Titus. He has been seen on many hit shows such as Two and a Half Men, Prison Break, NCIS: New Orleans and Hot In Cleveland. As a narrator, he has been heard in many documentaries and books on tape. He is also the narrator on CNBC’s American Greed. Keach is considered a pre-eminent American interpreter of Shakespeare, with his Shakespearean roles including Hamlet, Henry V, Coriolanus, Falstaff, Macbeth, Richard III and King Lear (at Goodman Theatre and Shakespeare Theatre in Washington, D.C., directed by Robert Falls). He also led the national touring company cast of Frost/Nixon, portraying Richard M. Nixon. Keach’s memoir, All in All: An Actor’s Life On and Off the Stage, was an initial recipient of the Prism Literary Award for work addressing overcoming addictive behavior. His performance honors include a Best Actor Golden Globe Award, three OBIE Awards, three Vernon Rice Awards, two Drama Desk Awards, three Helen Hayes Awards, the prestigious Millennium Recognition Award and the Will Award, and he has been nominated for Emmy and Tony Awards. In 2015, he was inducted into the American Theater Hall of Fame. In 2016, Keach received a Hollywood Film Award for Best Ensemble in the film Gold. He also received the 2016 Best Narrator Award from the Society of Voice Arts and Sciences in the category of Crime and Thriller for his work on the Mike Hammer audio novels. Keach was a Fulbright scholar to the London Academy of Music and Dramatic Art and attended the University of California at Berkeley and the Yale School of Drama. Keach has been married to his wife Malgosia for 31 years, and they have two children, son Shannon and daughter Karolina. Jim McGrath’s first short play, Trail of the Westwoods Pewee, was presented at the West Bank Theatre in New York City in 1987. The next year saw the production of his first full-length play, Bob’s Guns, at the Director’s Company in New York. In 1992, New Jersey’s Passage Theatre produced his play Roebling Steel. In 1995, the Met Theatre in Los Angeles premiered The Ellis Jump, which won McGrath the Ovation Award for Best Writing of a World Premier Play. For television, he wrote detective stories for Simon & Simon, The Father Dowling Mysteries, Matlock, Mike Hammer and Over My Dead Body, as well as the children’s series Wishbone and Liberty Kids, science fiction series Quantum Leap, Codename Eternity and Dark Realm and the television films Elvis: The Early Years and Silver Bells (starring Anne Heche). He also co-wrote the screenplay for the feature film Kickboxer: Vengeance. In 2012, he produced and wrote the documentary Momo: The Sam Giancana Story, which won Best Documentary Awards at the Bel Air Film Festival and The Monaco International Film Festival. He has taught creative writing courses at Patton State Prison in San Bernardino, California State Home for Veterans in Los Angeles and The Center Theater in Chicago. He was trained as an artist leader with Imagination Workshop, by founders Margaret Ladd and Lyle Kessler in 1983, for which he worked with mentally ill and homeless clients for decades as a theater artist. In 2010, he became Executive Director of Imagination Workshop. McGrath is a native of Dallas, Texas. After graduating SMU, he attended Princeton Theological Seminary for two years before embarking on his playwriting career. Robert Falls (Goodman Theatre Artistic Director) previously directed at the Goodman the world premiere of Rogelio Martinez’s Blind Date, the Chicago premiere of Rebecca Gilman’s Soups, Stews, and Casseroles: 1976, and partnered with Goodman Playwright-in-Residence Seth Bockley to direct their world premiere adaptation of Roberto Bolaño’s 2666 (Jeff Award for Best Adaptation). Falls will direct a new production of Henrik Ibsen’s An Enemy of the People (March 10 – April 15, 2018) at the Goodman, and also remount his Lyric Opera of Chicago production of Mozart’s Don Giovanni for the Dallas Opera (April 2018). Recent productions also include The Iceman Cometh for the Brooklyn Academy of Music, Rebecca Gilman’s Luna Gale for the Center Theatre Group in Los Angeles, Measure for Measure and the world and off-Broadway premieres of Beth Henley’s The Jacksonian. Among his other credits are The Seagull, King Lear, Desire Under the Elms, John Logan’s Red, Jon Robin Baitz’s Three Hotels, Eric Bogosian’s Talk Radio and Conor McPherson’s Shining