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All posts tagged "Asia rock"
Asia – Gravitas
Every now and then, there appears a someone who claims that we should be writing only about progressive rock on our pages, because that’s what...
ASIA: “Gravitas” EPK Available
Asia is set to release a new album entitled “Gravitas” on March 21 via Frontiers Records. The band introduced a new guitarist Sam Coulson, who...
ASIA Premiere Video For “Valkyrie”
ASIA‘s debut album exploded onto the worldwide music scene in April of 1982. It was the best selling album of that year around the globe!...
ASIA To Release “Gravitas” In March
By Nikola Savić on February 6, 2014
ASIA, the legendary British band, moves into the next phase of its extraordinary career with “Gravitas”, a brave new album that explores different musical landscapes while...
ASIA Introduce Sam Coulson
By Nikola Savić on March 24, 2013
Asia have officially introduced new guitarist Sam Coulson in a video clip. View it below. The 26-year-old was named as Steve Howe’s replacement on the same day the...
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All posts tagged "Emperor"
IHSAHN Releases Lyric Video For “NaCl”
By Nikola Savić on October 8, 2013
The official lyric video for the song “NaCl” from EMPEROR frontman Ihsahn, can be seen below. The track comes off Ihsahn‘s fifth solo album, “Das Seelenbrechen”, which will be released on October...
IHSAHN: “Hilber” Available For Streaming
Hilber, a brand new song from from EMPEROR frontman Ihsahn, was premiered last night (Monday, September 9) on BBC Radio 1′s “Rock Show” with Daniel...
IHSAHN: “Das Seelenbrechen” Album Details Revealed
By Nikola Savić on August 27, 2013
Candlelight Records has set an October 21 North American release date for “Das Seelenbrechen”, the fifth solo album from EMPEROR frontman Ihsahn. The effort will...
IHSAHN To Release “Das Seelenbrechen” In October
EMPEROR frontman Ihsahn will release his new solo album, “Das Seelenbrechen”, on October 22. The cover artwork for the CD can be seen below. Ihsahn‘s April 21 performance at...
EMPEROR Confirms 2014 Reunion
By Nikola Savić on August 4, 2013
Norwegian black metal band, Emperor have announced that they have reunited and will be performing Wacken Open Air Festival 2014. Wacken Open Air Festival will celebrate their 25th anniversary next year and managed...
IHSAHN: Entire ROADBURN Concert Available For Streaming
By Nikola Savić on July 18, 2013
Former EMPEROR frontman Ihsahn‘s April 21 performance at this year’s edition of the Roadburn festival at the 013 venue in Tilburg, Holland was professionally recorded and can now be streamed...
Revolution Harmony (Feat. Serj Tankian, Devin Townsend And Ihsahn) Release “We Are” Lyric Video
By Nikola Savić on June 19, 2013
We Are, the first single from the Revolution Harmony project featuring Devin Townsend, System Of A Down‘s Serj Tankian and Ihsahn, has been unveiled! Check it out below: We Are is out...
IHSAHN's First Two Albums In Words
By Conor Fynes on October 13, 2012
After an illustrious and now-legendary tenure with symphonic black metal pioneers Emperor, former frontman Ihsahn was thirsting for something different. For quite some time now,...
Ihsahn – Eremita
By Conor Fynes on July 23, 2012
Regardless of where Ihsahn goes with his music, it’s doubtful subsequent albums will escape comparisons with his flagship work in the legendary Emperor.Although most musicians...
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Sea Dog Tales
A journey of a thousand miles must begin with a single step
Top 7 Things to Do in South Africa
by Jules on July 16, 2012
South Africa is a magnet for all wildlife enthusiasts thanks to a fascinating diversity; see the Big Five on safari at the world-famous Kruger National Park, watch penguins mingle at Boulders Bay, gawp in awe at the huge hippos and crocodiles in the Limpopo River area and time your visit to South Africa to catch the passing whales at Hermanus. And throw in a whole heap of stunning landscapes, amazing food, buzzing nightlife and local culture, and you’ll have the perfect holiday on your hands.
Enjoy a game drive in the Kruger National Park
Those looking for an authentic African safari will need to look no further than the world-renowned Kruger National Park. The park was established in 1926 to protect the natural habitat of South Africa and it is a huge place at 19,485 sq. km (7,523 sq. miles). Today the park is a protected biosphere reserve and is recognised by UNESCO, thanks to its position as a leader in the management of environmental procedures.
Most Kruger visitors come for one main reason; to see the Big 5, which include: lions, leopards, elephants, Cape buffalo and black rhino. As well as rare birds and attractive flora there are also other animals such as hippos, giraffes and cheetahs to spot here on safari too.
Visitors explore the park in a variety of ways as hiking, biking and driving are all ways to get around. Guided walking tours are available as well as the popular “Hop in and Ride” option which allows guests to be driven around the park to spot the Big 5.
Take a ferry to Robben Island
For a fascinating look at the history of South Africa, a visit to Robben Island gives visitors an inside look at the years of division. Robben Island is 7km off the coast of Cape Town in Table Bay and for years, Robben Island housed not just common prisoners, but well-known politicians and religious leaders, most notably Nelson Mandela. Tours depart by ferry at the Cape Town waterfront regularly. The island now has a museum and tours inside the actual prison walls, which give visitors a startling look at the division in the prison and how prisoners were treated. Visitors should plan a half a day to tour Robben Island. The ferry ride gives a beautiful view of the Cape Town waterfront.
Eat, shop, drink and play at the V&A Waterfront
The Victoria and Alfred Waterfront is a working dockland steeped in rich history as former stopover for Dutch ships sailing the Far East. Today it is the most popular tourist site in South Africa with over 70 restaurants with all tastes catered for from curry, sushi to fast food. Travellers can stay at one of the luxury hotels or even berth in the waters. Dedicated shoppers will be in their element with over 450 shops and boutiques on site. Entertainment ranges from watching a movie at one of the cinemas to experiencing an adrenalin adventure onboard a high speed boat. There are many activities and adventures offered from the V& A marina complex including bike rentals, city tours, helicopter tours, boat charters, two oceans aquarium, the Cape Town Diamond Museum, Robben Island Ferries, scuba diving trips and so much more.
Go cage diving with Great White Sharks
For the true adventure enthusiast this experience is one of a kind; diving within a cage to get up close and personal with Great White Sharks! There are a handful of operators in South Africa that can take you out to where the sharks are located, most in an area called “Shark Alley” about two hours from Cape Town in Gansbaai. Take a cage diving package trip which typically starts in the morning and lasts 4-5 thrilling hours.
Explore Table Mountain by cable car
One of the most prominent landmarks in South Africa is also the flattest topped mountain in the world. Towering over the city of Cape Town at 3,558 feet (1,085 m), Table Mountain is a breathtaking sight. Some daring adventurers choose to hike to the top of Table Mountain but a more sedate option is to take the cableway instead, which breezes to the top in an easy 10 minutes. Whilst on the cable car journey you’ll enjoy stunning 360-degree views of the Cape Peninsula and once you reach your destination you can enjoy walking around the mountain and spotting an interesting variety of local plants and animals.
Learn some important history at the Apartheid Museum
Located in Johannesburg, the Apartheid Museum takes visitors on an emotional journey through the history of the 20th century. This is a historical experience for visitors to learn about the rise and fall of the racial segregation system known as Apartheid. This museum opened in 2001. The exhibits are well put together and guide people through the disturbing history and show how South Africans today are coming together to overcome the past and work together as one. When visiting the museum plan on at least a two-hour visit to get the most out of the exhibits.
Try touring and tasting your way through the South African Winelands
To the east of Cape Town, situated among the mountains are the wonderful Winelands of South Africa. Here you will find an abundance of wine estates offering wine tasting and vineyard tours. Visitors can either rent a car and take a few days to tour the area or join an organised tour (no driving involved!) to sample some of the luscious locally produced wines. The most popular towns in the Winelands include; Stellenbosch – South Africa’s second oldest city in the heart of the Winelands, Franschhoek – Known for not only it’s wine estates but it’s fine dining restaurants and Paarl – Home to the World’s Largest Wine Cellar.
7 Reasons why South Africa is such a hot travel destination
Top 7 Awesome Surf Destinations in the World
Friday Funny: Impala Jumps into Tourist Car on Safari
Top 7 National Parks in Africa: In Pictures
Dolphin Watching in Plettenberg Bay South Africa VIDEO
Whale Watching in South Africa; Video and Photo Guide
What Should You Know Before You Go To Cape Town?
Find the Best Adventures to Put on Your Africa Bucket List Right Now
Adventures in Africa: Untamed and Unforgettable
Wildlife Spotting Tips at Kruger National Park
Tagged as: Africa, Cape Town, Kruger National Park, pictures, South Africa, South Africa culture, South Africa travel, Table Mountain, Things to Do in South Africa, travel, Travel Top 7
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2009-07-07: Gruesome
Death stops everything in its tracks on the tracks. I would've been home at a comfortable 18:30 today, after a 7 minute train ride. Instead, about a minute before pulling into the train station (and coincidentally within a very short distance from my house), the train came to an emergency standstill. Not long after, the passengers were told that the train had hit "something or someone". This turned out to be a "someone"... a young woman.
Although this particular incident may have been an accident, the sad fact is that this usually isn't the case. I feel very sorry for a person that feels the need to take their own life, but I feel ever more sorry for some other people. Several hundred people being delayed for 2 hours while the police investigate and clean up suffer what is little more than an annoyance. The police and railway officials who are confronted with the gruesome some are not so lucky however. Then there's possible witnesses at the railway crossing, who saw somebody get mangled before their eyes and of course, the train driver who can't possibly stop the train in time and is forced to watch as the vehicle he is controlling thunders over a person. From what I gather, the average train driver experiences this more than once during their career. It just boggles the mind.
No person of sound mind ought to kill themselves this way, although arguably nobody who commits suicide is of sound mind.
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Order The Afghan Whigs'
New Album: In Spades
Summer’s Kiss
Afghan Whigs, Twilight Singers, Greg Dulli Compendium
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Feathers (UK Promo CD)
Posted by Lee on Thursday, January 1, 2004 · 1 Comment
One Little Indian UK
White label CD promo in plastic sleeve.
Filed under Twilight Singers Albums · Tagged with
One Response to “Feathers (UK Promo CD)”
Dulli Fan says:
Where can you find this version for the AW/TS completist?
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Malcolm MacDonald: Abigail
Victorian morality tale
This is the fourth and final novel in the classic Stevenson family saga by Malcolm Macdonald. While I loved the previous two books in the series I thought that Macdonald had run out of ideas about the family with this book which is very different to the others.
After SONS OF FORTUNE the three eldest Stevenson children have found their places in life, despite the plans of their rich and powerful parents. Winifred is running her own girl's school and will remain a spinster. John junior ("Boy") has found his niche in the Army fighting on the wild Indian frontier and Caspar ("Steamer") has successfully taken over half of the business, married well and built a huge family home to meet his lifestyle that would leave Downton Abbey in shade. The rift between their parents continues, but there is some hope of reconciliation.
Abigail has always been the difficult, sometimes tempestuous, younger daughter who John and Nora hope will take a more conventional line and marry well. This is not going to happen with a girl with such a indomitable spirit. Having been home tutored Abigail has been closeted from the real world. One day she tricks her maid Annie into telling her the facts of life which opens a new view of the world that starts her on a world of passion and exploration that will be the keynote of her life.
Abbie becomes a talented author, journalist and painter which leads her to the great capitals of Europe. She finds ways to live an independent life for herself away from her wealthy family at a time when single women from the upper classes are rarely ever able to become independent.
Abigail is more of a Victorian morality story than an extension of a family saga as Abbie experiences the vicissitudes of life and love and befriends both women and men of all classes and wealth who would not normally be part of her life. While she suffers a lot of pain as a result of her independence this helps her to build a life to help women everywhere.
I feel that Macdonald didn't really plan to write this story and had to find something different to continue the family saga and the story seemed to run out of steam towards the end. Despite this I enjoyed the book as Macdonald is a talented commentator on Victorian life. If you have read the earlier books you really should complete the series as it uncovers fascinating aspects of Victorian life through the eyes of a wealthy and intelligent woman seeking independence and equality for women everywhere.
Labels: Macdonald Malcolm
James Phelan: The Hunted
Jeffrey Archer: Mightier than the Sword (The Clift...
Ken Follett: Winter of the World (The Century Tril...
Colleen McCullough: The Ladies of Missalonghi
Stuart Macbride: Cold Granite
Nelson DeMille: The Lion
R F Delderfield: Theirs was the Kingdom
Paula Hawkins: Girl on the Train
Jonathan Kellerman: Motive
Ian Caldwell: The Fifth Gospel
Nora Roberts: The Liar
Amy Hatvany: Outside the Lines
Herman Wouk: War and Remembrance
Herman Wouk: Winds of War
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Iacobus. Codex Calixtinus, Omnia Cantica
Coro Ultreia — Liner notes
Codex Calixtinus
Religious Poetry in the Codex Calixtinus
The Codex Calixtinus, Compostelan Liturgical Landmark
Europe's Founding Song
The Sound of the Codex
To my father.
To our fellow Benito.
To Maruxa Barreiro.
Just as Master Mateo's “Pórtico da Gloria” (“Gates of Glory”) in the Cathedral of Santiago stands as a true jewel of medieval Christian art, so the Codex Calixtinus or Liber Sancti Iacobi kept in the Cathedral's library can be considered a genuine historical, literary, liturgical and musical monument. Its importance is reflected in the various articles from this booklet accompanying our full recording of the music from the manuscript, whose very prologue bears the name IACOBUS.
Our choir's name gives away our interest for this invaluable musical repertoire. As for myself, this interpretative endeavour derives from my fondness and liking for the Jacobean phenomenon. But it is also the result of my own scholarly and interpretative experience of the Calixtinus's music, gathered from the almost fifteen years during which I was lucky enough to belong to the Chamber Group of the University of Santiago de Compostela. Under the direction of Carlos Villanueva, I became familiar with Prof. López Calo's work, which is no doubt the touchstone of all musicological research on the Codex. This activity, which was rendered into many live performances and musical recordings, was continued when the Ultreia Choir came into being under Vicente Couceiro's direction. No wonder, then, that in the course of these years and looking ahead on the oncoming last Jubilee of the millenium, we devised this ambitious project that finally comes to light after two long years of work.
The paleographical basis for our interpretation is the Codex itself, particularly the excellent full edition by Dom. Germán de Prado accompanying the masterful research work on the Liber undertaken from 1931 to 1944 and sponsored by the Consejo Superior de Investigaciones Científicas and the Instituto P. Sarmiento de Estudios Gallegos. According to the suggestions from this outstanding musicologist from Silos, we include all the music contained in the manuscript except for that which, even though mentioned in the incipit, is not complete or does not belong to this specific repertoire (ie. the psalms).
The monody throughout Book I displays a great variety and richness of melodies. The fact that many of these tunes were already known and had been taken from other choir books and musical compilations (Benedictine Antiphonary, Roman Antiphonary, etc.) does not diminish the musical value of this beautiful repertoire. The adaptation of preexistent melodies (through centos or contrafattura) was already a long-standing custom in ancient musical practice, and there was no need for the compiler of the Codex to do differently. In any case, the outcome of this adaptation of ancient liturgical texts is splendid, and it stands far above most medieval repertoires devoted to one single figure. The process was reversed in some cases, as with the pretty tune “O lux Decus Hispanie” which can be found in many manuscripts afterwards.
Leaving aside any musicological disquisitions about its authorship, origin, or intention, or about the overt French influence on the Codex's style and notation, or about whether this or that lyrical or musical component had already been used, our impression as interpreters of the Codex is that we face a body of music to be used in the worship of the Apostle, whether this be in the Cathedral of Santiago itself or in some other church. This would refute other readings which consider it a French didactic manual, strictly for teaching. The importance of the music, the numerous indications for its proper use that can be found in the very text (like “St James's own mass must be sung every day to the pilgrims;” “This to be sung by a child standing between the Reader and Singer;” “This to be sung joyfully;” etc.), as well as the opinion of authoritative scholars all support the specific Jacobean end of this music. This monody comprises mainly songs for the offices for St James (invitatories, hymns, antiphons, responses, lessons, chapters and verses), processional verses, and three masses, one for the vigil and two for the feasts of St James, one of which is the original farce mass with tropes for every part but the Crede. The pieces were ordered numerically, as in the Roman Antiphonary. Our interpretation followed the free and loose rhythms indicated by the tunes themselves—which have a marked melismatic character—, so that we could enjoy some freedom of style in our performance. We have also felt free to use some polyphonic techniques such as pedal notes or bordons, which come from improvisational procedures like the faux-bourdons. This has enriched the plain chant and has readied us for what is the most interesting and famous instance of musical art in the Codex: the polyphonic compositions which, except for two of them, are collected in the appendix at the end of Book V. These are liturgical and processional pieces such as conducti, organa, etc. which make up “the first polyphonic repertoire of artistic value in the History of Music”, as Professor López Calo has asserted. Following both this scholar's work and our own experience, we have avoided sticking to any aprioristic or preconceived theory attempting to solve the musical problems raised by the polyphony in the Calixtinus. The balance between the looseness and freedom of the musical phrasing, and the rigour in the polyphonic setting of the voices can only be achieved by means of the detailed analysis and interpretive study of each individual piece, of its internal rhythm and of its melodic singularities.
The accompaniment by instruments is justified for two reasons: firstly because of the plentiful literary references in the Codex; and secondly because the instruments used in the recording are replicas crafted after the marvellous stone rendering of contemporary instruments in the “Portico da Gloria”. Provided by the Compostelan group Martin Codax, these instruments evoke the sonority that this music could have had under the vaults of the Apostolic See.
Let me finish the introduction to this booklet by thanking the help and contribution from many people and institutions listed elsewhere, and especially from our Lord St James. Indeed His aid has made it easier for us to record the music from “His” book.
Pontevedra, March 1999, in the Holy Year of St James
Fernando Olbés Durán
By Emilio Casares Rodicio
The “flaming lights” that could be seen at night over the Celtic village near Iris Flavia were the sign that convinced bishop Teodomiro and king Alfonso II “the Chaste” that St James the Apostle's remains were buried on that very spot. Such a miracle soon prompted the building of the first places for worship, paid for with royal funding. These constructions would eventually become the city called Compostela, “campus stellae”, in remembrance of those lights. The news about the finding of St James's corpse spread rapidly around all Christendom, and both the Pope and Charlemagne—as would the order of Cluny later on—became involved with fostering the appeal of the sacred place. In fact, the story goes that the son of Pipino's contribution to the pilgrimage to Santiago went as far as to build the basilica of Sahagún or the Way of Santiago, and even to discover the Apostle's sepulchre. The faraway Compostela of St James—the only Apostle to be buried in Western Europe except for the martyrs of Rome—would become the western vertex of Christian pilgrimage, particularly since visiting the Holy Places under Islamic rule turned out to be a dangerous endeavour.
More stars, like the ones in the Milky Way, have helped the pilgrim trod his way to Santiago to this very day. Every year, thousands of pilgrims from all around the world come to Santiago following the path that runs along the way of the stars in the sky. As they linger on their way, they leave samples of their art, their science, or their language. There is no way to account for what the thrive and exchange brought about by the pilgrimage to Santiago has meant to the development, culture and art of the Iberian Peninsula.
Such a remarkable event was bound to give rise to works of literature for the pilgrims and about their pilgrimage. One of the seminal works is no doubt the Codex Calixtinus, known since the beginning of this century also as Liber Sancti Jacobi, the very first words in the text. The manuscript is kept in the archive of the Cathedral of Santiago de Compostela. It was copied with extreme care on fine parchment, and it is adorned with beautiful miniatures and initials. It comprises a collection of services, sermons or chants in honour of St James the Apostle, who is the saint patron to the cathedral.
The Calixtinus—so called because most of the pieces in it were attributed to Pope Calixtus II— was compiled at the start of the last third of the 12th century (probably in 1160 to 1170) with materials of varied origin and authorship. Dr. Lopez Calo asserts that the materials in the Calixtinus were written before they were ever included in the Codex, though immediately before, “so that only a few years could have passed between the writing and compilation of these materials and their inclusion in this and other extant copies of the Liber Sancti Iacobi. It can be ascertained that the idea of compiling these writings in honour of St James the Apostle came about in the time of bishop Diego Gelmírez, more exactly from c. 1120 on. This means that the Codex was but one more of the many endeavours conceived and undertaken by the great Compostelan prelate in order to exalt his church and to present an audience as large as possible with the excellence of the Apostle, of his worship and of the city that held its remains”. Calo continues: “although the text was the work of several copyists, most of it was carried out by one single scribe who worked under heavy French influence, probably Cluniac”. Indeed, Gelmírez brought in the most outstanding representatives of culture at the time, Cluny monks, for he believed this would raise the cultural level in Santiago. That is why most of the writing and musical notation of the Codex are French, more precisely Northern French.
The Codex is made up of five books of uneven value. The first one is the most interesting one, for it comprises the liturgical ritual for the various festivities pertaining to St James together with a great number of monodic compositions for the various parts of the services, as well as numerous conducti, proses, farces, etc. One short booklet is particularly interesting music-wise, for it comprises 22 polyphonic pieces from as early as the very beginnings of the Ars Antiqua. The booklet was added to the Codex after it had been completed (López Cab's estimation is no later than 1180), and it includes the conductus, the earliest known composition for three real voices.
Thus, the Calixtinus stands as the oldest and most coherent whole musical corpus in Europe: it comprises the complete liturgy and its music, together with the chanted pieces for the services; it also includes masses, many of which are well-known, and other poetical works to adorn different moments of the ritual (fol. 123r and ff.). The liturgy in the Cathedral of Santiago appears as one of the most magnificent in Western Europe. The music resounded in the Cathedral of Santiago all day long: ordinary and feast masses and services, eve songs of praise and pilgrimage by English, Germans, Italians, French. On arriving, the worshippers of the Apostle went into a superb Romanesque church and attended a splendid liturgy, adorned with chants enriched by tropes and proses and conducti written purposely for the liturgy of the saint patron and dedicated to him. The modern verse forms with their rhythmic scansion and polyphonic accompaniment sung by the Cathedral school and musicians alternated with more popular songs in honour of St James that the pilgrims would play on their own instruments and in their own languages. A musical symbiosis occurred, mingling the whole culture of the Middle Ages in Western Europe.
But there was singing all along the journey, too. Popular songs from the Peninsula would be played and sung at resting stops, which in many cases took place the at Clunian monasteries open to pilgrims. The pilgrims would cry “Eia, ultreia!” when they reached the Monte do Gozo (”Mount of Joy”) and saw Santiago for the first time. Together with other popular or clearly foreign expressions from pilgrimage songs, this cry appears in several occasions in the Calixtinus, for instance “ultreia” in Alleluia Gratulemur (f. 120v), in Ad honorem regis summi (f. 199v), and in Dum pater familias (f. 193r), in which we also find “Herru Sanctiagu, Grot Sanctiagu” (”Lord St James, Divine St James”).
Apart from music, the Codex Calixtinus comprises many useful news for the faithful and for pilgrims such as tales about the Apostle's miracles or the Bearing of his corpse, the narrative of Charlemagne's crusade in Spain (known as the “Pseudo-Turpin” after its presumed narrator), a collection of liturgical and ritual texts, and the Liber Peregrinationis containing ample information about the journey. It seems, then, that the work had a twofold purpose: to exalt and spread knowledge about the Compostelan see, and to provide the pilgrims with information and teachings about it.
Most certainly, any work written in Santiago in the course of the 12th century might well have been the work of a Frenchman, or of someone under heavy French influence. The rubrics of the musical pieces in the Calixtinus name numerous French ecclesiastics as authors (also Italians and some Galicians, but mainly French): Ato, bishop of Troyes; Gauterius of Château-Renard; Magister Golsenus, bishop of Soissons; Droardus of Troyes; Fulbertus, bishop of Chartres; Magister Albertus of Paris; Magister Albericus, archbishop of Bourges; Magister Airardus of Vézelay. Most of them are known and some of them certainly as composers, but still the attribution of many of the pieces in the Liber Sancti Iacobi is doubtful. Nevertheless, many pieces show a strong local influence in the form of direct references to rituals and places, and sometimes even in the use of popular melodic twists1: there is no doubt whatsoever that the manuscript was written for the Cathedral of Santiago and its services.
It has already been pointed out that the most conspicuous part of the Calixtinus is its polyphonic booklet (ff. 185r to 192r), which is the first written European polyphony together with that of Saint Martial of Limoges. Fairly enough, it has been considered the most important section in the Codex.
The birth of polyphony is one of the great revolutions in the history of music. Some musicologists have even posited the hypothesis that the true beginnings of western music were tied to the appearance of this musical technique. They argue that monodic music—one-voice singing—would be an eastern tradition which had been transplanted into the western world. In Europe, however, there comes a time at around the 9th century when a new perspective on music arises, and polyphonic singing comes into being. Through it will the western man find a way to reach over the straightforward preexistent musical forms—which were no other than Gregorian chant—and develop a new feel for music. Containing some precious tokens of this primitive polyphony, the Codex Calixtinus was not only a witness to this revolution, but also a force in it.
Both rhythmically and compositionally, the Calixtinus steps ahead of works from the school of Limoges, standing halfway between it and the so-called school of Notre Dame of Paris—it should not be forgotten that, among its many authors, our work names some master Albertus of Paris, likely predecessor of the Master of León, Leoninus.
This is how Professor Lopez Calo describes the music from the Calixtinus: “The polyphony in the Calixtinus would be halfway between the free rhythm of plain chant and the strict rhythm of the Ars Antiqua, measured according to the rules of the six modes. Still, it is obvious that the polyphony in the Codex Calixtinus stands as the first polyphonic repertoire of artistic value in the history of music after the theoretical experiments from the 10th and 11th centuries and conducti from Winchester and St Martial, which cannot be compared, artistically speaking, to the Compostelan compositions”. Clearly the Schools of Santiago and Limoges are the two great representatives of 12th century polyphony, and the three-voiced polyphonic pieces in the Codex Calixtinus and in the work from St Martial are one of the keystones of medieval polyphony. There has been discussion about who influenced whom, but there is no doubt that Santiago was the great disseminator by means of the musical activism that springed from the Way and rests on a beautiful and suggestive music.
The calixtinian polyphony has been the object of plenty of scholarly research, editions, revisions, and recordings. Still, its transcription has always been extremely hard to interpret. These difficulties derive from the fact that the notation used for this polyphony was the one used for monodic chant in France at the time, so that it does not convey any rhythmical value whatsoever. Thus, the interrelation of the three voices in the Congaudeant, for instance, turns extremely difficult.
This CD presents for the first time the full recording of the whole of the Calixtinus—both monody and polyphony—. It follows the detailed and still valid edition by Dom. Germán Prado, a monk in Silos: Liber Sancti Jacobi. Codex Calixtinus in two volumes, published in Santiago de Compostela in 1944.
The recording was carried out in a unique place which can represent any of the monasteries in the Way of Santiago where these pieces could be heard. This is the hidden monastery of Santa Cristina de Ribas de Sil, known as “o Mosteiro” by the villagers, in the steep banks of the Sil river that cuts across the “Ribeira Sacra”, one of the most wonderful and withdrawn places in Galicia. As Father Yépez tells, the monastery was founded in the 9th century, and it was completed in the 12th century with the building of the church and the actual monastic premises. Surely the vaults of this Cistercian monastery have provided the adequate acoustics to this recording, so that this monument of western culture that is the Codex Calixtinus has found the right place to materialize in the magnificent interpretation by the Coro Ultreia from Pontevedra.
By Manuel C. Díaz y Díaz
As far as religious poetry is concerned, the 12th century in Compostela bears a proper name, the famous Codex Calixtinus, which has been kept in the Cathedral of Santiago since then.
The Codex Calixtinus, or rather the Liber Sancti Jacobi, is a huge compilation of texts about St James which were put together as an homage to the Apostle. Interesting both in its composition and in its atmosphere, it comprises five books which contain liturgical pieces on the matter of St James (Book I), St James's miracles (Book II), tales about the bearing of St James's corpse (Book III), the history of Charlemagne and his army's deeds in Spain, or Historia Turpini (Book IV), and a guide to the Way of Santiago with a description of the city of Santiago and its Cathedral (Book V). Initially, the two first books (liturgy and miracles) made up one single independent work entitled Jacobus. The present body bears the general title of Codex Calixtinus because the compilation of its five books is atributed to pope Calixtus II (1118-1125), although nowadays we do know that this attribution is false.
The author of such a vast work wanted it placed under a threefold patronage, taking care that the three patrons were in one way or another linked to the manuscript, which is not the orginal manuscript but a careful copy produced to be stored in the cathedral of Santiago. The three patrons are: the presumed author of the whole volume, the Pope of Rome Calixtus, who often marks many of the pieces in the Codex as of his own doing; the Compostelan archbishop Diego Gelmírez, the most likely sponsor of this as well as of many other Compostelan works; and the patriarch William of Jerusalem, who will dealt with below. The contribution of Cluny, the great Burgundian monastery, must also be acknowledged; it stands as one of the great centers of diffusion of the Santiago manuscript, which is paid homage for its role in the pilgrimage to Santiago, and consequently in the splendor of the very Cathedral of Santiago and its cult.
Since the Calixtinus still treats William as patriarch of Jerusalem, it must have been compiled before 1147, for it was in this year that he renounced his patriarchy. The Jacobus must have been finished before 1140, when the great archbishop Gelmírez is no longer recorded in history. Only after that could the rest of the Calixtinus have been completed, and this by adding new pieces to the Jacobus and by redoing and retouching some of the old material. In any case, Calixtus's papacy appears only as a remembrance, something which many Compostelans must have appreciated because he had been an extraordinary promoter of the Santiago see.
The work was completely finished at about 1160, and certainly before 1173, for it was then that the monk from Monserrat Arnaldo de Monte undertook his precious copy of the book, which he found an interesting novelty worthy of transcription. Therefore, it is very likely that all the liturgical poems in the book were produced at around 1130-1140.
The Codex Calixtinus as a whole is repeatedly presented as a foreign product, intended for foreigners, who must have been the most likely addressees of the work. This intention, together with the already mentioned reference to Cluny, made many scholars consider the Codex Calixtinus a French work, both in what refers to its literary integrity and to its paleographic realization. Certainly this is not so.
It can be said that every ancient text dealing with St James the Apostle either comes from the Codex Calixtinus exclusively or has it as its essential evidence. Moreover, the Calixtinus stands as our only source of religious poetry from the 12th century. We are left, therefore, alone with the Codex Calixtinus. Texts and problems have it as their only critical referent.
Several scholarly studies have dealt with Compostelan poetry: the illustrious Jesuit Guido Maria Dreves compiled under the epigraph Carmina Compostelana every piece from the Calixtinus into an appendix to Volume XVII of the Analecta Hymnica Medii Aevi, dedicated to the Hymnodia lberica (Leipzig 1894). A new edition, already outdated in many ways, was produced by Peter Wagner in Friburg in 1931 when he studied Die Gesänge der Jacobusliturgie zu Santiago de Compostela aus dem sog. Codex Calixtinus (“Liturgical Songs of Santiago de Compostela from the so-called Codex Calixtinus”). Many of the poems had already been edited by Antonio López Ferreiro in his Historia de la S.A.M. Iglesia de Santiago, II (“History of the Church of Santiago”; Santiago 1889), in which he closely follows F. Fita-A. Fernández Guerra, Recuerdos de un viaje a Santiago de Galicia (“Recollections of a Trip to Santiago in Galicia”; Madrid 1880). All this works were bound to be outdone by the edition Liber Sancti Jacobi. Codex Calixtinus (Santiago 1944), by the distinguished art historian Walter M. Whitehill. For a number of reasons, this edition is as hard to come by as the Codex itself. The meticulous skill of the Compostelan professor Abelardo Moralejo produced a full translation of these texts with plenty of notes in 1950 (reprinted in 1993 and 1998). A new edition of the original Latin text has just been released by K. Herbers and A. Santos Otero (Santiago, 1998). Fortunately, we are not unaided in this search.
The compositions we are about to deal with are some 35, all different in character and worth. They have been attributed to various authors ranging from Pope Calixtus himself, of course, to Fulbertus of Chartres or William of Jerusalem, and including an anonymous bishop from Benevento or an unknown Galician doctor. Thus, we are presented with pieces whose origin lies in places around the whole known world. On top of this geographical dispersion, which points to some of the most outstanding literary names of those times, we still have a poem attributed to Pope Calixtus, which involves the three sacred languages that were already on the inscription that Pilatus had wanted carved on Christ's cross: Hebrew, Latin and Greek. That is to say, geographical universality is conjoined by the more prestigious tradition derived from true sacred universality.
Two from among the first compositions in the Vigil for Santiago have been ascribed to Fulbertus of Chartres, an excellent writer and poet who helped the Carnotian School grow into high technical and lyrical standards. Three poems, presumably by William of Jerusalem —one of the addressees of the Liber Sancti Jacobi—, can be found in a feast within the octave of the great holy day of St James. The three poems are highly achieved: the first one is written in rhythmic iambic senarii, which are grouped in five-line verses with bisyllabic rhyme; the second, more complex one is divided into eight-line verses, of which ll. 1, 2, 3 and 5, 6, 7 have one single tetrasyllabic trocaic word, while ll. 4 and 8 are heptasyllabic trocaic feet with bisyllabic rhyme. The third one is presented as a short version of the Passion of St James, to which it adds nothing; the poem, however, was designed to be sung on any occasion (crebro cantanda) as its easy rhythm and simple structure indicate, and it is full of poetic resources such as its consonant rhyme, its distichs with two trocaic dimeters, and the fact that each verse is followed by a chorus or refrain with the invocation Iácobe iuua. Curiously enough, the consonant-rhyming syllabes are always those ending in - orum.
It is worth lingering over these two last poems. This is the first verse of the second poem mentioned:
locundetur
et letetur
augmentetur
fidelium concio;
solemnizet
modulizet
organizet
spirilati gaudio.
ie. in Moralejo's rhythmic version:
Numerous,
jubilant,
and joyous
of faithful this reunion;
rejoycing,
modulating,
and singing out
their emotion.
What none of the versions reveal is the fact that the first tetrasyllabic series increase proportionally, from the innermost realm of man to his behaviour in the community; whereas the second series presents a new variation in which singing (modulizet) and accompaniment (organizet) are evoked. The first and second heptasyllables refer to the powerful will that underlay the session: that the assembly, in accordance with the early Christian ideal as cor unum et anima una, will rise spiritually in due praise to St James in his festivity.
Meeting the most strict rules of the genre, the last poem is more popular in tone, and this in spite of its many lexical resources —the only ones its brevity allows for—.
Clemens seruulorum
gemitus tuorum
Iacobe iuua.
Flos apostolorum,
decus electorum
Gallecianorum
dux et Hispanorum
lacobe iuua.
Moralejo's translation reads:
To your poor people
who moan in piety,
give your aid St James.
Flower of Apostles,
honour of the chosen
Guide of the Galicians
and of the Spanish,
Notice the subtle and precise succession of the various moments evoked by the author, whose use of the Latin resources is masterful. Certainly the author of these little jewels is of some account. The poems move swiftly between its Latin erudition and the forms and rhythms the romance-speaking people were beginning to appreciate.
As we have said, these poems have been attributed to William of Jerusalem. In his History of the Kingdom of Jerusalem (XIV 26), William of Tiro provides a valuable definition of our author: “uir simplex, modice litteratus” (“a simple man with a mediocre education”). A handsome Flemish from Malinas, William happened to make a good impression not only on on the king, but also as on the VIP and common people of Jerusalem; if we take de Tiro's remark into consideration, however, he does not appear as a man particularly gifted for poetry, an art which demanded not only inspiration, but also a profound knowledge of language and poetic techniques. Thus, we are bound to presume that it was not him who composed these works from the Codex even though they have long been attributed to him. They are probably the work of some good poet or other, Galician or maybe French, who chose to disguise himself behind such a relevant pseudonym.
What can be said of the numerous works attributed to Fulbertus of Chartres? Apart from four poems, they comprise all the rich and varied pieces that make up the interesting Farce Mass for St James. It deserves some of our attention due to its fabulous performing character, in which there is a certain degree of scenic interplay (with the altar as stage, of course). As its name suggests, the missa farsa or Farce Mass is a service in which the main pieces (Kyrie, Gloria, Sanctus, Agnus Dei and even a benediction) are interspersed with various little excerpts, sometimes presenting two choruses which reply each other's interventions as well as the main singer's, who represents the officiant. This is best explained here by reproducing the three first Kyries with a excerpt from the Sanctus:
The Kyrie reads as follows:
Rex inmense, pater pie, eleison
Kyrie eleison.
Palmo cuncta qui concludis eleison
Soter theos athanatos eleison
Notice how the third piece is entirely made up of Greek words not entirely a product of the artist's imagination, but rather taken from the famous Byzantine trisagion preserved by the Roman liturgy.
After the first part of the Sanctus has been sung, the Hosanna in excelsis is presented thus:
Chorus: Hosanna, saluifica tuum plasma qui creasti potens omnia.
Singers: A
Chorus: tenet laus, honor decet et gloria, rex eterne in secula.
and on like this until the chorus completes the liturgical sentence singing in excelsis.
The farce masses —which can take even more varied shapes, though never richer as far as their literary achievement is concerned— become very frequent around this time, especially in the most important churches in France. To this extent was our Calixtinus up to date. But let us return to Fulbertus of Chartres.
Fulbertus had been an excellent poet (c. 1160) and a master to the renowned cathedral school of Chartres. Many of his works, most of which are of great lyrical and literary value, have survived. Our poems, however, do not appear among his genuine production. This does not imply that we must consider them apocryphal, but it is sound to presume that someone after Fulbertus followed his trail and appropriated his name so as to bring his own works to light.
We must still recall some other authors whose name has not outgrown his connections to the Codex. Master Anselm uses verses with three octosyllabic iambic lines, each one of which ends with a chorus reading Fulget dies, transformed into Fulget dies ista to close the verse. Whereas the chorus and its double form reveal the popular hue of these pieces, their metric features are far from being simple.
These works include some conducti, one of which has been attributed to a Roman cardinal called Robertus (maybe referring to Robert Pullen, archdeacon of Rochester and later cardinal, d. 1146); another one to Fulbertus, and still a third one to the unnamed bishop from Benevento mentioned above. Although we have much theory from the 12th and 13th centuries dealing with the conductus, its common form has not been ascertained yet. Apparently its denomination—rather than its metrics, which is very varied indeed—corresponds to the kind of lyrics needed to be sung in certain tones, from which the so-called cantus firmus was certainly excluded.
The collection of religious poetry in various tones continues into the Appendix to the Calixtinus, a compilation of pieces which were collected too late to be included in a more adequate place within the Book of St James. Many names come up in this section, although I am not so sure that their attribution does not refer to the lyrics (some of which are very shallow), but rather to the music, which is written for two and three voices sometimes, just like some other instances in the very body of the Liber. This is the oldest surviving compilation of this kind in Europe.
The analysis of one of this pieces allows for a better assessment of the various attributions, and posits one more methodogical procedure. It is a conductus ascribed to Venantius Fortunatus, bishop of Poitiers and a widely read poet of the 6th century who was highly esteemed, especially in the Peninsula. Presumably, the piece was to be acted out, since a note on the margin of the manuscript suggests that the refrain should be sung by a child standing among the singers of the conductus. The piece goes like this:
Salue festa dies, ueneranda pro omnia fies
qua celos subiit Iacobus, ut meruit
gaudeamus.
These are good elegiac distichs with the only addition of the refrain. It so happens that the distichs were taken from a cento compiling works by Fortunatus. Many other quotations from this poet were included in the sermons that can be found in the Liber Sancti Jacobi. This was probably done in many other cases, such as with the great Fulbertus of Chartres.
Centos or simple evocations apart, we must nor forget that many of the pieces in the Codex are a work of the compiler himself. Many of these pieces are mere versifications of phrases and expressions already present in other parts of the Liber, especially in sermons. Some of these sermons were written by the compiler, some others surely were finished and readied before he even began his task.