City; the world premieres of Richard Nelson’s Frank’s Home, Arthur Miller’s Finishing the Picture, Eric Bogosian’s Griller, Steve Tesich’s The Speed of Darkness and On the Open Road, John Logan’s Riverview: A Melodrama with Music and Rebecca Gilman’s A True History of the Johnstown Flood, Blue Surge and Dollhouse; the American premiere of Alan Ayckbourn’s House and Garden; and the Broadway premiere of Elton John and Tim Rice’s Aida. Mr. Falls’ honors for directing include, among others, a Tony Award (Death of a Salesman), a Drama Desk Award (Long Day’s Journey into Night), an Obie Award (subUrbia), a Helen Hayes Award (King Lear) and multiple Jeff Awards (including a 2012 Jeff Award for The Iceman Cometh). For “outstanding contributions to theater,” Mr. Falls has been recognized with such prestigious honors as the Savva Morozov Diamond Award (Moscow Art Theatre), the O’Neill Medallion (Eugene O’Neill Society), the Distinguished Service to the Arts Award (Lawyers for the Creative Arts), the Illinois Arts Council Governor’s Award and induction into the Theater Hall of Fame. About Goodman Theatre AMERICA’S “BEST REGIONAL THEATRE” (Time magazine), Goodman Theatre is a premier not-for-profit organization distinguished by the excellence and scope of its artistic programming and civic engagement. Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics (celebrated revivals include Falls’ productions of Death of a Salesman and The Iceman Cometh). Goodman Theatre artists and productions have earned two Pulitzer Prizes, 22 Tony Awards, over 160 Jeff Awards and many more accolades. In addition, the Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle” and its annual holiday tradition A Christmas Carol, which celebrated its 40th anniversary this season, has created a new generation of theatergoers. The Goodman also frequently serves as a production partner with local off-Loop theaters and national and international companies by providing financial support or physical space for a variety of artistic endeavors. Committed to three core values of Quality, Diversity and Community, the Goodman proactively makes inclusion the fabric of the institution and develops education and community engagement programs that support arts as education. This practice uses the process of artistic creation to inspire and empower youth, lifelong learners and audiences to find and/or enhance their voices, stories and abilities. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of such programming, most offered free of charge, and has vastly expanded the theater’s ability to touch the lives of Chicagoland citizens (with 85% of youth participants coming from underserved communities) since its 2016 opening. Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation of the new Goodman center in 2000. Today, Goodman Theatre leadership also includes the distinguished members of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez, Dael Orlandersmith, Steve Scott, Chuck Smith, Regina Taylor, Henry Wishcamper and Mary Zimmerman. David W. Fox, Jr. is Chair of Goodman Theatre’s Board of Trustees, Cynthia K. Scholl is Women’s Board President and Justin A. Kulovsek is President of the Scenemakers Board for young professionals. Labels: Ernest Hemingway, Goodman Theatre, opening, Pamplona, shows on our radar, Stacy Keach, Theatre Chicago TICKETS NOW ON SALE: STACY KEACH RETURNS AS ERNEST HEMINGWAY IN THE HIGHLY-ANTICIPATED RESCHEDULED PAMPLONA AT GOODMAN THEATRE Chi, IL LIVE Shows On Our Radar: THIS SUMMER, STACY KEACH RETURNS AS ERNEST HEMINGWAY IN THE HIGHLY-ANTICIPATED RESCHEDULED BY JIM MCGRATH, DIRECTED BY ROBERT FALLS AT GOODMAN THEATRE THE WORLD PREMIERE PRODUCTION APPEARS JULY 10 – AUGUST 19, 2018; *TICKETS NOW ON SALE* Here at ChiIL Live Shows, we were there on the ill-fated opening night when PAMPLONA was postponed. We're thrilled to have another chance to see Stacy Keach as Ernest Hemingway, in a role built for him, directed by Artistic Director Robert Falls. Goodman Theatre announces the Summer 2018 return of Jim McGrath’s Pamplona starring stage and screen veteran Stacy Keach as Ernest Hemingway, directed by Artistic Director Robert Falls. Originally scheduled for Spring 2017, Pamplona appeared for 11 preview performances but closed prematurely after its star suddenly fell ill on Opening Night and doctors ordered recuperation. Keach’s return to Pamplona marks the stage and screen actor’s second exploration of the literary legend: he earned a Golden Globe Award and an Emmy Award nomination for his portrayal of Hemingway in the eponymous 1988 television mini-series. Pamplona appears July 10 – August 19 in the Owen Theatre. Tickets now on sale at GoodmanTheatre.org/Pamplona and by telephone, 312.443.3800, or in person at the Goodman Box Office (170 N. Dearborn). “I’m thrilled to reunite with Stacy Keach and Jim McGrath for what I know will be a triumphant return to this beautifully rendered work about one of our most charismatic yet complicated literary titans—and a Chicagoland native—Ernest Hemingway,” said Artistic Director Robert Falls. Falls and Keach previously collaborated King Lear (2006) and Arthur Miller’s final play, Finishing the Picture (2004). “I’m deeply grateful to Robert Falls, Goodman Theatre, and the good people of Chicago for encouraging me and allowing me to ‘get back on the horse,” said Stacy Keach. “I’m so excited to be returning to Pamplona and the great city.” Ernest Hemingway (1899 – 1961) was born in Oak Park, IL, and got his start as a journalist writing for The Kansas City Star after attending Oak Park and River Forest High School. Shortly after, he joined the Red Cross during World War I, receiving the Italian Silver Medal of Bravery in 1918 for assisting soldiers, an experience that would inspire one of his most beloved works A Farewell to Arms (1929). Following the war, he spent time in Paris, befriending the likes of Gertrude Stein, James Joyce and F. Scott Fitzgerald, and published his first collection of stories Three Stories and Ten Poems (1923). Next came his first novel The Sun Also Rises (1926), about a group of British and American expatriates traveling to Pamplona, Spain. Among his many other great works are the Pulitzer Prize-winning The Old Man and the Sea, For the Whom Bell Tolls (Pulitzer Prize nomination), Green Hills of Africa, Death in the Afternoon and To Have and Have Not. On assignment, Hemingway was also present for some of World War II’s most noted events including the liberation of Paris, and received a Bronze Star for bravery for his coverage of the war. Following the war, he spent an extensive amount of time in Cuba and in 1954, shortly after publishing The Old Man and the Sea, received the Nobel Prize for Literature. Hemingway was married four times, often tumultuously, to Elizabeth Hadley Richardson, Pauline Pfeiffer, Martha Gelhorn and Mary Welsh Hemingway. He had three sons, Jack, Patrick and Gregory. Troubled by financial issues, familial burdens and alcohol abuse, Hemingway took his own life in Idaho in 1961. AMERICA’S “BEST REGIONAL THEATRE” (Time magazine), Goodman Theatre is a premier not-for-profit organization distinguished by the excellence and scope of its artistic programming and civic engagement. Led by Artistic Director Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics (celebrated revivals include Falls’ productions of Death of a Salesman and The Iceman Cometh). Goodman Theatre artists and productions have earned two Pulitzer Prizes, 22 Tony Awards, over 160 Jeff Awards and many more accolades. In addition, the Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle” and its annual holiday tradition A Christmas Carol, which celebrates its 40th anniversary this season, has created a new generation of theatergoers. The Goodman also frequently serves as a production partner with local off-Loop theaters and national and international companies by providing financial support or physical space for a variety of artistic endeavors. Labels: Goodman Theatre, opening, Pamplona, shows on our radar, Stacy Keach, Theatre Chicago Stacy Keach Recovering From Mild Heart Attack During Pamplona Opening Night at Goodman Theatre GOODMAN THEATRE ANNOUNCES UPDATE ABOUT PAMPLONA’S STACY KEACH Here at ChiIL Live Shows and ChiIL Mama our hearts go out to Stacy Keach's family and friends and we wish him a speedy and full recovery. My husband, Dug, has worked on location sound for numerous American Greed episodes for years now, a long running CNBC show that Stacy Keach narrates. I was also at the press opening where Goodman halted Pamplona, and for obvious reasons, we won't be reviewing unless a remount happens down the road. After a week of medical observation, it is now confirmed