Many of the poems were actually written by contemporary authors, even by Compostelan authors. Given the many-fold origin and status of the pilgrims, this geographical label is best understood not as a national or local concept, but rather as referring to the constant pool of truly international people that flooded Compostela in those times. No source informs about the coming of literary personalities to Compostela; but we must not overlook the fact that the two great works bestowed by Bishop Gelmírez on Compostela were participated not only by Spaniards and Galicians, but also by foreigners. Why should we not consider the same possibility for those authors of religious poetry in the 12th century?
A good example of this is the remarkable, easy-to-sing marching chant. These are trocaic septenaries with bysillabic rhyme inspired in a well-known classical meter. It has been attributed to Aymericus Picaud, presbyter in Partenay near Vezelay, who appears also as donee of the Codex to the Cathedral of Santiago. The present Compostelan Calixtinus has not been preserved in whole, and it was completed thanks to some of the old copies.The poem reads as follows:
Ad honorem regis summi, qui condidit omnia
iubilantes veneremus Iacobi magnalia.
De quo gaudent celi ciues in superna curia
cuius facta gloriosa memnit ecclesia.
That is, in the often used translation by Moralejo:
In honour of the supreme king of it all,
let's praise St James's great deeds.
The heavenly curia rejoices at him,
and the Church remembers his glorious record.
Again, this is a peculiar case for whose assessment we have quite a few elements. It is quite likely that some character come from Vezelay to Santiago wrote it to the honour and glory of the Apostle, and this in a rhythmical metre that makes it easy to aprehend and apt to be sung.
Some of the pieces were extremely popular, such as the Dum paterfamilias, whose music was composed outside of the Codex Calixtinus. This song has become well-known as the “song of Ultreia”, due to its beautiful refrain which was sung by pilgrims from the North or by Flemish pilgrims as they marched on to Santiago. Presumably, it was the refrain that gave way to the poem. In any case we find in it a perfect symbiosis of the strictly popular quality of the refrain with the author's learned Latin work.
When the good Father,
King of it all,
bestowed the twelve apostles
on his kingdoms,
did St James to his Spain
bring his saintly light.
The Latin for which is as follows:
Dum pater familias
rex uniuersorum
donaret prouincias
ius apostolorum,
lacobus Hispanias
lux illustrat morum.
We must not leave out the remarkable refrain I just referred to:
Herru Santiagu, grot Santiagu.
e ultr 'eia, e sus 'eia, Deus aia nos.
In any case, Compostela appears as a thriving melting-pot of trends, forms and novelties, both popular and learned. No wonder then that this rich life, far from submitting to the straight and stiff liturgical pomp that glittered in the Cathedral of Santiago, would in the end make an impression on the people from Compostela and on the pilgrims, and would give way to a constant and fruitful imitation.
Por Manuel Jesús Precedo Lafuente
Dean-President of the Most Excellent Cathedral Chapter of Santiago de Compostela
(Nov. 16, 1998)
The 12th century has bestowed two great works on the city of Santiago de Compostela: one of them is an architectural and theological masterpiece, Master Mateo's “Pórtico da Gloria” (‘Gates of Glory’); the other one is the Codex Calixtinus, a work of most profound literary and musical value. As we revive the musical matter from those times, which mark the beginning of polyphony, it is but fair that we refer briefly to the liturgical texts included in the Codex. The book has been attributed to Pope Calixtus II, a relative to king Alfonso VII ‘the Emperor’, who was a son of the Pope's brother, Don Raimundo, and of the famous Doña Urraca.
A Service to Compostela
The moral author of the Codex is also presented as the actual author of its liturgical texts. As he openly states, his endeavour is to provide the Compostelan Church with enough material, carefully selected by him, to keep the liturgical celebrations in honour of St James the Older from resorting to texts which were already devoted to other Apostles. Buried in the city to which he gave his name, the son of Zebedee surely deserved to have his own devotional texts.
Scholars such as the presbyter D. Elisardo Temperán Villaverde suspect that the literary goods supplied by the Codex were actually never used in those times. The fact that this collection of texts —which included readings, benedictions, antiphons, prayers, responses for the dead, hymns, homilies, as well as tales of the Apostle's passion and martyrdom— was done without, however, does not go against its importance.
For one thing, they let us know the solemnity with which the various celebrations dedicated to St James took place. The Codex begins by announcing the 12th century calendar of St James, which included three festivities: two of them, the martyrdom and bearing of the Apostle's remains, are still held nowadays; and the other one concerning St James the Older's miracles, in which the Codex abounds, has faded out.
An Overwhelming Richness
The matter of the texts, particularly of those by the Fathers of the Church, and of the homilies is also worth mentioning. As for the former, however, they are often hard to ascribe to any one author in particular—whether this be Pope Calixtus himself or any other—and their genuine attribution cannot be always determined for sure.
The Calixtinus is not the first piece of religious literature about St James. The first Jacobean hymn to be known in Hispanic liturgy came out in the times of king Mauregato (d. in 789), even before the Apostle's remains were found in 813-814. It is an acrostic writing which invokes St James for protection for the mentioned monarch. The hymn calls the Apostle “golden and refulgent head, defender and saint patron of Spain”, titles which would be often repeated from then on because they express the heavenly roles generally attributed to the Apostle who brought the Gospels to the very end of the world and wanted to rest forever in this most faraway corner.
Still, as we go deeper into the texts from the Calixtinus, we ascertain praises to Christ's direct disciple and to his link to Spain and Galicia. What follows has been taken from one of the liturgical hyms: “People of Galicia, raise your new songs to Christ; thank God for the coming of St James....under his guidance will the flock graze on sacred pastures.” And Pope Calixtus begins like this one of the sermons attributed to him: “With spiritual joy, let us rejoice in this day, dearest brothers, for the most sublime apostle St James, son of Zebedee, saint patron of Galicia.”
The Festivity of the Miracles
Since the so-called “Festivity of St James's Miracles” is no longer a part of the liturgical calendar, it seems appropriate to say a few words about it here. The author of the Codex justifies the current dates for the festivity. These are no doubt hypothetical, and to this day we cannot be sure that these are the correct dates, since there is written evidence in both cases. Only for the day of the martyrdom could we give an approximate date, because Acts locates it in the Jewish Passover. The Calixtinus marks March 25th following the Venerable Bede, to whom the date would have been revealed in a vision by a friend of his. The traditional date of July 25th was fixed by St Jerome, and December 30th commemorates both the Bearing of the Apostle's remains and his election as a disciple of Christ.
But the uniqueness of the Calixtinus rests mainly on the Festivity of the Miracles. This is what Calixtus says about the celebration: “It was St Anselm who piously commanded the celebration of the Festivity of St James's Miracles, like the one about the man who had killed himself and was brought back to life by the Apostle, as well as all the other miracles he performed, and it is usually held on October 3rd. And we confirm this fact herein.” Twenty-two miracles are rendered in Book II of the Codex Calixtinus, and some others are scattered in various other tales. But there is no doubt that the Apostle's greatest miracle is his ever-growing cult and adoration, the flourishing pilgrimage to the site of his sepulchre, and the increasing number of pilgrims' conversions. That in itself would suffice to celebrate its thaumaturgical function.
St James's Conches
It is interesting to read about the vicissitudes underwent by the Codex Calixtinus in Pope Calixtus II's lifetime, as told by the author himself. Overcoming the harassment by thieves, the hazard of imprisonment, shipwrecks, and even a fire, and rid of all his possessions, he was finally able to preserve the book on which he had worked since he was a child out of his devotion for St James. He would finally bestow it on a Cluny monastery, so that its monks could judge its orthodoxy and become the zealous custodians of what had been so hard to keep away from many dangers and threats.
Calixtus ordered the Codex to be written with the Cathedral of Santiago and the many pilgrims in mind. Thus, he does not miss any chance to give all kinds of advice to them. He deals with the various ways to enhance the piety of those who head for Compostela, and he also provides practical advice for an easy and pleasant journey. Nevertheless, he does not refrain from warning them about the many tricks and swindles they may fall prey to, like “the misdemeanors of the evil innkeepers who dwell in my Apostle's way”. He is also aware of the interest in those mementos from Santiago that the pilgrims are to take back home, such as the ones he calls “St James's conches”. These are probably the “horns” from the Rías Bajas, as the translators of the Spanish version believe. The author of the Calixtinus ascribes magical powers to them: “it is told that whenever the melody from a conch of St James, which every pilgrim always carries with him, resounds in the ears of the people, these feel their faithful devotion grow, and ward off their enemies' animosity, the rumble of hail, the roughness of the storm ...”.
Por Xosé Luis Barreiro Rivas
On the map of Europe, the Way of Santiago is like a sea-current flowing from the vast western plains of the Old World, when the winds of change began to blow on the complex social, economic and political structures of the Carolingian Empire. That is why I often resort to E. M. Sait's metaphor in which he compares political institutions to coral reefs,1 for I have the impression that we inhabit a world resulted from the random piling up of unnoticed material, dragged by currents of pilgrims, traders, crusaders, intellectuals, warriors and onlookers who broke up the rigid structures of the feudal society in the Early Middle Ages and began building what is now, like a portentous coral reef, the fruitful and immense reality of Europe.
Certainly, we now see pilgrimage as a peculiar phenomenon that hardly fits our social life and our ways of worship. But it represents the sheer dynamics of a hyerocratic society, when social changes looked for their legitimacy to a religious form that would enable the old codes to be challenged and replaced for new sets of values.2 That is the reason why it is best to look into the Jacobean phenomenon from two different perspectives: firstly, as a religious instance whose occurrence brought about important side-effects such as the progress in art, economy, culture and the institutions; and secondly, as a political fact that fostered social change and was staged around the worship of the Apostle.
Symbol of a new cosmology created in Western Europe in the 9th and 10th centuries, the Way of Santiago is the axis mundi of a Christendom which emerged as the signs of political and social identity that had been swept away by the barbarian invasions in the Early Middle Ages began to amalgamate. As a cosmos-making device, the Way of Santiago defines the values which mark the boundaries of Christianity, legitimize its sources of authority, and generate the centralizing thrust which will organize power in the emergent western kingdoms. Motivated both by their religious faith and by the civil incentives in the great route to the End of the World, the pilgrims placed their beliefs and their ideals above the centrifugal forces that threatened to fragment and impair the feudal society. This is how they became the officiants of universality, the true holders and designers of a space which they themselves had helped to build and structure.
The city of Santiago, western tip of Christianity, grew as a result of all this and gradually became the most important reference encouraging the birth of a new Europe. It spread new values as its Way took in the artictic splendor and the infrastructural efficiency necessary for a route on which hundreds of thousands of pilgrims coming from all around the world were bound to stage the coming of a new era. In order to unify the flow of contributions stored by the current of pilgrims on the institutional reefs of the Early Middle Ages, and in order to allow for the complex construction of Europe, the Way of Santiago equipped itself with a new theory of society. Conveyed by legends, myths, traditions, and oral historical narratives, this theory completed the central idea of a universal Christendom who journeyed from Eastern to Western Europe—or from Jerusalem to Santiago—as its understanding of the world pivoted on Rome.
If we take into account that in large part political socialization is, at least originally, a non-political fact based on educational, religious, and family relations,3 the founding of Europe can be described as a process of political socialization featuring the rising of a new affective and cognitive structure in the political reality. This provoked an incipient institutionalization of the centralizing powers—Church and Empire—which broke away from the feudal immobility of the Early Middle Ages and gave way for social, cultural and economic change.
The Carolingian Legend belongs to these theoretical-doctrinal corpus. Resting on a masterful epic-historical structure, it conveys the values which defined the structure of authority and the social and political aims of the new temporal and religious order born of Aix-la-Chapelle. Its best version can be found in the so-called Historia Turpini, included in Book IV of the Codex Calixtinus.4
The more undifferentiated and the less institutionalized a society is, the more it depends on the indirect ways of socialization and on a formal assimilation of the new political values to the preexistent, established and largely internalized community values. Accordingly, as Stephen Driscoll points out, the farther away a society is from the dominance of reading and writing and from the means of documental spreading, the more precise the language of symbols and the indirect expression of meaning become. This is why we can say that, within the frame of a vast world-making activity, the social and cultural importance of pilgrimage must be linked to the socio-genesis of the European civilization. This process steps ahead of the rising of the political structures of the late Middle Ages and becomes the seminal substratum of the changes undergone in the Renaissance.5
Every political system rests on an organized subjective system of values that endows individual actions with meaning, that legitimizes and disciplines the institutions, and that gives a sense of stability to political decisions articulated as parts of a long-range social construction.6 Thus, pilgrimage to Santiago can be considered a means of linking the beliefs, psychology, and individual action of the medieval person to the social aggregate; or as an instrument to create a political culture which moved along two axes: from the individual to society, so as to structure the norms and values that make the power organizations and institutions cohere, and from society to the individual, so as to provide him or her with means of social integration and clues to political behaviour.
In its most basic version, pilgrimage has a sacramental character. This character allows for an incomprehensible spiritual idea to be felt and understood, which is why pilgrimage has always been considered a hyerophany, ie. a form of the sacred that the common person can experience directly. Besides the simple reality of the tired man going after his sacred goal, however, there are other components in pilgrimage that helped define its historical reality, and determined its remarkable effects on the European society of the Middle Ages. Along with the pilgrims came monastic life, the ritual and doctrinal unification of the Church, the papal authority on the Catholic Church, the underlying political identity of Christendom, new literary forms, new social ways and usages, as well as techniques of production and scientific developments, all of which unified European society, raised its self-awareness, and stirred in it the feeling that it inhabited its own dwelling, and owned its own world.7
If history is the politics of the past, if it is the means to understand the facts that underpin our world, then listening to the music from the Codex Calixtinus is returning to the sounds that lay the foundations of Europe. Like them, a whole aesthetics with a vast social hold spread around the Christian world as a means of praying, and as the actual evidence that the long pilgrimage routes never crossed the limits of the own, not-to-be-declined cosmos. At the same time, when we ascertain the tightness of the bond between today's individual and the melodic art of some thousand years ago, we shiver at the picture of the abyss of time, even though we do this from the comfortable security of having a “way of the stars” that runs across the western sky, from Frisia to Fisterra, in its search after the apostolic sepulchre in Santiago. It was here where, at the end of the first millenium, the whole of Europe began its long way back.
1 Sait, E.M. (1938): Political Institutions: A Preface. New York: D. Appleton-Century.
2 Cfr. Bellah, R. 1966. “Religious Aspects of Modernisation in Turkey and Japan”, in J.L. Finkle and R.W. Gable, eds. Political Development and Social Change. New York: Wiley.
3 Cfr. Dowse, R.E. and J.A. Hughes. 1972. Political Sociology. New York: Wiley. Spanish edition: 1990. Sociología Política. Madrid: Alianza Editorial. 5th. ed.
4 Book IV of the Codex Calixtinus comprises the Historia Turpini (ff. 163 to 191 v.): “TTURPINUS DOMINI GRATIA ARCHIEPISCOPUS Remensis ac sedulus...” Furthermore, numerous manuscripts (more than 250) from the Historia Karoli Magni et Rotholandi include variants from the Calixtinus narrative: vid. C. Meredith-Jones's Historia Karoli et Rotholandi ou Cronique du Pseudo-Turpin: textes revus et publiés d'apres 49 manuscripts (These, Faculté des Lettres de l'Université de Paris, 1936).
5 Cfr. Elias, N. 1987. El proceso de la civilización. Investigaciones sociogenéticas y psicogenéticars. Madrid: F.C.E.
6 Cfr. Pye, L.W. and Verba, S. 1965. Political Culture and Political Development. Princeton NJ: Princeton UP.
7 As for contemporary political science, Ernst Cassirer vouched for the validity of myth as a way of shaping the great political instances of our time. Cfr. 1947. El mito del Estado. Mexico: F.C.E.
It seems particularly difficult for a person like myself to leave my natural environment, among wires and microphones, and step from behind the shelter of the sound mixer in order to explain how I dared participate in such a project. I have to confess that, unlike the other people with whom I am honoured to share some space in this book, I enjoy a very special advantage when it comes to expressing my opinions on the Codex. For, who knows which was the atmosphere that surrounded the interpretation of these works in medieval times? Well, this was the first issue that struck me at the very start of this project, and it also happens to be the doubt remaining at the back of my mind once the task is finished.
It has become more and more difficult in our world to come across virgin, unpolluted spaces. It is hard to breathe this air because it is clogged with strange substances; mass-media spread cultural pollution at the speed of light, whether this be for the better of for the worse; the stars are not visible to our eyes, not even in dark, open nights, due to the artificial light shed by our cities; and some of us are particularly worried about an animal in clear and present danger of becoming extinct, even though it is never listed in National Geographic surveys: silence. The first and most crucial technical problem that came up as we were preparing the recording sessions was finding a place which offered the acoustic conditions most adequate for the interpretation of the pieces in the Codex, but which were sufficiently isolated from the ever present noise granted daily by the civilization at the closing of the third millennium. After trying out several locations, we finally found the place. The church of the monastery of Santa Cristina de Ribas de Sil displayed, together with a breathtaking landscape, the ideal conditions to carry out our enterprise: a wonderful sonority due to its wooden ceiling, the absolute availability of the premises thanks to the generosity of the persons in charge of the monastery, and, above all, the conditions of isolation and distance from populated areas necessary to prevent non-natural sounds to sneak into the recording. But alas!, there was no electric power. The very civilization from which we were escaping gave us, in turn, the solution to this problem in the form of a quiet fuel generator, prudently placed some hundreds of meters away, which fed power to the light and recording units. We had but to wait for the night to avoid the singing of birds and other unwanted sounds ... except, of course, for bats and owls, who sometimes accompanied the Coro Ultreia with their authoritative voices, as if wanting to assert that they were there long before us, and that their music surely matches up to ours.
Santa Cristina had a unique atmosphere for monody, as far as both setting and sound were concerned, but the very first attempts at polyphony and instruments revealed that the atmosphere was rather too dense for them. That is why a location with a lower degree of reverberation was preferred and the recording was moved to the Santuario de Nosa Señora de Abades, a church in a very beautiful valley near Santiago de Compostela. With its clean and transparent acoustics, it adequately hosted and wrapped the voices of the Coro Ultreia, thus allowing for a clearer recording of the various melodic lines.
The third space, the Cathedral of Tui, was not chosen because of its acoustic conditions as in the previous cases. Its sweet-fluted organ provided the best enfolding for some of the pieces collected in the Calixtinus, although we had to fight the background noise brought to us by city life.
I will refrain from boring anyone with technical details. Certainly technics was not the key to the sonority put into this records. We have tried to avoid every unnecessary electronic addition, and this is how we believe to have achieved the purest sound possible for you, as it could be found in the wonderful places where we spent many hours recording it. Just pour plenty of enthusiasm and communication among the people participating in this project, and you will have the recipe that has turned Fernando Olbés's dream into a reality. For he was the one who transmitted it to everyone else including me, who, like Fernando himself and insofar as I was involved in it, would like to offer it to all who have gone before it came true and and to all who have arrived in time to enjoy it.
Allow me to finish off with a confession. I was lucky enough to listen to what I think is the perfect sound for the Codex Calixtinus: I was, at three in the morning and minus three degrees, buried in the dark, standing at the doorstep of a romanesque church from the XII century lost in the Sil canyon, feeling the silence only broken by the sound of the slightest rain and the voices of some twenty madmen singing musical works eight hundred years old. Not many people have had such a chance. . not even the madmen “themselves”.
Pablo Barreiro Rivas. Sound technician.
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Opinion Exchange 507551022
Barr can, and should, release the Mueller report
I base this on having drafted the special counsel rules as a young Justice Department lawyer in 1998-99.
By Neal Kumar Katyal
March 22, 2019 — 10:24pm
The public has every right to see Robert Mueller’s conclusions. Absolutely nothing in the law or the regulations prevents the report from becoming public. Indeed, the relevant sources of law give Attorney General William Barr all the latitude in the world to make it public.
Those regulations, which I had the privilege of drafting in 1998 and 1999 as a young Justice Department lawyer, require three types of reports. First, the special counsel must give the attorney general “Urgent Reports” during the course of an investigation regarding things such as proposed indictments. Second, the special counsel must provide a report to the attorney general at the end of the investigation, which Mueller delivered on Friday. And third, the attorney general must furnish Congress with a report containing “an explanation for each action … upon conclusion of the Special Counsel’s investigation.”
The regulations anticipated there would be differences among these three. Generally speaking, the final report the special counsel gives to the attorney general would be “confidential,” and the report the attorney general gives to Congress would be “brief.” We wanted to avoid another Starr report — a lurid document going unnecessarily into detail about someone’s intimate conduct and the like. A subject of such a report would have no mechanism to rebut those allegations or get his or her privacy back.
But the mentions of “brief” and “confidential” in the regulations and accompanying commentary were just general guidelines for each type of report. The text of the regulations never required the attorney general’s report to Congress to be short or nonpublic. Rather, that text expressly included a key provision saying the “Attorney General may determine that public release of these reports would be in the public interest,” even if the public release may deviate from ordinary Justice Department protocols.
The regulations at their core are about a central problem that can be traced back to the Roman poet and satirist Juvenal many centuries ago — Quis custodiet ipsos custodes: Who will guard the guards? Whenever there are allegations of high-level executive branch wrongdoing, there is a justifiable worry that the executive branch itself cannot adequately investigate it. The Justice Department, after all, is an executive branch agency, and it has the power to squelch any investigation. The special counsel regulations were written to allow someone outside the Justice Department to run the investigation on a day-to-day basis, while making that someone always subject ultimately to the control of the attorney general.
One might ask why the regulations would give the attorney general such control. The answer is simple: The Constitution requires it. In our system of government, the president is vested with full power over prosecutions, and the attorney general is the official who exercises that executive authority. There is no way to create a headless prosecutor in some other branch of government — which is why the regulations endeavor not to cut the attorney general out of prosecutions (which would be unconstitutional), but rather to shed sunlight and transparency on the choices an attorney general makes.
The most important thing to understand about the regulations is that they were written to function like a constitution. This isn’t meant to be grandiose; it is simply to say that they were written to provide a broad blueprint for dealing with crises that could not be anticipated at the time of their drafting. The idea was not to create a comprehensive set of dos and don’ts, like a tax code. Instead, it was to mark the great outlines of the special counsel’s power and responsibilities.
For that reason, the regulations do not, in all cases, compel public release of a special counsel report, but they do not forbid it, either. The regulations were written to govern not just investigations of presidents in a variety of circumstances, but also of other, lower-ranking government officials — and it would be inappropriate to have a one-size-fits-all solution to the vast array of officials and crimes that would require investigation in the many years to come. That is why the canard that some Trump allies are floating, that a public release of the report would violate the special counsel regulations, is false. The regulations set a floor, not a ceiling, on the amount of transparency. They require transparency and an “explanation of each action” at the end of the special counsel investigation, but they don’t forbid more transparency on top of that.
Fears of a government coverup are at their apogee when we are talking about a criminal investigation of the president. Article II of our Constitution gives only the president the prosecution power — he alone can stop any prosecution or investigation he wishes. So any investigation into presidential wrongdoing by definition runs headlong into the who-guards-the-guards problem. And in those circumstances, more disclosure (with redactions for classified and deeply private information) is necessary, both to deal with that problem and to maintain public confidence in the rule of law.
The need for public disclosure is even greater here because President Donald Trump’s lawyers have repeatedly invoked the idea that a sitting president cannot be indicted. Every scholar who takes that view couples it to impeachment — explaining that Congress must perform its duty of impeachment so that a lawbreaking president can be removed from office and then brought to justice. Otherwise the president would be above the law. And there is no way impeachment can work efficiently if Congress is not given all of the facts the special counsel has uncovered. That is why in 1974, special prosecutor Leon Jaworski gave Congress his investigative material, including even grand jury materials.
Balancing the public’s need to know against individual privacy and dignity interests is struck in a variety of ways in ordinary law enforcement investigations. Sometimes, like in the aftermath of the Ferguson, Mo., tragedy, an extensive public report is appropriate. Other times, it isn’t. Here, we are talking about credible concerns of wrongdoing by our nation’s most powerful man, and one who has not been shy about attacking the investigation itself. The idea that the special counsel regulations, which were written to provide the public with confidence against a coverup, would empower an attorney general to restrict disclosure in an investigation of the president is a nonstarter.
To be sure, there is no one provision in the regulations that expressly requires a public release of Mueller’s report. But there is no one provision requiring presidential candidates to release their tax returns, either, and we all know how that one turned out. The system is built on judgment and good faith.
The public must have confidence that justice was done, and the attorney general cannot treat an investigation of the president the way he can treat any other investigation, precisely because of the sweeping prosecution powers the president wields.
This isn’t just my view. It’s also the view of some of the most conservative members of Congress, including Reps. Liz Cheney, R-Wyo., Steve Scalise, R-La., Jim Jordan, R-Ohio, and Mark Meadows, R-N.C. By a 420-0 vote, the House in mid-March called for the public release of the Mueller report. Should Barr not provide the report to Congress, Congress will have to subpoena it, and Congress will almost certainly win that battle. The attorney general should follow Congress’ vote and honor the values at the core of our democracy, and release the report.
Neal Kumar Katyal is the Saunders Professor of Law at Georgetown University Law Center. He was acting solicitor general of the United States from 2010 to 2011. He wrote this article for the Washington Post.
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FACTOID # 18: Alaska spends more money per capita on elementary and secondary education than any other state.
Encyclopedia > Ford Nucleon
The Ford Nucleon concept car
The Ford Nucleon was a nuclear-powered concept car developed by Ford Motor Company in 1958. No operational models were built. The design did not include an internal-combustion engine, rather, a vehicle was to be powered by a small nuclear reactor in the rear of the vehicle. The vehicle featured a power capsule suspended between twin booms at the rear. The capsule, which would contain radioactive core for motive power, was designed to be easily interchangeable, according to performance needs and the distances to be traveled. Download high resolution version (1200x800, 177 KB)Ford Nucleon concept car. ... Download high resolution version (1200x800, 177 KB)Ford Nucleon concept car. ... 1938 Buick Y-Job, the first Concept car A concept car or show car is a car prototype made to showcase a concept, new styling, technology and more. ... âFordâ redirects here. ... Year 1958 (MCMLVIII) was a common year starting on Wednesday (link will display full calendar) of the Gregorian calendar. ... An internal combustion engine is an engine that is powered by the expansion of hot combustion products of fuel directly acting within an engine. ... Core of a small nuclear reactor used for research. ... Radioactive decay is the set of various processes by which unstable atomic nuclei (nuclides) emit subatomic particles. ...
The passenger compartment of the Nucleon featured a one-piece, pillar-less windshield and compound rear window, and was topped by a cantilever roof. There were air intakes at the leading edge of the roof and at the base of its supports. An extreme cab-forward style provided more protection to the driver and passengers from the reactor in the rear. Some pictures show the car with tailfins sweeping up from the rear fenders.
The drive train would be integral to the power module, and electronic torque converters would take the place of the drive-train used at the time. It was said that cars like the Nucleon would be able to travel 8000 km (5,000 miles) or more, depending on the size of the core, without recharging. Instead, at the end of the core's life they would be taken to a charging station, which research designers envisioned as largely replacing gas stations. The car was never built and never went into production, but it remains an icon of the Atomic Age of the 1950s. This article is about the engineering discipline. ... ZF torque converter A cut-away model of a torque converter A torque converter is a modified form of a hydrodynamic fluid coupling, and like the fluid coupling, is used to transfer rotating power from a prime mover, such as an internal combustion engine or electric motor, to a rotating... The Atomic Age was a phrase used for a time in the 1950s in which it was believed that all power sources in the future would be atomic in nature. ... the first thing that was invented was the automatic DILDO. Education grew explosively because of a very strong demand for high school and college education. ...
The mock-up of the car can be viewed at the Henry Ford Museum in Dearborn, Michigan. A Ford Model T, used for giving tourist rides, is shown above at Greenfield Village. ... Location in Michigan Coordinates: , Country United States State Michigan County Wayne County Government - Mayor John B. OâReilly, Jr. ...
According to Bob Gale, producer of the film Back To The Future, the Nucleon's rear nuclear reactor was one of the design inspirations for the De Lorean time machine. Bob Gale (May 25, 1951, University City, Missouri), born Michael Robert Gale, is an Academy Award nominated American screenwriter who, amongst other things, co-wrote Back to the Future with writing partner Robert Zemeckis and also wrote the two sequels for the film. ... This article is about the first film in the Back to the Future trilogy. ... In the Back to the Future trilogy, the De Lorean time machine is the fictional time travelling vehicle used by Doc Emmett Brown (Christopher Lloyd) and Marty McFly (Michael J. Fox) to travel through the history of their hometown of Hill Valley, a fictional city located in Northern California. ...
Ford Nucleon Concept Car
Ford's mid-century concept cars forecast future vehicles
Article on the Ford Nucleon
Ford concept cars v • d • e
Cars: Focus MA | Forty-Nine | GT90 | Gyron | Indigo | Interceptor | Iosis | Mustang I | Reflex | Shelby Cobra Concept | Shelby GR-1 | TH!NK | Nucleon
Minivans/SUVs: Airstream | Bronco | EX | Fairlane Concept | Model U | SAV | SYNUS
Pickup trucks: Explorer Sport Trac Concept | F-250 Super Chief
Categories: Nuclear vehicle propulsion | Concept automobiles âFordâ redirects here. ... 1938 Buick Y-Job, the first Concept car A concept car or show car is a car prototype made to showcase a concept, new styling, technology and more. ... 2002 Ford MA Concept The Ford MA or Ford Focus MA concept car was a 2002 minimalist design exercise drawn by Jose Paris and championed by Fords VP of design J. Mays. ... The Ford 49 The Ford Forty-Nine was a concept car created by the Ford Motor Company. ... The GT90 is very futuristic looking. ... The Ford Gyron was a futuristic two-wheeled car first shown to the world in 1961 at the Detroit motor show as a concept car. ... Ford Indigo The Ford Indigo is a concept car developed by Ford for the 1996 auto show circuit. ... The Ford Interceptor is a new concept car which debuted at the 2007 North American International Auto Show in Detroit, Michigan. ... Ford iosis The Ford iosis is a four-door, four-seat sedan concept car developed by Ford of Europe. ... The Ford Mustang I was a small, mid-engined (4 cy1. ... The Ford Reflex (or REFL3X, as spelled on the vehicle nameplate) is a concept car introduced at the 2006 North American International Auto Show that, according to Ford, proves small cars can be bold and American. It is a technological showcase that includes solar panel-powered headlights, integrated child seat... There are very few or no other articles that link to this one. ... The Ford Shelby GR-1 The Ford Shelby GR-1 was a concept car that was created by the Ford Motor Company. ... The Ford TH!NK was a line of electric vehicles produced by the TH!NK Mobility, an enterprise of Ford Motor Company. ... It has been suggested that Mini MPV be merged into this article or section. ... A fourth-generation (2006-) Ford Explorer, the best-selling mid-size SUV in the United States. ... The Ford Airstream is a new concept car which made its debut at the 2007 North American International Auto Show in Detroit, Michigan. ... The Ford Bronco was an SUV produced from 1966 through 1996, with five distinct generations. ... The Ford EX (informally known as the Ford Ex and Ford Extreme) is a concept car created by the Ford Motor Company. ... 1955 Ford Fairlane Crown Victoria Wikimedia Commons has media related to: Ford Fairlane The Ford Fairlane was an automobile model sold between 1955 and 1971 by the Ford Motor Company in North America. ... The Ford Model U The Ford Model U was a concept car created by the Ford Motor Company. ... Ford SAV The Ford SAV is a seven-seater, five door, MPV concept car developed by Ford of Europe. ... The Ford SYNUS The SYNUS is a concept car Ford Motor Company produced under the Ford brand. ... The best selling North American pickup truck, the Ford F-Series. ... See also Ford Explorer for the SUV on which the Sport Trac is based The Ford Explorer Sport Trac is a mid-size sport utility vehicle with a pickup truck bed sold mostly in North America. ... The Ford F-250 Super Chief The Ford F-250 Super Chief (often known as just the Ford Super Chief) was a concept car that was created by the Ford Motor Company. ...
Ford E-Series - Wikicars (1034 words)
The Ford E-Series, formerly named and also known as the Econoline or "Club Wagon", is a line of fullsize vans (both cargo and passenger) and truck chassis from the Ford Motor Company.
The first E-Series was based on the compact Ford Falcon, sized roughly to compete with the 1961 Chevrolet Corvair Sportvan and Volkswagen Type 2, which was 172.3 in long.
Over the next six years, the "Big Three" (GM, Chrysler and Ford) would all redesign their vans, with hoods gradually evolving to a short conventional truck-like hood, and evolving from being based on compact cars to using components from full-sized pickup trucks.
Media.Ford.com: Fordâs mid-century concept cars forecast future vehicles (1050 words)
Ford Motor Company reflected the era of optimism-the 1950s and 1960s-in its concept vehicles, which revealed innovations in style and technology.
Announced in 1952, this was Ford's "Car of Tomorrow," a pilot model being studied toward future development as a practical five-passenger sedan.
Cars such as the Nucleon illustrate the extent to which research into the future was conducted at Ford, and demonstrate the designer's unwillingness to admit that a thing cannot be done simply because it has not been done.
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Home → Alexander Skarsgård Biography
Alexander Skarsgård Biography
Date of Birth: August 25, 1976
Born in Stockholm, Sweden, Alexander Skarsgård is the eldest of seven siblings. His mother is a doctor and his father is the famous actor Stellan Skarsgård, who helped him land his first acting role at the age of seven, starring in the Swedish film Ake and His World . A few years later, he became known for his role in the Swedish TV series The Dog That Smiled, but the 13-year-old was uncomfortable with being recognized in public and quit acting.
At 19, he enrolled with the Swedish military and stayed for 18 months. In 1996 he attended Leeds Metropolitan University in England to study English, then the following year moved to New York to take a theater course at Marymount Manhattan College. Back in Sweden in 1999, he began working on the TV series Vita longer, playing Marcus Englund.
Alexander was first seen in the States playing a character named Meekus alongside Ben Stiller in 2001's Zoolander. He has been in numerous movies in Sweden since then and has also been voted the Sexiest Man in Sweden five times.
In America, his biggest break to date came when he was cast as vampire Eric Northman in HBO's True Blood. He has also starred in Lady Gaga's "Paparazzi" music video. During hiatus from the show, Alexander has found time to return to the big screen in movies such as Melancholia (2011) co-starring Kirsten Dunst, Battleship (2012) alongside Liam Neeson and Taylor Kitsch, and The Giver (2014) starring Jeff Bridges and Meryl Streep.
He's also been seen in the comedy sequel Zoolander 2 (2016), the comedy War on Everyone (2016), and starred as the title role in the adventure reboot The Legend of Tarzan (2016).
On the small screen, Alexander won a Golden Globe in 2018 for his role as an abusive husband on the critically acclaimed HBO TV series Big Little Lies.
In 2019, he played Jesse Eisenberg's cousin in The Hummingbird Project, about two high frequency traders who come across a way to make a lot of money.
Filmography:
The Legend of Tarzan (2016)
War on Everyone (2016)
Zoolander 2 (2016)
The Giver (2014)
What Maisie Knew (2012)
Melancholia (2011)
Trust Me (2010)
Metropia (voice) (2009)
Beyond the Pole (2009)
Jarnets anglar (2007)
The Last Drop (2006)
Om Sara (2005)
Double Shift (2005)
The Dog Trick (2002)
Zoolander (2001)
Kites Over Helsinki (2001)
Wings of Glass (2000)
White Water Fury (2000)
The Diver (2000)
Happy End (1999)
Ake and His World (1984)
Actor The Aftermath (2019)
Actor The Hummingbird Project (2019)
Actor Long Shot (2019)
Actor Hold the Dark (Netflix) (2018)
Actor Mute (Netflix) (2018)
Actor Big Little Lies (HBO) (2017)
Actor War on Everyone (2017)
Actor The Legend of Tarzan 3D (2016)
Actor The Legend of Tarzan (2016)
Actor Zoolander 2 (2016)
Actor The Diary of a Teenage Girl (2015)
Actor The Giver (2014)
Actor Disconnect (2013)
Actor The East (2013)
Actor True Blood: The Complete Fifth Season (2013)
Actor What Maisie Knew (2013)
Actor Battleship (2012)
Actor True Blood: The Complete Fourth Season (2012)
Actor True Blood: The Complete Second Season (2012)
Actor True Blood: The Complete Third Season (2012)
Actor 13 (2011)
Actor Melancholia (2011) (2011)
Actor Straw Dogs (2011)
Now Playing | Coming Soon
Copyright © 2000-2019 Tribute Entertainment Media Group | iPhone App
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French firm acquires Turkey's Multinet for $90 million
Groupe Cheque Dejeuner has said it purchased Turkish meal ticket provider Multinet from businessman Hayyam Garipoğlu. The transaction, announced at a press conference in Istanbul, is worth $90 million. Cheque Dejeuner ranks among the top three meal card providers in the world, alongside Sodexho and Edenred. Multinet, which was seized by the Savings Deposit and Insurance Fund, or SDIF, in July last year, was handed back to original owner Garipoğlu in accordance with a protocol dated April 9 of this year, the Daily News has learned.
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Programme leaves legacy for young people diagnosed with cancer in the South West
Last week, a special event was held in Bristol to mark the culmination of a three year programme called 'On Target.' Funded by Macmillan Cancer Support and delivered by University Hospitals Bristol NHS Foundation Trust, 'On Target' was designed to address the aftercare needs of teenagers and young adults (TYA) with cancer in the South West. The work has consulted and benefited people affected by cancer in Cornwall, Devon, Avon, Somerset, Wiltshire and parts of Gloucestershire.
Programme Director, Professor Mike Stevens welcomed an audience full of clinicians and health professionals, service users, contributors and potential future partner organisations to the event. Together with colleagues, Mike demonstrated the process from research and scoping, through to ideas and implementation.
Professor Stevens explained; "The aim of 'On Target' was to support young people towards the achievement of a life as it would have been lived without the intrusion of cancer, or as the patient decides to recreate it after experiencing the impact of cancer and its treatment.
"The key thing was not to assume anything but to talk directly to TYAs about their experiences. After coming away with thousands of findings, we worked to group these findings into clusters, and 'co-created' some high impact, achievable interventions."
These interventions include self help websites tailored by and for this age group, with particular input from a designer and patient based in Cheltenham, a Macmillan volunteer-led work mentoring programme based in Bristol, and health and wellbeing events in Redruth and near Bristol, to name a few.
Pete Jerrett, 19 years old from Plymouth, has been heavily involved with the programme since being diagnosed with Leukaemia. He too spoke at the event, saying; "I didn't think I'd be in a position to help anyone, so it was great to be a part of something that was helping others whilst still helping me. There seems to be a lot out there for adults with cancer and for children, for not for this age group. We were able to make sure the information was suited to our age group, in the way we'd like to be spoken to."
The event itself heralded the programme drawing to a close, and sought to ensure the interventions and recommendations will be embedded firmly within the treatment pathway for TYAs.
Maggie Crowe, Macmillan Development Manager added; "It was a fantastic opportunity for Macmillan to work in partnership with the existing TYA team and the other charities on this innovative project, and they had great vision. It really is about changing the culture, and need to ensure that after the programme has finished, TYAs living with and beyond cancer will have a different, improved experience because of this work."
A number of discussions were initiated regarding the future of the work, and the team are hopeful that the legacy of the project will continue to have an effect in Bristol and the South West and beyond, for teenagers and young adults with cancer and other illnesses alike.
Macmillan Cancer Support is only able to fund projects like this thanks to the generosity of those who raise funds and give their time to help. If you'd like to support Macmillan in your local area, please contact Macmillan on 0300 1000 200.
Cancer is the toughest fight many people will ever face, and the feelings of isolation and loneliness that so many people experience make it even harder. But you don't have to go through it alone. If you have any worries or questions about cancer, visit www.macmillan.org.uk or call Macmillan free on 0808 808 00 00.
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Swift Aircraft News
what does ga mean to you?
General Aviation (GA) plays an iconic part in British history, it is also fundamental to the future success of the UK's aviation industry and the continued growth of the economy in this sector.