that stage and screen star Stacy Keach experienced a mild heart attack during the May 30 opening night performance of Pamplona, a one-man show by Jim McGrath. After it became clear that Keach was struggling, the performance was halted midway by Goodman Artistic Director Robert Falls. According to doctors, Keach is expected to make a complete recovery following a period of cardiac rehabilitation and rest. As previously announced, all remaining performances of Pamplona have been canceled; however, plans to reschedule the production are underway. “On behalf of Stacy Keach, his family and the Goodman, we would like to extend our gratitude for all of the generous support and concern shown to Stacy this past week. I remain awed by Stacy’s courage and strength after experiencing such a disturbing event; his spirits are high and he is resting and recovering comfortably. Jim, Stacy and I look forward to continuing our collaboration on Pamplona,” said Artistic Director Robert Falls. McGrath’s 80-minute, world premiere production starring Keach as the iconic American author Ernest Hemingway was scheduled to run May 19 through June 25 in the Goodman’s 350-seat Owen Theatre. Keach, who has no understudy given the unique nature of the play and his extensive involvement in the project’s development, completed every preview performance from May 19-28. The May 30 opening night was halted mid-performance, and the following three performances were cancelled as Keach underwent medical testing. Ticket holders will be offered a full refund to Pamplona, or tickets to the upcoming Ah, Wilderness! by Eugene O’Neill, directed by Steve Scott. A Goodman Theatre Ticket Services representative will be in touch, or patrons can call 312.443.3800 or visit the box office in-person at 170 N. Dearborn (the box office is open daily from 12 noon to 5pm; on performance days, it remains open until 30 minutes past curtain). The Goodman is grateful for its Pamplona sponsors, including The Elizabeth F. Cheney Foundation (Major Support) and Hinshaw & Culbertson LLP (Contributing Sponsor) with additional support from the Director’s Society. Labels: American Greed, Cancelled, Goodman Theatre, heart attack, Pamplona, refund, reschedule, Stacy Keach	cc/2021-04/en_head_0041.json.gz/line44
__label__wiki	0.695427	0.695427	Andy Rotherham \| Tedeschi Trucks Band, Drive By Truckers, and Marcus King Band The Wolf Trap Performing Arts Center outside of Washington, D.C. is a national treasure. The lovely amphitheater with cozy lawn seating and plenty of covered reserved seating is owned by the National Park Service. This means they’re good with patrons bringing in coolers and picnic blankets to enjoy dinner and drinks before (and during) the shows because they are not most concerned with selling you $15 beers. Over the years the venue has evolved into hosting great rock and roll while still retaining a wide array of programming. I remember some of their early forays into edgier music, a 1989 show with the Pogues, Mojo Nixon, and the Violent Femmes ended up somewhat chaotic as ushers used to the National Symphony and orderly seating confronted a crowd that really wanted to get close to the bands. These days it’s a well oiled machine with a great summer line up. On July 11thWolf Trap again hosted the Tedeschi Trucks Band summer tour, Wheels of Soul. The day gave way to a lovely evening with pleasant temperatures and one of those classic Virginia sunsets that eases into darkness like a gentle stain. This year’s TTB roster featured Drive By Truckers and the Marcus King Band in support. Marcus King opened the night with a rocking set. His dad is bluesman Marvin King so he has a leg up, but he’s unbelievably only 22 and has assembled a fantastic band fusing Southern rock and the blues with a forward looking sound. A prodigious talent, he read the crowd well telling a story about a party at Virginia Tech before landing his set with a rocking “Virginia.” They might have been the third band on a three-band bill but earned a standing ovation from an appreciative audience. Drive By Truckers followed up with a strong set. Whatever the configuration of the band, Mike Cooley and Patterson Hood know how to get it done and the band worked through an earnest set. What can’t you say about a band that’s produced great Southern-infused music for so long, is socially aware, and