Moreover, the passion within GA is emotive and the industry has formed an incredible community like no other. GA is made up of dreams and aspirations, excitement and pleasure. Pushing boundaries and believing that, literally, the sky is the limit. For years the team at Swift Aircraft has been talking to people throughout the country about what GA means to them, fun anecdotes, emotional stories and incredible memories.
Swift is strongly committed to helping transform the future of British aviation with a number of innovative projects. We are also working alongside official bodies who are forming policy to this end. However, it's not just about the numbers, it's important to share with others that British GA is much more than a cash cow, it's part of our heritage and must be part of our future.
We have some really exciting projects to help get your voices heard at a national level, so if you want to be part of the renaissance in British GA, please let us know why. In just a short paragraph, please tell us what GA means to you. Please click here to complete the form.
sign up
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Urantia Association
of Finland
The Urantia Book
Publications and Activities
Urantia Foundation
Finnish Office
Get The Urantia Book
Book purchases
Urantia Foundation (international in USA)
Urantia Association International
(UAI)
Links to other associations
Purpose of the Association
Urantia Association of Finland is a task-oriented service organisation, whose purpose is to foster the spread and orderly dissemination of the teachings of The Urantia Book. The Association accomplishes its purpose through calling together study sessions and meetings, through issuing publications helpful in the studies of The Urantia Book, and acting as a liaison between readers of The Urantia Book.
By virtue of a Licencing Agreement signed with Urantia Foundation, Finnish Urantia Association is entitled to use the name Urantia and the trademark of three concentric azure blue circles, registered by the Foundation. Urantia Association of Finland is a constituent national association of Urantia Association International. Urantia Association of Finland was incorporated and registered with the respective government authorities in 1989.
Urantia Foundation (UF) is a common-law charitable trust, domiciled in Chicago, USA. Among other things, the Foundation owns the copyrights in The Urantia Book and in its translations (guards the inviolability of the text), gets the book translated, and keeps the book in print and distributed. Urantia Foundation maintains a branch office also in Finland. The branch office i.a. fulfils all book orders (email: Urantia-säätiö)
Urantia Association International (UAI) is an international social organisation which unites all national and local Urantia Associations throughout the world. It is in charge of international relations and activities and international publications and communications. The UAI is likewise domiciled in Chicago, USA.
Excerpts from The Urantia Book
All true love is from God, and man receives the divine affection as he himself bestows this love upon his fellows.
[The Urantia Book, 117:6.10 (1289.3)]
Aphorism, 18. July
® Registered trademark of Urantia Foundation. Used pursuant to license.
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Home Page Chess Life Magazine 2014 July A Memorable Life: Bobby Fischer Show at the World Chess Hall of Fame
A Memorable Life: Bobby Fischer Show at the World Chess Hall of Fame
Media Contact: Amanda Cook
July 14, 2014 (Saint Louis, MO) - From his earliest years as a child prodigy to becoming the only player ever to achieve a perfect score in the U.S. Chess Championships, from winning the World Championship in 1972 against Boris Spassky to living out a controversial retirement, Bobby Fischer stands as one of chess's most complicated and compelling figures.
A Memorable Life: A Glimpse into the Complex Mind of Bobby Fischer opens July 24, 2014, at the World Chess Hall of Fame (WCHOF) and will celebrate Fischer's incredible career while examining his singular intellect. The show runs through June 7, 2015.
"We are thrilled to showcase many never-before-seen artifacts that capture Fischer's career in a unique way. Those who study chess will have the rare opportunity to learn from his notes and books while casual fans will enjoy exploring this superstar's personal story," said WCHOF Chief Curator Shannon Bailey.
Several of the rarest pieces on display are on generous loan from Dr. Jeanne and Rex Sinquefield, owners of a a collection of material from Fischer's own library that includes 320 books and 400 periodicals. These items supplement highlights from WCHOF's permanent collection to create a spectacular show.
Highlights from the exhibition:
· Furniture from the home of Fischer's mentor Jack Collins, which can be seen in an image of the young prodigy seated and sharpening his skills
· Notebooks created for Fischer's world championship preparation by International Master Robert Wade that include annotations of games by Soviet Grandmaster Mark Taimanov and Tigran Petrosian, two opponents that he defeated in the 1971 Candidates Matches
· The famous "Red Book" of Boris Spassky's best games, which Fischer studied constantly during his preparations for the 1972 World Championship
· Drafts of Fischer's classic chess publication My 60 Memorable Games with handwritten notes from Fischer and Larry Evans
"Bobby is one of the game's most enduring figures because everyone can learn something from his story. If you're a player, you can study his brilliant games and improve your own. Those who are merely curious about Fischer can see how he faced challenges and be inspired by his intellect," Bailey said.
About Robert "Bobby" Fischer
Robert "Bobby" Fischer was named the 11th World Chess Champion when he defeated Boris Spassky of the Soviet Union in a 1972 match that came to symbolize the tensions of the Cold War. This title brought him his highest level of fame and was the defining achievement in a career that included many notable triumphs. Fischer won the U.S. Open in 1957 and was the youngest person to gain first place in the U.S. Chess Championships in 1957/58, a title he would ultimately earn eight times. He won 20 consecutive games in World Championship qualifying events-an all-time record. His book, My 60 Memorable Games, is widely considered one of the greatest pieces of chess literature ever written.
About the World Chess Hall of Fame
The World Chess Hall of Fame (WCHOF) is a nonprofit organization committed to building awareness for the cultural and artistic significance of chess. It opened on September 9, 2011, in Saint Louis's Central West End after moving from previous locations in New York and Miami.
The WCHOF is housed in an historic 15,900 square-foot building that includes three floors of galleries, the U.S. and World Chess Halls of Fame and the stylish Q Boutique. It sits immediately across Maryland Avenue from the Chess Club and Scholastic Center of Saint Louis, forming a "chess campus" that has been recognized as the chess capital of the United States as well as one of the game's top international centers.
It is the only cultural institution of its kind in the world and the only solely chess-focused collecting institution in the U.S.
For more information, visit www.worldchesshof.org.
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July - Chess Life Online 2014
Gu & Patel Clear Winners in OrlandoFirsts in Norway: Captain Donaldson Previews the Olympiad Upsets Abound at the Denker Edward Song Wins US Cadet The Fun in Orlando Begins with Denker, Barber & NGIT Cadet Heats Up Four Tie at 1st Junior Girls, Munoz Wins Scholarship Executive Board Election Results are in Team USA Shines in Mexico Fields Set for Denker, Barber and NGIT Shulman: Learn from Mistakes, Don't Just Admit Them [VIDEO]Greg on Chess: Girls Tournaments A Memorable Life: Bobby Fischer Show at the World Chess Hall of Fame Girls Junior Invitational Underway The July Check is in the MailRon Finegold, 1937-2014 US Masters Returns to North Carolina Labor Day Weekend GM Stripunsky Takes Down Fairfield County MastersAmericans Take the Lead in Mexico Cadet Set forJuly 19-23 in Rockville Travel & Chess: From Paris to the French Quarter US Girls Closed Set for New Hampshire, July 17-21 The Scoop on the World Open Yes2Chess Finals Begin in LondonIlya Smirin Wins the World Open U.S Junior Open Hits Houston Next Weekend Powerful Olympic Teams Set for Tromso Ortiz Suarez Wins in DC, Norms for Kannappan, Korley & Liang
Archives (Chess Life)
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We are Victoire
This is what we do
Victoire loves…
WHAT VICTOIRE LOVES
TRIBUTE TO A STARMAN
The widespread shock and sadness at David Bowie’s death at age 69 has affirmed the breadth and depth of his influence — on music, art & fashion.
We were sad to hear of another great man passing away.
We were sad to hear of another great man passing away. Originally a painter, Bowie was his own canvas, putting voice and face to his singular visions.
Sometimes disturbing, always at the vanguard, he never failed to be admired and respected by each new generation. Mr. Bowie wrote songs, above all, about being an outsider: an alien, a misfit, a sexual adventurer, a faraway astronaut. His music was always a mutable blend -rock, cabaret, jazz and what he called “plastic soul” — but it was suffused with genuine soul. He also captured the drama and longing of everyday life, enough to give him No. 1 pop hits like “Let’s Dance.”
In concerts and videos, Mr. Bowie’s costumes and imagery traversed styles, eras and continents, from German Expressionism to commedia dell’arte to Japanese kimonos to spacesuits. He set an example, and a challenge, for every arena spectacle in his wake.
We were lucky enough to attend the major exhibition of Bowie’s costumes, lyrics, scenery, and ephemera in 2014 at the Philarmonie in Paris. The show has since traveled to multiple countries on a still-ongoing tour. Expect to hear the Star Man a lot those days … as it should be.
We have another star in the sky now.
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There are certain responsibilities when you are driving a vehicle.
You are required to comply with rules such as not being affected by
drugs or alcohol, not checking your social media accounts while driving,
maintaining control over your vehicle, parking only where allowed and so on.
I know that, like me, you fume when politicians steadfastly refuse
to answer a question directly, preferring to prevaricate by evading
an answer altogether, giving an answer to a question they would
prefer to answer, or wandering off into a boring recital of the dot
points with which their minders have briefed them.
Those of you who hear experts describe in frightening terms the
dire state of our economy, and then hear the faux reassurances that
issue from the mouths of our Treasurer and Prime Minister, must wonder
if they live in some parallel universe, where, reminiscent of Humpty
Dumpty, words can mean anything they want them to mean.
Frequently, when presented with a problem, we attempt to treat the symptom rather
than the real issue. For example, if every morning when you get in your car you
notice that one of the tyres looks a bit flat, you could treat the symptom by calling
in at the nearest petrol station and putting more air in the tyre. However, as air
doesn’t shrink or disappear for no reason, there is obviously a deeper issue involved.
Duttonisation – an existential threat to Morrison? Make no mistake
– Dutton’s thirst for power remains unquenched. His conviction that
he is ‘the better man’ to be prime minister continues unabated. This
piece argues that in pursuit of this lofty goal, he has now consciously
embarked on a process best described as ‘Duttonisation’.
And that has nothing to do with fuel marketing cycles that seem to afflict
larger cities around the country, the cost of importing fuel because the
multi-national refining companies have determined it is not economic to
produce fuel in Australia or any one of the hundreds of other theories of
why it now costs more than ever to fill up the car. It is all to do with politics.
Get the inside track on the media and government.
Do you know a con-artist when you see one?
Ken Wolff
After many pieces about many issues, I’m ready to have my say about Abbott himself. So sit back with a beer, or a glass of your best red, and come along for a short ride. I won’t bother going over his broken promises and lies. There are many other people already doing that. The only...
Our current prime minister assumed office on 18 September 2013. He was elected as leader of the opposition on 1 December 2009, taking over from Malcolm Turnbull who lost the leadership spill by one vote. Joe Hockey, the current Australian treasurer, also stood for election as party leader and oppos...
The Piketty divide: Part 2
The Right (and I include big business in that) is scathing of Piketty’s conclusions, and of his re-introduction of the role of government into economics. Please forgive a few longer quotes to illustrate the venom of the Right: Louis Woodhill, a software entrepreneur, claims Piketty has his n...
Thomas Piketty’s Capital in the twenty-first century has taken America by storm. It rose to the top of Amazon’s best-selling list. It brings a scholarly perspective to the issue of rising inequality and of wealth being concentrated in the hands of the few. It has been compared to Marx&r...
Who’s right?
Back in April, Senator Brandis wrote an article (reported on the ABC) in which he claimed that although he believed humans were causing global warming he was ‘really shocked by the sheer authoritarianism of those who would have excluded from the debate the point of view of people who were cli...
The speech I would like to hear
Last year on TPS I posted a blog ‘What happened to leadership and conviction?’ and bemoaned the fact that modern politicians are so poll-driven, rather than seeking to drive the polls by driving the policy debate. This year in a number of posts, ‘Whither the Left’, ‘Br...
Bikies, Bullying and Bigotry
It takes a certain amount of self-belief and trust in yourself to get to the top of any profession. Some knowledge also helps. However some people who rise to the top of various professions seem to be able to retain a sense of humbleness and a keen interest in their fellow humans — others don...
Letter to Bill Shorten - part 2
Here is the second part of a letter to Opposition Leader Bill Shorten, written by an ardent Labor supporter, Ad Astra. The Hon Bill Shorten, MP Leader of the Federal Opposition Dear Mr ShortenHealth and disability Labor has a proud record in health care, one acknowledged by the electo...
Letter to Bill Shorten: Part 1
There must be many ardent Labor supporters who would wish to transmit their thoughts to Opposition Leader Bill Shorten about how Labor ought to proceed over the coming months. Ad Astra is one such supporter. Here is a letter he sent to Mr Shorten. The Hon Bill Shorten, MP Leader of the Federal Opp...
The wonderful world of economic rationalists
The world of the economic rationalists took hold in politics in the 1980s. Their approach, which was discussed in ‘The rise and fall of a shibboleth’, has moulded the world for the past 30 years. Government decisions regarding national economies have been guided by it. International bodi...
The rise and fall of a shibboleth
Firstly I must acknowledge that the title of this article was inspired by the words of the 1994 song ‘Shibboleth’ by Melbourne band, The Killjoys. In this case, the shibboleth I am referring to is ‘economic rationalism’, an expression that distinguishes the Right from the L...
It’s not news to anyone that Barry O’Farrell resigned as New South Wales Premier after giving ICAC (the New South Wales anti-corruption body) misleading information over a bottle of 1959 Penfolds Grange he received as a gift from Nick Di Girolamo, a person associated with a Sydney Water...
Lords and Ladies, a morality tale …
The spruiker Lords and Ladies, I invite you on a journey into a world that is imaginable to only a few. A frightening world where nothing is what it seems. Your guide will be our jester Tiny-er-er O’penmouth. He will make you laugh. He will make you cry. You will find ecstasy in his grovellin...
Truth with partisan on the side, but hold the bias, please: Part 2
Jan Mahyuddin @j4gypsy
The impartially partisan political journalist Part 1 of ‘Truth with partisan on the side’ ended with the suggestion that we might be in a muddle in political journalism in Australia, a muddle about ‘partisan, but not biased, journalism versus impartial or objective or “neutr...
Quite in love with Jonathan Green I love Jonathan Green. Indeed, I’ve been quite in love with Jonathan Green for yonks. And that, in media-land, is called ‘disclosure’ (or ‘the big reveal’? Whatever.) Disclosure is important because this piece is partisan. Whether pro...
Bringing Gross National Happiness into play
In my series of articles about where the Left should be heading in our new world, I suggested that adopting Gross National Happiness (GNH) as a measure of economic progress should be one element of a new approach for the Left. In this piece I will examine why that is important, what it means, and h...
Michael Gawenda was the editor of The Age newspaper in Melbourne from 1997 until 2004. He is currently a Fellow of University of Melbourne’s Centre for Advancing Journalism, after serving as the inaugural Director of the Centre in 2009. After finishing school, he studied economics and politic...
In a galaxy far, far away … Australia
At Davos in Switzerland in January this year the 44th annual meeting of the World Economic Forum (WEF) took place. About 2,600 representatives of government, business, civil society and academia took part, from over a hundred countries. Australian businesses that attended included Leighton Holdings...
Is Australia becoming a guided democracy?
On 8 February 2014, there was a by-election for the federal seat of Griffith due to the resignation from politics of the former member Kevin Rudd. Terri Butler, representing the ALP, won the seat. This comment was posted on the Fairfax Media’s on-line coverage of the event: I think I'd prefe...
Whither the Left: Part 3
Gross National Happiness, people power and Labor In Part 2 of these articles I discussed the Left’s approach to the new world in which we now live and suggested that adopting a measure such as Gross National Happiness (GNH) could help create a new approach to economics. I intend discussing th...
Science without religion is lame, religion without science is blind.
I have come to the conclusion that politics are too serious a matter to be left to the politicians.
Whoever in discussion adduces authority uses not intellect but rather memory.
Think of the press as a great keyboard on which the government can play.
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Thomas Zigal
Available now in paperback and Kindle! To order, click here.
The White League
The Kindle edition and the Thomas & Mercer paperback reprint of The White League are now available on Amazon's Thomas Zigal page.
Texas Monthly published the first chapter of The White League in its online site.
The ABA's BookSense chose The White League as a Notable selection for March 2005, and the Independent Mystery Booksellers Association's Killer Books chose it as a Pick for February 2005.
The White League was selected as the winner of the 2005 Violet Crown Award in fiction. The award is given annually by the Writers League of Texas.
"A gripping novel of racism, justice denied, retribution and redemption in the upper-class environs of New Orleans circa 1990. . . . There's plenty of New Orleans lore . . . in this solidly written, adroitly plotted and satisfyingly ethics-driven tale."
-- Publishers Weekly
"Thomas Zigal's new novel, The White League, is a remarkable achievement, a compelling narrative that weaves a number of stories into a rich, complex tapestry that reveals the dark, fuming underbelly of New Orleans -- from rich people to poor folks, from black to white, and the corrupt politicians surfing on the anger and despair. All of the characters are crisply drawn, all the stories resolved by the terrific ending. This is a marvelous read."
-- James Crumley, author of The Last Good Kiss
"Zigal presents a taut thriller that will keep readers guessing as he probes the moral dilemmas at the heart of both New Orleans' checkered past and Paul's contradictory character. This is a page-turner with a conscience, and it leaves some heady questions in its path."
-- Booklist
"The White League is a rare and wonderful read. I haven't been so utterly gripped from the first page of a book since I read Scott Turow's Presumed Innocent over 15 years ago. With the claustrophobic, richly textured atmosphere of secretive old New Orleans as its setting, this novel explores the mysterious Chang and Eng of good and evil with a complexity of characterization and tautness of plotting that is simply brilliant. In this plum-scary, thoughtful, provocative, deeply moral book, evil is like a pure Southern legacy: it is just too easy for your own good. Think of The Moviegoer meets A Hall of Mirrors."
-- Chuck Kinder, author of Honeymooners and Last Mountain Dancer
"Literate thriller examining the roots of racism in New Orleans. . . . A simmering stew that differs from James Lee Burke's gumbo in that it is told from the top down. . . . Deliciously complicated."
"The White League isn't just an enormously entertaining read, it's deeply steeped in [the New Orleans] history of race and class. It's a mystery novel, for sure, but a mystery novel by a guy who never seems to have abandoned his ambition to write the Great American Novel."
-- Austin American-Statesman
"Mr. Zigal . . . has written a whip-smart novel with a vivid sense of place and a finely detailed gallery of characters. The White League is a crime novel of sorts, but it transcends the confines of genre fiction while maintaining the narrative thrust of a classic detective story."
-- Dallas Morning News
"The blend of historical background with edgy characters and subplots creates a rich and satisfying brew."
-- Texas Monthly
Outcry Witness
“Outcry Witness is the gripping story of a clergy abuse cover-up told from the inside. . . . Thomas Zigal has also delivered a spiritual thriller . . . that pulls the reader in a powerful narrative tide swirling with mysteries of guilt and doubt, faith and betrayal, that carries the reader toward the startling conclusion.” -- Jason Berry, author of Lead Us Not Into Temptation: Catholic Priests and the Sexual Abuse of Children
"Thomas Zigal has entered New Orleans' heart of darkness after Katrina. His story is brave, frightening, and so dramatic that at times you have to get up and walk around the room."
--Jan Reid, author of The Bullet Meant for Me
Blackmail, an elite secret society in New Orleans, and a white supremacist running for governor of Louisiana are the main ingredients in this Southern crawfish boil of a novel.
Into Thin Air
"This is a terrifically strong and wonderfully humane new voice in crime fiction."
--James Crumley, author of The Last Good Kiss
Hardrock Stiff
"A deftly plotted mystery...intricate and ingenious.... Zigal tells a provocative and compelling story."
--Dallas Morning News
"Kurt Muller remains one of the most interesting characters on the American mystery scene."
--Scott Turow, author of Presumed Innocent
Texas Institute of Letters
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Saints beat Panthers, confident about rematch with Vikings
NEW ORLEANS (AP) — Drew Brees and the New Orleans Saints face the prospect of seeing their season end where it began.
That is, unless they've improved enough to turn the tables on the Minnesota Vikings, who beat New Orleans convincingly in Week 1.
"That feels like ages and ages ago," Brees said of the 29-19 loss in Minnesota, describing the difference between the Saints then and now as "night and day."
The Saints (12-5) rebounded from double-digit losses to the Vikings and New England Patriots in their first two games to win the NFC South. Now they're on to the divisional round of the NFC playoffs after holding off Carolina (11-6), 31-26 on Sunday.
New Orleans' next game comes one day before Brees turns 39 years old, and will come one week after the veteran quarterback reminded everyone he's still capable of big passing days if opposing defenses sell out to stop the Pro Bowl running back tandem of Mark Ingram and Alvin Kamara.
Brees completed 23 passes to eight different receivers for 375 yards and two touchdowns. Only two of his completions went to Ingram or Kamara, who accounted for only 68 yards from scrimmage combined.
"We trust our system. We trust each other and what we proved is we can beat you in a lot of different ways," Brees said. "There's no better feeling than knowing you just won, not only won but won a playoff game as a team and now you're on to the next one."
His touchdown passes of 80 yards to Ted Ginn and 9-yards to tight end Josh Hill helped New Orleans open up a 21-6 lead late in the first half. Michael Thomas caught eight passes for 131 yards, including a 46-yarder that set up Kamara's short TD run in the fourth quarter.
For the Panthers, it was an excruciating end to the season. Beaten soundly by the Saints twice before this season, they pushed New Orleans to the brink in the third matchup.
Aided by the return of star tight end Greg Olsen, the Panthers drove inside the Saints 22-yard line five times, only to come away with nothing twice and field goals three other times.
"That was the difference in the game," said Olsen, who had eight catches for 107 yards and a touchdown. "We moved the ball pretty much at will the whole game. We just struggled in the first half in the red zone and it turned out to be points that we kept chasing."
Still, the Panthers had a first down on the Saints 21 with 41 seconds left. It wasn't until Newton's intentional grounding in the face of end Cameron Jordan's pass rush, followed by Vonn Bell's sack on a safety blitz on fourth down, that the Saints sealed the victory.
Some other things to know from the Saints' win:
GETTING PRESSURE: The Saints sacked Newton four times. Jordan, Bell, linebacker Jonathan Freeny and defensive tackle David Onyemata each had one. Jordan, a newly named All-Pro, also tipped two passes and might have made his biggest play when he ran through two blockers to force Newton's intentional grounding. Their pass rush could be a factor against Minnesota QB Case Keenum, who's been sacked 17 times in Minnesota's last six games.
Certainly, Jordan expects a different game that Week 1, when the Saints had one sack — by Jordan — against then-starter Sam Bradford.
"We had a young defense that was still learning," Jordan said. "We've clearly turned the corner. We've clearly turned to the next chapter. Now we're into the playoffs and we've got bigger and better goals."
SECONDARY CONCERNS: While the Saints' defense has been far better this season than last, the secondary has looked more vulnerable lately. Against Carolina, they allowed Newton to pass for 349 yards, his second most all season. New Orleans struggled to cover Olsen and versatile running back Christian McCaffrey, who six catches for 101 yards, including a 56-yard score.
END ZONE PROTECTION: While the Saints defense gave up 413 net yards, their ability to keep Carolina out of the end zone was crucial.
"It's better to hold them to three than six," Bell said. "We held them in the red zone and we won the game."
ROAD WOES: While the Saints won their sixth straight home playoff game and improved to 5-0 in the Superdome in postseason games under coach Sean Payton, they've won only one road playoff game in their history. That was during the 2013 season, when they won a wild-card round game at Philadelphia before losing the next week at Seattle.
The Saints' all time road playoff record is 1-6.
For more NFL coverage: http://www.pro32.ap.org and http://www.twitter.com/AP_NFL
Posted on Mon, January 8, 2018 by By BRETT MARTEL, AP Sports Writer
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United They Stood
. at Friday, March 03, 2017 . No comments:
Chris Morley stands United.
With the Chris Chibnall era of Doctor Who fast approaching, we here at Warped Factor thought it a good time to look back through some of the incoming showrunners previous on-screen work, and with Manchester United having sewn up the first major trophy of the football season after beating Southampton on Sunday to win the English Football League, what better place to start than with the 2011 drama United.
Directed by James Strong and written by Chibnall, United is based on the true story of Manchester United's "Busby Babes", with the film's events taking place between August 1956 and May 1958. In particular, the film focuses on the experiences of Bobby Charlton, played by Jack O'Connell, and assistant manager Jimmy Murphy, played by one David Tennant.
The pair had earlier worked together on 42, Chris Chibnall's first contribution to Doctor Who lasting exactly that number of minutes in real time as Tennant's Doctor sought to save the crew of the SS Pentallian from burning up/being possessed by the sentient star Torajii.
An Earthbound disaster of a different sort is what claimed the lives of several of the Busby Babes - young players nurtured at Old Trafford by manager Sir Matt Busby, played in United by Dougray Scott, aka Alec Palmer from the Doctor Who episode Hide.
The catastrophe in question is the Munich air disaster of 1958, the players & staff of the Red Devils making their way back from a European Cup tie against Red Star Belgrade when tragedy befell them. As the club's official website would remember.
"February 6th will forever be circled on the calendars of everyone connected with Manchester United.
On that day in 1958, the darkest day in United's history, 23 people - including eight players and three members of the club's staff - suffered fatal injuries in the Munich air crash.
Flying back from a European Cup tie against Red Star Belgrade, the team plane stopped in Germany to refuel. The first two attempts to take off from Munich airport were aborted; following a third attempt, the plane crashed.
Twenty-one of the people on board died instantly. Aeroplane captain Kenneth Rayment died a few weeks later from the injuries he sustained while Duncan Edwards - one of the eight victims from the team - passed away 15 days after the crash."
In writing his script, Chris Chibnall drew on first-hand interviews with the survivors and their families. Tennant, not a fan of the beautiful game himself (even though his Doctor was first to play it in The Lodger, Gareth Roberts' comic-book story later adapted for television & seemingly tailor made for Matt Smith, who did have aspirations towards turning professional having had stints in the youth teams at Northampton Town, Nottingham Forest & Leicester City), was drawn to the human side of the story.
“I read the script and I thought that if this is affecting me as much as someone who doesn’t care much about football and it doesn’t play a central part in their life, then I can only imagine how it will affect those that do. It’s a moving and extraordinary story and a powerful experience to act in.”
He did, though, admit to never having heard of the man he was supposed to be portraying.
"I’d never heard of Jimmy Murphy, which is shocking considering what he did. That’s part of what I like about the fact we’re telling this story. Matt Busby said that Jimmy was the most important signing he ever made at Manchester United but I didn’t realise what Jimmy did after the crash.
When you’re playing a real person there’s a balance between playing the person in the script and playing the person as he was in life. I tried to find out who Jimmy was and about the facts of his life but inevitably I can only filter that through who I am.
Physically I’m not particularly like Jimmy; I’m a bit taller and slightly younger than he was at that time."
Tennant's portrayal of Jimmy Murphy went down well with the critics. Jim White, writing for The Telegraph, stating...
"David Tennant's performance as the central character should alert every award-giving body."
It was not only the performances from the lead actors in United that drew acclaim, Sam Wollaston in The Guardian wrote...
"At the heart of Chris Chibnall's poignant drama is the tragedy that claimed eight of the Busby Babes. It's beautifully done – powerful, haunting and very human. And if you didn't shed a tear, then you're harder than I am."
In recreating the crash, to help portray that powerful imagery it was felt it would be appropriate to see events unfold through Charlton's eyes. Jack O'Connell felt that the scene had a dream-like quality.
"It has a lethargic feel. So it doesn't necessarily seem like reality. There's a hazy sense about it."
Dougray Scott went on to say,
"We filmed the scene [of the crash] on a military base up in Newcastle...There were some people sitting in seats without a scratch on them, dead, others without a scratch on them alive, some with terrible injuries and dead. It was an emotional part of the shoot."
Not everyone was happy with United's portrayal of events though, including Sir Matt's son Sandy, who seemed displeased that the BBC hadn't the decency to contact the Busby family during production, and that they'd omitted some of the players from the film.
"Why didn't they include other players that died and were injured in the crash? If I was one of their family I would be very upset.
I was disgusted with the portrayal of my father. He had this camel coat on, and a fedora, and all through the film he was never seen in a tracksuit. He was known as probably the first tracksuit manager at that time. I was disgusted."
Perhaps predictably a statement from the Beeb sought to downplay this, saying that,
"It was a dramatic choice to focus on the stories of Jimmy Murphy and Bobby Charlton but the same story could have been told in many ways as all are equally important.
The story of the Busby Babes is of huge social and cultural significance in this country and this film is a respectful and fitting portrayal of the spirit of the club and community as they fought to overcome this tragedy."
Indeed, it's that very spirit which some see as the beginning of the trend for seemingly 99% of the country to nail its colours to the Mancunian mast! Including one Christopher Eccleston, a Salford lad & United fan who's since said that realising he would never play for his home town club was the first big disappointment of his young life. He's remained a passionate supporter, though, & gave an interview to the Observer's sports pages on the subject back in 2002.
"Some of my earliest memories are of my dad talking about the Babes, specifically Duncan Edwards. 'He was a man at 16,' he always said. He was a great guy but kept his feelings to himself, but at any mention of that team he suddenly became filled with emotion."
It was his father who took him to his first game at the Theatre Of Dreams, Bristol City at home in 1973. As he would recall,
"The result was a letdown but it was just so exciting to go. That was the relegation season. People these days won't appreciate it but for many years after that United were the underdogs, until we finally won the league in 1993. Us being the underdog was one of the attractions of supporting United in the Seventies and Eighties. City always turned us over; we were the joke of Manchester. We have enjoyed our success in the Nineties because it took so long to come."
Just to rub salt into the wound it was ex-United favourite Denis Law, one of few players to ply their trade for both Manchester sides, who scored the goal for City which relegated his former employers! In Eccleston's eyes at least, though, the matchday experience was better back then.
"I don't enjoy the Old Trafford experience as much any more because of a lack of atmosphere. Everyone now has to sit and success has attracted a different kind of supporter. It's big business now and corporate entertainment has killed the atmosphere. Roy Keane was bang on with his comments about 'prawn sandwich eaters'. I loved Roy for saying that."
Within three years of that piece being written, he was the Doctor, & would be hinting to Noel Clarke's Mickey Smith that, yes. the TARDIS scanner could pick up sports channels!
"Yes, I get the football."
Whether he had time to watch it with the Slitheen having returned - that exchange occurring during Aliens Of London - is another matter, mind......
Labels: Chris Chibnall Christopher Eccleston Christopher Morley David Tennant Doctor Who Feature Football TV
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Key Arena
305 Harrison St.
Live Nation welcomes alt-J to KeyArena on Sunday, October 18, 2015.
On the heels of Monday night's sold out show at Madison Square Garden, alt-J announce additional dates to their 2015 North American Summer Tour as well as brand new dates for this fall. The band will play select festivals this summer such as Lollapalooza and Osheaga before kicking off their fall tour with select Canadian dates, then heading to the Midwest on September 17 to play the Roy Wilkins Auditorium in St. Paul, MN. alt-J will play throughout the Midwest and south before heading west and ending their tour at KeyArena in Seattle, WA on October 18. Pre-sale tickets go on sale today at 10:00am local and general public go on sale starting Friday, April 3 at 10:00am local. Tickets are available at www.altjband.com/live.
With the release of their sophomore full length, This Is All Yours, and their first Grammy Nomination for Alternative Music Album of the year, 2014 was a banner year for alt-J. The band was named Spotify’s “Breakout Artist” in their Year in Music review. Rolling Stone ranked This Is All Yours #27 on their Albums Of The Year, TIME ranked it #3, and the album placed on NPR’s Favorite Albums of 2014. For the latest news, tour dates, and information go to http://www.altjband.com/.
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Freedom of Demonstration
Regular readers will know I'm hardly a fan of our far-left organizations who falsely use the language of human rights in our national discussions. Sometimes, however, they're right, and in the present case, it was the stupidity of the police which cast the mantle onto them and forces people such as myself, who really do care about human rights, to defend them.
For the past few months there have been demonstrations at Sheikh Jarrah, an area about one block to the East of Route One where there are Jewish graves from the Mishnaic era and from which Jews were violently evicted by the Jordanians in 1948. If you think political matters can be resolved by wielding laws (I don't) you'll have to accept that the legal stand of the Jews who have been moving into Sheihk Jarrah over the past 15 years or so is rather solid, and the recent spate of activity and demonstrations is pure politics with very little to do with human rights or law. Anyway, that's how the courts see it.
None of which detracts from the right of people to object. It would be nice if they clearly stated that their objection is political, but even if they don't, and pretend otherwise, they still have the right to express their opinion. As a society we must be scrupulous in defending their right. On Friday afternoon a police officer arrested 17 demonstrators, and it took more than 30 hours to get them out. The fact that Hagai Elad, the boss of the Association of Civil Rights in Israel was one of the 17 gave the event a high profile, but the event would have been equally wrong if no-one had ever heard of any of the arrestees. Eventually, late Saturday night, the case reached a judge, and she rejected the position of the police. Hopefully whoever is in charge will take note and take heed, and such things won't happen again.
What does this say about Israeli democracy? The editorial of Haaretz proclaims that
The only conclusion is that the police have decided to wage war on the demonstrations in Sheikh Jarrah and use force to end the protests, something they have neither the right nor authority to do.
I don't see how this can logically be so. It's a possible conclusion, yes, though the police won't be able to go very far with it if the court objects, which means they've cooked up a stupid policy and will now be forced to back down. But it's clearly not "the only conclusion". It might be the particular police officer, on his own authority, made a serious misjudgment. Perhaps he was convinced things were about to spin out of control and he responded as best could, while the court saw it differently, as courts and police officers often do all over the world. Perhaps the officer who should have been in charge was called away unexpectedly because his mother in law was hospitalized and his replacement wasn't briefed on the situation. I'm making this up, of course I am, but so is the editor of Haaretz.
The bottom line is that freedom of demonstration has been defended, as it must be, though 17 people wrongly spent 30-some hours in detention and didn't enjoy it at all.
Labels: Israeli Democracy
thank you for defending the right of police officers to be fallible/imperfect human beings - that is something that is done so rarely that the exception makes me feel really good
Can you provide evidence for the claim that the Jews moving in have a decent legal basis for living there? Because I know that every "peace activist" is gonna claiming they don't, so it'll help to be aware of the basis for our claim.
Yaacov said...
Well, Jon, Jews have slowly been moving in to the Shekh Jarrah neighborhood, as I said, apartment by apartment, for about 15 years, or something like that. Most moves have been contested in the courts so far as I'm aware, and every case where they've won... they won in a court. The most recent case, from mid-2009, was exactly the same. The Jewish legal owners of the building proved in court not only their ownership, but that the Palestinian family had been refusing to pay rent, and thus were eligible to be ejected. Some other Palestinian families who have been paying rent were not evicted, because the legal case for their eviction, even if the ownership question isn't in question appaerntly, still wasn't enough.
Joe in Australia said...
Can you provide evidence for the claim that the Jews moving in have a decent legal basis for living there?
The essence of the case is simple enough - that the land was illegally confiscated by the Jordanians when they invaded in 1948, and the owners have reclaimed it. The tenants installed by the UN and Jordanians had a special status that meant they could not be evicted, but in some cases they lost it by refusing to pay rent. I don't know what the actual evidence for this consists of, but it was enough to convince the courts on repeated appeals - some of these fights have been going on for over thirty years.
The counter-argument is that thousands of Palestinians were also dispossessed in 1948, so if the Jews of Sheikh Jarrah can go back - and no one actually contests that they were driven from their property by Arabs - then Israel should let in all those Arabs who lost property in the war of independence.
My personal response to that is to take a page out of the anti-Israel handbook. We always accuse them of disproportionately focusing on Israel, when true massacres and genocides are happening in broad daylight, sometimes mere miles from Israeli borders, and are never condemned. They typically reply that injustice is injustice, and it's not their job to take care of all the horrible injustice in the world before focusing on Israel's much less severe form of injustice.
So, in that spirit, the Jewish owners returning to their rightful property is justice. Why should the rightful Jewish owners not be allowed back to their rightful property, confiscated by Arab armies through force, just because some other peoples somewhere else in the world also have claims to some properties that they can't reclaim? Justice is justice, after all, and justice is being done.
Yaacov,
The reason the issue in Sheikh Jarrah is a human rights issue, is that while Jews with legally valid claims to property from before 1948 are given recourse to reclaim their land, Arabs, across the board, are not. It is the discriminatory asymmetry which violates human rights. Does Israel really want to allow all individuals with pre-1948 land claims to realize their rights at the expense of current residence????
And yes, the police said quite explicitly in court that their purpose was to quell the weekly demonstrations, so that they wouldn't have a "Bilin II" on their hands...
Heh, Victor. No sooner had you made your point (two of them), someone said it.
My response is different: it's not a question of justice, it's a question of politics. Of what can be achieved. In the long run it cannot be achieved that Jews live in Hebron or Shiloh, even though they have legal and historical justice in claiming to do do; they can't even dream of living in Beirut or Medina (tho who would want to live in Medina). Jerusalem, however: After centuries when things were sometimes murky on that, now they're not. Jews can live in Jerusalem. Obviously they have to prove legal standing in the particular building they wish to live in, but the idea that parts of Jerusalem are or should be off limits for Jews is an unacceptable proposition.
This can be developed further, but the essential position is clear. Jews living in Jerusalem is a good thing.
"No sooner had you made your point.."
I have some experience in these matters ;)
In the long run it cannot be achieved that Jews live in Hebron or Shiloh
I understand your point. I would argue that this outcome has already been achieved, and that this outcome is permanent. Perhaps the Jews of Hebron and Shilo will not be Israelis, but Jews will remain. The only actor which can reverse this outcome is Israel itself, of its own free will. Not even the Palestinians are demanding the removal of settlements like Shilo, deep in Shomron.
If the residents of Shilo and Hebron are willing to slog it out in a Palestinian state - and most are, from my encounters - in order to stay on their land, then why should Israel remove them by force?
Of course, this is an ongoing discussion between you and I. No one else need pay attention.
Victor, Yaacov -
But here it isn't some other injustice being done somewhere else in the world: the very same government is selectively allowing "justice" to be done, in a discriminatory fashion. How is that OK? Jews living in Jerusalem is great, but don't the Palestinians who had been living in the property since being placed there in the fifties have some rights? What about Jews who currently inhabit homes or lands previously owned by Arabs? Don't they have rights? How can a policy based on discrimination form the basis of a stable democracy????
zionist juice said...
it is easy:
israel made laws concerning property of people that were not there anymore, no matter why.
and jordan made laws concerning the same matter.
the territory for which jordan made these laws is not under jordanian authority anymore, but israeli. so israeli authority is quite free about her decision concerning the jordanian 19 years and has no reason to change her own law.
this conflict has 2 sides: a legal and a political. since the legal side is quite clear you try to play the political side (you refer to human rights).
every time something is disliked and has slightly an international character people scream: human rights.
so please tell me: which human rights is the one that is affected here (i say "affected", and not "violated")?
i hope you know the difference (since your concern is the Human Rights).
zionist juice - That is precisely the point! It is *Israeli* law which both allows Jews to realize property rights from before 1948, and in practice denies the very same right to Arabs! The human right "affected" is the right to equality under the law - surely you've heard of that one...
It is *Israeli* law
Yes, precisely right, it IS Israeli law, and not Jordanian law, or Ottoman law, or Sharia law or Palestinian tribal law, or even American law which determines the legal outcome of these cases.
Anon, I think you've hit on something very important here, namely, the transformational role of 1948, which inverted the power dynamic of the Levant. The Jews have gone from powerlessness to authority, and they have structured a judicial system that reflects the majority's national ambitions and national priorities, as has every other nation in the world.
The property rights of a (long since displaced) population which launched and supported a war to deny Jews, by force, the right to life and property, is not a primary concern for Jews who survived that war.
If the displaced Arab population wishes to pursue damages, it can take that case up against the Arab regimes which initiated the conflict, and who have yet to bear any price for their crimes.
The human right "affected" is the right to equality under the law - surely you've heard of that one...
Equality under the law is not at issue in this case. Any Israeli citizen (possibly even resident), Arab, Jew or Magyar, can pursue similar cases against unpaying, illegal tenants. Prove that they can't.