still parties on stage? They drew a lot from “American Band,” an album that seems more resonant all the time and Hood reminded the audience as he is wont to do in the words of Patti Smith, to just “love each other motherf**ers.” Hard to argue. Finally, TTB took the stage. I like their hard charging sound more in smaller theaters, the kind they play during the colder months rather than the summer amphitheaters. And you get more songs. But they packed a lot into a thirteen-song set. I continue to argue they’re the not-to-miss live act on the road these days. Alecia Chakour is a backup singer, c’mon! Highlights included a hot “Get What You Deserve” encore and Marcus King joining on a cover of “Key to the Highway.” Backup singer Mike Mattison sang out in front and Mark Rivers did as well. Midway through the set a stage hand brought out sheet music and Susan Tedeschi sang “Lord Protect My Child,” one of three Dylan covers in their set. It’s a song the band had not played in a few years, only twice since 2012, and just ten times as of this writing. Beautifully delivered, it needed little explanation for a crowd looking for a few hours of escape but not amnesia from our contemporary troubles. Music-Loving Education Champion: Andy Rotherham Venue: Wolf Trap Performing Arts Center City: Vienna, Virginia Date of Show: July 11, 2018 Photo by Andy Kahn for JamBase.com, which features his take on the show \| Members Of Drive-By Truckers & Marcus King Band Join Tedeschi Trucks Band In Virginia Samsung is Envisioning the Future of Work Scott Laband \| Education in the age of agility	cc/2021-04/en_head_0041.json.gz/line46
__label__wiki	0.729176	0.729176	Women on the Web’s creation of Aid Access to provide abortion access in areas where it could soon become (even more) severely restricted couldn’t have come at a more critical time. Women and reproductive justice activists have been sounding the alarm about the inevitable implications of Donald Trump’s presidency for the Supreme Court and abortion access for years. And now those warnings have become an impending reality, with alleged sexual abuser Brett Kavanaugh, who has a ghastly record on reproductive rights, poised to be the fifth vote to either overturn Roe v. Wade altogether or hack apart its key protections. Yet, polling has indicated deep skepticism that abortion rights are even in trouble. A Quinnipiac poll from a few weeks after Justice Anthony Kennedy’s retirement revealed 62 percent of voters believe that “it is not likely that the 1973 Roe v. Wade Supreme Court decision will be overturned within the next few years,” compared to 27 percent who disagreed. This dismissal of women and pregnant people’s concerns, even in the face of a nearly unprecedented threat to our health, safety, and dignity, drives home a critical fact: Far too often, women are forced to prove the reality of our most fundamental experiences in the face of misogynist cynicism — even when our lives may depend on it. In the hours after Kennedy’s retirement, journalist Brian Stelter took to Twitter to respond to a woman who had drawn a comparison between the dystopian novel-turned-Hulu-drama The Handmaid’s Tale and the future of the United States: “We are not ‘a few steps from ‘The Handmaids Tale,’” he wrote, adding, “I don’t think this kind of fear-mongering helps anybody.” The tweet was followed by similar perspectives from journalists and media outlets across the political spectrum. From a Wall Street Journal editorial board dismissing the possibility of Roe’s reversal as left-wing farce, to a Washington Post op-ed quite literally titled “Calm down. Roe v. Wade isn’t going anywhere,” men and media figures of all political ideologies seemed to believe the real problem was not the threat of political forces conspiring to roll back women’s most fundamental human rights, but women having the audacity to speak out against this threat. In a painfully ironic twist, it was predominantly conservative politicians, from Senators Mitch McConnell to Orrin Hatch, and media outlets including Breitbart, Townhall, and others, accusing women of being hysterical about the threat to their reproductive rights. Despite the fact that the Republican Party’s 2016 platform included stacking the courts to reverse pro-choice decisions; despite Donald Trump’s endless campaign trail promises to not just appoint