"... don't the Palestinians who had been living in the property since being placed there in the fifties have some rights?"
Clearly they do. They spent about 30 years arguing their case up the Israeli court system to the top. They got an answer they, and you, don't like — but that's not the same as "no rights", is it?
And on your earlier comment:
"The reason the issue in Sheikh Jarrah is a human rights issue, is that while Jews with legally valid claims to property from before 1948 are given recourse to reclaim their land, Arabs, across the board, are not. It is the discriminatory asymmetry which violates human rights."
Did you write that with a straight face? Jews have legally valid claims to property both in Jerusalem and the rest of the West Bank from which they were expelled by Jordan in 1948, for which no-one outside Israel offers recourse and about which we hear nothing from the "human rights" community. Many more Jews have legally valid claims to real estate and other property across the Arab world which are never mentioned by Arab or pro-Palestinian voices and for which no recourse is available. The "human rights" campaigners have nothing at all to say on this case either. All of which might lead a cynic such as me to think that their interest is not in human rights at all, but a manipulation of the language of human rights for partisan purposes.
"zionist juice - That is precisely the point! It is *Israeli* law which both allows Jews to realize property rights from before 1948, and in practice denies the very same right to Arabs! The human right "affected" is the right to equality under the law - surely you've heard of that one..."
no. what you are doing is the following. you dislike the situation after a case and since this situation seems to be unjust do you, you state is a violation of the right of equality under the law. but the law is a lot more complicated (and it is a positive (i mean that in the philosophical and not the casual sense) system). law does not lie around in the street and whoever picks it up first succeeds. these people now moving back to some flats in jerusalem had to fight sometimes more about 30 years to be able to move back in. if israeli law would make it easy for them it would not take them 30 years. what they did is the following: they want to get their right (law) and after a long struggle a court decided, that they have the legal right to move back in. this legal situation you describe the israelis have (and as you say the arabs do not) they had just the moment they won the case and executed the sentence by putting it in action. you cannot say arabs do not have the right. all you can say is, that arabs have not taken the steps to achieve the same situation.
the israelis who moved back in have this right only because they won a long struggle in court. if arabs do not go this way it is their one fault, not the inequality under israeli law.
i should add, that each case is different and hence not equal. arguing that a different sentence is a violation of the principle of equality is really not helping.
when israelis go to the US they need a visa and therefor have to attend a meeting in the american embassy in israel. US citizens just automatically get theirs at ben gurion. a violation of the human right of equality???!
law works usually in the way that it takes the more specific law before the more general.
maybe you want to give it a try with the right of property.
Yes, I think that Arabs should also receive pre-1948 property back. As Yaakov said, there's a political problem with Jewish property in (e.g.) Hebron. I don't know if or how this would be resolved. But as far as ownership goes, everyone should be equal before the law.
Mind you, as I understand it the people fighting eviction in Sheikh Jarrah were evicted because they refused to pay rent - other people who did pay rent to the legal owners were legally entitled to remain. So the evicted residents may have been making a political statement that had unfortunate consequences for them.
To say that this situation is purely political and removed from any human rights violation is incorrect. The problem is that these families spent weeks in fear, awaiting their evictions which ultimately occured in the middle of the night when they were violently taken from their home. In addition, the family was offered no compensation for their losses and were simply left on the streets as outcasts, undeserving of any services from the Jerusalem municipality to which they pay taxes and theoretically equal residents of like you and me. This is the human rights violation. You cannot forcibly evict someone from his home without giving them a set date and without providing any compensation. For it is not as if these indiviudal families "stole" these homes, they were placed there by a refugee service after being expelled from their previous homes. If you cannot see the human suffering and the injustice in that, then I guess there is nothnig left to say.
Anon -
What you're describing didn't happen. I have no doubt you'll be able to find some media report that says it did, but it didn't. The evictions happened after a protracted legal process; the way these things work, in Israel as in any country ruled by law, is that as the process draws to its culmination, there are any numbers of warnings, stays of execution, appeals and so on; by the time the eviction itself comes around, everyone knows it's coming. How do you think so many media outlets were there in Sheikh Jarrah to report on the event, if not that everybody knew long in advance when it was scheduled to happen?
So if that's the only problem you've got with the process, we're fine, and you can rest assured that nothing untoward took place.
As for the rest of discussants on this interesting thread, I will do my best to respond in a separate post later today (if I find the time), or in the next day or two (if I don't).
I don't need to rely on media reports, because I was actually there at the house when the evictions occured. It was at 4 am, weeks after the army's deadline for the evictions had passed. When the court made its decision only a deadline was issued, spanning a period of several months, effectively leaving the family to wait in fear for the day without being able to prepare. Their son slept with his new shoes on every night fearing he would run out of time to grab them if the soldiers were to come that night. The eviction was violent and around 15 people were detained, and one of the family members was injured. I also don't just have a problem with the process of the eviction, but I have a problem with the concept that one family can be evicted from their home so that another family of a different ethnic or religious origin can live there. This goes for both sides.
In other words, the legal process was completed, and they lost. The court told them they had to leave, and there was no further recourse. So they didn't. Rather, both sides began a game of having the legal eviction order carried out in a way most convenient to them. The family portrayed it as a sudden act of harshness, the police hoped it could be done without a riot. Doesn't sound like the way the world's media reported it, does it?
I assure you Jews who refuse to pay their rent in spite of facing legal measures, eventually get evicted, too. It takes time, and no international media has any interest,but eventually it happens. Remember that strange murder last year, when a man who refused to pay rent murdered his landlady? If I remember correctly he was furious that she'd initiated legal proceedings.
"To say that this situation is purely political and removed from any human rights violation is incorrect."
1. you did not even come up with the right affected here. then saying it is a violation of a human right is like hanging somebody and then sentencing him to death.
2. yes, human rights like international law is purely political. it might seem strange, but international law is a brainchild of the 19th century european nationalism. the nation as one of many (actually nationalism in this sense is quite internationalistic) legal subjects. like civil law is dealing with the relations between human, international law dealt with the relation between nation(state)s (or today states). and i would say that the relation between states is quite political.
3. untill you come up with some positive legal norm that is affected here, we are not dealing with a legal issue.
"The problem is that these families spent weeks in fear, awaiting their evictions which ultimately occured in the middle of the night when they were violently taken from their home."
but that is a totally different issue and has nothing to do anymore with the first one (human rights, and so on). that is a case of how to put the law in action. (actually by complaining on that you acceot that they had no right to be there but complain about the way it was presented to them.)
"In addition, the family was offered no compensation for their losses"
they did not lose anything but their right to live in a place they did not own. what they effectively lost is the right of a tenant. and they did so because they refused to pay the rent. it is their own fault and nobody should be forced to compensate them for their own faults.
"You cannot forcibly evict someone from his home without giving them a set date and without providing any compensation. "
"If you cannot see the human suffering and the injustice in that, then I guess there is nothnig left to say."
you are mixing up morals and laws. that something seems to be injust (for you) does not imply that it is illegal (by law).
" It was at 4 am, weeks after the army's deadline for the evictions had passed. When the court made its decision only a deadline was issued"
so, after the court sentence they had enough time to look for a new place. they did not end preferred to deny reality. with the passing of the deadline they had not right to stay there. and hence had to predict that the authorities could come anytime to evict them!
Earlier I suggested that you weren't arguing in seriousness; it's clear now that you really aren't.
"I don't need to rely on media reports, because I was actually there at the house when the evictions occured. It was at 4 am, weeks after the army's deadline for the evictions had passed. When the court made its decision only a deadline was issued, spanning a period of several months, effectively leaving the family to wait in fear for the day without being able to prepare. Their son slept with his new shoes on every night fearing he would run out of time to grab them if the soldiers were to come that night."
You had time to prepare: You and others like you evidently camped outside the house from the date of the deadline to the date of eviction. The son had time to prepare: He used it to make sure he had his most treasured possessions on hand (or rather, foot). Why didn't his parents prepare, by finding a new home, or by moving their belongings to storage somewhere else, or by sending their child to stay with a relative or friend, away from the scene of trauma and possible danger for him? Why didn't you use the time to help them with those necessities?
Under your theory of law no evictions would be possible for anyone, ever. All they would have to do is decline to make any preparations to leave and "human rights", as imagined by you, would ensure that they were left in peace. With eviction off the table, the concepts of "rent" and "mortgage" would immediately follow, since no-one could be forced to stand by their contractual agreements to pay. With no rent or mortgage, there would also be no houses and apartments. Is that a human rights outcome you're looking for?
Again, what about the lack of symmetry? Jews with pre-1948 property in East Jerusalem can sue under the normal laws in Israel governing private real estate; whereas Palestinians with property in Israel from before 1948 are barred by law (The Absentee Property Law) from seeking recompense. The question of what should be done with pre-1948 property is one that should be left to the politicians to decide; but meanwhile, we can't be having discriminatory, one-sided policies.
"Again, what about the lack of symmetry? Jews with pre-1948 property in East Jerusalem can sue under the normal laws in Israel governing private real estate; whereas Palestinians with property in Israel from before 1948 are barred by law (The Absentee Property Law) from seeking recompense."
israelis can go to court in israel and get back their property back in israel, which includes east jerusalem. (they cannot get back property in yemen, or baghdad or so.)
for arabs it is the other way around (they have however the possibility to go to court in israel and they can even challenge the absentee law in the sc.)
there is no lack of symmetry.
"The question of what should be done with pre-1948 property is one that should be left to the politicians to decide; but meanwhile, we can't be having discriminatory, one-sided policies."
this decision by politicians has been made. hence the absentee law.
"Again, what about the lack of symmetry?"
I believe zionist juice gave you an accurate answer. If you are an Israeli, Israeli property rights are the same whatever flavour of Israeli you are. If you are a member of a nation that tried to erase Israel in war, the laws that apply are different — but you have a better chance of a fair hearing from an Israeli court than anyone punished for the crime of being a Jew in an Arab country has with a court in Jordan, Egypt, Syria, Iraq, Yemen....
With your interest in justice and human rights, it surprises me that you don't seem to understand that some Arabs are Israelis or legal residents and some aren't; that Israel treats citizens and non-citizens differently under the law (as does every other country, without exception); and that the treatment of non-Israeli Arabs is a pale shadow of the treatment of Jews in Arab lands. I know it's an increasingly specialised world; you must be a specialist in the human rights of Arab non-rent payers in East Jerusalem.
Comment at 4:35 AM from Paul M.
Anonymous, you are absolutely mistaken. The Absentee Property Law in Israel applies not only to Palestinians who became refugees during the war and left properties behind, but also to not a small number of Palestinians who are today Israeli citizens, and who became "Present Absentees" under the law. They are legally *unable* to reclaim their property. Not because they are not full citizens, but because their property falls under the range of properties dealt with by this particular law. The Jewish property in Sheikh Jarrah became Absentee Property under *Jordanian* law until 1967, and when it came under Israeli jurisdiction it came to be governed by the regular Israeli land laws. Thus, the Jews who had been separated from their property before 1948 were able to achieve recognition of their ownership in the Israeli courts, while Palestinian property governed by the Israeli Absentee Property law continues to be administered by the Custodian of Absentee Property, and in many cases has already been sold to others. Selectively allowing some people to reclaim pre-1948 property, not only implicates the right to equality, it is also extremely anti-Zionist.
Take a look at Ben Dror Yemini's article in Yedioth Aharonot:
http://www.nrg.co.il/online/1/ART2/042/015.html
I assume, of course, given how knowledgeable you are on the subject, that the fact that it is in Hebrew shouldn't be a problem...
Well, not really. Yemini, as always, is well informed and intelligent, and his column is far more complex than your synopsis.
I never said the situation wasn't complex, and I wasn't trying to provide a synopsis of Yemini. I was answering the anon who said that there is no discrimination against Israeli Arabs as regards land rights. Just because a situation is complex doesn't mean there aren't human rights implicated.
Yes, but Yemini said more than you're attributing to him: indeed, the law isn't being applied evenly, but the politics should be overriding them anyway, and a couple of other things too.
I'm trying to write a post about this, so I'll leave off here and continue there.
Could someone translate the Yemini article for those of us who are hebraically challenged?
One issue I've seen mentioned, but I don't know how important it is in the court's decision:
While the Jordanians confiscated the land, in accordance with their laws,they didn't transfer the title to the Palestinian families. But I have to say,the English reporting on the whole subject is horrible.
t34zakat
I totally agree that ultimately a political solution will have to be found. But it is absolutely unreasonable - until such a solution is found - to allow selective implementation. It totally undermines democratic principles...If we want to freeze the situation until political resolution that's fine; but it has to be across the board.
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Fringe Reviews, Day 3
So today I saw what's pushing the limit of a "fringe play" when I went to see Stand Up Stand Outs, a presentation of acts from four local comics. Basically four mini-shows, and the review hinges on what worked, what didn't, and whether you really want to see stand up in lieu of actual original works of fiction. Remember Rodney Dangerfield's character in Caddyshack? Would you have paid $11 in the theatre to have him do his act? Maybe, but thats the decision you should make before even thinking to see this performance.
Sean Lecomber opens up the show...he has a very easy going style, hits the red-band material on occasion with good results, and a very entertaining show. Sean apparently was declared best new act at Just for Laughs this year, and it shows.
Unfortunately, this leads to what is by far the low point of the show: Kelly Soloduka. Kelly apparently had a bad experience in Prince Albert, Saskatchewan. He also has trouble letting go. He denounces Edmonton's "Fight violence" campaign as having a stupid slogan, but he should be paying more attention to the province's ad campaign: Cage Your Rage. He trashes Prince Albert. He trashes Saskatchewan. He trashes Albertans. He has 3 caveman impressions used to slander us as "simplistic". I suppose its easier than, you know, writing jokes.
As expected, host and show creator Lars Callioeu stole the show. He didn't bring much in the line of new material, so if you've seen his act before (and most of Edmonton has, I suspect, by this point) you aren't getting your $12 worth. Still, he kept the show together, and its good to see that the material that didn't work for him before has been refined to the point where it does.
The show is closed by Andrew Iwanyk, who apparently is half Chinese and has HIV. Or is playing it for laughs. It's awfully hard to get into an act where the performer announces he's HIV positive. Then tells you how it isn't funny. Then four minutes later claims it was all a joke. Some of his stuff is quite good, but the show sort of fell apart when he had two women Indian leg wrestle over whether to do red band material or not. The material ended up being a "Gangbanging for Beginners" presentation, which was the longest 7 minute setup for a lame anal sex joke imaginable.
Remember how Star Trek movies alternated between bad and good? This show was about the same deal. First performance very good, second very bad, third pretty good, fourth pretty bad. A better bet is to just go to a comedy club. At least there you can drink when the show sucks.
An aside, if you have $10 burning a hole in your pocket (I didn't) or an intense desire to watch all 4 performers again (I didn't) then you can purchase a DVD of their individual Comedy Strip performances (I didn't).
Loved the review! Seriously. I printed it out and put it on my fridge! Thanks for supporting the show.
Lars C.
P.S. Not sure if you picked up on the sarcasm :) Being the 'brilliant' scientist that you are I'm sure you did ;) This was a reply from an successful writer and actor friend of mine that I thought I would share with you... enjoy.
Holy smokes, no big surprise there. Theatre folk have a surprisingly dim view of stand-up comedy for some reason. It's all the same stuff, they just refuse to realize it. I remember a professor asking in class what theatre was. Somehow she came to the conclusion that doing stupid, nonsensical, performance art shit out on the street freaking out strangers counts as theatre (it's called Environmental Theatre), but writing, editing, and performing a comedic monologue, spending years to create 45 minutes of flawlessly timed and acted comedy, doesn't count.
It's partly the fault of comedians though, because they get so good at acting natural, that people buy the illusion that this is just funny people talking off the top of their heads. And that COULDN'T be considered theatre of course, there's no wacky make-up, no interpretive dance, no fake crying about being raped. All the bullshit that theatre assholes say about why theatre is so great, that it's live, that there's a connection with the audience, that's all way more true for stand-up, and they don't realize it. Reviewers are reviewers though. People know what they like, and no doubt they all went home and told everyone about the great jokes, or the uncomfortable gang-bang bit.
It's the same reason why Jim Carrey would never win an academy award for a comedy, but as soon as he does a drama, he's the greatest actor in the world. People love comedy, but have no respect for it as an art. The only thing people genuinely respect about comedians is that it "must take so much guts to get up there in front of people." Never, "wow, you wrote a whole bunch of stuff that I could never think up on my own, and then found a way to perform it in such as way as to make 90% of the population laugh at it, and then make it look like you were chatting at a bar off the top of your head."
"whether you really want to see stand up in lieu of actual original works of fiction" It's all true, man, every word of it. From, "I just got back from the airport" to "it's my anniversary tonight."
"Remember Rodney Dangerfield's character in Caddyshack? Would you have paid $11 in the theatre to have him do his act?" Yes, yes I would have. Many people did, asshole.
To be fair though, to be completely fair, the first time I saw Andrew, I figured he was just some stoner that happened upon a funny joke about bugs in lights. By accident. Then I found out he's actually just a crazy sociopath.
"This seems to me a symbol for what our party shou...
Its things like this that make Toronto think its t...
Edmonton International Fringe Theatre Festival 200...
The Pembina Institute are idiots
Fringe is here
Question the Second:
Question the First:
A public announcement
Why does Michael Bay get to keep on making movies?...
You're joking, I know it: Notley doesn't do comedy...
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Congratulations, Duchess Meghan! Things to know about the American royal and mom-to-be
Prince Harry and Duchess Meghan announced big news on Monday: Meghan is pregnant with the couple's first child.
Their Royal Highnesses The Duke and Duchess of Sussex are very pleased to announce that The Duchess of Sussex is expecting a baby in the Spring of 2019. pic.twitter.com/Ut9C0RagLk
— Kensington Palace (@KensingtonRoyal) October 15, 2018
Meghan Markle, an American actress, married Prince Harry in May. The couple leaves Tuesday for a two-week-long trip to Australia, Fiji, the Kingdom of Tonga and New Zealand.
EMBED More News Videos
Meghan and Harry's two-day trip to Dublin was full of adorable moments, including Harry playfully scolding a toddler who played with the duchess' hair.
Here are seven things to know about the royal mom-to-be.
Her family
Her full maiden name was Rachel Meghan Markle. She grew up in the Los Angeles area, where she attended Catholic school.
Her father, Thomas Markle, was a Hollywood lighting director, and her mother, Doria Ragland, a yoga instructor and psychotherapist. Her parents split when she was young.
Her parents released a joint statement after her engagement announcement, saying:
"We are incredibly happy for Meghan and Harry. Our daughter has always been a kind and loving person. To see her union with Harry, who shares the same qualities, is a source of great joy for us as parents. We wish them a lifetime of happiness and are very excited for their future together."
Markle, who is biracial, penned an essay about her experiences for Elle Magazine in 2015, writing, "'What are you?' A question I get asked every week of my life, often every day."
Her education
She attended Northwestern University, where she graduated from the School of Communication in 2003. Markle was also a member of the Kappa Kappa Gamma sorority.
Markle returned to Northwestern for a visit in 2014, when she reminisced, "The 24-hour Burger King also definitely helped me put on the Freshman Fifteen."
Her style
The duchess was known as a trendsetter even before she was a duchess. And it's a good thing, too, because as a member of the royal family everything she wears has the potential to make headlines.
PHOTOS: Meghan Markle's style through the years
She is also a fashion designer who has launched an accessible line.
Her career
As an actress, Markle is best known for her role as Rachel Zane on the show Suits. Her other projects include Horrible Bosses, Remember Me and Anti-Social.
She is also a writer and served as editor-in-chief of the lifestyle brand The Tig, which is no longer publishing.
Her passions
Outside her career and relationship, Markle is also known for her humanitarian work and for her activism.
In March of 2017, she wrote an essay called "How Periods Affect Potential," based on her time as a World Vision ambassador in India.
When it comes to women's rights, Markle is not afraid to speak out.
"It's not just a women's fight for women. It's a people's fight for people," she told Larry King in 2016.
Her relationship with Prince Harry
From a stunning wedding dress to a moving sermon, these were the standout moments from the royal wedding.
Harry proposed in November of 2017, according to the announcement. The two reportedly met in the summer of 2016. The prince confirmed their relationship in November of 2016.
Markle opened up to Vanity Fair for their October cover story, saying the pair were very happy but wanted to keep other details private.
"We're in love. I'm sure there will be a time when we will have to come forward and present ourselves and have stories to tell, but I hope what people will understand is that this is our time," she said. "This is for us. It's part of what makes it so special, that it's just ours. But we're happy. Personally, I love a great love story."
Her royal title
Her official title is now Duchess of Sussex; Prince Harry has been given the title Duke of Sussex. Markle's full official title is Her Royal Highness Meghan, Duchess of Sussex.
societyroyalscelebrityentertainmentroyal familyprince harryu.s. & worldwedding
Meghan, Prince Harry are planning U.S. tour: sources
CUTE PHOTOS: Meghan, Harry's first overseas trip
Meghan Markle gets coat of arms approved by the queen
Harry, Meghan attend first official event after wedding
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AGAINST OPPRESSION
analysis, commentary, and poetry in the struggle for justice
Democracy Requires Action: I Don’t Want to Watch White Supremacy Work. I Want to Take It Apart.
I’m watching white supremacy work.
This is what it looks like: if you’re murdered by a police officer–who, you know, is supposed to protect and serve–and the state prosecutor wilfully neglects his duty; perverts his duty by overwhelming the grand jury with information and promoting the testimony of the officer he’s supposedly prosecuting, and allows someone who wasn’t at the scene to lie in testimony supporting the officer’s story, well, your civil rights haven’t been violated.
If you’re black. If you’re white, you don’t get murdered. You get to openly carry a gun in Kroger and not be shot. You get to shoot a police chief four times, not be shot, and have no charges brought against you. You get to assault an African-American 19 years your senior because he’s legally carrying a gun, and not be shot.
This is what white supremacy looks like: if you’re a white colonist in the 18th century, you can become righteously indignant over taxation without representation and wage revolution. If you’re an African-American in the 21st century, you can protest against extrajudicial executions, but you may get arrested, and you’ll most likely be disrespected by mainstream white society. And, of course, you may be extrajudicially killed and posthumously vilified by media, police, and the general population.
But hold on a minute. There are similarities between 18th century colonists who waged revolution against Britain and 21st century activists calling for a revolution of values in America. Sidney Lens opened his his 1966 book Radicalism in America with the following two sentences:
The role of the radical throughout the ages has been as an antidote to privilege. Whatever his failings and ineptitudes, he has tried to repair the balance between those who have too much and those who have too little.
He goes on to argue that the colonists who waged revolution against British injustice were radicals and that their ideals were co-opted and revised in the transformation of the 13 colonies into the United States of America. The narrative he creates is one of idealistic and moralistic men who were driven by notions of equality and social democracy that are in striking contrast to the corporate capitalism that dominates 21st century America. The democracy that they practiced and advocated was participatory and opposed to the aristocratic tyranny of feudal Britain.
In 1772, Samuel Adams revived his Committee of Correspondence in Boston to speak out against the tightening of British control in Massachusetts. This action spread throughout Massachusetts in the following months, and eighty towns held public meetings to discuss what they perceived as British abuses.
Similarly, the decentralized and participatory protests that began in Ferguson, Missouri in August of 2014 have spread throughout the nation, and many organizations are meeting to discuss structural racism and the failures of elected representatives, public policies, and institutions to provide equal treatment to all Americans.
Martin Luther King, Jr. Prisoner.
This past weekend, many Americans came together to discuss and act on the radical legacy of Martin Luther King, Jr. These groups dismissed the sanitized, static image of King sanctified by the national holiday and embraced the radical that King had become before his death. King’s radicalization led to his murder by the forces of white supremacy in a society that feared the moral truth he preached when he spoke out against the “giant triplets of racism, extreme materialism, and militarism”. King was calling on people to hold America accountable for its crimes and terror overseas as well as its crimes and terror at home.
Nearly fifty years after Martin Luther King was assassinated by the forces of white supremacy, white supremacy continues to perpetuate crimes and terror at home and abroad. American history is violent, racist, and intolerant. If we accept that revolutionary colonists were motivated by ideals of equality and participatory democracy, we must also accept that they were embedded in a culture of violence, racism, and intolerance. That culture persists due to the value of reactionary self-interest, which is also an American value, though not one that is openly professed.
We live in a society of contradictions, a complex society of individuals attempting to practice democracy. If we are sincere about practicing democracy, we must practice it on a deeper level than watching television news and voting. Democracy requires participation, just as progress and justice require action.
I don’t want to watch white supremacy work. I want to take it apart. We must engage with each other and enter into uncomfortable conversations in order to dismantle white supremacy. And we must go further than conversation. We must make ourselves uncomfortable by taking action against injustice. It’s likely to be frightening. We have to do it anyway.
Posted in Education, Racism, Social Issues, White Supremacy and tagged America, black lives matter, civic engagement, civil rights, critical thinking, democracy, justice, Martin Luther King, racism, Reclaim MLK, white supremacy on January 22, 2015 by Charles Dickey. Leave a comment
America Needs a Radical Revolution of Values
American society suffers from a profound clash of professed values and actual practices. We profess the value of education, but criminalize our children with a school-to-prison pipeline. We profess a love of liberty, but imprison unprecedented numbers of people, most for non-violent drug offenses, and the majority of those we imprison are people of color. We profess equality and security, yet our police departments operate as judge, jury, and executioner in the most disadvantaged communities–the ones that most need police officers to serve and protect. Those communities also need social services, yet social services are routinely cut in favor of corporate profits and privatization, and so the professed rights to life and the pursuit of happiness are compromised.
Chicago activists protesting criminalization of black youth at Cook County Detention Center on January 15, 2015 (photo by @MinkuMedia) Click image to read “Willing to Live for Our People”, about the young students who led the Chicago action
The roots of this clash grow from a contradiction at the core of our nation. The “unalienable rights” asserted in the Declaration of Independence have been denied, in some way or another, to African-Americans for the entire history of our nation. Unalienable rights, denied: a contradiction between the professed philosophy of the nation and its lived experience, its history.
This lived contradiction is similar to the notion of cognitive dissonance, the stress experienced by an individual who holds two contradictory beliefs. America professes equality, but practices inequality; this mismatch creates stress in America’s image of itself and in our public discourse.
American practices violate American ideals in the realm of foreign intervention, as well. Throughout American history, the nation has violated the sovereign rights of other nations: Cuba, the Philippines, Vietnam, Iraq, to name a few. While many apparently find it easy to dismiss military interventions as irrelevant to the unalienable rights of U.S. citizens, the professed philosophy of the Declaration of Independence is violated by foreign interventions that aim to subjugate populations to American interests.
Speaking on April 4, 1967, about his opposition to the Vietnam War, Dr. Martin Luther King, Jr. said that America had chosen to:
make peaceful revolution impossible by refusing to give up the privileges and the pleasures that come from the immense profits of overseas investments. I am convinced that if we are to get on the right side of the world revolution, we as a nation must undergo a radical revolution of values. We must rapidly begin the shift from a thing-oriented society to a person-oriented society. When machines and computers, profit motives and property rights, are considered more important than people, the giant triplets of racism, extreme materialism, and militarism are incapable of being conquered.
In 21st century America, King’s recommended revolution of values has never occurred. From the perspective of militarization and violent foreign intervention, our practices have changed little, and arguably worsened, since Vietnam. Our media is complicit. The propaganda drilled into the American people after 9/11 had a profound effect, obliterating the security that many Americans felt during the 1990s and replacing it with a climate of fear. The violation of reason, the lack of debate and a measured response perpetuated by the military-industrial complex after 9/11 created a climate hostile to democracy in America. The 21st century would be a very different time if, rather than rushing to war, the American people had been able to muster the political consciousness and will to approach the attacks with objective analysis, rather than reactionary patriotism. Questions could have been asked, foreign policy analyzed and revised; America could have wrestled with the contradictions inherent in a nation that has never been at peace with its professed values of equality and liberty.
In a country where King’s “giant triplets of racism, extreme materialism, and militarism” have never been conquered, and at a time when the reasons he cited for their continued tyranny are equally, if not more applicable than when he gave his speech, our ability to see the roots of our stress and discontent is obscured. In the pursuit of justice both at home and abroad, America must renounce an economics of consumption for a life of engagement. We must engage in a critical assessment of the ongoing national failure to actualize the ideals of “Life, Liberty, and the Pursuit of Happiness” that we declared on July 4th, 1776. We must undergo, as King declared, “a radical revolution of values” in order to engage in a correction of course that is long overdue.
Posted in Criminal Injustice, Education, Politics, Social Issues and tagged America, black lives matter, critical thinking, democracy, Martin Luther King, militarism, terror on January 19, 2015 by Charles Dickey. 1 Comment
Criminal Injustice
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Justice for Kionte?
For Tamir, Who Was Stolen.
Wandering In Becoming
Mother’s Day is Here to Transform White Supremacist Capitalist Patriarchy into Something Beautiful
The Baltimore the Mass Media Won’t Show
Categories Select Category Artwork Criminal Injustice Drug War Education flash fiction Media Studies Poetry Politics Racism Social Issues Spirituality State Violence Uncategorized White Supremacy Writing Exercises
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Archives de Tag: qingjinshi
A lapis lazuli figure of Amitayus, China, Qing dynasty, Qianlong period
27 mercredi Août 2014
Amitayus, Binglingsi, China, dhyanamudra, dhyanasana, Dunhuang, Lapis Lazuli, lapis lazuli figure, Maijishan, Qianlong period, Qing dynasty, qingjinshi
A lapis lazuli figure of Amitayus, China, Qing dynasty, Qianlong period. Photo Sotheby’s
carved seated in dhyanasana with hands in dhyanamudra, wearing a dhoti and a long flowing scarf, the bare chest adorned with elaborate beaded necklace, the meditative face below an urna on the forehead, crowned with a pointed tiara. Height 8 1/4 in., 21 cm. Estimation 80,000 — 120,000 USD
Lapis lazuli was used as a pigment in murals and on sculptures in Dunhuang, Maijishan and Binglingsi from the 5th until the 14th centuries. Usage of the current Chinese name of the stone, qingjinshi, blue-gold stone, dates to the Qing dynasty.
There is little doubt that the stone was prized during the Qianlong period, as evidenced by a pair of Qianlong period stone lions dyed to imitate lapis lazuli, illustrated in Tributes from Guangdong to the Qing Court, Hong Kong, 1987, cat. nos. 71 and 72; and a Qianlong period lapis lazuli mountain in the Asian Art Museum of San Francisco, illustrated in Michael Knight, He Li and Terese Tse Bartholomew, Chinese Jades, San Francisco, 2007, no. 354. Examples of lapis lazuli buddhas are illustrated in Buddhist Art from Rehol, Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, cat. no. 81; and Michael Knight, op. cit., no. 327, dated to the 18th century. Another Qianlong period example was sold at Christie’s Hong Kong, 26th April 2004, lot 995.
Sotheby’s. Images of Enlightenment: Devotional Works of Art and Paintings, New York | 17 sept. 2014, 10:00 AM
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Tag: Electoral Reform Society
Reining the Political ‘Wild West’ – Campaign Rules for the 21st century
The Electoral Reform Society (for whom I worked between 1998 and 2006) have co-ordinated a significant study published today which looks at electoral finance in the UK and in particular what they refer to as the wild west of campaigning – online.
The publication is a series of essays looking at different aspects of the field and includes contributions from the Information Commissioner’s Office and the Electoral Commission.
ERS also has a list of recommendations for changes in the law. They are:
In the short term, extending the imprint requirement to online campaign materials and improving how campaigners report funding and spending are two of the most readily achievable solutions. The government seems to recognise this and its consultation on imprints was a welcome and important rst step in this regard.
The creation of a single online database of political adverts, which would be publicly available and easily searchable, would similarly increase transparency and allow voters to identify who has produced a piece of content.
Those charged with enforcing the rules should have suffcient enforcement powers and resources. That must involve strengthening the fines or sanctions so they can act as a meaningful deterrent against wrongdoing. The ICO’s powers were increased considerably in the past year, showing what can be achieved if there is political will.
Parties and the government must properly engage in efforts to establish a statutory code of practice for political parties and campaigners without delay.
More broadly, the ERS is calling for a comprehensive review and overhaul of our electoral law, which needs to be updated and future-proofed for the digital age. The fundamental principle must be to ensure that the public have faith in the democratic process. Alongside efforts to improve the quality of public debate itself, this could transform the murky world of online campaigning into a force for good.
ERS is right to point out that this is an area in which the UK has woeful regulation. UK electoral laws were mostly written in the year 2000 – before widespread use of the internet and before social media such as Facebook, Twitter or Instagram were even invented.
Stephen Doughty, Labour MP for Aberavon and one of the contributors, has set out some of the practical changes he believes are necessary:
We should look at which powers sit best with the Electoral Commission – which works best as a regulator and policy body – and which should sit with the police. There should also be unlimited fines for electoral offences, rather than a maximum of £20,000, which is an insufficient deterrent.
All political campaigns should be made to report spending online. We have a precedent for this with the Independent Parliamentary Standards Authority, which tracks MPs’ spending. This would make it easier for campaigns to track their spending and bring more transparency into elections.
Financial transfers from designated campaign groups during referendums must be banned. Current rules allow the designated campaign to give up to £700,000 to groups as long as they do not coordinate their work, but it is surely unreasonable to think gifts of this size are entirely without expectation, particularly as they create the potential to evade spending limits.
We should regulate paid political digital advertising in the election period with a digital bill of rights for democracy.
Mr Kinnock also announces that he has set up an All-Party Parliamentary Group on Electoral Campaigning Transparency.
Overall this is a significant contribution to the debate. Where this paper is weakest is in setting out a coherent statement of principles for regulation. We cannot just combat the problems that exist at the moment. Given how rarely electoral laws are updated, the action that is taken needs to ensure that the law is future-proofed for further developments in digital campaigning and engagement. ERS identify this in their fifth recommendation, but don’t go on to suggest how this can be done.
You can read the whole ERS paper here.
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This is part of the Insecure Writer’s Support Group blog-hop, designed to help encourage authors and foster discussions about writing topics across the internet and the world. This month’s question is, “What was an early experience where you learned that language had power?”
This is something I constantly have to watch out for, as an editor and book coach. It’s easy to point to certain commas or spellings and say, “This needs to be changed,” but when it comes to the book’s characters, plot, and artistic goals, I have to be more careful.
I have to remember that my words have great power—for some reason; maybe because, unlike some of my authors, I’ve been in the industry for years? maybe because I’m “an editor,” or maybe just because, as we who are also authors know all too well, we all tend to be insecure about what we’ve written and sometimes can be easily persuadable into changing things.
As an editor, I want to challenge my authors to write the best book possible, to make informed decisions about what they write and why, but the last thing I want to do is strong-arm an author into changing things just because I don’t like it. Ultimately, the book belongs to the author and needs to reflect his or her artistic vision, preferences, and decisions, not mine.
In such moments, I’m reminded of Jo March’s challenges in writing from Little Women, when she tried to edit and write to suit other people’s tastes.
“[W]ith Spartan firmness, the young authoress laid her first-born on her table, and chopped it up as ruthlessly as any ogre. In the hope of pleasing everyone, she took everyone’s advice, and like the old man and his donkey in the fable suited nobody.
Her father liked the metaphysical streak which had unconsciously got into it, so that was allowed to remain though she had her doubts about it. Her mother thought that there was a trifle too much description. Out, therefore it came, and with it many necessary links in the story. Meg admired the tragedy, so Jo piled up the agony to suit her, while Amy objected to the fun, and, with the best intentions in life, Jo quenched the spritly scenes which relieved the somber character of the story. Then, to complicate the ruin, she cut it down one third, and confidingly sent the poor little romance, like a picked robin, out into the big, busy world to try its fate.
Well, it was printed, and she got three hundred dollars for it, likewise plenty of praise and blame, both so much greater than she expected that she was thrown into a state of bewilderment from which it took her some time to recover.
“You said, Mother, that criticism would help me. But how can it, when it’s so contradictory that I don’t know whether I’ve written a promising book or broken all the ten commandments?” cried poor Jo, turning over a heap of notices, the perusal of which filled her with pride and joy one minute, wrath and dismay the next. “This man says, ‘An exquisite book, full of truth, beauty, and earnestness.’ ‘All is sweet, pure, and healthy.'” continued the perplexed authoress. “The next, ‘The theory of the book is bad, full of morbid fancies, spiritualistic ideas, and unnatural characters.’ Now, as I had no theory of any kind, don’t believe in Spiritualism, and copied my characters from life, I don’t see how this critic can be right. Another says, ‘It’s one of the best American novels which has appeared for years.’ (I know better than that), and the next asserts that ‘Though it is original, and written with great force and feeling, it is a dangerous book.’ ‘Tisn’t! Some make fun of it, some overpraise, and nearly all insist that I had a deep theory to expound, when I only wrote it for the pleasure and the money. I wish I’d printed the whole or not at all, for I do hate to be so misjudged.”
Her family and friends administered comfort and commendation liberally. Yet it was a hard time for sensitive, high-spirited Jo, who meant so well and had apparently done so ill. But it did her good, for those whose opinion had real value gave her the criticism which is an author’s best education, and when the first soreness was over, she could laugh at her poor little book, yet believe in it still, and feel herself the wiser and stronger for the buffeting she had received.
“Not being a genius, like Keats, it won’t kill me,” she said stoutly, “and I’ve got the joke on my side, after all, for the parts that were taken straight out of real life are denounced as impossible and absurd, and the scenes that I made up out of my own silly head are pronounced ‘charmingly natural, tender, and true’. So I’ll comfort myself with that, and when I’m ready, I’ll up again and take another.”
In the end, I do my best to remind my clients that my opinion is just that—my opinion, seasoned by years of reading, editing, and working in the writing field, yes, but, in the end, hardly the “end all” of writing opinions—and I encourage them to seek other readers’ opinions, via beta readers, trusted friends, and their own fans.
Ultimately, I urge them to trust their own writing vision and do whatever it takes to make the book what they want it to be…whether anyone else agrees with their decision or not. Because the words you write have to speak to you and make you happy, first and foremost.
May 1, 2019 Author, Blog, Blogging, Book Coach, Copyediting, Editing, Editor, IWSG, Little Women, Proofreading, Publishing, Writer, Writing, Writing Advice
5 thoughts on “The Power in Our Words”
koolitzable says:
I am an amateur blogger, thanks for sharing your insights 😊👍🏼
Great advice as usual.
As a writer, it helps me to remember that no book is for every reader. Even Shakespeare and Agatha Christie who are estimated to be the best-selling authors of all time have their critics.
Now, I read a lot of advice from book marketing gurus advising authors to “write to the market” which is fine if your primary goal is to make more money. But if your chief aim is to write a story that satisfies YOUR own soul, then I think it is best to write the sort of book that you wish to read.
If you’re like me, that may mean breaking the conventions and blending multiple genres in ways that put off some readers and confuses others. That’s OK with me. If I write the exact same kind of book that every other Christian/historical/adventure/mystery author is writing, what’s the point?
I personally do believe in “writing to the market,” but that doesn’t mean ditching what your believe you should write. If you’re just putting out words and stories because you think others will like them, and you yourself don’t like what you’ve written, chances are, the readers will now. It’ll come across in a certain flatness, a certain lack of flavor. I think you do have to pay attention to your market, because if you’re just writing to please yourself, there’s no point in getting published—it’s a balance between writing what you really like and tailoring what you like to be as easy to follow and as well presented to your market as possible. It doesn’t mean you have to “give up anything,” but it does mean you have to signal to readers clearly what it is you’re offering them so they can make an informed decision if it’s something they like…which can require becoming a better writer in the process. 🙂
doreenb8 says:
I loved reading about Jo, I hadn’t seen that before. Wonderful!
Loni Townsend says:
Amen, Sista!
What you say reminds me a lot of my critique group. We’re a mix of experienced and inexperienced (even have a professional editor in my group too), but we do our best to help each other with the full knowledge that our feedback might be disregarded since it is the other person’s story.
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← Movie Review: Rescue Dawn (2007)
TV Review: Extras – Season One →
Movie Review: Superbad (2007)
Starring: Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Bill Hader, Seth Rogen, Emma Stone, Martha MacIsaac, Aviva
Directed by: Greg Mottola
After the rousing success of Knocked Up, Superbad, co-written by Knocked Up star Seth Rogen along with childhood friend Evan Goldberg and produced by Knocked Up director Judd Apatow, instantly became my next must-see movie of the summer. Since Knocked Up came out two months ago, it was a long wait. But thanks to ‘s generous offer of free passes to an advance screening that he couldn’t attend, I was able to cut my wait two weeks short (unfortunately, it’s taken me that long to get around to the review, blowing my shot at seeming like a real reviewer who gets his reviews out before the release date).
A lot of reviewers tend to give comedies a short shrift, myself included. It’s not that I don’t appreciate humour, it’s just that when I judge movies, I like to take several factors into account when figuring out what score to assign it. And many comedies feature merely serviceable direction, clichéd plotting, stereotypical characters, and average acting. But, with comedies, sometimes those familiar features, be it stock characters, simple plotting, or uncomplicated direction, aide the primary objective of the film by allowing the comedy take centre stage without tripping over complicated storylines or characters. So I need to recognise when those areas aren’t too egregious, and act in service of the movie, as long as the comedy is worth the shortcomings in other areas.
Superbad is just such a comedy, featuring familiar characters in familiar situations, basically giving us American Pie meets Dazed and Confused, with a Freaks and Geeks tone thrown in. But, what it lacks in originality, it more than makes up for in wall-to-wall laughter, fresh gags, and appealing characters. Another end-of-high school romp, Superbad can already be placed near the cream of the crop of the genre, employing actors who can believably portray teenagers (helpfully, some of them are teenagers) and allowing them to play characters who have legitimate teenage concerns. This isn’t some Freddie Prinze Jr.-type high school flick, this is awkward teens trying to have one big night of fun before confronting the next phase of their lives.
Michael Cera is fantastic as the straight man Evan, bringing the low-key brand of humour that made him the most underrated cast member of Arrested Development. Jonah Hill (also from Knocked Up) employs his rapid-fire style to get the big laughs as Seth, albeit as more of a joke-delivery system than a developed character. Newcomer Christopher Mintz-Plasse steals almost every scene he’s in as über-geek Fogell, the character that will most likely be overexposed in a month or so, but is genuinely funny when you actually watch the movie (perhaps less so when all your friends keep quoting him).
The movie doesn’t quite have the heart that made Knocked Up so appealing, but it makes up for it by delivering more laughs. It hits you hard and heavy with a raucous and raunchy sense of humour, without making its characters unappealing in the process. Even the few moments of the movie when the jokes slow down, I found myself laughing and smiling because I was riding the humour high from earlier in the movie. It was a tremendously good time, and probably the funniest movie of the year.
Arrested Development – Season Three
Tagged Bill Hader, Christopher Mintz-Plasse, comedies, David Krumholtz, Emma Stone, Greg Mottola, Jonah Hill, Judd Apatow, Martin Starr, Michael Cera, Seth Rogen
3 thoughts on “Movie Review: Superbad (2007)”
whatever happened to is it me, Freddie Prinze Jr., anyway?
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“Casey Jones” Sheet Music
This sheet music is for the song “Casey Jones: The Brave Engineer.” The lyrics were written by T. Lawrence Seibert and Eddie Newton composed the music. The song was published by A. Cox and Co. of Toronto, Canada in 1909. The cover features an image of a locomotive coming towards the reader, with photos of Seibert and Newton in the train engine’s windows. The song, also known as the Ballad of Casey Jones, was written to commemorate engineer Jones giving up his life to slow down his train enough to prevent a more disastrous crash with a train that was stopped on the tracks.
Seibert, T. Lawrence
Newton, Eddie
A. Cox and Company
ink (overall material)
overall: 12 3/4 in x 9 3/4 in; 32.385 cm x 24.765 cm
Gift of Janice Plowman
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Home » Overview » The Indeterminate World » Schrödinger’s Cat
One of the central themes presented here is that the current paradigm is not actually wrong, it is just incomplete. The world one lives in is an ordinary physical world, but the full definition of this world is a superposition of many ordinary worlds. This is well illustrated by the famous idea of Schrödinger’s Cat.
This is a thought experiment by Erwin Schrödinger, the Nobel Prize-winning physicist who discovered the fundamental mathematics of quantum mechanics, the wave equation of physical reality. He produced this idea in order to demonstrate the absurdity of quantum theory; it means the cat has to be alive and dead at the same time.
Essentially, a cat in a closed box has a fifty-fifty chance of being killed by a quantum device. According to the principle of superposition, fundamental to quantum mechanics, unless it is observed, the cat is in a superposed state of being both alive and dead. Of course, when someone looks inside the box, the cat is either alive or dead; but that action is an observation, and according to quantum theory it is observation that makes things determinate. The big question is, what state is the cat in before, unobserved? Obviously, it cannot be both alive and dead at the same time.
Given QBism, the answer is simple indeed. The state of the cat is indeterminate, alive and dead, in the world of the scientist. But not, of course, in the world of the cat. The concept of world superposition explains exactly why this is the case. Taking quantum theory literally, as defined by the wave function of the universe, all possible versions of the world exist. Therefore there is a version of the world in which the cat dies, and a version in which it lives. The scientist exists in both of these versions of the world simultaneously; he exists in every possible version of the world where he carried out the experiment. So his world, his physical reality, is the sum of the two worlds added together, just as in the first picture. So in his world, the state of the cat is indeterminate because his physical reality is the superposed sum of both versions.
This gives us a proper physical explanation of this strange-seeming state of affairs. But that is only true until he looks in the box. As soon as he looks in the box he exists only in one or other of the two versions of the world, shown as separate in the second picture.
Quantum reality works like picture slides. You put two of them together and you get the superimposed sum of the content, as in the first picture. The general assumption in physics is that as an observer one is necessarily present only in one specific version of the many worlds. And with respect to the observer as defined by Everett, the physical body-mind, this is as true as it seems obvious. However, as the entity defined by the record of observations that Everett defines as the experiences of the observer, here the world hologram, one is necessarily present in a great number of worlds, as described in The Indeterminate World. Thus, for this kind of entity, the cat is both alive and dead at the same time.
The same is true of everything that has not been observed, not just cats in experiments for mad scientists. The person making the observation exists in so many ordinary worlds that every possible variation of things which have not been observed, is the case in some of them. As a result, the real world is like the first picture, with respect to everything that has not been observed. In other words, the physical reality encountered is the superposed sum of all these worlds, and it is indeterminate with respect to all the things which have not been observed. Every possible variation of these things is present, superposed, in the resulting physical reality. Thus the reality is determinate only where observed, as stated in QBism. This is the many-worlds reality.
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Electricity, telephone, or natural gas business, service provider—Franchise fees prohibited—Exceptions.
(1) No city or town may impose a franchise fee or any other fee or charge of whatever nature or description upon the light and power, or gas distribution businesses, as defined in RCW 82.16.010, or telephone business, as defined in RCW 82.16.010, or service provider for use of the right-of-way, except:
(a) A tax authorized by RCW 35.21.865 may be imposed;
(b) A fee may be charged to such businesses or service providers that recovers actual administrative expenses incurred by a city or town that are directly related to receiving and approving a permit, license, and franchise, to inspecting plans and construction, or to the preparation of a detailed statement pursuant to chapter 43.21C RCW;
(c) Taxes permitted by state law on service providers;
(d) Franchise requirements and fees for cable television services as allowed by federal law; and
(e) A site-specific charge pursuant to an agreement between the city or town and a service provider of personal wireless services acceptable to the parties for:
(i) The placement of new structures in the right-of-way regardless of height, unless the new structure is the result of a mandated relocation in which case no charge will be imposed if the previous location was not charged;
(ii) The placement of replacement structures when the replacement is necessary for the installation or attachment of wireless facilities, the replacement structure is higher than the replaced structure, and the overall height of the replacement structure and the wireless facility is more than sixty feet; or
(iii) The placement of personal wireless facilities on structures owned by the city or town located in the right-of-way. However, a site-specific charge shall not apply to the placement of personal wireless facilities on existing structures, unless the structure is owned by the city or town.
A city or town is not required to approve the use permit for the placement of a facility for personal wireless services that meets one of the criteria in this subsection absent such an agreement. If the parties are unable to agree on the amount of the charge, the service provider may submit the amount of the charge to binding arbitration by serving notice on the city or town. Within thirty days of receipt of the initial notice, each party shall furnish a list of acceptable arbitrators. The parties shall select an arbitrator; failing to agree on an arbitrator, each party shall select one arbitrator and the two arbitrators shall select a third arbitrator for an arbitration panel. The arbitrator or arbitrators shall determine the charge based on comparable siting agreements involving public land and rights-of-way. The arbitrator or arbitrators shall not decide any other disputed issues, including but not limited to size, location, and zoning requirements. Costs of the arbitration, including compensation for the arbitrator's services, must be borne equally by the parties participating in the arbitration and each party shall bear its own costs and expenses, including legal fees and witness expenses, in connection with the arbitration proceeding.
(2) Subsection (1) of this section does not prohibit franchise fees imposed on an electrical energy, natural gas, or telephone business, by contract existing on April 20, 1982, with a city or town, for the duration of the contract, but the franchise fees shall be considered taxes for the purposes of the limitations established in RCW 35.21.865 and 35.21.870 to the extent the fees exceed the costs allowable under subsection (1) of this section.
[ 2014 c 118 § 2; 2007 c 6 § 1020; 2000 c 83 § 8; 1983 2nd ex.s. c 3 § 39; 1982 1st ex.s. c 49 § 2.]
Part headings not law—Savings—Effective date—Severability—2007 c 6: See notes following RCW 82.32.020.
Findings—Intent—2007 c 6: See note following RCW 82.14.495.
Construction—Severability—Effective dates—1983 2nd ex.s. c 3: See notes following RCW 82.04.255.
Intent—Construction—Effective date—Fire district funding—1982 1st ex.s. c 49: See notes following RCW 35.21.710.
"Service provider" defined: RCW 35.99.010.
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American Translation Partners® / Work With Us / Privacy
ATP believes that the responsible use of personal information collected on its websites is critical to its business objectives and reputation. As part of our commitment to privacy, we have adopted this Online Privacy Policy.
American Translation Partners Privacy Policy
American Translation Partners, Inc. (“ATP,” “we” and “us“), has created this website (the “Website” or the “Site“) to provide you with information about our translation and interpretation services (the “Services“) and to help you determine which Services are most relevant to your needs.
ATP is committed to maintaining your privacy. This privacy policy and agreement (“Privacy Policy”) covers how we collect, use, and treat personal information that you may provide through our Website and through our Services offline. Our Privacy Policy applies to any visitor to the Website (collectively, “you” and “Site Visitor“).
Your Consent. Please read this Privacy Policy carefully; once you consent to this Policy’s terms, it creates legal obligations on you and on ATP. By accessing and using our Website, you are acknowledging that you have read and understood this Privacy Policy and agree to be legally bound by it. If you do not agree with the terms of this Privacy Policy, please refrain from using our Site and our Services.
The Types Of Information You May Provide. Information you may provide or that we may collect from you while visiting our Site or while participating in our Services falls into two broad categories: (i) personally identifiable information, and (ii) aggregate information. We use the term “Personally Identifiable Information” to mean any information that could reasonably be used to identify you, including your name, address, e-mail address, birth date, financial information, photograph, telephone number or any combination of information that could be used to identify you. “Anonymous Information” is information that does not identify you and may include statistical information concerning, for example, the pages on our Site that you visit most frequently.
Personally Identifiable Information; Our Uses Of This Information. It is your decision whether to provide us with Personally Identifiable Information. Accordingly, we have structured our Website so that you may visit our Site, and review selected information about our Services, without revealing your identity or providing any Personally Identifiable Information. We will only share Personally Identifiable Information you choose to provide to us via the Website and the Services with third parties as expressly disclosed in this section. We will not share it in any other way. We collect information from Site Visitors at different points on our Website, and use this information as follows:
3.1. Quote Information. You have the option of requesting a quote from us regarding our Services. In order for us to give you an accurate quote, we request that you submit information about the services you anticipate you will need, including but not limited to the type of interpretation or translation services, the relevant languages, a description of your needs, and contact information (collectively, “Quote Information“). In these instances, we only use your Quote Information to determine an accurate quote for the services you request. We will make an offline record of your Quote Information.
3.2. Email Addresses. We may provide you with the option to sign up for periodic email updates about our Services. You may also wish to provide us with comments and feedback concerning our Site generally. By communicating with us for these purposes, you may provide us with your email address and other Personally Identifiable Information. In these instances, we use any information you provide to us strictly for the purposes for which you submit the information. If you sign up for our periodic email updates, you will have the option to opt-out of the email updates, as set forth in Section 7.1 (Opt-Out).
3.3. Questionnaires and Surveys. Our Website may allow you to participate in surveys and/or questionnaires, which we may post on the Site from time to time. You are free to choose whether you participate in a survey or questionnaire. We may ask that, in addition to providing your responses, you also provide Personally Identifiable Information. In these instances, we use any information you provide to us strictly for the purposes for which you submit the information. Survey and questionnaire information may be used by ATP for the purposes of monitoring or improving the use and appeal of this Site and our Services. We advise you to use discretion in including any Personally Identifiable Information in your survey/questionnaire responses that would enable a third party reviewing your response to link the response to you.
3.4. Informational Notices and Bulletins. Periodically, we may choose to send news, bulletins, marketing materials, or other information to Site Visitors who have previously provided their email address to ATP. We will use Personally Identifiable Information to send such communications. If you receive such communications, you will have the ability to opt out of receiving these communications as provided in Section 7 (Changing or Removing Information; Opting Out).
Anonymous, Aggregate Information. As indicated above, you may use our Site without submitting any information to us. In that case, the only information we collect from your visit will be Anonymous Information that does not identify you in any way. We use Anonymous Information to analyze the effectiveness of our Site, to improve our Services, and for other similar purposes. In addition, from time to time, we may undertake or commission statistical and other summary analyses of the general behavior and characteristics of users participating in our Services and the characteristics of visitors at our Site, and may share Anonymous Information with third parties, including Advertisers. Rest assured, though, that Anonymous Information provided to third parties will not allow anyone to identify you or determine anything personal about you. We may collect Anonymous Information through features of the software that supports our Website, through cookies and through other means described in this Section 4 (Anonymous, Aggregate Information).
4.1. IP Addresses; Logs. ATP may automatically receive and record information in our server logs from your browser, including your IP address (the Internet address of your computer), your computer’s name, the type and version of your web browser, referrer addresses and other generally-accepted log information. We may also record page views (hit counts) and other general statistical and tracking information, which will be aggregated with that of other users in order to understand how our Website is being used, and for security and monitoring purposes. None of this data contains Personally Identifiable Information.
4.2. Cookies. A cookie is a small amount of data, which often includes an anonymous unique identifier, which is sent to your browser from a website’s computers and stored on your computer’s hard drive. Cookies can be used to provide you with a tailored user experience and to make it easier for you to use a website upon a future visit. We may include cookies on our Website and use them to recognize you when you return to our Website. You may set your browser so that it does not accept cookies. Cookies must be enabled on your web browser, however, if you wish to access certain personalized features of our Website.
4.3. Tags. We may use so-called “pixel tags” — small graphic images (also known as “web beacons” or “single-pixel GIFS”) — to tell us what parts of our website have been visited or to measure the effectiveness of searches Site Visitors perform on our Site. Pixel tags also enable us to send email messages in a readable format and they inform us whether emails have been opened, to help ensure that our messages are of interest to our Site Visitors who receive them. None of this data includes Personally Identifiable Information and you can “opt-out” of receiving these types of emails from us by following the directions provided in Section 7 (Changing or Removing Information; Opting Out). If any Personally Identifiable Information is collected using such tools, it will be subject to the terms of this Privacy Policy.
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4.5. Banner Ads; Advertising Profiles. Our Website may include the use of ad banner partners for the serving and/or targeting of ads, promotions, and other marketing messages. These ads may be provided, in some cases, by a third party ad service provider or advertiser (“Advertisers“). These Advertisers may use traditional banner ads, or other advertising methods, such as advertising using profiles and related Content. An Advertiser may place or utilize its own cookie on your browser and may use Anonymous Information about your visit to our sites, such as the number of times you have viewed the ad. If the Advertiser requests that you provide to it personally identifiable information, please be aware that this Advertiser’s use and collection of this information will be governed by its own privacy policy and not our Policy. We recommend that you review the Advertiser’s privacy policy before providing personally identifiable information.
4.6. Computer Configuration. In order to determine whether your computer is supported by our system, we may collect certain Anonymous Information. This information includes, but may not be limited to, your operating system and browser, as well as the presence of any software that our Website may require to operate with your computer, or other third-party software on your computer. This information is kept strictly confidential and is not shared with third parties, except as provided for in this Privacy Policy.
Any Information Linked With Your Personally Identifiable Information Is Protected As “Personally Identifiable Information.” To enable us to better understand the characteristics of our Site Visitors and/or to provide services tailored to your needs, we may link (a) the Personally Identifiable Information you have provided; with (b) Anonymous Information. If we combine or link any Anonymous Information or other information with your Personally Identifiable Information, the resulting combination will be treated and protected as Personally Identifiable Information under this Privacy Policy. Accordingly, no unrelated third parties will have access to this information and any of our service providers who are granted access to this information will be bound to protect it in accordance with this Policy.
We Do Not Disclose Personally Identifiable Information to Unaffiliated Third Parties; Limited Exceptions. We will not disclose your Personally Identifiable Information to unaffiliated third parties without your express consent, except in the following limited circumstances:
6.1. ATP Site Vendors. We may employ other companies to perform functions on our behalf, such as hosting or maintaining the Website, providing services related to the Site, collecting information, responding to and sending electronic mail, or other functions necessary to our business. We may need to share your Personally Identifiable Information with these companies (collectively, “Site Vendors“). We will provide Site Vendors with only that information necessary to perform their functions, and we will not allow them to use your Personally Identifiable Information for any other purpose.
6.2. Question of Harm. We may reveal your Personally Identifiable Information to attorneys, private investigator organizations or law enforcement agencies if we believe (a) that you are in risk of harm from another, or (b) that you are harming or interfering (or will harm or interfere) with others or otherwise violating legal rights.
6.3. Legal. ATP will reveal your Personally Identifiable Information, to the extent we reasonably believe we are required to do so by law. If we receive legal process calling for the disclosure of your Personally Identifiable Information, we will attempt to notify you via the email, home or business address you supplied (if and when you supplied Personally Identifiable Information) within a reasonable amount of time before we respond to the request, unless such notification is not permitted.
6.4. Transfer of Site. ATP shall be entitled to transfer to a third party information it collects, including any Personally Identifiable Information, in connection with a sale of all or substantially all of the assets of the business entity responsible for the information under this Policy, provided the acquiring third party has agreed to safeguard your Personally Identifiable Information with protections that in all material respects are the same as or more protective than those set out in this Privacy Policy.
6.5. Links to Third Party Sites. The Site may also contain links or produce search results that reference links to third party websites (collectively, “Linked Sites“). ATP has no control over these Linked Sites or their content and does not assume responsibility for any content, opinions, or materials available on Linked Sites. If you visit a Linked Site and you are asked to provide Personally Identifiable Information, please be aware that the Linked Site’s use and collection of this information will be governed by its own privacy policy, and not our Privacy Policy. We recommend that you review the Linked Site’s privacy policy before providing Personally Identifiable Information.
Changing or Removing Information; Opting Out.
7.1. Opt-Out. If you have provided us with your email address and we choose to send to you bulletins, updates, or other unsolicited communications that are marketing-related materials, we will provide you with the ability to decline — or “opt-out of” – receiving such communications. Instructions for opting-out will be provided if and when we determine to send you such a communication. Please understand that you will not be allowed to “opt–out” of formal notices concerning operation of this Website, legal, and other related notices concerning your relationship to the Site.
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Reflecting on the national apology to Australia’s Stolen Generations
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Home News Reflecting on the national apology to Australia’s Stolen Generations
IofC worker John Bond served as Secretary of the National Sorry Day Committee from 1998 to 2006, campaigning for the national apology that was finally made 10 years ago. He reflects on what has and has not changed since that time.
Former Prime Minister Kevin Rudd was taken by surprise at the extent to which his apology to the Stolen Generations attracted international attention. The news resounded around the world.
His action inspired many who live under injustice, and who long for their leader to acknowledge the wrongs they have had to endure. A passionate peacemaker from Lebanon told me that when she was in despair about her work, she would play the video of Kevin Rudd’s apology. ‘I must have watched it a hundred times,’ she said.
In Australia the emotional impact was powerful. ‘It seemed for that moment the shackles of Whiteman control had been finally broken and our minds and spirits set free,’ wrote Mark Bin Bakar, Chair of the Kimberleys Stolen Generations.
No community could thrive in the climate of denigration which Aboriginal people have endured for two centuries. The apology has diminished that climate. And it has given many Aboriginal people hope that they can thrive in Australian society.
The apology was not just words, important though those words were. Kevin Rudd gave a commitment to close the gap between the condition of the Aboriginal community and the wider Australian community. As he said, speaking at Caux, Switzerland, in 2012, ‘An apology without action is meaningless.’ The Closing the Gap programme has contributed significantly to Aboriginal wellbeing.
Since the apology more funding has been made available for Aboriginal education at all levels, including scholarships to overseas universities. One Aboriginal student at Oxford University – where I now live – told me that without Kevin Rudd’s apology she would not have had the confidence to apply for the scholarship – ‘Until then I never dreamed that we would be considered for opportunities like this’. She is now an Associate Professor.
Much is still needed. Twice as many Aboriginal children are in out-of-home care as at the time of the apology. That shows the depth of trauma and dislocation among Aboriginal Australians. In 2004 James Haire, President of the National Council of Churches, spoke of ‘the profound hurt experienced by many of the children removed into the care of church-run homes’. He went on: ‘Some of the Stolen Generations were abused by those who should have protected them. In many cases, these wrongs have still to be dealt with.’
They have not been dealt with. Certainly not as thoroughly as Canada has responded to their ‘Stolen Generations’ – the Residential School survivors. Canada has funded an Aboriginal Healing Foundation, held a Truth and Reconciliation Commission, jailed sexual miscreants and compensated every Residential School survivor. In all, the Canadian Government has spent about $6 billion. Australian Governments have spent less than a tenth of that.
Some Australian States have compensated their Stolen Generations, and all should do so. Most of the Stolen Generations have endured decades of exploitation, and deserve compensation.
If they are not treated justly on this matter, this makes community involvement even more vital. The people’s movements for reconciliation have been Australia’s strength. The Executive Director of Canada’s Royal Commission on Aboriginal Peoples, visiting Australia in 2001, said that whereas Canada had done more at Government level to resolve the grievances, Australia had done more at a community level. ‘Both are needed for healing to take place,’ he concluded.
Many of the Stolen Generations, after their draconian childhood experiences, feel isolated; they don't fit fully into either white or Aboriginal society. Simple acts of neighbourliness can do much for their morale. Everyone can play a part in healing the wounds inflicted by cruel and misguided past policies which still hold many Aboriginal people back from making their unique contribution to Australia’s national life.
Mailing address: 226 Kooyong Road, Toorak, Victoria 3142 ABN: 22 004 350 789
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Home / Local News / Out of step
Authorities at the Barbados Investment and Development Corporation (BIDC) have seemingly contravened Barbados’ laws in forcing 13 of its employees into compulsorily retirement.
Last week at a meeting convened by top officials at the BIDC, the 13, including Human Resources Manager David Parris, were notified that they would be compulsorily retired by September 30.
The workers, all approaching age 60, were drawn from a number of departments. Two other employees from the Information Technology Department were also laid off and immediately escorted off the premises by security.
However, today acting Deputy General Secretary of the National Union of Public Workers (NUPW) Delcia Burke told Barbados TODAY that based on what occurred last week, officials at the BIDC seemed either to be unaware of the changes in the law or were just simply ignoring them.
She explained that the BIDC were in breach of the Pensions Act, as well as Employment Rights legislation.
“The laws were changed in 2005 with respect to retiring persons at age 60. There are also certain protocols with respect to sending home as many as ten per cent of your entire staff,” Burke said.
She explained that the change in the law allowed for people to work to age 66 and a half and that they should not be forcibly retired by virtue of attaining age 60.
Burke noted that if the BIDC went ahead with sending home the 13, they would still have to pay them all statutory monetary entitlements between age 60 and 66.
She also revealed that the NUPW had not been made part of the retrenchment process in keeping with the rights of the employees. The NUPW was notified of the dismissals on the same day the decision was announced to staffers last week.
The unionist told Barbados TODAY the NUPW met with the BIDC yesterday and apprised top management of the breaches committed.
“They were supposed to respond in writing. I understand that has been done but I have not as yet seen that response,” she said.
Barbados TODAY was informed this afternoon that a decision had been taken by the BIDC to allow the workers to continue until September 30 as a means of avoiding paying monies in lieu of notice as well as vacation pay.
It is understood that the lay-offs are all part of BIDC’s cost-cutting measures.
Today one staffer said the BIDC needed to level with staff about what was really going at the cash-strapped corporation. He noted that while there was talk about cutting expenditure, two managers were hired from outside the BIDC last year to do work which existing staff were qualified to do. He stated that both, one of whom is a relative of Prime Minister Freundel Stuart, were subsequently made directors.
Efforts this evening to reach BIDC chief executive officer Sonja Trotman were unsuccessful.
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4 thoughts on “Out of step”
Walter Prescod
And the Baw- Baw line gets longer
The government is doing as it likes & firing people illegally because they know the Unions are incapable of putting up any serious contention, are not going to challenge their political master too harshly & ultimately will back down after a little bit of “noise”
The PM is right not to be worried, he knows the score!!!!!
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October 31, 1808: Battle of Pancorbo
November 2, 2018 / katu / 0 Comments
On October 31, 1808, the Battle of Pancorbo (or Zornotza, and also sometimes referred to as the Battle of Durango) in Bizkaia marked one of the early military engagements in the Peninsular War after France had turned on its former ally, Spain, that same year in an attempt by Napoleon to take control of the whole Iberian Peninsula.
By late October of 1808, the French were advancing toward Bilbao. At the Battle of Pancorbo, in the vicinity of what is today Zornotza/Amorebieta in Bizkaia, French forces under the command of Marshal François Joseph Lefebvre defeated the Army of Galicia, led by Lieutenant General Joaquín Blake y Joyes. While the French claimed victory, their triumph was incomplete because Lefebvre failed to carry out Napoleon’s order to encircle and destroy Blake’s army–a key component in the left flank of the Spanish forces defending a front that stretched from the Cantabrian Sea to the Mediterranean.
Although Bilbao fell to Lefebvre’s forces on November 2, because Blake’s forces were not destroyed, he was able to effect a retreat and successfully re-engage the French, west of the city, at the Battle of Balmaseda (Bizkaia) on November 5. That said, ultimately the military superiority of the French, now under the direct control of Napoleon proved decisive, and by the end of the year they had captured Madrid.
Basque history, Bizkaia, Flashback Friday, This Week in Basque History
AmorebietaBasqueBasque COuntryBasque historyBattle of PancorboBizkaiaFlashback FridayHistory of the Basque CountryPeninsular WarZornotza
Etxea: Memoirs of Gernika this Friday!
Visiting Scholar Haritz Azurmendi Speaks on Basque Nationalism at the CBS Lecture Series
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Posts Tagged ‘french artist
Exhibition: ‘Art Deco. Graphic Design from Paris’ at the Museum für Kunst und Gewerbe Hamburg
Categories: beauty, black and white photography, designer, drawing, exhibition, gallery website, intimacy and works on paper
Tags: Adolphe Mouron, Almanac Falbalas et Fanfreluches, André Renaud, Art Deco, Art Deco posters, Auguste Herbin, Auguste Herbin Bal de la Grande Course, avant-garde, Bal de la Grande Course, Bauhaus, Blaise Cendrars, Cassandre, Charles Gesmar, Charles Gesmar Mistinguett, Charles Loupot, Charles Loupot The Blue Amazon, dance and cabaret, Day and Night, De Stijl, Delahaye, Exposition internationale des arts décoratifs et industriels modernes, Falbalas et Fanfreluches, Fernand Léger, Fernand Léger Blaise Cendrars, Fernand Léger La Fin du Monde, French art, French Art Deco, French Art Deco posters, french artist, French artists, French chanson, French graphic art, French poster art, Gazette du Bon Ton, George Barbier, George Barbier Day and Night, Georges Lepape, Georges Lepape We are watched, graphic art, haute couture, Jean Borlin, Jean Carlu, Josephine Baker, Josephine Baker in a Banana Skirt, Josephine Baker Revue nègre, L'Illustration, La Fin du Monde, La Gazette du Bon Ton, Le Tumulte noir, Les robes de Paul Poiret, Les Robes des Paul Poiret, lithograph, Mistinguett, Official Poster for the International Exhibition of Decorative Arts, Parfume French Cancan, Paris Art Deco posters, Parisian graphics, Parisian haute couture, Paul Colin, Paul Colin André Renaud, Paul Colin Jean Borlin, Paul Colin Josephine Baker, Paul Colin Josephine Baker in a Banana Skirt, Paul Colin Le Tumulte noir, Paul Colin The Jazz Orchestra of Josephine Baker, Paul Iribe, Paul Iribe Les Robes des Paul Poiret, Paul Poiret, Peugeot, Pochoir, Pochoir print, Portfolio Edition Le Tumulte noir, poster art, René Vincent, René Vincent Peugeot, Revue Nègre, Roger Pérot, Roger Pérot Delahaye, Rougemont, Rougemont Mistinguett, stencil printing, The Blue Amazon, The Jazz Orchestra of Josephine Baker, Vogue, We are watched
Exhibition dates: 4th May – 30th September 2018
Artists: George Barbier, Jean Carlu, AM. Cassandre, Paul Colin, Jean-Gabriel Domergue, Studio Dorland, Maurice Dufrène, Michel Dufet, Jean Dupas, Charles Gesmar, Raymond Gid, Natalja Gontscharowa, Agentur Havas, Auguste Herbin, Paul Iribe, Alexis Kow, André Lambert, Michail Larionow, Fernand Léger, Georges Lepape, Charles Loupot, André Édouard Marty, René Vincent, Gerda Wegener and others
Paul Colin (1892-1985)
Josephine Baker in a Banana Skirt
Sheet of the Portfolio Edition Le Tumulte noir
Lithograph, Pochoir Print
Colourful and graphic, these designs are just fab!
From the androgynous creatures in Georges Lepape’s Japonisme inspired Rugby (Waisted Costume by Redfern) 1914 to Fernand Léger’s avant-garde Illustration of Blaise Cendrars, La Fin du Monde 1919 (both below) these creations are elegant and sophisticated illustrations.
The outrageous curve of the out flung arm in Paul Colin’s Josephine Baker in a Banana Skirt 1927 (above), so evocative of the dancer is, on its own, worthy of your attention.
Many thankx to the the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the artwork in the posting. Please click on the photographs for a larger version of the image.
Paul Iribe (1883-1935)
Illustration of Les Robes des Paul Poiret
Etching and Pochoir print
Georges Lepape (1887-1971)
We are watched – New Muffs for the Winter
Panel of La Gazette du Bon Ton
Pochoir Print
Rugby (Waisted Costume by Redfern)
The term Art Deco is used to describe a style of decorative art popular between the heyday of Art Nouveau and the emergence of the International Style in the 1950s, roughly contemporaneous with the radical forms of avant-garde artistic expression exemplified by De Stijl, the Russian avant-garde, and the Bauhaus. The origins can be traced to Paris circa 1910. After 1930, Art Deco diverged in various directions. It was subsumed by the pompous neoclassicism of the 1930s, for example in Fascist architecture in Italy, and it survived in the USA until the 1950s in bakelite radios and plastic handbags. The name was derived from the 1925 world exhibition of applied arts in Paris: Exposition internationale des arts décoratifs et industriels modernes. The very words Art Deco summon images of opulent curved forms, exquisite furniture, costly fabrics, and sophisticated garments – and only rarely of graphic art. And yet the printed image witnessed some remarkable achievements during this period. In recent years, the Museum für Kunst und Gewerbe Hamburg (MKG) has acquired a collection of Parisian prints mainly from the 1920s that is unparalleled anywhere in Germany. From a total of over 700 sheets, some 150 will be on view at the show, representing in equal measure posters, graphics (pochoir prints and lithographs), and advertisements printed chiefly in the magazines Vogue and L’Illustration. It may be surprising to see advertising placed on equal footing here with other graphic artworks, but these ads were often designed by leading artists and reflect the major themes of the times: the automobile, which reached an aesthetic culmination circa 1930; the French chanson, which rose to prominence in the 1920s; the Parisian Haute Couture created during this era; and, last but not least, dance and cabaret, which played an important role especially in Paris.
The Paris Art Deco posters are regarded internationally as a high point in the history of the poster. Adolphe Mouron, aka Cassandre, along with Charles Loupot, Jean Carlu, and Paul Colin were the leading poster artists. Each developed his own signature style. Cassandre is still today considered the greatest poster artist of the 20th century. Between 1925 and 1935, he produced around one hundred posters, each unique in its own way and many of them masterpieces that still convey a convincing balance between modern design and vivid effect. While Cassandre and Loupot were active mainly in the area of product advertising, Jean Carlu’s graphic works covered a broad spectrum from political poster to product advertising to theatre posters. Paul Colin by contrast specialised in imagery for the city’s theatre and cabaret stages. He portrayed many of the great singers and actors of the day. One of the highlights of the exhibition is Colin’s portfolio for the Revue nègre, Josephine Baker’s dance company, which performed several times in Paris and for which Colin also designed stage sets and costumes.
The first catalogue of a collection designed by the couturier Paul Poiret came out in 1908: Les robes de Paul Poiret – a sort of founding manifesto of Art Deco. Poiret, who deserves to be called one of the inventors of Haute Couture, presents therein his new women’s fashions, with high waists and long, swinging robes: the typical Art Deco silhouettes are born. The catalogue also boasts the first important pochoir prints, designed by Paul Iribe, a political cartoonist who also had success as a fashion illustrator.
Pochoir prints are a special feature in Parisian graphics. The term refers to a specific technique, but came to stand for a whole genre, namely for sophisticated and elegant illustration dealing mainly with fashion and – subtle – eroticism. Literally translated, pochoir means stencil printing, but there is much more involved in the actual practice. Most of the prints were produced using complex mixed techniques with varying proportions of manual labor. Unsuitable for large editions at low prices, the prints were destined instead for deluxe editions and upscale fashion journals such as the Gazette du Bon Ton.
Press release from Museum für Kunst und Gewerbe Hamburg
Fernand Léger (1881-1955)
Illustration of Blaise Cendrars, La Fin du Monde
George Barbier (1882-1932)
Panel of the Almanac Falbalas et Fanfreluches
Charles Loupot (1892-1962)
The Blue Amazon
Illustration of La Gazette du Bon Ton
Pochoir Print and Halftone
Official Poster for the International Exhibition of Decorative Arts
120 × 77.5 cm
Charles Gesmar (1900-1928)
Poster, Lithograph
Auguste Herbin (1882-1960)
Bal de la Grande Course
120.4 × 80.1 cm
Jean Borlin
The Jazz Orchestra of Josephine Baker
Josephine Baker, dancing
René Vincent (1879-1936)
117,5 × 157.5 cm
André Renaud
Roger Pérot (1908-1976)
Advert for the Parfume French Cancan in the Magazine L’Illustration
Steintorplatz, 20099 Hamburg
Tuesday to Sunday 10 am – 6 pm
Museum fur Kunst und Gewerbe Hamburg website
Exhibition: ‘Brassaï’ at Fundación MAPFRE, Barcelona
Categories: beauty, black and white photography, book, documentary photography, exhibition, existence, gallery website, intimacy, landscape, light, memory, Paris, photographic series, photography, portrait, psychological, quotation, reality, space, street photography, time and works on paper
Tags: 1930s French photography, Albert Skira, Amantes en la Gare Saint-Lazare, Apagando una farola, Apagant un fanal, At Magic City, Avenue de l'Observatoire, Bal des Quatre Saisons, Barcelona, black and white photography, Body of a woman, Brassaï Amantes en la Gare Saint-Lazare, Brassaï At Magic City, Brassaï Avenue de l'Observatoire, Brassaï Bal des Quatre Saisons, Brassaï Camera in Paris, Brassaï Chez Suzy, Brassaï Concierge's Lodge, Brassaï Desnudo en la bañera, Brassaï Four Seasons Ball, Brassaï Haute Couture Soirée, Brassaï Jean Genet, Brassaï Lobster Seller Seville, Brassaï Lovers at the Gare Saint-Lazare, Brassaï Montmartre, Brassaï New Orleans, Brassaï Nu a la banyera, Brassaï Nude in the Bathtub, Brassaï Paris by Night, Brassaï Paris de nuit, Brassaï Picasso Holding One Of The Sculptures, Brassaï Picasso Tenant Une De Les Sculptures, Brassaï Plaisirs, Brassaï Portrait of Picasso, Brassaï Portrait of Picasso in His Studio, Brassaï Portrait of Picasso in His Studio at 23 rue de La Boëtie, Brassaï Prostituta cerca de la Place d'Italie, Brassaï Self-portrait Boulevard Saint-Jacques, Brassaï The Eiffel Tower, Brassaï The Eiffel Tower seen through the Gate of the Trocadéro, Brassaï Velada de alta costura, Brassaï Venedor de marisc Sevilla, Brassaï View through the pont Royal toward the pont Solférino, Brassaï Vista per sota del Pont Royal cap al Pont de Solférino, Brassaï's nocturnal visions, Brassaï Extinguishing a Streetlight, Brassaï Apagando una farola, Brassaï Apagant un fanal, Brassaï Nuit, Brassaï Streetwalker near the place d'Italie, Brassai, Brassó, Camera in Paris, Chez Suzy, Concierge's Lodge, Desnudo en la bañera, E. Tériade, Eiffel Tower, Extinguishing a Streetlight, Four Seasons Ball, French art, french artist, French photographer, French photography, Fundacion MAPFRE, Gyula Halász, Haute Couture Soirée, Jean Genet, La torre Eiffel vista a través de la reja del Trocadero, La Torre Eiffel vista a través del reixat del Trocadéro, Les deux aveugles, Lobster Seller Seville, Lovers at the Gare Saint-Lazare, Maurice Raynal, Minotaure, Montmartre, night photography, nocturnal visions, Nu a la banyera, Nude in the Bathtub, Nuit de Longchamp, Paris by day, Paris by Night, Paris de jour, Paris de nuit, Parisian avant garde, Parisian low life, Picasso Holding One Of The Sculptures, Picasso Tenant Une De Les Sculptures, Plaisirs, Portrait of Picasso, Portrait of Picasso in His Studio, Portrait of Picasso in His Studio at 23 rue de La Boëtie, Prostituta cerca de la Place d'Italie, Self-portrait Boulevard Saint-Jacques, social reality, Streetwalker near the place d'Italie, The Eiffel Tower, The Eiffel Tower seen through the Gate of the Trocadéro, The eye of Paris, the female body, The Painter of modern Life, The two blind men, urban photography, Velada de alta costura, Venedor de marisc Sevilla, View through the pont Royal toward the pont Solférino, Vista per sota del Pont Royal cap al Pont de Solférino
Exhibition dates: 20th February – 13th May 2018
Curator: Mr. Peter Galassi
Brassaï (Gyulá Halász, 1899 – 1984)
Vista per sota del Pont Royal cap al Pont de Solférino
View through the pont Royal toward the pont Solférino
[Nuit / Night 53]
© Estate Brassaï Succession, Paris
For those who know how to look
Not everyone can see. It takes a great eye and a great mind, and the liberation of that mind, to be able to transform the mundane, the everyday, the vernacular – into art. Brassaï’s folklore, his mythology of life, suggests that the life of others (those living on the edge) is as valuable and essential to the formation of culture as any other part of existence.