anti-choice justices to the high court but even to criminalize abortion; despite Mike Pence’s recurring rallying cry of sending Roe back to “the ash heap of history.” To hear conservatives now call abortion a “settled issue” was pure gaslighting, an attempt to portray women as crazy before quite literally killing us. Comedian Samantha Bee summed up the situation aptly in a Full Frontal segment at the time: “All Republicans have done for years is rail against abortion, and now suddenly we’re hysterical for taking them at their word?” There are at least 13 cases that could end or severely scale back abortion rights already in the courts, any of which could be handed up to the Supreme Court by one of the more-than-an-eighth of all circuit court judges who have been appointed by Trump. Roughly 20 states currently have “trigger laws,” or laws and constitutional amendments that would automatically criminalize or make abortion illegal in the event that Roe is overturned. In contrast, pro-choice leadership in some states, including New York, Massachusetts, Oregon, have already moved to pass state laws that would automatically protect abortion rights should Roe be reversed, to prepare for what they recognize as impending realities. States with anti-choice leadership have also moved to proactively prepare for Roe’s reversal: Voters in states like West Virginia and Alabama have successfully placed measures on the ballot that would make abortion illegal if Roe is reversed. Meanwhile, once Kavanaugh was confirmed, groups like the National Network of Abortion Funds and Planned Parenthood almost immediately shared thorough plans for how they will protect abortion access, since the Republican Party’s unyielding war on Roe is one they’ve been forced to prepare for, for decades. In fact, Roe has already existed in an increasingly precarious state for years now. A 2017 study by the Population Reference Bureau revealed that millennial women’s living standards are literally worse than our mothers, in part due to a recent, sharp decline in abortion access across the country. Between 2011 and 2016 alone, 27 percent of the roughly 1,200 abortion restrictions passed since Roe (1973) were enacted. As of 2017, about 90 percent of U.S. counties lack an abortion provider. And sure, a lot has changed since pre-Roe America, when between 200,000 and 1.2 million unsafe abortions — thousands of which resulted in death and near-fatal injuries — took place annually. The development of medication abortion has redefined self-managed abortion into something that is highly safe and increasingly accessible. But surely not everyone will be able to access medication abortion, which is only guaranteed to be effective in the first trimester. Women of color and low-income women would be especially likely to face charges for attempting to self-manage their abortions, as we’ve already seen how they’ve disproportionately been criminalized for the outcomes of their pregnancies in recent years. We know that world-wide, when countries restrict legal access to abortion, the abortion rate remains relatively constant, while the rate of unsafe abortion spikes. And we’ve already seen that pattern in the US: a study last year found found higher maternal mortality rates in states with more abortion restrictions (in a country with the worst maternal health record in the industrialized world). Now that Kavanaugh is on the Supreme Court, it’s incumbent on all of us to proactively support people across the country who may now face tremendous barriers to reproductive health care access. In this new, increasingly dangerous reality, it’s crucial that we support abortion funds, providers, and people seeking abortion care in any way we can, that we call our representatives and demand pro-choice legislation, that we show up in every election and vote for pro-choice representatives. And it’s crucial that we listen to the voices of women about our experiences and threats to our health. Certainly, our work to protect abortion rights will be rendered especially difficult as we shoulder the additional burden of having to prove that the dangers we face even exist. The gaslighting of women amid new, terrifying threats to our most fundamental rights is part of a broader strategy of trivializing and writing off the concerns and experiences of a majority of the population as tangential “women’s issues.” This gaslighting has a purpose: to convince women that nothing is wrong—and therefore there’s no reason for us to show up and fight. And that’s exactly why we have to show up, arm-in-arm, in full force every day. Photo credit: Phil Walter/Getty Images Kylie Cheung Kylie Cheung is the author of 'The Gaslit Diaries,' a book of essays exploring the gaslighting and politics that underlie American women's everyday experiences in the patriarchy. She writes about reproductive justice, women's/LGBTQ rights, and national politics. In her spare time, she enjoys volunteering for political campaigns and re-watching The Office. Learn more about her work at www.kyliecheung.tumblr.com. Kylie Cheung is the author of the book, 'The Gaslit Diaries,' a series of essays exploring the gaslighting and politics that underlie American women's everyday experiences in the patriarchy. Read more about Kylie Kylie Cheung Kylie Cheung abortion access▪Reproductive Rights▪Roe v. Wade▪supreme court	cc/2021-04/en_head_0041.json.gz/line49
__label__cc	0.553308	0.446692	Friends of Missouri's First State Capitol Friends of Missouri’s First State Capitol Talk on U.S. Colored Troops Next History Talks Rural Cemetery Movement St. Charles History Talks Historical Children's Festival Children’s Festival for 2018 May 16, 2017 Dorris Keeven-Franke Leave a comment On Saturday, May 19, 2018 at Missouri’s First State Capitol State Historic Site, from 10 am – 3 pm everyone is invited to the greatest “Family Friendly” event in the region. Children of all ages enjoy a day of history, crafts and fun. Interactive demonstrations, Music, Dancing and food provide for a great family day. Greater St. Charles Visitors and Convention Bureau, Friends of Missouri’s First State Capitol help bring you the Annual Historic Children’s Festival. Come live and play as children in the 1820s did. Hear interesting stories about life in St. Charles when our first legislators were struggling to organize Missouri into statehood. Children can pick up a passport and journey through the 1820s while participating in period hands-on activities. This is a wonderful family event that everyone can enjoy! Perfect for “children” of any age! There will be demonstrations for the children of Rope Making, Old fashioned laundry on the washboard, cooking and churning butter, candle dipping, fur traders, writing with a quill pen, the old fashioned one room school house and games. Also, demonstrations by a hide tanner, a basket weaver, blacksmith, gunsmith, wood worker, flint knapper and frontier medicine man. A storyteller sharing stories of her German emigrant family. Visit the goats, sheep and chickens too. Learn period dancing from Dance Discovery, or meet members of the Spanish Militia or the Lewis and Clark Corps of Discovery. Hear the Lewis and Clark Fife and Drum Corps and the Buchanon Brothers ChildrensDance DiscoveryFestivalSt. Charles October 30, 2020 Selena Jackson Leave a comment August 10, 2016 Dorris Keeven-Franke Leave a comment Missouri became a State on August 10, 1821. Its birth was not easy though. The land was purchased by the United States in 1804, and organized into a Territory in 1812, with the first Legislative session held in Pierre Choteau Senior’s home. For the second session they were at the home of Madame Dubrevill on Second Street, also in St. Louis. Residents wanted to discuss Statehood, so they gathered at E. Maury’s Hotel on October 26, 1818. There they began to draft a Constitution, which was completed when the Convention met at the Mansion House on June 12, 1820. This was a large 3 story brick on the corner of Third and Vine Streets, that had been built in 1816. At this session, the Convention also drafted a resolution that the seat of government would remain at St. Louis until 1826, when it would be moved to a point on the Missouri River within 40 miles of the Osage River. The rivers were the highways of their day. The first session of the Missouri General Assembly was convened in St. Louis, and the election returns counted, with Alexander McNair becoming the first Governor. This was followed by high drama at the Missouri Hotel, at Main and Morgan Streets. U.S. Senators were elected by a caucus of a joint General Assembly, and the first seat went to David Barton by a unanimous decision. However, a bitter fight broke out between