Brassaï’s work comes alive at night and, as Alejandra Uribe Ríos observes, “The night was undoubtedly the great muse of his work, his inspiration.” While he got some of his friends to stage scenes for his book Paris by night – acting as prostitutes and customers hanging around in back alleys – it matters not one bit. The artist was embedded in this world and represents what he knows, what he has seen in his mind’s eye.
The density of his photographs is incredible – their atmosphere thick and heavy; revealing and beautiful. “In certain photographs, objects take on a particular light, a fascinating presence. Vision has fixed them “as they are in themselves” […]. It confers a density that is entirely foreign to their real existence. They are there, one might say, for the first time, but at the same time for the last.” The first and last, a circular compaction of time and space into the eternal present, objects as they are in themselves and will always be.
That fascinating presence can be felt even today, for that is what the time freeze of photography does: it “look backwards and forwards in the same instance.”
Brassaï saw something clearly, so that we might see it now. Look at the seemingly mundane space portrayed in Concierge’s Lodge, Paris (1933, below) from his book Paris de jour / Paris by Day. The photograph could be taken at night, but it is day! The small amount of sunlight falls on the tied-back curtain in the doorway; the crumpled mat lies outside the door; the two doors compete for our visual attention – one the solid presence that holds up the left hand side of the image, the other the vanishing point in the distance; and the eye is led down to this door by the pavement and the gutter with a band of water emphasising the form. The verticality of the worn and ancient stone work is emphasised by the modern metal box in front of it, leading the eye up to the Concierge sign only, mind you, for numbers 5 & 7. But then the mystery… what is going on above the ancient door at the rear – the sky, a ceiling, another wall lit by the last rays of the sun? Such a dense, complex image that requires an intimate knowledge of the mystery of place, in both the artist and the viewer.
Here we see Brassaï in Self-portrait, Boulevard Saint-Jacques, Paris 14ème, standing in the snow at night, heavy overcoat, hat, cigarette hanging out of his mouth, squinting through his camera to previsualise not just the photograph he is taking, but it’s final, physical embodiment, the print. In our world today of Insta-photos, millions and millions of photographs that mean basically nothing, and where anyone without training can pick up a camera and think of themselves a photographer, there is something to be said for taking the time to train and educate your eye and your mind. Only then might you reveal something about the world and, possibly, yourself as well.
@mapfrefcultura #expo_brassai
Many thankx to Fundación MAPFRE for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“I was eager to penetrate this other world, this fringe world, the secret, sinister world of mobsters, outcasts, toughs, pimps, whores, addicts, inverts. Rightly or wrongly, I felt at the time that this underground world represented Paris at its least cosmopolitan, its most alive, its most authentic, that in these colourful faces of its underworld there had been preserved from age to age, almost without alteration, the folklore of its most remote past.”
Brassaï, 1976
“In certain photographs, objects take on a particular light, a fascinating presence. Vision has fixed them “as they are in themselves” […]. It confers a density that is entirely foreign to their real existence. They are there, one might say, for the first time, but at the same time for the last.”
Brassaï, undated note
“To oblige the model to behave as if the photographer isn’t there really is to stage a comic performance. What’s natural is precisely not to dodge the photographer’s presence. The natural thing in that situation is for the model to pose honestly.”
“The night suggests, he does not teach. The night finds us and surprises us by its strangeness; it liberates in us the forces that, during the day, are dominated by reason.”
“Night does not show things, it suggests them. It disturbes and surprises us with its strangeness. It liberates forces within us which are dominated by our reason during the daytime.”
“The night was undoubtedly the great muse of his work, his inspiration. The train tracks, the lovers, the fog, the posters, the ballet and the cabarets. Everything is worthy of portraying for those who know how to look and that is undoubtedly one of Brassai’s merits: embodying the everyday, rescuing the magical, the lyrical, the mystery of common life, and doing it with elegance, converting the seemingly trivial into a artwork.”
Alejandra Uribe Ríos
Porteria, París
Concierge’s Lodge, Paris
[Paris de jour / Paris by Day 686]
La Torre Eiffel vista a través del reixat del Trocadéro
La torre Eiffel vista a través de la reja del Trocadero
The Eiffel Tower seen through the Gate of the Trocadéro
[Nuit / Night 1; variant of Paris de nuit / Paris by Night, plate 57]
Apagant un fanal, Rue Émile Richard
Apagando una farola, rue Émile Richard
Extinguishing a Streetlight, rue Émile Richard
[Nuit / Night 267]
Avenue de l’Observatoire
Meuca, a prop de la Place d’Italie
Prostituta, cerca de la Place d’Italie
Streetwalker, near the place d’Italie
[Plaisirs / Pleasure 333]
Fundación MAPFRE is launching its 2018 exhibition programme in Barcelona with the exhibition Brassaï, a comprehensive survey of the career of this celebrated Hungarian-born French photographer whose work helped to define the spirit of Paris in the 1930s. Brassaï was one of the most important of the group of European and American photographers whose work in the inter-war years greatly enriched photography’s potential as a form of artistic expression.
The artist began to take photographs in 1929 or 1930, maintaining an intense level of activity throughout the 1930s. Brassaï’s principal subject was Paris, where he settled in 1924, intending to become a painter. Around the end of World War I the artistic centre of the city had shifted from Montmartre to Montparnasse where most of the artists, constituting a major international community, lived like a large family. Brassï was fascinated by the French capital and later said that he started to take photographs in order to express his passion for the city at night. Soon, however, he also began to take portraits, nudes, still life, images of everyday life and depictions of picturesque corners of the city and moments captured during the day.
Brassaï’s confidence in the power of blunt, straightforward photography to transform what it describes, as well as his talent for extracting from ordinary life iconic images of lasting force, won him an important place among the pioneers of modern photography.
This exhibition offers a survey of the artist’s career through more than 200 works (vintage photographs, a number of drawings, a sculpture and documentary material) grouped into twelve thematic sections, of which the two devoted to Paris in the 1930s are the most important. Produced by Fundación MAPFRE and curated by Peter Galassi, chief curator of the Department of Photography at the MoMA, New York, from 1991 to 2011, this is the first retrospective exhibition on Brassaï to be organised since 2000 (Centre Pompidou) and the first to be held in Spain since 1993.
The exhibition benefits from the exceptional loan of the Estate Brassaï Succession (Paris) and other loans from some of the most important institutions and private collections in Europe and the United States, including: The Art Institute of Chicago, The Museum of Fine Arts (Houston), The Metropolitan Museum of Art (New York), The Museum of Modern Art (New York), the Musée National d’Art Moderne, Centre Pompidou (París), The Philadelphia Museum of Art, The San Francisco Museum of Modern Art, David Dechman and Michel Mercure, ISelf Collection (London) and Nicholas and Susan Pritzker.
The Photographer – Brassaï (Gyulá Halász, 1899 – 1984)
Brassaï (the pseudonym of Gyulá Halász) was born in 1899 in Brassó, Transylvania (present-day Braşov in Rumania), from where he subsequently took his name for signing his photographs (Brassaï means “from Brassó”).
After studying art in Budapest and Berlin, he moved to Paris and very soon began to earn occasional money and establish a reputation by selling articles and caricatures to German and Hungarian magazines. Photographs were rapidly replacing traditional magazine illustrations and Brassaï also functioned as a one-man photo-agency. Eventually he started making photographs himself, abandoning painting and sculpting, disciplines for which he nevertheless retained great interest and to which he returned during his career. Around 1900, an aesthetic movement had justified its claim that photography was as a fine art by imitating the appearance of the traditional arts. It was not until the 1920s and 1930s that a new generation rejected that approach and began exploring the artistic potential of plain, ordinary photographs. When the tradition that they launched began to achieve widespread recognition in the 1970s, Brassaï would be recognised as one of its leading figures.
During the German occupation of Paris, Brassaï was obliged to stop taking photographs and he thus returned to drawing and writing. In 1949 he obtained French nationality. After the war he once again devoted part of his time to photography and traveled regularly to undertake commissions for the American magazine Harper’s Bazaar. He died in Beaulieu-sur-Mer (France) in 1984 without ever returning to his native Brassó.
The sections of the exhibition
Paris by Night was in fact the result of a commission which the publisher Charles Peignot gave to the young and still unknown Brassaï. The book, of which a copy is presented in the exhibition, was published in December 1932 and was extremely successful thanks in part to its modern design, pages without margins and richly toned photogravures. Brassaï continued to explore nocturnal Paris throughout the 1930s, developing a personal vision that is embodied in numerous prints in the exhibition.
They evoke the city’s dynamic, vibrant mood: the close-up image of a gargoyle on Notre Dame Cathedral rather than a conventional view of that building, or the Pont Royal seen from the water rather than from above. These are almost always silent images in which time seems to stand still.
When Brassaï reorganised his archive just after World War II, gathered under the rubric Plaisirs he included his pictures of small-time criminals and prostitutes and other figures of Parisian low life together with images of Parisian entertainments, including cheap dance halls to local street fairs to the annual entertainments designed to flout bourgeois conventions. Brassaï obtained permission to work backstage at the famous Folies Bergère, which allowed him to observe everything that was happening from a high viewpoint. His images of Parisian low life transpose to the vivid new medium of photography a vital mythology that had been elaborated in literature and the traditional visual arts.
No one photographed Paris by night as skilfully as Brassaï but he also built up a considerable collection of images of the city by day. Its famous monuments, picturesque corners and details of everyday life are the subject of many of these photographs. Some of his images of the early 1930s reveal his interest in daring geometrical forms and abrupt truncation, for example his famous images of the city’s cobblestones. But even his boldest graphic experiments reflect his abiding fascination with the continuities of an enduring human civilisation.
Nobody photographed Paris at night as accurately as Brassaï, but also accumulated a considerable collection of images of the city in daylight. Monuments, picturesque corners or details of everyday life play a large part in these scenes.
Some of his photographs from the thirties also reflect his interest in geometric styles or abrupt cuts, as shown by the famous cobblestone images of city streets. But even these bolder graphic experiments reflect, like the rest of his images of the city, his permanent fascination with what for him was presented as a remote and inexhaustible tradition, in constant development.
The notion of graffiti as a powerful art form first emerged in the 20th century. Like African tribal objects, children’s art or that of the mentally ill, graffiti was considered more expressive and vital than the refined forms of traditional western art.
Brassaï was in fact one of the first to focus on this subject matter. He was an inveterate hoarder who throughout his life collected all types of cast-off objects and from almost the moment he began to take photographs he used the medium to record the graffiti he saw on the walls of Paris. He preferred examples of graffiti that had been incised or scratched to drawn or painted ones, as well as those in which the irregularity of the wall itself played an important role in aesthetic terms. He took hundreds of images of this type of which only a small selection is on display here.
Minotaure
Between the time of his arrival in Paris in early 1924 and his first steps in photography taken six years later, Brassaï built up a large circle of friends within the international community of artists and writers in Montparnasse. They included Les deux aveugles [The two blind men], as the art critics Maurice Raynal and the Greek-born E. Tériade referred to themselves. In December 1932, the same month that Paris de nuit was published, Tériade invited Brassaï to photograph Picasso and his studios to illustrate the first issue of Minotaure, the deluxe art magazine that would be published in 1933 by the Swiss publisher Albert Skira. Copies of various different issues are on display in this section. This collaboration marked the starting point of Brassaï’s friendship with Picasso, one of the most important of his entire life. Over the following years Brassaï would play an important role in the life of the magazine, particularly with the projects for which he collaborated with Salvador Dalí and as an illustrator to texts by André Breton, although in some cases as an artist in his own right. The first number of the magazine included a series of nudes by Brassaï and his growing graffiti series, while number 7 devoted several pages to Brassaï’s nocturnal visions. All these evoke the artist’s modernity and his relationship with the most important circles of the Parisian avant-garde.
Personages / Characters
In 1949 in his prologue to Camera in Paris, a monograph on contemporary photographers, Brassaï paraphrased Baudelaire in The Painter of modern Life and established a line of continuity between the art of the photographer and that of some of the great artists of the past such as Rembrandt, Goya and Toulouse-Lautrec. In this sense he explained how, like them, photography could elevate ordinary subjects to the level of the universal. The people depicted in this gallery reflect that idea as not only do we see a worker at Les Halles market, a transvestite or a penitent in Seville, but through the dignity given to them by the image all of them exceed their individuality and come to represent a collective.
Places and things
One of Brassaï’s earliest projects, which was never produced, was a book of photographs of cacti. Many years later, in 1957, he made a short film on animals. Most of his photographs of objects or places, however, focus on human creations, reflecting his boundless curiosity about the people that made them, used them or lived in them.
During his trips Brassaï took numerous photographs of which a small selection are on display here: a view of Gaudí’s Sagrada Familia from a high viewpoint, a painted wall in Sacromonte, Granada, and a shop window in New Orleans. In some of these images, such as Vineyard, Château Mouton-Rothschild (June 1953), the viewpoint jumps sharply from the foreground to the background, splitting the image in half along its horizontal axis – a pictorial device invented by Brassaï.
During the mid-1930s and just after World War II, Brassaï photographed at more than two dozen gatherings of Parisian high society – costume balls, fancy soirées, and other events both at private homes and such elegant venues as the Ritz – as well as the famous Nuit de Longchamp (the race course just outside of Paris) every summer from 1936 to 1939. At these events he had much less opportunity to intervene in the action than in Parisian dance halls and bars, but he nonetheless was able to create lasting images of a distinct social reality. Perhaps the most extraordinary of them is his photograph of the celebration of the fiftieth anniversary of the Art Nouveau interior of the swank restaurant Maxim’s (completed just a few years before the Casa Garriga Nogués). Although that image has been famous since it was made in 1949, Brassaï’s series on Parisian high society is poorly known, and several of the photographs are presented for the first time in this exhibition.
Body of a woman
During the occupation of Paris (1940-1944), Brassaï declined to work for the Germans and so was unable to photograph openly. His only income seems to have come from a clandestine commission from Picasso to photograph the master’s sculptures. Partly at Picasso’s urging, Brassaï returned to drawing. Most of the drawings that he made in 1943-45, like most of the drawings that survive from his time as an art student in Berlin in 1921-22, are female nudes. The same is the case with many of the sculptures that he started to produce after the war, often made from stones worn by the effect of water.
It would be foolish to attempt to disguise the intensity of Brassaï’s male gaze behind the curtain of a purely aesthetic pursuit of “form.” What is distinctive and powerful in his images of the female body is their unembarrassed carnal urgency.
Portraits: artists, writers, friends
Pablo Picasso, Salvador Dalí, Henry Miller (who gave Brassaï the sobriquet “The eye of Paris”), Pierre Reverdy, Jacques Prévert, Henri Matisse and Léon-Paul Fargue are just a few of the subjects of the portraits on display in this section of the exhibition.
Most of Brassaï’s portraits are of people that he knew and perhaps as a result of that closeness they convey a powerful spirit of frankness, unencumbered by posturing. It is also true; however, that Brassaï regularly achieved that spirit even when he did not know the subject.
Broadly speaking, the hallmark of advance European photography in the 1920s and 1930s was a new sense of mobility and spontaneity. But spontaneity was alien to Brassaï’s sensibility, which instead sought clarity and stability. Instead of the popular, hand-held camera, a 35mm Leica, Brassaï chose a camera that used glass plates and often stood on a tripod. As if to declare his independence from the aesthetic of mobility, he chose sleeping in public as a recurrent motif.
Brassaï’s work for Harper’s Bazaar led him to travel in France and in numerous other places, from Spain to Sweden, the United States and Brazil. While the roots of his talent lay in Paris he thus produced an extensive body of photographs taken in places that were unfamiliar to him. The exhibition includes a number of these works, three of them depicting Spain.
Press release from Fundación MAPFRE
Chez Suzy
Nu a la banyera
Desnudo en la bañera
Nude in the Bathtub
[Nu / Naked 199]
Bal des Quatre Saisons, rue de Lappe
Four Seasons Ball, rue de Lappe
[Plaisirs / Pleasures 2]
Estate Brassaï Succession, Paris © Estate Brassaï Succession, Paris
Al Magic City
En Magic City
At Magic City
[Plaisirs / Pleasures 439]
Amants a l’estació de Saint-Lazare
Amantes en la Gare Saint-Lazare
Lovers at the Gare Saint-Lazare
Vetllada d’alta costura
Velada de alta costura
Haute Couture Soirée
[Soirées 85 (image reversed)]
Venedor de marisc, Sevilla
Vendedor de marisco, Sevilla
Lobster Seller, Seville
[Étranger / Foreign 401]
[Amérique / America 451]
[Paris de jour / Paris by day 472.C]
Jean Genet, Paris
[Arts 787.E]
Picasso Tenant Une De Les Sculptures
Picasso Holding One Of The Sculptures
Portrait of Picasso in His Studio at 23 rue de La Boëtie, Paris
23 rue de La Boëtie, Paris
Self-portrait, Boulevard Saint-Jacques, Paris 14ème
Fundación MAPFRE – Instituto de Cultura
Casa Garriga i Nogués exhibition space
Calle Diputació, 250
Mondays from 2 pm to 8 pm
Tuesdays to Saturdays from 10 am to 8 pm
Sundays/holidays from 11 am to 7 pm
Fundación MAPFRE website
Exhibition: ‘Images à la Sauvette’ at the Fondation Henri Cartier-Bresson, Paris
Categories: black and white photography, documentary photography, exhibition, existence, gallery website, intimacy, landscape, light, memory, photographic series, photography, photojournalism, portrait, psychological, quotation, reality, space, street photography, time and works on paper
Tags: "Chez Gégène" Joinville-le-Pont, Alain Bergala, Alain Bergala slack time, Alain Bergala temps faible, artist's book, Box Brownie, Cardinal de Retz, Cardinal de Retz decisive moment, Cartier-Bresson "Chez Gégène", Cartier-Bresson Gandhi's funeral, Cartier-Bresson Henri Matisse, Cartier-Bresson Images à la Sauvette, Cartier-Bresson Spain and Spanish Morocco, Cartier-Bresson The Decisive Moment, Cartier-Bresson Truman Capote, content cannot be separated from form, Correspondance New-Yorkaise, decisive moment, documentary photographer, documentary photography, es derniers jours de Kuomintang, french artist, French photographer, French photography, Gandhi's funeral, Georges Sadoul, Henri Cartier-Bresson "Chez Gégène", Henri Cartier-Bresson Boston United States, Henri Cartier-Bresson es derniers jours de Kuomintang, Henri Cartier-Bresson Gandhi's funeral, Henri Cartier-Bresson Henri Matisse and his model Micaela Avogadro, Henri Cartier-Bresson Images à la Sauvette, Henri Cartier-Bresson Italy, Henri Cartier-Bresson Italy 1933, Henri Cartier-Bresson Last days of Kuomintang Shanghai China, Henri Cartier-Bresson Seville Spain, Henri Cartier-Bresson Spain and Spanish Morocco, Henri Cartier-Bresson Tehuantepec Mexique, Henri Cartier-Bresson The Decisive Moment, Henri Cartier-Bresson Truman Capote New Orleans, Henri Matisse, Henri Matisse and his model Micaela Avogadro, illustrated magazines, image sequences, Images à la Sauvette, Images on the fly, inner world, intimate interpretation, Last days of Kuomintang Shanghai China, Micaela Avogadro, narrative form, observational approach, picture-story, Raymond Depardon, Raymond Depardon Correspondance New-Yorkaise, sequencing images, slack time, Spain and Spanish Morocco 1933, Tehuantepec Mexique, temps faible, the act of living, The Decisive Moment, Truman Capote 1947, Truman Capote New Orleans, visual organization
Exhibition dates: 11th January – 23rd April 2017
No more, decisive moment
Following the relatively unknown photocollages of Josef Albers, a posting on one of the most famous artist books in the world, Images à la Sauvette (Images on the fly, Images on the run) – the American publishers Simon and Schuster choosing the punchier The Decisive Moment as the title of the American version.
While individual images are interesting, it is “the unique narrative form and the emphasis on the photographer’s text” in terms of the image layout and composition of the book that is so groundbreaking an aspect of the work. Cartier-Bresson sought not to capture one reality – the “decisive moment” – but a poetic reality based on the “impulsiveness of a desire, the personal anxiety in face of a moment to preserve.” It was his almost uncanny ability to pre-visualise the desire for a poetic moment (to visualise its emergence), and then translate that desire into images, that makes him such a great artist.
Agnès Sire observes in her text “De l’errance de l’oeil au moment qui s’impose, quelques pistes pour mieux voir,” (From the wandering of the eye to the right moment, a few ways to see better):
“In 1974, Cartier-Bresson would admit: “For me, the Leica is a sketchbook, a psychoanalyst’s couch, a machine gun, a big, hot kiss, an electromagnet, a memory, the mirror of memory.” There is no trace here of any supposed record of a reality, but rather, of memory (and thus the past), the psychoanalyst’s couch (to make the past re-emerge) and the mirror of memory (the image of the past). Clearly, this poetic accident does not lie within everyone’s reach but, through the camera, it presents itself to some, provided they are good at passing it on. And this is something which, according to Walker Evans, left no room for doubt in Cartier-Bresson’s case: “Cartier has always been a kind of spirit medium: poetry sometimes speaks through his camera.””
Thus the past, the image of the past and the transcendence of the past merge in the photography of Cartier-Bresson. In one image, and in the combination of images (much like the photocollages of Josef Albers), he lays out before us, “the significance of an event as well as of a precise organization of forms which give that event its proper expression.” Instructive to this aim are the page layouts of the book at the bottom of the posting. Pages are divided into three or fours spaces. In the first layout you look down, you are drawn into, you move horizontally across; human figures are isolated, silhouetted with shadow, in shadow, against form.
In the second layout the shapes and emotions form a complex relationship: movement across with thick vibration of energy behind the ecstatic child (top left); a child’s eye view of the world with a constellation of stars behind (top right); a picture frame on a fragmented world (Seville, 1933, bottom left); and the tethered beasts and stick-like children (bottom right). Now squint your eyes and move them from one quadrant to another.
This is complex and thoughtful image making, on both a human and poetic scale. If the photographic lens let Cartier-Bresson “look into the rubble of the unconscious and of chance,” then it took an informed and intelligent mind to understand what the lens was seeing, even before the images were made evident, and to then give those events proper expression.
Many thankx to the Fondation HCB for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Magazines end up wrapping french fries, while books remain.
André Breton taught me to let the photographic lens look into the rubble of the unconscious and of chance.
Henri Cartier-Bresson, 1995
“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.”
Extract from the text by Henri Cartier-Bresson, ‘The Decisive Moment’, Simon and Schuster, 1952
Images à la Sauvette (Verve, 1952)
Cover by Henri Matisse
© Henri Cartier-Bresson / Magnum Photos
Installation views of the exhibition Images à la Sauvette at the Fondation Henri Cartier-Bresson, Paris
From January 11 to April 23, 2017, the Foundation devotes an exhibition to Cartier-Bresson’s famous publication Images à la Sauvette. Initated by the French publisher Tériade, the project is finally achieved on October 1952 as a French-American co-edition, with the contribution of Matisse and the American publishers Simon and Schuster. The latter chose “The Decisive Moment” as the title of the American version, and unintentionally imposed the motto which would define Cartier-Bresson’s work. Since its publication in 1952, Images à la Sauvette has received an overwhelming success. It is considered as “a Bible for photographers” according to Robert Capa’s words. The innovative design of the publication struck the art world with its refined format, the heliogravure quality and the strength of the image sequences. The publication reveals the inherent duality of Cartier-Bresson’s work; between the photographer’s intimate interpretation and his documentary approach.
Images à la Sauvette is the fruit of joined efforts of a famous art publisher, Tériade, a talented photographer, a painter at the peak of his career, Matisse, and two American publishers, Simon and Schuster. From his beginnings, Cartier‑Bresson considers the book as the outcome of his work. In the thirties, he met the publisher of Verve, Tériade, who he would later likely acknowledge to be his mentor. They plan, at the time, to carry out a book project on large cities rough areas together with Eli Lotar, Bill Brandt and Brassaï, but this ambitious project will never see the light of day.
Twenty years later and after a trip of three years in Asia, the Images à la Sauvette project finally began to materialise. The French title has been thoroughly thought out with his brother-in-law and cinema historian Georges Sadoul and evokes the snatchers or street peddlers. Cartier‑Bresson attested that the meaning of this idiomatic expression, the street vendors ready to run at the first request for a license, is very akin to his way of capturing images. Tériade would then prompt the Cardinal de Retz quote, the epigraph to Henri Cartier‑Bresson’s introductory text: “There is nothing in this world which does not have its decisive moment”. The American publisher hesitated to use a translation of the original French title and opted for something punchier, The Decisive Moment.
Images à la Sauvette established itself as an extremely pioneering work by its wish to claim the images strength as the unique narrative form and the emphasis on the photographer’s text. It proposes a daring purity, allowing the 24 x 36 to spread out on its very large format pages. A model of its kind with the heliogravure printing by the best craftsmen of the era, the Draeger brothers, and the splendid Matisse cover has been called “a Bible for photographers” by Robert Capa. In Spring 1951, Cartier-Bresson explains, “While our prints are beautiful and perfectly composed (as they should be), they are not photographs for salons […] In the end, our final image is the printed one.” This affirmation definitely proclaims Images à la Sauvette as an artist’s book.
Yet paradoxically, the book confirms a turning point in the life of the photographer who has co-founded Magnum Photos a few years earlier, in 1947, and which has contributed to guarantee the photographers authorship. The choice to separated the image portfolio before and after 1947 certifies this shift to the documentary. The significant size of the Reportage chapter in his introduction, as well as the recurrence of the plural pronoun evoking the cooperative, demonstrate this important change. The book structure in two definite parts reveals the inherent duality in Cartier‑Bresson’s work. Images à la Sauvette brings to light the photographer’s vision, which we thought to be torn between a very intimate interpretation of the inner world and, since the creation of Magnum, a more observational approach of the external world. Cartier-Bresson was fully aware of this coexistence and advocated a balance: “there is a reciprocal reaction between both these worlds which in the long run form only one. It would be a most dangerous over-simplification to stress the importance of one at the cost of the other in that constant dialogue.”
The exhibition presents a selection of vintage prints as well as numerous archival documents to recount the history of this publication, until its facsimile reprint by Steidl Verlag, in 2014. This edition comes with an additional booklet containing an essay by Clément Chéroux.
Text from Fondation HCB
Seville, Spain, 1933
From Images à la Sauvette (Verve, 1952), p. 27-28
Tehuantepec, Mexique, 1934
MEXICO. State of Oaxaca. Tehuantepec. 1934
From Images à la Sauvette (Verve, 1952), p. 34
Boston, United States, 1947
USA. Massachusetts. Boston. 1947.
Truman Capote, New Orleans, United States, July 1946
USA. Louisiana. New Orleans. US writer, Truman Capote. 1947.
The great Henri Cartier-Bresson perfectly captured this decisive moment of petulant ingenue, Truman Capote. This photo was taken almost a year before Truman would publish his first novel, Other Voices, Other Rooms to great acclaim – a beautifully written story which is also partly autobiographical. He is about 22 years of age in this photo.
The unlikely couple met when contracted by Fortune Magazine to embark on a road trip together to the Deep South. Capote remembers Cartier-Bresson as…“dancing along the pavement like an agitated dragonfly, three Leicas winging from straps around his neck, a fourth one hugged to his eye … clicking away with a joyous intensity, a religious absorption.” (Text by John Rendell)
es derniers jours de Kuomintang, Shanghai, Chine, décembre 1948 – janvier 1949
Last days of Kuomintang, Shanghai, China, December 1948 – January 1949
From Images à la Sauvette (Verve, 1952), p. 127-128
CHINA. Shanghai. December 1948-January 1949. As the value of the paper money sank, the Kuomintang decided to distribute 40 grams of gold per person. With the gold rush, in December, thousands came out and waited in line for hours. The police, equipped with the remnants of the armies of the International Concession, made only a gesture toward maintaining order. Ten people were crushed to death.
Extract from The Decisive Moment
I, like many another boy, burst into the world of photography with a Box Brownie, which I used for taking holiday snapshots. Even as a child, I had a passion for painting, which I “did” on Thursdays and Sundays, the days when French school children don’t have to go to school. Gradually, I set myself to try to discover the various ways in which I could play with a camera. From the moment that I began to use the camera and to think about it, however, there was an end to holiday snaps and silly pictures of my friends. I became serious. I was on the scent of something, and I was busy smelling it out.
Then there were the movies. From some of the great films, I learned to look, and to see. “Mysteries of New York, with Pearl White; the great films of D. W. Griffith – “Broken Blossoms”; the first films of Stroheim – “Greed”, Eisenstein’s “Potemkin”; and Dreyer’s “Jeanne d’Arc” – there were some of the things that impressed me deeply. Later I met photographers who had some of Atget’s prints. These I considered remarkable and, accordingly, I bought myself a tripod, a black cloth and a polished walnut camera three by four inches. The camera was fitted with – instead of a shutter – a lens-cap, which one took off and then put on to make the exposure. This last detail, of course, confined my challenge to the static world. Other photographic subjects seemed to me to be too complicated, or else to be “amateur stuff.” And by this time I fancied that by disregarding them, I was dedicating myself to Art with a capital “A.” Next I took to developing this Art of mine in my washbasin. I found the business of being a photographic Jack-of-All-Trades quite entertaining. […]
I had just discovered the Leica. It became the extension of my eye, and I have never been separated from it since I found it. I prowled the streets all day, feeling very strung-up and ready to pounce, determined to “trap” life – we preserve life in the act of living. Above all, I craved to seize the whole essence, in the confines of one single photograph, of some situation that was in the process of unrolling itself before my eyes. The idea of making a photographic reportage, that is to say, of telling a story in a sequence of pictures, was something which never entered my head at that time. I began to understand more about it later, as a result of looking at the work of my colleagues and at the illustrated magazines. In fact, it was only in the process of working for them that I eventually learned – bit by bit – how to make a reportage with a camera, how we make a picture-story.
I have travelled a good deal, though I don’t really know how to travel. I like to take my time about it, leaving between one country and the next an interval in which to digest what I’ve seen. Once I have arrived in a new country, I have an almost desire to settle down there, so as to live on proper terms with the country. I could never be a globe-trotter. […]
I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us which can mould us, but which can also be affected by us. A balance must be established between these two worlds – the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.
But this takes care only of the content of the picture. For me, content cannot be separated from form. By form, I mean a rigorous organization of the interplay of surfaces, lines, and values. It is in this organization alone that our conceptions and emotions become concrete and communicable. In photography, visual organization can stem only from a developed instinct.
Extract from the text by Henri Cartier-Bresson, in The Decisive Moment, Simon and Schuster, 1952.
“Chez Gégène”, Joinville-le-Pont, France, 1938
FRANCE. The Val de Marne ‘departement’. Joinville-le-Pont, near Paris. 1938.
“A newly-wed bride and groom at an outdoor café on the Marne. The couple were here for the entire afternoon with a full wedding party which included uncles, aunts and small children of the family.”
Henri Matisse and his model Micaela Avogadro, Vence, France, 1944
FRANCE. Nice. Cimiez district. February 1944. French painter Henri Matisse, with his model Micaela Avogadro.
The Decisive Moment: Trap or acme?
“There is nothing in this world which does not have its decisive moment.” This phrase, which comes from the memoirs of Cardinal de Retz first published in 1717, appears as the epigraph to Henri Cartier-Bresson’s introductory text for his first major book of photographs, Images à la Sauvette. It was his publisher, Tériade, the creator of the legendary Verve collection, who suggested using the quotation in 1952. At the time, Cartier-Bresson had no idea how important it would become. In fact, the book’s co-publisher in the United States, Richard Simon, from Simon & Schuster, hesitated to use a translation of the original French title – although this would have been quite possible – and sought something more impactful. In the end, Cartier-Bresson accepted The Decisive Moment, which would thus be handwritten by Matisse at the bottom of the paper cut-out the artist had created for the cover.
And so it is why, since that time, the concept of the “decisive moment” has practically always been associated with the name of Henri Cartier-Bresson. The expression gained such a following that it became a kind of definition of the photographic act for certain photographers, and one which would absolutely have to be overthrown afterwards. In the 1980s, the concept of the ‘decisive moment’ was contrasted with that of the “slack time” (temps faible), as brilliantly developed by French critic Alain Bergala in his essay accompanying Raymond Depardon’s Correspondance New-Yorkaise.
The error, the misunderstanding concerning this ‘decisive moment’ attached to the name of Henri Cartier-Bresson is that it has become a kind of standard, as if there were only one right moment, the one where everything falls into place in a geometric way. Many photographers have gone astray by attempting to imitate that balance; what often gets lost is the impulsiveness of a desire, the personal anxiety in face of a moment to preserve. The “decisive moment” has imposed itself and somewhat distorted, or in any case simplified, the way Cartier-Bresson’s work is seen, like a tree hiding the forest.
Wouldn’t the ‘decisive moment’ be rather an ‘art of poetic accident’, knowing how to capture it in order to avoid the eternally ‘lost moment’: a mirror of memory, a moment saved by the artifice of the film’s light-sensitive surface?”
Extract from “De l’errance de l’oeil au moment qui s’impose, quelques pistes pour mieux voir,” (From the wandering of the eye to the right moment, a few ways to see better) Agnès Sire, Revoir Henri Cartier-Bresson, Textuel, 2009
Italy, 1933 (detail)
Spain and Spanish Morocco, 1933
Spain and Spanish Morocco, 1933 (detail)
Gandhi’s funeral, Delhi, India, 1948
From Images à la Sauvette (Verve, 1952), p. 99-100
Gandhi’s funeral, Delhi, India, 1948 (detail)
Fondation Henri Cartier-Bresson
2, impasse Lebouis, 75014 Paris
Tuesday – Sunday 1pm – 6.30 pm
Saturday 11am – 6.45 pm
Late night Wednesdays until 8.30 pm
Fondation Henri Cartier-Bresson website
Exhibition: ‘Robert Doisneau – Photographs. From Craft to Art’ at Martin-Gropius-Bau, Berlin
Categories: beauty, black and white photography, colour photography, documentary photography, exhibition, existence, gallery website, intimacy, landscape, light, memory, Paris, photographic series, photography, portrait, psychological, quotation, reality, space, street photography, time and works on paper
Tags: 20 years of Josette, African Games, Berlin, Blaise Cendrars, Cartier-Bresson imaginaire d'après nature, Doisneau imparfait de l'objectif, Doisneau imperfect of the objective, Doisneau La Banlieue de Paris, Doisneau Le Baiser de l'Hôtel de Ville, Doisneau The Kiss by the Hôtel de Ville, Eugene Atget, French art, french artist, French metropolis, French photographer, French photography, Hommages respectueux, humanist photography, illusionist, imparfait de l'objectif, imperfect of the objective, Jacques Prevert and table, Jacques Prevert au guéridon, La Banlieue de Paris, La concierge aux lunettes, La dernière valse du 14 juillet, La mariée chez Gégène, Le Baiser de l'Hôtel de Ville, Le cadran scolaire, Le nez au carreau, Les 20 ans de Josette, Les frères rue du Docteur Lecène, Les tabliers de la Rue de Rivoli, LIFE Magazine, Mademoiselle Anita, malgré lui, Martin-Gropius-Bau, Palm Springs, photography of the moment, photojournalism, photojournalists, Rapho Agency, Respectful tribute, Robert Doisneau - Photographs, Robert Doisneau - Photographs. From Craft to Art, Robert Doisneau 20 years of Josette, Robert Doisneau African Games, Robert Doisneau Hommages respectueux, Robert Doisneau Jacques Prevert and table, Robert Doisneau Jacques Prevert au guéridon, Robert Doisneau La concierge aux lunettes, Robert Doisneau La dernière valse du 14 juillet, Robert Doisneau La mariée chez Gégène, Robert Doisneau Le Baiser de l'Hôtel de Ville, Robert Doisneau Le cadran scolaire, Robert Doisneau Le nez au carreau, Robert Doisneau Les 20 ans de Josette, Robert Doisneau Les frères rue du Docteur Lecène, Robert Doisneau Les tabliers de la Rue de Rivoli, Robert Doisneau Mademoiselle Anita, Robert Doisneau Palm Springs, Robert Doisneau Respectful tribute, Robert Doisneau The bride at Gégène, Robert Doisneau The brothers street of Doctor Lecène, Robert Doisneau The concierge with the glasses, Robert Doisneau The Kiss by the Hôtel de Ville, Robert Doisneau The last waltz of 14 July, Robert Doisneau The Melted Car, Robert Doisneau The nose against the pane, Robert Doisneau The school clock, Robert Doisneau The Suburbs of Paris, Rolleiflex, The bride at Gégène, The brothers street of Doctor Lecène, The concierge with the glasses, The Family of Man, The Kiss by the Hôtel de Ville, The last waltz of 14 July, The Melted Car, The nose against the pane, The school clock, The Suburbs of Paris
Exhibition dates: 9th December 2016 – 5th March 2017
I have waited nearly ten years to do a posting on this artist and his “humanist photography” (he was part of Steichen’s Family of Man exhibition). Of itself, that says enough, that there are so few exhibitions of his work.
I admit that he is not one of my favourites. His photographs, while containing a good dose of humour and occasional irony, seem to lack panache; his simply crafted ‘imperfect of the objective’ never really cuts it against Cartier-Bresson’s ‘imagination, from life’, or the wonder of artists like Walker Evans (from an earlier era) and the incomparable Helen Levitt.
His juggling act – “juggler, tightrope walker, illusionist to achieve even more realism” – leaves most of the work feeling brittle, over controlled with a salutory sense of stage fright.
Many thankx to Martin-Gropius-Bau for allowing me to publish some of the photographs in the posting. Please click on the photograph for a larger version of the image.
Le Baiser de l’Hôtel de Ville (The Kiss by the Hôtel de Ville)
© Atelier Robert Doisneau, 2016
“People like my photos because they see in them what they would see if they stopped rushing about and took the time to enjoy the city…”
“Doisneau always approached his work with a little self mockery, perhaps it was his antidote to the anguish of not being a jester, a tight-rope walker, a magician as he was too much of a realist: and here lies the paradox of one who wished to carry out his work like a street artist, with the chaste joy and fun of an artist malgré lui [in spite of himself] ….
There was a real bond between him and Henri Cartier-Bresson; if they were equally childlike in their joking, they were just as ready to consult each other on professional questions. ‘Our friendship is lost in the darkness of time’, wrote Cartier-Bresson in 1995. ‘We will no longer have his laugh, full of compassion, nor his hard-hitting retorts, so funny and profound. Never told twice: each time a surprise. But his deep kindness, his love for all beings and for a simple life will always exist in his work’. They did not have the same conception of photography, given the difficulty of ‘conjugating’ Doisneau’s ‘imperfect of the objective’ (imparfait de l’objectif) with the ‘imagination, from life’ (imaginaire d’après nature) of Cartier-Bresson, who was more inclined to rigour, influenced by painting and drawing and averse to reframing…
Doisneau always took an ironic approach to his work, which for him was only an antidote to the anxiety of not being. Juggler, tightrope walker, illusionist to achieve even more realism: such is the deceptive paradox of someone who wanted to ‘carry off his tricks like the sidewalk artists’, with the modest lucidity of an artist in spite of himself.”
Text from the BINT PHOTOBOOKS ON INTERNET website
The Melted Car
Les 20 ans de Josette (20 years of Josette)
Les tabliers de la Rue de Rivoli
Dustjacket of Robert Doisneau’s La Banlieue de Paris (The Suburbs of Paris)
Mademoiselle Anita
Les frères, rue du Docteur Lecène, Paris (The brothers, street of Doctor Lecène, Paris)
Le nez au carreau (The nose against the pane)
Le cadran scolaire, Paris (The school clock, Paris)
La concierge aux lunettes, Rue Jacob (The concierge with the glasses, Rue Jacob)
La mariée chez Gégène (The bride at Gégène)
Hommages respectueux (Respectful tribute)
Jacques Prevert au guéridon (Jacques Prevert and table)
La dernière valse du 14 juillet (The last waltz of 14 July)
Very few photographers have become famous through a single picture. “Le Baiser de l’Hôtel de Ville” (The Kiss by the Hôtel de Ville) is such a picture, which Robert Doisneau (1912-1994) took in March 1950 in front of a Parisian street café in the Rue de Rivoli. The image of the couple kissing was a work commissioned by LIFE magazine. Although it was staged, it contains an entire story: It became the symbol of Paris as the “city of love”. It is one of the iconic photographs of the 20th century.
However, Doisneau’s oeuvre is much deeper and more complex. It is comprised of approximately 350,000 photographs, including professionally crafted shots and others which have the force and charisma of an artistic solitaire. He worked as a photojournalist for the major magazines such as Vogue, Paris Match, Le Point and LIFE. His most famous photographs were shot while wandering through the French metropolis. The exhibition provides an inside view of Doisneau’s work with around 100 selected photographs most of them taken during the 1940s and 50s. It shows his fascination for the normal, for the petit bourgeois and for the melancholic and fragile.
During the first half of the 20th century, Paris was one of the leading art metropolises of the world. The French capital attracts artists from all nations as it is multi-faceted and an ideal environment to capture in snapshots. Artists such as Henri Cartier-Bresson, Brassaï, André Kertész, Martin Munkácsi, Germaine Krull, Robert Doisneau, use the new technical features of a camera with short exposure time and cultivate a photography of the moment. They focus on people and on a parallel trend, illustrating the increasing invasion of public life into the private sphere and making the private, intimate and personal visually public. Achieving this moment requires new aesthetic value measures. The relegation of the remaining is no longer the focal point of attention but rather the beauty of spontaneity becomes more and more noticeable.
Doisneau’s clients were photo agencies, fashion magazines and revues. They looked for photojournalists whose photographs can convey a momentary event comprehensively and with their own impressions. Doisneau delivered.
He prowled around the centre and outskirts of Paris with his Rolleiflex in his spare time. He was concerned with securing evidence. He did this less systematically than his great role model Eugène Atget (1857-1927), who catalogued street by street with his unwieldy large-format camera. Doisneau, however, was concerned with the atmosphere itself. He photographed building facades, interior rooms, quays, children playing, passers-by, wedding couples and moments that are often condensed into a sentimental story. He befriended intellectuals, journalists and poets like Robert Giraud (1921-1997), Jacques Prévert (1900-1977) and Blaise Cendrars (1887-1961). They took him with them to bars and music halls. In 1949, he published the book “La Banlieue de Paris” (The Suburbs of Paris) with Blaise Cendrars.
Doisneau was born in the suburb in the small village of Gentilly southwest of Paris in 1912. He finished his studies at the École Estienne in Paris in 1928 with a diploma in lithography and engraving. He first worked as an assistant to the “Encyclopédie photographique de l’art” photographer and publisher André Vigneau (1892-1968) in 1931 and then as a factory photographer for the car manufacturer Renault between 1934 and 1939. He stopped working for Renault to become a freelance photojournalist at the renowned Rapho Agency. During the Second World War, he documented daily life in occupied and later liberated Paris. He wanted his work to be understood as an encouragement to life.
To this day, Robert Doisneau stands for what is called “humanist photography”: a photography, which turns to people in their everyday life. The surprising moments of everyday life in the big city of Paris made him one of the most important chroniclers of the 20th century.
Text from the Martin-Gropius-Bau
Martin-Gropius-Bau Berlin
Corner Stresemannstr. 110
T: +49 (0)30 254 86-0
Wednesday to Monday 10 – 19 hrs
Martin-Gropius-Bau website
Exhibition: ‘Sabine Weiss’ at Jeu de Paume – Château de Tours
Categories: beauty, black and white photography, colour photography, designer, documentary photography, exhibition, existence, fashion photography, gallery website, landscape, light, memory, New York, Paris, photographic series, photography, portrait, psychological, reality, space, street photography, time, video and works on paper
Tags: 1950s fashion photography, André Breton at home, André Breton chez lui, Anna Karina, Anna Karina for the brand Korrigan, Anna Karina pour la marque Korrigan, Beggar Toledo, black and white photography, Bonjour tristesse, Brassai, Château de Tours, Cheval Porte de Vanves, Children taking water from the fountain, colour photography, Edouard Boubat, Edward Steichen, Enfant perdu dans un grand magasin, Enfants prenant de l’eau à la fontaine, fashion photography, Feux de Bengale, Fires of Bengal, Françoise Sagan at home, Françoise Sagan Bonjour Tristesse, Françoise Sagan chez elle, french artist, French humanist school of photography, French photographer, French photography, French photography of the 1950s, french post-war photography, Gypsy wedding, Horse Porte de Vanves, Hugh Weiss, humanist photography, international illustrated press, Jeu de Paume, Jeu de Paume Château de Tours, Korrigan, L'homme qui court, La Petite Égyptienne, Little Egyptian, Lost child in a department store, Marchande de frites, Mariage gitan, Mendiant Tolède, Modern fishing village, Old lady and child, Paris, Paul Boissonnas, Porte de Saint-Cloud, Prêtre devant une trattoria, Priest before a trattoria, Rapho Agency, Robert Doisneau, Sabine Weiss, Sabine Weiss André Breton at home, Sabine Weiss André Breton chez lui, Sabine Weiss Anna Karina for the brand Korrigan, Sabine Weiss Anna Karina pour la marque Korrigan, Sabine Weiss Beggar Toledo, Sabine Weiss Château de Tours, Sabine Weiss Cheval Porte de Vanves, Sabine Weiss Chez Dior Paris, Sabine Weiss chez Vogue, Sabine Weiss Children playing, Sabine Weiss Children taking water from the fountain, Sabine Weiss Enfant perdu dans un grand magasin, Sabine Weiss Enfants jouant, Sabine Weiss Enfants prenant de l’eau à la fontaine, Sabine Weiss Feux de Bengale, Sabine Weiss Fires of Bengal, Sabine Weiss Françoise Sagan at home, Sabine Weiss Françoise Sagan chez elle, Sabine Weiss Gypsy wedding, Sabine Weiss Horse Porte de Vanves, Sabine Weiss Jeu de Paume, Sabine Weiss Jeune mineur, Sabine Weiss L'homme qui court, Sabine Weiss La Petite Égyptienne, Sabine Weiss Little Egyptian, Sabine Weiss Lost child in a department store, Sabine Weiss Marchande de frites, Sabine Weiss Mariage gitan, Sabine Weiss Mendiant Tolède, Sabine Weiss Modern fishing village, Sabine Weiss multiple portraits, Sabine Weiss Old lady and child, Sabine Weiss Portraits multiples, Sabine Weiss Prêtre devant une trattoria, Sabine Weiss Priest before a trattoria, Sabine Weiss Sellers of bread, Sabine Weiss Terrain vague, Sabine Weiss The man who runs, Sabine Weiss Times Square, Sabine Weiss Vacant Land, Sabine Weiss Vendeurs de pain, Sabine Weiss Vieille dame et enfant, Sabine Weiss Village moderne de pêcheurs, Sabine Weiss Vitrine Paris, Sabine Weiss Young minor, Sellers of bread, Studio Fllebé Sabine Weiss chez Vogue, The Family of Man, The man who runs, Times Square, Vacant Land, Vendeurs de pain, Vieille dame et enfant, Village moderne de pêcheurs, Vitrine, Vitrine Paris, Vogue magazine, Willy Maywald, Willy Ronis
Exhibition dates: 18th June – 30th October 2016
A photographer I knew very little about before assembling this posting. The undoubted influence of Henri Cartier-Bresson can be seen in many images (such as Vendeurs de pain, Athènes 1958 and Village moderne de pêcheurs 1954, both below), while other images are redolent of Josef Koudelka (Marriage gitan, 1953) and Paul Strand (Jeune mineur, 1955).
Weiss strikes one as a solid photographer in the humanist, Family of Man tradition who doesn’t push the boundaries of the medium or the genre, nor generate a recognisable signature style.
Sabine Weiss is the last representative of the French humanist school of photography, which includes photographers like Robert Doisneau, Willy Ronis, Édouard Boubat, Brassaï and Izis.
Still active at over 90 years of age, she has accepted for the first time to present her personal archives, thereby providing a privileged insight into her life and career as a photographer. The exhibition at the Château de Tours will showcase just a few milestones from her long career. Through almost 130 prints, as well as numerous period documents – many of which are being shown for the first time – this exhibition provides visitors with an overview of the multiple facets of this prolific artist, for whom photography was first and foremost, a fascinating occupation.
Sabine Weiss
Cheval, Porte de Vanves [Horse, Porte de Vanves]
© Sabine Weiss
Vendeurs de pain, Athènes [Sellers of bread, Athens]
Grèce, 1958
Village moderne de pêcheurs, Olhão, Algarve [Modern fishing village, Olhão, Algarve]
Portugal, 1954
Times Square, New York
États-Unis [United States], 1955
Feux de Bengale, Naples [Fires of Bengal, Naples]
Italie, 1955
André Breton chez lui, 42, rue Fontaine [André Breton at home, 42 rue Fontaine]
Françoise Sagan chez elle, lors de la sortie de son premier roman Bonjour tristesse
[Françoise Sagan at home, with the release of his first novel Bonjour Tristesse]
Enfant perdu dans un grand magasin, New York [Lost child in a department store, New York]
Vieille dame et enfant, Guadeloupe [Old lady and child, Guadeloupe]
La Petite Égyptienne [Little Egyptian]
Née Weber in Switzerland in 1924, Sabine Weiss was drawn to photography from a very early age and did her apprenticeship at Paul Boissonnas’ studio, a dynasty of photographers practising in Geneva since the late nineteenth century. In 1946, she left Geneva for Paris and became the assistant of Willy Maywald, a German photographer living in the French capital, specialising in fashion photography and portraits. She married the American painter Hugh Weiss in 1950, and at this time embarked upon a career as an independent photographer. She moved into a small Parisian studio with her husband – where she continues to live today – and socialized in the artistic circles of the post-war period. This allowed her to photograph Georges Braque, Joan Miró, Alberto Giacometti, André Breton and Ossip Zadkine, and later numerous musicians, writers and actors.
Circa 1952, Sabine Weiss joined the Rapho Agency thanks to Robert Doisneau’s recommendation. Her personal work met with immediate critical acclaim in the United States with exhibitions at the Museum of Modern Art in New York, the Art Institute of Chicago, the Walker Art Institute in Minneapolis and the Limelight Gallery, New York. Three of her photographs were shown as part of the famous exhibition “The Family of Man”, organized by Edward Steichen in 1955, and Sabine obtained long-lasting contracts with The New York Times Magazine, Life, Newsweek, Vogue, Point de vue-Images du monde, Paris Match, Esquire, and Holiday. From that time and up until the 2000s, Sabine Weiss continued to work for the international illustrated press, as well as for numerous institutions and brands, seamlessly passing from reportage to fashion features, and from advertising to portaits of celebrities or social issues.
In the late 1970s, her work returned to the spotlight thanks to a growing revival of interest in so-called humanist photography on behalf of festivals and institutions. This interest encouraged Sabine to return to black and white photography. At over sixty years of age, she began a new body of personal work, punctuated by her travels in France, Egypt, India, Reunion Island, Bulgaria and Burma, and in which a more sentimental melody may be heard, centred on the pensive and solitary moments of human existence. At the same time, Sabine became the focus of a growing number of tributes, all of which has contributed to her reputation as an independent and dynamic photographer, with a great humanist sensibility and an eye for the detail of everyday life.
Virginie Chardin
Marchande de frites
L’homme qui court, Paris [The man who runs, Paris]
Vitrine, Paris
Prêtre devant une trattoria, Rome [Priest before a trattoria, Roma]
Terrain vague, Porte de Saint-Cloud [Vacant Land, Porte de Saint-Cloud]
Enfants prenant de l’eau à la fontaine, rue des Terres-au-Curé
[Children taking water from the fountain, rue des Terres au Curé]
Mariage gitan [Gypsy wedding]
Tarascon, 1953
Enfants jouant, rue Edmond-Flamand [Children playing, rue Edmond-Flamand]
Jeune mineur, Lens [Young minor, Lens]
Mendiant, Tolède [Beggar, Toledo]
Espagne, 1949
Portraits multiples, procédé Polyfoto [multiple portraits, Polyfoto process]
Genève, 1937
Chez Dior, Paris
Anna Karina pour la marque Korrigan [Anna Karina for the brand Korrigan]
Studio Fllebé
Sabine Weiss chez Vogue, Paris
© Studio Fllebé
Jeu de Paume – Château de Tours
Tuesday to Sunday: 2pm – 6pm
Exhibition: ‘François Kollar. A Working Eye’ at Jeu de Paume, Paris
Categories: beauty, black and white photography, documentary photography, exhibition, existence, fashion photography, gallery website, intimacy, light, memory, Paris, photographic series, photography, portrait, psychological, reality, space, surrealism, time, video and works on paper
Tags: 1930s avant-garde, A Working Eye, advertising photography, Art et Médecine, avant-garde, avant-garde photography, Bata Shoes Rufisque, Bibliothèque Forney, black and white photography, Chaussures Bata Rufisque, Christofle, Coco Chanel, Constructivist-style photography, Das Lichtbild, documentary photography, double exposures, Elsa Schiaparelli, Emboutissage des couverts, Emplacement de traverses, Fabrication de corps de chauffe, Fabrication des moulins à légumes, fashion photography, François Kollar, François Kollar Bata Shoes Rufisque, François Kollar Chaussures Bata Rufisque, François Kollar Construction, François Kollar Emboutissage des couverts, François Kollar Emplacement de traverses, François Kollar Fabrication de corps de chauffe, François Kollar Fabrication des moulins à légumes, François Kollar Gabrielle Chanel, François Kollar Manufacturing water heater, François Kollar Poliet et Chausson Gargenville, François Kollar Production of vegetable mills, François Kollar Replacement of sleepers, François Kollar Stamping cutlery, François Kollar Type de laiterie dans une ferme Normande, François Kollar Type of dairy farm in Normandy, François Kollar Untitled, François Kollar. A Working Eye, France at Work, french artist, French avantgarde photographers, French photographer, French photography, French photography between the wars, Gabrielle Chanel, Harper's Bazaar, human labour, human machine, industrial reporter, Jeu de Paume, Kollar France at Work, Kollar La France travaille, L'Illustration, La France travail, La France travaille, laborer and machine, Manufacturing water heater, mechanised world of serial production, Modernist Photography, Moulinex factory, ouvrier, overprinting, Paris, Pierre Balmain, Plaisir de France, Poliet et Chausson Gargenville, Production of vegetable mills, rationalisation of production, Replacement of sleepers, self-portraits, social politics of employment, solarisation, Stamping cutlery, temperate photographer, the human worker, the world of work, Type de laiterie dans une ferme Normande, Type of dairy farm in Normandy, Voilà, Vu
Exhibition dates: 9th February – 22nd May 2016
Curators: Matthieu Rivallin, collections officer, Médiathèque de l’architecture et du patrimoine, Paris, and Pia Viewing, curator – researcher at the Jeu de Paume, Paris.
François Kollar is a magnificent photographer. He produced strong images that possess few histrionics, even less ego. They simply just are.
People quoted in this posting comment that in his photographs “human measure is omnipresent”; that you never loose the sense of scale; that there are “frequent contrasts between near and far, the intimate and the monumental”; that his photographs are “an anthropological investigation into the behaviour, gestures and postures of people at work”; that “Men and women and their functions and roles in the production process are recurrent elements.”
All these statements are true.
Further, his images are sensitive, beautiful, show no traces of any social movements, and little sign of emotion. As Dominique Vautrin observes, “François Kollar is a photographer who resembles his images: somewhat mysterious, beautiful, and discreet…” And as the text from Jeu de Paume states, “He revealed himself to be a temperate photographer, somewhere between the barebones modernism of Bauhaus and a humanist approach to photography.” Other photographers who could fit into this playlist could be Bill Brandt in England, Walker Evans in America and Wolfgang Sievers in Australia.
But what a splendid description – a “temperate photographer”. Showing moderation and self-restraint… there is far too little of that in contemporary photography. A humanist with an avant-garde edge, a photographer whose vision was clear and consistent throughout his oeuvre, who could turn his hand to anything: advertising, fashion, avant-garde, double exposures, solarisation, photomontage, documentary reportage, surrealism, constructivism, modernism.
Joseph Nechvatal comments that Kollar’s work is poignant. This is an incorrect word to describe the work, for the photographs never evoke a keen sense of sadness or regret. They are of a different order altogether. Let me explain.
There is a wonderful stoicism about the people who Kollar chooses to photograph, who inhabit his world of work. The endurance of work without the display of feelings and without complaint. Labour is not represented in any glorified way, not as a noble undertaking, and certainly not heroic (although the worker can be represented as intimate and monumental). The workers are represented as an adjunct to the machine but not in a cyborg fashion. In his photographs there is a distinctness about the worker which sets the human apart from the machine, even as he is “deeply embedded within their functions and roles in the production process.” I don’t believe that people understand this separation, preferring instead to comment on the embedding of the human within machine processes. But something was bothering me when I looked at these images and I have pondered long and hard over how to interpret them. There was something I could not put my finger on and it is this…
In the work of Lewis Hine, the workers are in the present looking to the future. In the work of François Kollar there is no justification for the work it is just work… being there in the present. No ego, no elevation of experience or emotion, and the photographs are just so. Just being in the world. The thing itself. Nothing more, nothing less. It seems simple when you say it like that, but the concept is very complex – to allow the photograph to materialise from consciousness, as a sort of previsualisation of experience – of being a poor, working class immigrant (which Kollar was) picturing his own.
That he achieved such photographs “with his 5 x 7 large-format camera and cumbersome lighting equipment” is a testament to the dedication to his craft, to his work, and to his roots – a connection to the working man and woman. These are honest and forthright photographs of what most humans do for most of their life: work at a job they may not like – to pay the bills, to put food on the table. The lighting is superb, the compositions eloquent, the characters in his images unforgettable (Kollar particularly likes portraits of men shot from below with their arms folded) but it is the balance between the subjective and objective which is so finely honed in his work. The dispationate nature of humans when at work is balanced by the aesthetics of the artist and the humanity of the individual.
View an interesting video of the exhibition and the work of François Kollar on Vimeo. More photographs from La France travaille.
This retrospective features an ensemble of 130 vintage prints, some of which are previously unseen, as well as others from the photographer’s family’s bequest to the state. It puts Kollar’s work in the spotlight and shows how he managed to lift the veil on the working world in the 20th century. As visitors discover the documentary, artistic and historical qualities of the material on show, they will be able to observe how individuals found their place in society by the means of their occupation and realise the profound changes that took place in industry between the 1930s and the 1960s.
“Without falling into hammy Socialist Realism style, Kollar rendered French working class heroes in beautiful, discreet, lush black-and-white tones. These images of the working person endow them with qualities of excellence, nobility, and respect, and evoked in me mixed sensations of hard materialistic capability and human tenderness. These images of men and women, such as “Nettoyage des lampes. Société des mines de Lens, Lens (Pas-de-Calais)” (1931-34, below), show people deeply embedded within their functions and roles in the production process. In that sense, they contrast with Dorothea Lange’s famous and beautiful Migrant Mother series and the uninhabited, rigorously stark industrial scenes photographed by Bernd and Hilla Becher…
Kollar’s distinctive aesthetic provides a strong, sweet spot amid the sour struggles for employment taking place today in economies shaped by histories of slavery, colonialism, union-busting, sexual exploitation, and corporate capitalism. His artistic style, one that colorlessly abstracts, unifies, and embeds the worker within his or her technological environment, broadens the social politics of employment beyond the heroic human. Rather, he depicts through his unifying, ashen tones the conjunction of laborer and machine. In these photographs, the human worker is bound up with non-human apparatuses in cyborg fashion, depicting a complex technological laborer who is no less real and worthy of our aesthetic delectation.”
Joseph Nechvatal. “A Photographer Who Captured Workers Without Romanticizing Them,” on the Hyperallergic website May 4, 2016 [Online] Cited 11/05/2016
François Kollar. Courtesy Jeu de Paume
François Kollar (1904 – 1979)
Porteur de rails. Arles
Reproduction d’après négatif original sur plaque de verre
Print from the original glass plate negative
Bibliothèque Forney. Ville de Paris
© François Kollar / Bibliothèque Forney / Roger-Viollet
Nettoyage des lampes. Société des mines de Lens. Lens (Pas-de-Calais)
Cleaning lamps. The mining company of Lens. Lens (Pas-de-Calais)
From the booklets La France travaille
Vintage silver gelatin photograph
Construction des grands paquebots, Rivetage de tôles d’un pont de navire, chantier et ateliers de Saint-Nazaire à Penhoët
Construction of large ships, riveting the sheets of a ships deck, site workshops of Saint Nazaire Penhoët
Donation François Kollar, Médiathèque de l’architecture et du patrimoine
Dans le port, à bord. Super Ile de France: cisaillage au chalumeau oxhydrique. Société des chantiers et ateliers de Saint-Nazaire à Penhoët
In port, on board. Super Ile de France: cutting using the welding torch. Company building sites and workshops of Saint Nazaire Penhoët
Dans le port, à bord. Champlain: grattage du pont. Société des chantiers et ateliers de Saint-Nazaire à Penhoët
In port, on board. Champlain: scraping the bridge. Company building sites and workshops of Saint Nazaire Penhoët
Dans le port, à bord. “Negre” soutier, Bordeaux (Gironde)
In port, on board. “Negro” help, Bordeaux (Gironde)
“François Kollar was born in Szenc, Hungary in 1904 (now the Slovakian town of Senec) and died in Créteil, France in 1979. He was first employed on the railways in his native country and then worked as a lathe operator at Renault’s Boulogne-Billancourt factory, before becoming a professional photographer at the age of 24 after gaining solid experience as a studio manager at the Parisian printer’s, Draeger. His in-depth knowledge of the world of work, in sectors as diverse as advertising, fashion, industry, handicrafts and agriculture, allowed him to portray tools, materials and gestures with exceptional professional expertise.
In 1930 Kollar got married and set up his own studio in Paris. His wife, who was his first model, worked faithfully by his side throughout his life. He worked for advertising agencies and famous luxury brands and excelled in showcasing the qualities of his models, forms and fabrics thanks to his feeling for light and texture. François Kollar worked with several fashion magazines, notably Harper’s Bazaar for which, over the course of more than fifteen years, he produced many photographic series, particularly images shot on location. Whether he was photographing the period’s fashion celebrities (Coco Chanel, Elsa Schiaparelli, Pierre Balmain) or models and adverts for the major fashion houses (Hermès, Molyneux, Oméga, Christofle and Worth et Coty perfumes…), he experimented with a wide variety of modern photographic techniques, freely creating original compositions using backlighting, double exposures, overprinting and solarisation…
In 1930, after exhibiting at “Das Lichtbild”, an international photography exhibition in Munich alongside Florence Henri, André Kertész, Germaine Krull and Ergy Landau, François Kollar received a major commission from a publishing company, Horizons de France entitled La France travail (1931-1934) that would establish his reputation as one of the period’s greatest industrial reporters. During the war he refused to collaborate with the powers that be during the German occupation and left the public eye, moving with his wife and three children to the Poitou-Charentes region and only returning to photography in 1945 on his return to Paris. In the 1950s and 1960s, Kollar covered numerous industrial subjects in France and abroad.”
Text from the Jeu de Paume website
La Tour Eiffel (The Eiffel Tower)
Montage of a negative and interpositive, period photomontage
Aux sources de l’énergie. Enseignes lumineuses. Paris
The sources of energy. Neon signs. Paris
Bouche du tunnel Sainte-Catherine, Sotteville-lés-Rouen
St. Catherine tunnel mouth, Sotteville-lés-Rouen
Étude publicitaire pour Magic Phono, portrait de Marie Bell en photomontage
Advertising study for Magic Photo, Marie Bell portrait photomontage
Publicité pour machine à écrire Hermès
Advertising for the Hermes typewriter
Escalier chez Chanel
Staircase at Chanel
Le mannequin Muth, Balenciaga
The model Muth, Balenciaga
Haute couturière Elsa Schiaparelli in a window of her showroom at 21 Place Vendôme in Paris
Courtesy Jeu de Paume
“The design of the three large exhibition halls, which sometimes suffers from inadequate lighting, is completed by numerous documents (leaflets, magazines, personal albums) and an extensive slide show. The rooms are color-coded: white, blue-grey, and light beige, corresponding to the curators’ pedagogical intention. The beige in the last room is particularly interesting because it nearly blends in with the wooden frames, thereby intensifying the magical black-and-white tones in François Kollar’s work.
In addition to the documentary dimension of his work, the power of this photographer lies in his evocation of a “journey”: hence the exhibition walls are brimming with gems such as Les enseignes lumineuses (“Illuminated signs”, above), La bouche du tunnel (“The entrance of the tunnel”, above), or La fabrique à papier (“Paper factory”), advertisements for Hermès or Chanel (above), and many other photographs which, I have no doubt, will resonate with the visitor.
François Kollar is a photographer who resembles his images: somewhat mysterious, beautiful, and discreet, such as his small picture of a river outside the city of Abidjan. A Working Eye which conveys the nobility of men who, one day, had to travel far from home to earn their living.”
Dominique Vautrin. “Paris : Francois Kollar, A Working Eye,” on The Eye of Photography website February 18, 2016 [Online] Cited 12/05/2016.
Alsthom: assemblage des volants alternateurs de Kembs. Société Alsthom. Belfort (Territoire de Belfort)
Alsthom: assembly of alternator flywheels at Kembs. Société Alsthom. Belfort
Automobiles Renault. D’une main l’ouvrier fait tomber le sable. Billancourt (Hauts-de-Seine)
Renault automobiles. Using his hand the worker brings down the sand. Billancourt (Hauts-de-Seine)
© Photo Éric Simon
LA FRANCE TRAVAILLE, 1931-1934
François Kollar was commissioned by the publishers Horizons de France for a major documentary investigation into the world of work. He took a large number of photos, a part of which were published in a work that has since become famous: La France travaille. This ensemble comprises the main part of the exhibition. The photographer criss-crossed the whole of France, observing the country through the prism of work. Kollar delivered more than 2,000 images covering agricultural and industrial activity in twenty regions of France, including Paris and its suburbs. Horizons de France published La France travaille between 1932 and 1934 in the form of fifteen separate booklets, which are presented in the exhibition in relation to a selection of around sixty prints. The images are organised by theme. Each theme corresponds to a type of raw material used in industry: coal, iron, products of the sea, glass, textiles etc. Slideshows are used to underline the extent of this archive and the variety of photos it contains, as well as analysing it from a contemporary point of view.
The fifteen booklets that comprise La France Travaille constitute “an anthropological investigation into the behaviour, gestures and postures of people at work” (Jean-François Chevrier, ‘La France travaille: les vertus de l’illustration’, Jeu de Paume, Editions de La Martinière). These fifteen volumes touch on the revolutions taking place across the country – factories, hydroelectric installations etc – as well as the place of the workers in these infrastructures. Apart from the recognition that he had earned in the world of fashion and luxury products, it was through his work to fulfil this commission, the most important in France in the 1930s, that Kollar distinguished himself as a photographer and an ‘industrial reporter’.
Text from Jeu de Paume
La trieuse reste coquette. Lens, Pas-de-Calais. Société des mines de Lens
The sorter remains coquette. Lens, Pas-de-Calais. Mining company of Lens
Untitled [mine worker]
Pêcheurs. Femme de pêcheurs, Sardinier Breton. Audiernes
Fishermen. Woman fishing, sardine canner Breton. Audiernes
From 1931 to 1934, just before the major protests led by the Popular Front, François Kollar (1904 – 1979) traveled across France meeting its working population. This wide-ranging survey of the working world, which featured 1400 illustrations, was published in 1934 in booklets entitled La France Travaille (France at Work). With his 5 x 7 large-format camera and cumbersome lighting equipment, this Slovak immigrant of humble origins convinced miners, winemakers, boatmen and railroad men to pose for him during their daily routines. The images from La France Travaille, negatives and positives, are preserved at the Bibliothèque Forney and distributed exclusively by the Agence Roger-Viollet. (Text from The Eye of Photography website)
Le bâtiment. Pose des ardoises. Paris. Entreprise Ch. Lavillauguet
Building. Laying slate. Paris. Company Ch. Lavillaugouet
Vignerons. Porteurs de bénatons. Bourgogne, Morey-Saint-Denis (Côte- d’Or)
Winemakers. Carriers of grapes. Burgundy Morey-Saint-Denis (Côte- d’Or)
François Kollar’s body of work covers two major periods in photographic history and the history of the 20th century: the 1930s and the 1950s-1960s. This retrospective at the Jeu de Paume is part of a cycle of exhibitions devoted to the emblematic photographers of the period, such as Laure Albin Guillot, André Kertész, Claude Cahun and Germaine Krull. The exhibition gives pride of place to the photographer’s three children’s bequest of negatives, prints, magazines, press cuttings and advertising pamphlets that was accepted by the French state in 1987.
The exhibition is organised chronologically following the photographer’s life and career, starting with his experimentations in the 1930s (self-portraits and photomontages) with his wife and close collaborator, Fernande. Right from the start of his photographic work in the field of advertising and fashion, François Kollar asserted his talent with photo shoots for Oméga, Christofle, Hermès and Worth et Coty perfumes. For many years he worked with such magazines as Harper’s Bazaar, L’Illustration, VU, Voilà, Le Figaro Illustré and Plaisir de France. Following his coverage of the transformation of the working world in the 1930s, during the 1950s and 60s industrial reports in French West Africa and in France set the tempo for the later years of his career.
Thanks to his experience as a manual worker in Renault, François Kollar’s photography demonstrates his awareness of the world of industry and industrial spaces. ‘Un ouvrier du regard’ bears witness to his high level of technical expertise, both in the studio and on location and his deep-seated interest for industrial trades. It highlights the wide variety of subjects photographed by François Kollar throughout his career, a variety that is mirrored in the techniques he used, as well as the evolutions in the working world as it transitioned from handicrafts and cottage industries to industrial production.
The central part of the exhibition is devoted to the high point of François Kollar’s career, La France travaille. This commission from the publishing company Horizons de France comprises some fifteen booklets produced between 1931 and 1934. The reports, indexed by sector – from agriculture to the steel industry, including the maritime industry and electricity production – were produced with the aim of showcasing France’s leading companies and the figure of the working man, contributing in this way to idealising the image of men and women at work. Taken as a whole, these reports constitute a unique chronicle in images of the world of work and French society from the beginning of the 1930s up until the 1960s. During this entire period, François Kollar endeavoured to photograph the mechanised world of serial production, standardisation and the rationalisation of production.
Through a play with light, transparency and chiaroscuro effects, as well as compositions that highlighted different textures, François Kollar managed to reveal a sensitive side to industrial landscapes. He revealed himself to be a temperate photographer, somewhere between the barebones modernism of Bauhaus and a humanist approach to photography. At the beginning of his career, François Kollar had immortalised dresses, jewellery and objets d’art for Harper‘s Bazaar in a manner that demonstrated his attention to the gesture and the ‘intelligence of the hand’. Kollar’s work is characterised by an approach that is simultaneously sensitive and distant: sensitive to shape and light in the situations in which objects and human bodies are portrayed; distant because of this lens between him and the general population. The camera’s lens distanced him from the ordinary men and women and their demands, which explains why his work shows no traces of any social movements, although they were frequent at the time (1929 and 1931-1936).
The retrospective provides the means to fully-apprehend the diversity of a photographer who was himself a ‘worker’ (ouvrier) at the service of his clients – whether advertising companies, clients from the world of fashion and the media, or industrialists – but who nevertheless managed to preserve a strong photographic identity and a unique view on his times. Throughout his body of work, François Kollar bears witness to the ideology of progress that drives the capitalist economy, whilst preserving his characteristic objectivity.
First part
The first part of the exhibition features Kollar’s experimental period including self-portraits taken in his Parisian studio, as well as his work for advertising firms and the fashion industry. This section is made up of photos that reflect the spirit of the modern world he lived in and bear witness to Kollar’s desire to develop an experimental and expressive style of photography through an almost playful approach to his models, objects, lighting and composition. Detailed documentary resources enable visitors to understand the context of his advertising work and the photos for the blossoming illustrated magazine sector, which were published in L’Illustration, Vu, Voilà, Art et Médecine and Plaisir de France, amongst others.
Second part
The central part of the exhibition, devoted to La France travaille (1931-1934), features vintage prints and slideshows, as well as archives and publications. This photographic commission constitutes a unique record of the world of work in the 1930s. Kollar photographed every sector of activity: industry, agriculture, aviation, handicrafts, as well as the automobile, maritime and railway industries. Men and women and their functions and roles in the production process are recurrent elements in François Kollar’s images. Published in the form of fifteen themed booklets, printed in photogravure by Editions Horizons de France, Kollar’s photographs were used to illustrate texts by popular authors from the period (Paul Valéry, Pierre Hamp, Lucien Favre…) dealing with the main professions in French industry.
Third part
The third part of the exhibition presents works by Kollar from the period following on from La France travaille, notably fashion photography and commissions for industrial reporting assignments. Thanks to his reputation as a talented advertising photographer, François Kollar was much in demand for portrait work and he notably photographed Coco Chanel, Elisa Schiaparelli and the Duchess of Windsor. Although his collaboration with Harper’s Bazaar came to an end in 1955, Kollar continued to enjoy a successful career in industrial photography. Amongst his numerous photographic series, the Jeu de Paume has chosen to show in particular the 1951 commission from the French State for a report on French West Africa (now Burkina Faso, Ivory Coast, Mali and Senegal), as well as a series of photos showing the workshops of the Union Aéromaritime de Transport. In this way, the exhibition highlights the transformations in the world of work during the 20th century and the place occupied by men and women at a time when the world was in a state of upheaval because of global conflicts, as well as in the midst of rebuilding itself.
Ciel (Sky)
Fleur d’ail (Garlic flower)
Portrait of François Kollar
FRENCH WEST AFRICA (A.O. F.) COMMISSION ED BY THE FRENCH STATE, 1951
When France invested massively in the 1950s in the construction of infrastructures in French West Africa, Kollar went to document this milestone in the relationship between France and its colonies, notably today’s Burkina Faso, Ivory Coast, Mali and Senegal. His photos were published in the magazines of French West Africa to portray France’s initiatives in a positive light. Continuing to play his part in the ‘manufacture’ of consensual, positive images, Kollar continued his career by taking photos of men and women at work in factories, building roads or on ships plying their trade… “What François Kollar wants to portray is a sort of gradual disengagement of the colonial power, (…) but also how behind the ‘modernity’ (which is the subject of his remit) lies a form of tradition, rather as if he wanted to show how the two aspects are in contradiction with each other” (Pascal Blanchard, ‘Francois Kollar. Afrique 50. Dans l’oeil de la propagande’, Jeu de Paume, Editions de La Martinière).
INDUSTRIAL REPORTS 1950-1960
Back in Paris in 1945, François Kollar re-established his contacts and started receiving commissions from French industry once more. His photos powerfully document the relationship between the human body, the machine and the working environment. “In Kollar’s images, the human measure is omnipresent; one almost never loses the sense of scale […] with frequent contrasts between near and far, the intimate and the monumental”. (Jean-François Chevrier, ‘La France travaille: les vertus de l’illustration’, Jeu de Paume, Editions de La Martinière). Indeed the design of new industrial buildings took the question of ergonomics into account, which went hand-in-hand with the evolutions in the roles and tasks of factory workers. Amongst others, François Kollar worked for the Union Aéromaritime de Transport, (an airline that mainly served Africa, and French West Africa in particular, later to become UTA); the potash mines of Alsace; Moulinex; Christofle; and Poliet-et-Chausson. Kollar, who learnt how to use colour photography techniques early on, used this new medium for some of these reports.
Chaussures Bata, Rufisque, Senegal
Bata Shoes, Rufisque, Senegal
Poliet et Chausson, Gargenville
Untitled [Emplacement de traverses, usine Cima, Croix] [Replacement of sleepers, Cima factory, Croix]
Type de laiterie dans une ferme Normande
Type of dairy farm in Normandy
Fabrication de corps de chauffe de chauffe-eau, usine Brandt, France
Manufacturing water heater, heater factory Brandt, France
Untitled [Fabrication des moulins à légumes, usine Moulinex, Alençon] [Production of vegetable mills, Moulinex factory, Alençon]
Untitled [Emboutissage des couverts, Christofle, France] [Stamping cutlery, Christofle, France]
Other François Kollar photographs
Wednesday – Sunday: 11.00 – 19.00
Exhibition: ‘Impressions of Paris: Lautrec, Degas, Daumier, Atget’ and ‘Impressions of Melbourne’ at the Monash Gallery of Art, Melbourne
Categories: Australian artist, Australian photography, beauty, black and white photography, documentary photography, Eugene Atget, exhibition, existence, gallery website, landscape, light, Melbourne, memory, Paris, photographic series, photography, reality, space, time and works on paper
Tags: A la Grâce de Dieu 121 rue Montmartre, Atget Old Paris, Australian art, Australian artists, Australian photographer, Australian photography, Charles Kerry, Charles Kerry Collins Street looking south, Collins Street at McPherson's building - 1, Collins Street looking south c. 1890, Eugène Atget A la Grâce de Dieu, Eugène Atget A la Grâce de Dieu 121 rue Montmartre, Eugène Atget Brocanteur, Eugène Atget Hôtel de Sens depuis la rue du Fauconnier, Eugène Atget Hôtel de Sens viewed from rue du Fauconnier, Eugène Atget Hôtel du Maréchal de Tallard, Eugène Atget Heurtoir 6 rue du Parc Royal, Eugène Atget Versailles Grand Trianon, Eugene Atget, french artist, French photographer, French photography, Hôtel de Sens depuis la rue du Fauconnier, Hôtel de Sens viewed from rue du Fauconnier, Hôtel du Maréchal de Tallard, Hôtel du Maréchal de Tallard 78 rue des Archives, Heurtoir 6 rue du Parc Royal, Impressions of Melbourne, Impressions of Paris, Impressions of Paris: Lautrec Degas Daumier Atget, Mark Strizic Collins Street at McPherson's building, Mark Strizic Collins Street at McPherson's building - 1, Mark Strizic Near 101 Collins Street, Mark Strizic Near 101 Collins Street Jan 1963, Mark Strizic The Block Arcade, Max Dupain Melbourne 1946, Max Dupain Melbourne with rain 1946, Melbourne 1946, Melbourne with rain 1946, Monash Gallery of Art, National Gallery of Australia touring exhibition, Near 101 Collins Street Jan 1963, Nicholas Caire, Nicholas Caire The Government Domain of Victoria, Nicholas Caire The Post Office Melbourne, Nicholas Caire The Royal Mint Melbourne, Nicholas Caire View of Bourke Street Melbourne, nineteenth century photographs of Paris, photographs of Melbourne, photographs of Paris, photography of the city, The Block Arcade, The Block Arcade January 1967, The Government Domain of Victoria, The Government Domain of Victoria 1877, The Post Office Melbourne, The Post Office Melbourne 1877, The Royal Mint Melbourne, The Royal Mint Melbourne 1877, urban photography, Versailles Grand Trianon, View of Bourke Street Melbourne 1877
Exhibition dates: 17th July 2015 – 20th September 2015
National Gallery of Australia touring exhibition
Impressions of Paris: Lautrec, Degas, Daumier, Atget is a particularly dry and uninspiring National Gallery of Australia touring exhibition, which was only enlivened for me by the enlightened presence of 20 or so vintage Eugène Atget photographs, specifically added for this showing at the Monash Gallery of Art, the home of Australian photography.
Atget’s photographs have an almost ether/real quality to them in their visual representation and, physically, an ephemeral feel to the quality of the paper – as though the images are about to dissolve into nothing – even as he photographs solid objects such as stairways, doors and door knockers. Observe the photographs Hôtel du Maréchal de Tallard, 78 rue des Archives (c. 1898-1905), A la Grâce de Dieu, 121 rue Montmartre (c. 1900) and Heurtoir, 6 rue du Parc Royal (c. 1901-1914), below, to witness this shimmering phenomenon. It is as if the emulsion of the plate is insufficient to capture the light of life.
In an accompanying exhibition in the smaller gallery, Impressions of Melbourne, photographs by Nicholas Caire, Charles Kerry, Max Dupain, Mark Strizic and Noel Jones investigate the city of Melbourne… but it is the stunning photographs by Atget that make the long drive out to Wheeler’s Hill worth the visit.