Judge John B. Lucas and Thomas Hart Benton. For days the 14 State Senators and the 43 members of the House debated and remained in a deadlock. It grew acrimonious and bitter. Then someone remembered that Representative Daniel Ralls had not come down from his room because he was ill. Needing the stalemate to end, a group of Benton supporters, carried his bed down to the Dining Room, where he feebly announced his vote for Benton. He died within a few days. Before it adjourned, and after yet another long fight, they named Saint Charles the temporary Seat of Justice. McNair convened a special session on June 4, 1821 to discuss the objections raised by the U.S. Congress, on the second floor of a brick building on Main Street. That summer the heated debate over slavery floated down to listeners in front of the Peck Brothers Mercantile. A great compromise suggested by Henry Clay, ended the debate. Missouri was a slave state with the institution part of its history from its very beginning. With 11 free states, and 11 states in the Union, it would take the free state of Maine to balance Missouri’s entry as the 24th State. “Whereas the Congress of the United States, by a joint resolution of the 2d day of March last, entitled “Resolution providing for the admission of the State of Missouri into the Union on a certain condition,” did determine and declare “that Missouri should be admitted into this Union on an equal footing with the original States in all respects whatever upon the fundamental condition that the fourth clause of the twenty-sixth section of the third article of the constitution submitted on the part of said State to Congress shall never be construed to authorize the passage of any law, and that no law shall be passed in conformity thereto, by which any citizen of either of the States of this Union shall be excluded from the enjoyment of any of the privileges and immunities to which such citizen is entitled under the Constitution of the United States: Provided, That the legislature of said State, by a solemn public act, shall declare the assent of the said State to the said fundamental condition, and shall transmit to the President of the United States on or before the first Monday in November next an authentic copy of said act, upon the receipt whereof the President, by proclamation, shall announce the fact, whereupon, and without any further proceeding on the part of Congress, the admission of the said State into this Union shall be considered as complete;” and Whereas by a solemn public act of the assembly of said State of Missouri, passed on the 26th of June, in the present year, entitled “A solemn public act declaring the assent of this State to the fundamental condition contained in a resolution passed by the Congress of the United States providing for the admission of the State of Missouri into the Union on a certain condition,” an authentic copy whereof has been communicated to me, it is solemnly and publicly enacted and declared that that State has assented, and does assent, that the fourth clause of the twenty-sixth section of the third article of the constitution of said State “shall never be construed to authorize the passage of any law, and that no law shall be passed in conformity thereto, by which any citizen of either of the United States shall be excluded from the enjoyment of any of the privileges and immunities to which such citizens are entitled under the Constitution of the United States:” Now, therefore, I, James Monroe, President of the United States, in pursuance of the resolution of Congress aforesaid, have issued this my proclamation, announcing the fact that the said State of Missouri has assented to the fundamental condition required by the resolution of Congress aforesaid, whereupon the admission of the said State of Missouri into this Union is declared to be complete.” 1821Saint CharlesStatehood Bringing the Past to Children, Historical Children's Festival Saint Charles Heritage Festival First Missouri State Capitol State Historic SiteFriends of Missouri's First State CapitolGreater St Charles Convention and Visitors BureauHistorical Children's FestivalMOSaint Charles Heritage FestivalSt. Charles Friends of the First Missouri State Capitol Beverly Hoeber Sever… on 2018 Programs	cc/2021-04/en_head_0041.json.gz/line51

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