Many thankx to the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Eugène Atget (France 1857-1927)
No title (Brocanteur)
Albumen silver photograph
National Gallery of Australia, Canberra
Versailles, Grand Trianon
Gold-toned silver chloride photograph
Hôtel du Maréchal de Tallard, 78 rue des Archives
A la Grâce de Dieu, 121 rue Montmartre
Printing out paper photograph
Heurtoir, 6 rue du Parc Royal
“Monash Gallery of Art is delighted to present its major international exhibition of 2015, Impressions of Paris: Lautrec, Degas, Daumier, Atget featuring over 120 prints, posters and photographs drawn from the collection of the National Gallery of Australia.
Impressions of Paris: Lautrec, Degas, Daumier, Atget examines the major contribution to French art made by key figures: Honoré-Victorin Daumier (1808-1879), Edgar Degas (1834-1917), Henri de Toulouse-Lautrec (1864-1901) and includes a selection of photographs by Eugène Atget (1857-1927) specially conceived for Monash Gallery of Art.
Newly appointed Gallery Director Kallie Blauhorn states, “I’m thrilled that for my first exhibition at MGA we are able to present a major international show, Impressions of Paris. Residents of Monash and art lovers across Melbourne will experience the extraordinary works by household names, Toulouse Lautrec, Edgar Degas, Honore Daumier and the wonderful photographer Eugène Atget.”
“This is a first for MGA and a true testament to the reputation of the gallery that we can host this important and significant exhibition,” said Blauhorn.
A generation apart, Lautrec, Degas and Daumier were consummate draughtsmen whose innovative compositions and embrace of modern subject matter played a significant role in artistic developments in France over the nineteenth century. Atget, the only specialist photographer among these artists, spent much of his life documenting the streets of Paris as they underwent modernisation. His photographs show us how modern life was expressed in the architectural experience of France, giving us a glimpse of what modernity left behind.
The generation of French artists who followed Daumier in the nineteenth century were inspired by his critical observations, which became an extraordinary reservoir of ideas. Both Degas and then Lautrec were enthusiastic admirers of French caricature, delighting in its animated qualities, stylistic freedoms and contemporary themes. They were particularly enamoured of Daumier’s caricature.
Degas adopted themes of modern French life, the ballet, the race course, the café-concert and the demi-monde and played an important role in the rejection of mythological and historical subjects favoured by the Impressionists. Many of Degas’ ideas on composition and subjects were, in turn, drawn from Daumier. This French satirist was both extraordinarily gifted and prolific, making a name for himself by lampooning the affectations, stupidities and greed of members of the French bourgeois society in caricatures, which Degas avidly collected.
The youngest of the artists, Lautrec, who sadly dies before reaching 37, borrowed themes and compositions from Degas, an artist he much admired and emulated. Images of drinkers at a table, ballet and cabaret scenes and nudes reveal the powerful influence that Degas had on the younger artist, as well as Lautrec’s own considerable originality, particularly as a portrayer of individuals rather than the depiction of types often favoured by Degas.
For the most part, Atget’s pictures of streets, parks, courtyards, buildings and their ornamental motifs record remnants of Old Paris. While there is a nostalgic aspect to these views, for contemporary viewers these pictures were about modern Paris. They recorded and helped make sense of changes to the city as it struggled to cope with modernism. Atget’s views of modern Paris focussed on its intimate places, those spaces of the everyday in which people had always worked, loved and lived.
These four artists captured the spirit of Paris in their prints, posters and photographs. Through the examination of this work, we find clues as to why dramatic changes took place in French art over the nineteenth century. They formed part of other generations of artists who admired Daumier and who adapted the caricaturist’s critical lithographic observations. In this way Daumier’s legacy was a brilliant journalistic record of the modern capital and contributed to an era in France ripe for a new art.”
Press release from the MGA website
Eugène Atget: growth and decay in the great city
After an unspectacular career in the theatre, Eugène Atget (1857-1927) began to take photographs of Paris in 1892. By 1897 he had established a successful business photographing the spaces that remained of Old Paris. In all, Atget made over 10,000 images of Paris and its surrounds, each taken with a straightforward approach that laid the basis for much of the documentary photography that followed. Atget’s pictures were immensely popular: he sold thousands of prints, satisfying a strong demand for views of a city undergoing massive social and architectural transformation.
For the most part, Atget’s pictures of streets, parks, courtyards, buildings and their ornamental motifs record remnants of pre-Revolutionary Paris. While there is a nostalgic aspect to these views, for contemporary viewers these pictures were about modern Paris. They recorded and helped make sense of changes to the city as it struggled to cope with modernism. Street traders and other workers are seen selling their wares along old streets and laneways; ancient buildings stand in laneways and courtyards undergoing physical transformation; cafes and shops await bustling crowds. Atget’s views of modern Paris focussed on its intimate places, those spaces of the everyday in which people had always worked, loved and lived.
Impressions of Melbourne
17th July 2015 – 20th September 2015
In response to the photographs by Eugène Atget (1857-1927) included in the National Gallery of Australia’s touring exhibition, Impressions of Paris, this exhibition offers views of Melbourne’s streets, laneways and urban landscape. Drawn from the Monash Gallery of Art, City of Monash Collection, this selection traverses a period from the late nineteenth century to the late twentieth century.
Atget photographed Paris during a time when the French capital was undergoing significant transformation. From the 1850s through to the 1920s, the dark medieval neighbourhoods of the city were demolished to make way for the wide avenues and open public spaces that Paris is known for today. Atget’s ambition was to produce clear and detailed photographs that would document the heritage of Paris before it disappeared. Typically taking his photographs in the early morning when the streets were empty, Atget imbued the city with ghostly nostalgia.
The earliest photographs in Impressions of Melbourne, taken by Nicholas Caire and Charles Kerry in the late nineteenth century, are contemporary to those of Atget. While Atget focused longingly on the past, however, these Australian photographers celebrated the civic accomplishments of modern progress in the colonies. The portrayal of Melbourne as a civilised metropolis, attractive to both immigrants and tourists, persisted through the twentieth century. Max Dupain captured the city as a lively and enterprising place, while Mark Strizic lingered on the shimmering ambience of window shopping and city strolling.
Impressions of Melbourne showcases a range of photographic responses to our urban environment, revealing some of Melbourne’s many moods and highlighting the city as a rich photographic subject. The exhibition includes photographs by Nicholas Caire, Charles Kerry, Max Dupain, Mark Strizic and Noel Jones.
Nicholas Caire
Nicolas Caire was born in Guernsey and arrived in Australia, settling in Adelaide, in 1858. He set up his first photographic studio in Adelaide in 1867. He moved to the Victorian goldmining town of Talbot in 1870 before relocating to Melbourne in 1876. At this time, Melbourne was the largest Australian city.
While Caire is best known for his picturesque landscape photographs of the Victorian countryside, he also produced photographs of major city thoroughfares, public buildings, parks and gardens. These subjects were common amongst photographers in the second half of the nineteenth century, conveying a sense of local pride and achievement. Caire’s photographs were often mounted in albums and accompanied by individual descriptive texts, a format that was popular amongst local and overseas visitors at the time.
Charles Kerry
Charles Kerry grew up in country New South Wales before moving to Sydney at the age of 17 to begin his photographic career. After a failed studio partnership, which left him with a lot of debt, Kerry rebuilt his business and by 1890 found himself running a successful studio that had a monopoly on the popular postcard market. By 1898 Kerry’s studio was the largest in Australia, housed in a three-storey building at 310 George Street, Sydney.
Throughout his career, Kerry photographed a broad range of subjects including social and sporting events, portraits of Indigenous people, city streets as well as the New South Wales countryside. He also spent a year documenting every station homestead in New South Wales. Kerry retired in 1913.
Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918)
View of Bourke Street, Melbourne
From the series Views of Victoria
Monash Gallery of Art, City of Monash Collection acquired 1987
Original album caption: Bourke Street is the principal business thoroughfare in the great City of Melbourne. It is about a mile in length, extending from the Parliament House to the Spencer Street Railway Station. On the left hand side of the picture is the Post Office, and at the extreme end of the street can be seen the Parliament House.
The Government Domain of Victoria
From the series The public buildings of Melbourne and suburbs
Albumen print Monash Gallery of Art, City of Monash Collection acquired 1987
Original album caption: The Governor’s Residence is on an eminence near the Botanical Gardens, and occupies one of the best positions around the City of Melbourne. Looking westward from the front of the Domain, a splendid view is obtained of Hobson’s Bay, with the townships of St Kilda, Emerald Hill, Sandridge, and Williamstown on the coast. On the north side can be seen the City of Melbourne, with its busy suburban towns – Hotham, Carlton and Fitzroy. From the rear of the building towards the east, in the distance, the retired towns of Richmond, Hawthorn, and Toorak can be distinguished. The building, as seen in the illustration, was completed in the year 1876. Sir G F Bowen, GCMG, being the Resident Governor at the time.
The Royal Mint, Melbourne
Original album caption: The Royal Mint of Victoria is situated in the north-easterly part of William Street, West Melbourne. This Government Building is not thrown open to the public for visitation at any time; but an inspection by visitors can be effected on an order from a Member of the Ministry, conditionally that there be no fewer than eight persons at each visitation; one of the number being required to become responsible for the conduct of the party.
The Post Office, Melbourne
Original album caption: This imposing structure is erected at the junction of Bourke and Elizabeth Streets, which may be considered perhaps the most central position in Melbourne. It is provided with a very long corridor for the posting and delivery of letters, &c. The Telegraph Department, as also the Post Office Savings Bank and Money Order Office, are all conducted in connection with the General Post office, Melbourne, of which the Hon. R Ramsay, MLA, is at present Postmaster-General.
Charles Kerry (Australia 1858-1928)
Collins Street, looking south
Max Dupain (Australia 1911-92)
Melbourne with rain
Max Dupain
Max Dupain began his photographic career in 1930 as an apprentice in the studio of Cecil Bostock. In 1934 he established his own studio in Sydney and continued to produce a broad range of commercial work over the course of his life. Dupain was strongly influenced by modernist photographic principles and is renowned for his architectural photography as well as his iconic images of Australian beach culture.
While he primarily worked in Sydney, the photographs exhibited here are among several he took of otherAustralian cities. They highlight his interest in documenting city life as well as his use of light, shadow and aerial perspective. They were taken during the post war period; in the year that Dupain was commissioned by the Department of Information to photograph Australia’s way of life as part of a campaign to increase migration to Australia. This period marked a shift in Dupain’s practice, away from advertising and fashion toward social documentary.
Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
Near 101 Collins Street, Jan 1963
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008
Reproduction courtesy of the artist
Collins Street at McPherson’s building – 1, 1967
Mark Strizic
Mark Strizic was born in Berlin and migrated to Melbourne from Zagreb, Croatia in 1950. Strizic had no formal training in photography, but began taking photographs of Melbourne in the 1950s. He abandoned his studies in physics to become a full-time photographer in 1957, taking up subsequent commissions in architectural, industrial, interior design and portrait photography.
Among Strizic’s most widely recognised images are those he created of Melbourne between 1955 and 1970. Strizic documented the streets of Melbourne, showing many sides of the city, from derelict back alleyways to the grand arcades and buildings of Melbourne’s ‘Paris end’. Strizic’s photographs were produced during a period of dramatic change, a time when Melbourne’s Victorian-era buildings were being replaced by modern architectural developments. The images not only serve to document this change but also provide significant and important records of Melbourne pre-modernisation.
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
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Sat – Sun: 12pm – 5pm
Mon/public holidays: closed
Monash Gallery of Art website
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Results of STAP Cell Paper Questioned
Reports of Stimulus-Triggered Acquisition of Pluripotency or STAP cells has rocked the stem cell world. If adult cells can be converted into pluripotent stem cells so easily, then perhaps personalized, custom stem cells for each patient are just around the corner.
However, the RIKEN institute, which was heavily involved in the research that brought STAP cells to the world has now opened an investigation into this research, since leading scientists have voiced discrepancies about some of the figures in the paper and others have failed to reproduce the results in the paper.
Last week, Friday (February 14, 2014, spokespersons for the RIKEN centre, which is in Kobe, Japan, announced that the institute is looking into alleged irregularities in the work of biologist Haruko Obokata, who works at the institution. Obokata was the lead author listed on two papers that were published in the international journal Nature. These papers (Obokata, H. et al. Nature 505, 641–647 (2014), and Obokata, H. et al. Nature 505, 676–680 (2014) described a rather simple protocol for deriving pluripotent stem cells from adult mouse cells by exposing them to acidic conditions, other types of stresses such as physical pressure on cell membranes. The cells, according to these two publications, had virtually all the characteristics of mouse embryonic stem cells, but had the added ability to form placental structures, which is an ability that embryonic stem cells do not have. The investigation initiated by the RIKEN centre comes at the behest of scientists who have noticed that some of the images used in these papers might have been duplicated from other papers. Also, several scientists have notes that they have been unable, to date, to replicate her results.
These concerns came to a head last week when the science blog PubPeer, and others, noted some problems in these two Nature papers and in an earlier paper from 2011. Obokata is also the first author of this 2011 paper (Obokata, H. et al. Tissue Eng. Part A 17, 607–15 (2011), and this paper contains a figure that seems to have been used for one of the figures in the 2014 paper. Also, there is another figure duplication.
Harvard Medical School anesthesiologist Charles Vacanti who was the corresponding author of one of the Nature papers has said that has learned last week about a data mix up in the paper and has contacted the journal to request a correction. “It certainly appears to have been an honest mistake [that] did not affect any of the data, the conclusions or any other component of the paper,” says Vacanti. Note that Vacanti is a co-author on both papers and a corresponding author on one of them.
In the other paper, Obokata serves as the corresponding author and this paper contains an image of two placentas that appear to be very similar. Teruhiko Wakayama works at Yamanashi University in Yamanashi prefecture, and he is a co-author on both of these papers. According to Wakayama, he sent more than a hundred images to Obokata and suggests that there was confusion over which to use. He says he is now looking into the problem.
Additionally, ten prominent stem-cell scientists have been unable to repeat Obokata’s results. One particular blog listed eight failures from scientists in the field. However, most of those attempts did not use the same types of cells that Obokata used.
Some scientists think that this could simply be a case of experienced scientists working with a system that they know very well and can manipulate easily, unlike outsiders to this same laboratory. For example, Qi Zhou, a cloning expert at the Institute of Zoology in Beijing, who says most of his mouse cells died after treatment with acid, says that “setting up the system is tricky; as an easy experiment in an experienced lab can be extremely difficult to others, I won’t comment on the authenticity of the work only based on the reproducibility of the technique in my lab,” says Zhou.
However, others are more deeply concerned. For example, Jacob Hanna, a stem-cell biologist at the Weizmann Institute of Science in Rehovot, Israel, however, says “we should all be cautious not to persecute novel findings” but that he is “extremely concerned and sceptical”. He plans to try for about two months before giving up.
It could be that the protocol is far more complicated that thought. For example, even Wakayama has been having trouble reproducing the results. To be sure, Wakayama and a student of his were able to replicate the experiment independently before publication, but only after being coached by Obokata. But since he moved to Yamanashi, he has had no luck. “It looks like an easy technique — just add acid — but it’s not that easy,” he says.
Wakayama says that his own success in replicating Obokata’s results has convinced him that her technique works. “I did it and found it myself,” he says. “I know the results are absolutely true.”
Clearly one way to clear this up is for the authors of this groundbreaking paper to publish a detailed protocol on how to make STAP cells. This should clear up any problems with the papers. Vacanti says he has had no problem repeating the experiment and says he will let Obokata supply the protocol “to avoid any potential for variation that could lead to confusion”.
The journal Nature has said that there are aware of the problems with the papers and looking into the matter.
For now, that’s where the issue sits. Frustrating I know, but until we know more we will have to just “wait and see.”
Posted on February 18, 2014 March 25, 2014 Author mburatovCategories Alternatives to Embryonic Stem Cells, ReprogrammingTags Charles Vacanti, Haruko Obokata, harvard medical school, Institute of Zoology, Jacob Hanna, nature, pluripotent stem cells, PubPeer, Qi Zhou, RIKEN, RIKEN Center for Development Biology, science blogs, STAP, STAP cells, Teruhiko Wakayama, Weizmann Institute of Science, Yamanashi University
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Will Ferrell revived his Bush impression on SNL to remind us that Bush was awful
Jacob Siegal @JacobSiegal
Will Ferrell returned to host Saturday Night Live for the first time since 2012 this past weekend, lifting the show to its highest ratings since last May. But despite Ferrell having been one of the most popular and successful cast members in the show’s history, the writers opted not to rehash his beloved sketches or reintroduce his silliest characters. There was no Celebrity Jeopardy!, yelling at kids to get off the shed or even a single cowbell.
What we did get was the return of Will Ferrell’s George W. Bush impression for the cold open at the beginning of the episode. Bush was possibly Ferrell’s most famous impression of all, so it only made sense to have him return to the stage to comment on the Trump presidency, which has significantly elevated his approval ratings.
“I’m suddenly popular AF and a lot of people are saying ‘man, I wish George W. Bush was still our president right about now,'” says Ferrell as Bush. “So I just wanted to address my fellow Americans tonight and remind you guys that I was really bad. Like, historically not good.”
He then goes on to remind us that we’re still involved in two wars that he started, that the economy crashed at the end of his presidency, and that Dick Cheney was a monster. And when it comes to the “fake news” media hating on a president, don’t forget that a reporter once threw his shoes at Bush during a press conference.
All in all, the cold open sketch was the highlight of a pretty decent night for SNL.
Image Source: Saturday Night Live
Tags: george w bush, Saturday Night Live, Will Ferrell
‘Final Fantasy XV: Pocket Edition’ is coming to mobile devices on February 9th
The single best deal of Prime Day 2019: Sony wireless noise cancelling headphones for $90
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Opposing Bipartisan Warmongering is Defending Human Rights of the Poor and Working Class
Ajamu Baraka, BAR editor and columnist
“The responsibility of the left is to build on Trump’s anti-NATO remarks – whatever his motivations – by offering a real critique of NATO.”
The decision by Democrat Party president Harry Truman to bomb the cities of Hiroshima on August 6 and Nagasaki on the 9thwith the newly developed nuclear weapon signaled to the world that the U.S. was prepared to use military force to back up its new-found position as the leader of the Western colonial-capitalist powers, now referred to as the “Western alliance.” The main audience for that grotesque display of racist violence in 1945 was the Soviet Union but some 73 years later, militarism and war continue to be the central instruments of U.S. foreign policy.
This is the lesson we must stress continually as the public is being subjected to a constant barrage of incitements to support the use of military force by the U.S state against a growing array of enemies and potential enemies from Russia and China to Iran and the never-ending war on terror. Working-class and poor people must oppose war in part because they are the expendable cannon fodder used to advance ruling-class dominance under the banner of protecting the “national interests,” which are really only those of the economic elites. Fighting for those interests means killing poor and working-class people in other parts of the world.
“Working-class and poor people must oppose war in part because they are the expendable cannon fodder used to advance ruling-class dominance.”
In this era of economic warfare between competing capitalist nations and newly forming capitalist blocs, taking an anti-war position is a pro-working class, pro-poor, pro-displaced peasant/farmer, and internationalist position. The economic sanctions (a form of warfare) that the U.S. levies against various nations have nothing to do with concerns for human rights – official rationales notwithstanding – but everything to do with undermining economic competitors and non-compliant states and movements as in Venezuela.It should be clear that supporting U.S. aggression in the form of economic warfare, subversion, proxy war and direct military intervention is in fact supporting the interests of the U.S.-based transnational capitalist class. Yet many leftists have embraced a crude national chauvinism and joined liberals in demonizing various peoples and nations and thus objectively providing support to and political cover for the capitalist/imperialist system that they pretend to oppose.
The structural crisis of international capital is also a crisis of the nation-state, especially in the centers of global capital from London to New York. The imposition of neoliberal economic restructuring in the West generated a crisis of legitimacy for the neoliberal global architecture that was carefully crafted over the last four decades. The post-war compromise between capital and labor that was officially negated with the economic crisis of 1973-75 and the turn to neoliberalism produced the conditions and politics that produced Donald Trump in 2016.
“The economic sanctions have nothing to do with concerns for human rights, but everything to do with undermining economic competitors and non-compliant states and movements as in Venezuela.
But the crisis of legitimacy also produced something else -- a more pronounced dependency by the state on the use of force, be it in the Black and Brown colonized areas where the economically marginalized reside or in the Black and Brown areas of the world that are no longer accepting their suffering as an inevitable and unchanging condition of their existence.
The $717 billion military budget Congress passed that transfers public resources to the pockets of the military-industrial criminals who profit from war is not only a rip-off scheme but also a recognition on the part of the rulers that military might is their best and perhaps only means to hold onto the loot they stole from the peoples of the U.S. and the world. And it is also why taking an anti-war and an anti-imperialist position is such a political threat to the rulers at this specific moment in history.
In April the Trump administration called on all agencies to expedite the process for increased arms sales abroad. So when Trump raises questions about NATO, we know he is hustling for the military industrial complex. When he calls on NATO countries to increase their military spending, the beneficiaries of that spending will be the shareholders of Boeing, Lockheed Martin, Raytheon, General Dynamics Corporation, United Technologies and Northrop Grumman. At the same time, his critique of NATO begs legitimate questions: Why does NATO still exist, and why are nations like Colombia being brought into its structure?
It is an absurd position for the left to bash the Trump administration for undermining the so-called Western alliance when he criticizes NATO. For oppressed people around the world, NATO is an instrument of Western capitalist dominance, a structure of European/U.S. colonial power that is an enemy of humanity. So the responsibility of the left is to build on Trump’s anti-NATO remarks – whatever his motivations – by offering a real critique of NATO.
“The $717 billion military budget is a recognition on the part of the rulers that military might is their best and perhaps only means to hold onto the loot they stole from the peoples of the U.S. and the world.”
When Trump meets with Kim Jong-Un, the anti-war and anti-imperialist position would be to support any de-escalation of tensions between the U.S. and North Korea. If it wasn’t for U.S. imperialism there would be no North and South Korea in the first place, so how can any self-respecting leftist not support at least the rhetoric of peaceful resolution, knowing full well that the U.S. is eventually going to have to be kicked out of Korea entirely?
The same thing goes with capitalist Russia. How can someone position themselves on the left and align with a fraction of the ruling class to agitate against Trump’s Russia policies? What do those policies have to do with the economic contradictions facing workers in the U.S., unless those policies lead to potential conflict that must be opposed?
The imperial left has entangled itself in all kinds of political and ideological contradictions. It finds itself in alignment with the neoliberal right because it desperately believes the neoliberal right that controls the state (don’t be confused -- governments/administrations come and go, but the state endures until it is smashed) will somehow put the brakes on the more extreme right that is not even in power! The left’s embrace of bourgeois patriotism and support for liberal totalitarianism in the form of collusion between the state and big telecommunications firms to restrict and control speech and information provides a foundation for the legitimization and expansion of fascistic forms of rule.
“The imperial left has entangled itself in all kinds of political and ideological contradictions.”
Our analysis of the duopoly must be unsparing. Both parties are the enemies of the people. Both parties are committed to policies that deny human rights to the people of the U.S. but also the world. And both parties have never hesitated to support the use of military force to advance U.S. geostrategic interests.
When Trump demanded more spending by European governments on NATO, that demand was widely panned as an assault on the interests of working-class Europeans. Many correctlynoted that more expenditures by European governments for NATO amounted to policies that would “plunder and loot their citizens through higher taxation to help pay for NATO’s exorbitant expenses.” But the Democrats join the Republicans in the wholesale plundering of the public with obscene levels of military expenditures, including the commitment of more than a trillion dollars to upgrade the U.S. nuclear arsenal over the next 10 years while claiming there are no resources for housing, universal child care, public transportation, services for elders and clean water for the working class.
Therefore, we must engage in unrelenting agitation against both parties while urgently developing independent non-state and non-electoral popular structures. While we do this, we must build an anti-war movement and embrace the position of the Black Alliance for Peace that says without equivocation: “not one drop of blood from the working class and poor to defend the interests of the capitalist oligarchy.”
Ajamu Baraka is the national organizer of the Black Alliance for Peace and was the 2016 candidate for vice president on the Green Party ticket. He is an editor and contributing columnist for the Black Agenda Report and contributing columnist for Counterpunch. His latest publications include contributions to “Jackson Rising: The Struggle for Economic Democracy and Self-Determination in Jackson, Mississippi. He can be reached at: Ajamubaraka.com
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Kuff's World
Here comes Beto
By Charles Kuffner on April 1, 2017 at 12:23 PM
He says he’s going to run a different kind of campaign. We’ll see what that means.
Rep. Beto O’Rourke
No Texas Democrat has won a U.S. Senate seat in nearly thirty years or any statewide office since 1994. It is hard to find a political operative in Washington or back in Texas who would bet money – or professional credibility – on O’Rourke winning this race.
But the El Paso Democrat is earnestly bullish that he will go to the Senate through a strategy of bringing retail politics to a state of 27 million people.
He has no pollster and no consultants at this point, and said he has no interest in hiring operatives of that ilk.
“Since 1988, when Lloyd Bentsen won re-election to the Senate, Democrats have spent close to a billion dollars on consultants and pollsters and experts and campaign wizards and have performed terribly,” he said.
How in the world does he plan to beat Ted Cruz?
“Tactically, strategically, I don’t know,” O’Rourke said. “It’ll come from Texas, and I have faith and trust the people of this state will make the best decision in the interest of their families and their kids…I just trust that. My challenge, I guess, is to meet enough of them so that they can make an informed decision.”
His aim, he said, is to campaign beyond urban strongholds in a case-by-case basis.
In a 38-minute long interview the day before his official announcement, it was apparent that O’Rourke was not going to make his campaign all about Cruz – a temptation given the senator’s polarizing image among even some in his own party. O’Rourke never once mentioned Cruz by name or directly criticized his potential rival. Instead, he focused on topics like immigration, the border, and advocacy for his hometown.
The approach brought to mind the discipline Cruz has shown in his campaigns for U.S. Senate and president.
And then there is money. Traditionally, the best way to build name recognition has been through television advertising, and a statewide buy runs at least $1 million a week.
Cruz begins the race with $4.2 million in campaign money. And the early signs amid O’Rourke’s run is that tea party groups and establishment organizations will line up with tens of millions of dollars to back Cruz at the slightest sign of trouble.
Nationally, Democrats have no appetite at this point to spend serious money in Texas, and O’Rourke is not accepting money from political action committees. He, like all federal candidates, has no control over whether a super PAC opts to get involved.
But anyone opposing Cruz is a likely magnet for angry liberal dollars. And O’Rourke could have the makings of a Bernie Sanders-type fundraising operation. He is one of the most adept politicians when it comes to social media and was an early adapter of building a following with Facebook Live, a means of broadcasting events through that website.
The results of those efforts are often viral frenzies. Most recently, his bipartisan road trip with U.S. Rep. Will Hurd, R-Helotes, earned both men a storm of positive publicity. So much so, that a handful of Republican operatives in Washington began to sit up and watch O’Rourke more closely.
The 2016 election gave Democrats cautious hope for Texas. Trump’s margins were narrower than other recent GOP standard-bearers and Democrats made enormous headway into urban centers.
O’Rourke, however, spent much of his time in the lead up to Friday’s announcement in mid-sized towns, including: Wichita Falls, College Station, Killeen, Lubbock, Midland, Waco, Corpus Christi and Odessa.
O’Rourke said he had expected a few dozen attendees at each of these events. Oftentimes, over a hundred people showed up, having heard of the event through word-of-mouth or Facebook.
The larger aim is to look beyond the cities and take his case to rural voters. The idea is not to win those regions, but to lose less-badly.
Here’s the Beto for Texas website, if you haven’t seen it yet. O’Rourke has some things going for him. He has already generated a fair amount of excitement on the progressive side, partly for who he is and what he’s done in Congress and partly because he’s running against Ted Cruz, and I do think that will help him raise money. In particular, it will help him raise money in a way that frees him up from the time-sucking drudgery of dialing for dollars, which in turn will mean more time for the mind of retail politics he wants to do. He’s fluent in online communication. Most of all, he’s genuine and comfortable in his own skin, which presents a good contrast to a giant phony like Cruz.
In short, I think if people get to know Beto O’Rourke, they will generally like him. The question as always is will he be able to make himself known to enough people? I don’t think he needs to run a standard high-priced media campaign, which he may or may not have the funds for anyway. He’ll get the votes of the Democrats who show up. But if that’s all he gets, he’ll receive 1.7 million votes or so and lose by 15 or 20 points. As I said before, he’s going to need a lot of votes from people who don’t normally show up in these elections. I’d say he’ll need a minimum of 2.5 million votes if it’s a down year for Republican turnout, and upwards of 3 million otherwise. It’s getting those 800,000 to 1.3 million other votes that will be the real challenge. (All of these numbers will be somewhat lower if indeed Matthew Dowd gets into the race, but until he takes a concrete step towards doing so I consider that to be primarily a theoretical concept.)
To that extent, the retail strategy and the visiting places outside the usual Democratic sweet spots makes sense. I have no doubt that there are plenty of people in those places that will show up and vote if they feel they have a reason to do so. Not enough of them to win, of course, but it’s a start. Spend some time in the suburbs – Fort Bend, Williamson, Collin, Brazoria, you know the drill – and the formerly rural places that are becoming increasingly suburban – Hays, Bastrop, Guadalupe, Comal – and I think you’ll be on to something.
As for whether O’Rourke waltzes to the nomination or has to win a contested primary, I’ll say this: Even if the primary is just O’Rourke and one or more no-names, possibly including the likes of Grady Yarbrough, I say O’Rourke should campaign hard and do everything he can to win convincingly and with as big a turnout as possible. In 2014, I basically shrugged off the lackluster Democratic primary and argued that the low turnout and 22% of the vote that Ray Madrigal got against Wendy Davis meant nothing. I still don’t think it was that big a deal, but it wasn’t nothing. Right now, O’Rourke is a positive, scrappy-underdog-with-a-history-of-beating-expectations story. A lackluster showing in the first opportunity that people will have to vote for him will not look good and will not keep that story going. And if he winds up with a more high-profile primary opponent, like Joaquin Castro, then the primary will give us all a chance to see how he does on the big stage. Until he has a March opponent, he has the limelight to himself. I hope he uses it for all he can and begins to build something that will grow and accelerate towards next November. RG Ratcliffe has more.
Charles Kuffner
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Top Ten Texas political winners and losers of 2011
By Richard Dunham on December 29, 2011 at 1:22 PM
Welcome to the rollercoaster of Texas politics, 2011. The year that’s coming to an end has seen numerous reversals of political fortune, from Rick Perry’s rapid descent in the presidential race to the bizarre legal battle over the state’s legislative and congressional redistricting. Here are ten of the big winners (and losers) in Lone Star politics:
Winners: Paul, Cornyn, Veasey, Joaquin Castro
His legislative track record is dismal and he’s such an outsider in Austin that the Legislature carved up his congressional district in redistricting, but Ron Paul has turned out to be the most important Texas politician on the national scene in 2011. He’s built a massive grassroots campaign organization and an impressive internet-based fundraising operation. The Lake Jackson congressman is running second in Republican polls in the Jan. 3 Iowa caucuses. Even if he falls short, he’s a force to be reckoned with.
With Tennessee Sen. Lamar Alexander’s abrupt departure from the GOP Senate leadership and the coming retirement of Senate Minority Whip Jon Kyl, Texas’ junior senator could well slide into a top leadership post in the Senate. Cornyn has shown an uncanny ability to bridge personal and ideological divides within his party’s Senate ranks.
The Castro brothers
The San Antonio twins are the state’s rising stars of 2011. Mayor Julian Castro has a direct pipeline to the White House and is being talked about in Democratic circles as a future governor of Texas. And brother Joaquin got an early Christmas present — the retirement of the legendary congressman Charlie Gonzalez, which opens up a seat for the new San Antonio political dynasty.
Marc Veasey
The Democratic state representative from Fort Worth emerged as one of his party’s most dynamic legislators. His skillful legal strategy set the state for a three-judge federal panel to dramatically redraw Texas congressional districts in a way that benefited Texas’ burgeoning African American and Latino population. If the U.S. Supreme Court doesn’t decide otherwise, Veasey just might end up with a new congressional district of his very own.
Dan Huberty
Texas Monthly named the freshman state legislator from Houston as its “Rookie of the Year.” The magazine called the former president of the Humble Independent School District “self-assured, diligent, and willing and able to tackle tough issues … Huberty gives veteran members hope that someday the era of Washington-style partisan gridlock in the Texas House will come to an end.” High praise. Next up: the high expectations.
Losers: Perry, DeLay, Driver, Peña
He started the year as the state’s most powerful politician and a feared figure in Austin. He ends the year as the butt of late-night comics and a second-tier presidential wannabe. It remains to be seen how powerful or feared he will be in 2012.
Aaron Peña
The Rio Grande Valley legislator started this year as the toast of Texas Republicans. His heralded party switch gave the GOP a supermajority in the state House. He ended the year as toast. Facing almost certain defeat in 2012, he’s not even trying to win re-election.
Texas Railroad Commissioners
The Texas Railroad Commission (which, as you know, doesn’t regulate railroads — it’s about energy) proved not to be a springboard to the U.S. Senate in 2011. Commission Chair Elizabeth Ames Jones and former Chair Michael Williams both declared their candidacies for the U.S. Senate but withdrew from the race after failing to gain traction. Ames Jones switched to a hot contest for state Senate against longtime GOP incumbent Jeff Wentworth. Williams announced his candidacy for Congress — and then stood by as three federal judges transformed his district into a Democratic stronghold. He’s now waiting for the U.S. Supreme Court to decide the fate of Texas districts.
In case you’d forgotten about the former House Majority Leader, DeLay was sentenced way back in January to three years in state prison for his conviction on charges that he conspired to launder $190,000 of illicit corporate money into campaign donations during the 2002 campaign. The Sugar Land Republican remains free at year-end, and he still professes his innocence, but it may take a miracle from the U.S. Supreme Court to keep him out of the pokey in 2012.
Joe Driver
The state representative from Garland gets the chutzpah award for bilking Texas taxpayers by double-billing the state and his political committee for identical expenses for airfare and luxury hotels, among other purchases. When reporter Jay Root confronted Driver, who regularly rails about government waste, the North Texas Republican responded: “It pretty well screws my week.” Make that “my career.” Driver decided not to run for re-election (we wonder why), entered a guilty plea to felony charges last month and received a five-year suspended sentence.
Richard Dunham
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Investing in Oklahoma and across the U.S.
Pryor data center
Editor’s Note: This week we’re making some big moves around the $13 billion U.S. investment we announced in February. On Monday, our CFO Ruth Porat was in Michigan to announce an additional investment in our offices in Ann Arbor and Detroit. And tomorrow, we’re breaking ground on a new data center in Midlothian, TX, and expanding our office in Austin.
Today, Google CEO Sundar Pichai was in Oklahoma to announce a $600 million investment to expand our data center in Mayes County, as well as our biggest computer science education grant in Google.org’s history. Read his edited remarks below.
I enjoy visiting the places our data centers call home. I especially love to see the local touches. In the case of Pryor, it’s the mechanical bull in the lobby, which I’m told is a lot of fun. It requires good positioning, strong balance, and sometimes digging in your heels. So, not much different from my day job.
But the real reason I look forward to these visits is the community. It’s a privilege to meet the people who are making Pryor a great place to live and work.
At Google, we are technology optimists. Not because we believe in technology, but because we believe in people.
The people of Mayes County shared our sense of optimism from the very start. That optimism is why, when Google proposed building a data center here in 2007, you welcomed us with open arms. And that optimism is what’s made it possible for Google to continue our expansion in Pryor in the years since—not once, not twice...but three times. Today’s announcement will make it four.
Pryor is already home to one of Google’s largest data centers in the country. I am pleased to announce that we will be investing another $600 million to expand the data center here and create an additional 100 jobs for the Pryor community. This brings the total investment in Oklahoma to over $3 billion, and total jobs created to more than 500.
It’s part of our $13 billion investment in expanding our data centers across the U.S. This week we also announced new investments in Michigan, and we’re breaking ground on a new data center in Texas.
This national expansion comes at a significant moment for Google. For 21 years we’ve pursued a timeless mission: to organize the world’s information and make it universally accessible and useful. In that time, we’ve evolved from a company that helps people find answers to a company that helps people throughout their day.
Pryor is a part of our effort to build a more helpful Google for everyone. We’ve spent more than two decades scaling our technical infrastructure to match the growth of information. And we are continuously working to make it more efficient and more reliable.
This site is an important part of our global network of data centers. This network is what powers your searches, your email, all of the photos you store and treasure, and the maps that help you find the fastest way home. And that network includes 13 locations around the world, with new data centers underway in eight additional locations.
It's a privilege to serve billions of people every day. With that privilege comes a big responsibility to ensure that information truly serves everyone. Every day, millions of Americans go online to find answers, learn new skills, and grow their businesses. Two years ago, Google announced Grow with Google, a new effort to expand economic opportunity to all Americans. A big way we do this is through digital skills training. Our partnership with Goodwill is already helping thousands of Oklahomans learn new skills and find jobs.
We’re also excited to help young people learn computer science to prepare them for the jobs of tomorrow. Since 2017, we’ve been working with the National 4-H Council to create a computer science curriculum.
Today we are pleased to be able to build on this work with a $6 million grant to support computer science education in 4-H chapters across the country. This is our largest ever computer science education grant from Google.org. It will help ensure that young people in Oklahoma and 25 other states have access to the curriculum, training, and devices to learn and grow their coding skills. I look forward to joining students to do some coding later today!
Thank you to everyone who has a hand in keeping our data center running smoothly. We’re proud to call Oklahoma home, and look forward to Pryor being a vital part of the engine that powers the internet for years to come.
Data Centers and Infrastructure
$1 billion for 20,000 Bay Area homes
Coming soon to the Lone Star State: more office space and a data center
From offices to libraries, building momentum in Michigan
An update on our workplace commitments
Ensuring we pay fairly and equitably
Investing across the U.S. in 2019
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Enigmatic Saola Antelope Slipping into Extinction, IUCN Says
Less than two decades after it was discovered by science, the saola, an enigmatic antelope that lives in the remote valleys of the Annamite Mountains along the border of Vietnam and Laos, is on the brink of extinction, the International Union for Conservation of Nature (IUCN) said today.
© WWF-Canon / David Hulse
“We are at a point in history when we still have a small but rapidly closing window of opportunity to conserve this extraordinary animal,” said William Robichaud, coordinator of the Saola Working Group, set up by IUCN’s Asian Wild Cattle Specialist Group.
“That window has probably already closed for another species of wild cattle, the kouprey, and experts at this meeting are determined that the Saola not be next,” he said.
The Saola Working Group includes staff of the forestry departments of Laos and Vietnam, Vietnam’s Institute of Ecology and Biological Resources, and Vinh University, as well as biologists and conservationists from non-government organizations, including the Wildlife Conservation Society and WWF. Experts from the Smithsonian Institution and Gilman Conservation International also joined the meeting.
The group met in Vientiane, Laos, last month, and agreed that saola numbers appear to have declined sharply since its discovery in 1992, when it was already rare and restricted to a small range, IUCN said.
“Today, the saola’s increasing proximity to extinction is likely paralleled by only two or three other large mammal species in Southeast Asia, such as the Javan rhinoceros…The situation is compounded by the fact that there are no populations of saola held in zoos,” IUCN added.
“The animal’s prominent white facial markings and long tapering horns lend it a singular beauty, and its reclusive habits in the wet forests of the Annamites an air of mystery,” said Barney Long, of the IUCN Asian Wild Cattle Specialist Group.
“Saola have rarely been seen or photographed, and have proved difficult to keep alive in captivity. None is held in any zoo, anywhere in the world. Its wild population may number only in the dozens, certainly not more than a few hundred.”
The saola is listed as Critically Endangered on the IUCN Red List of Threatened Species, which means it faces “an extremely high risk of extinction in the wild.”
“With none in zoos and almost nothing known about how to maintain them in captivity, for saola, extinction in the wild would mean its extinction everywhere, with no possibility of recovery and reintroduction.”
“With none in zoos and almost nothing known about how to maintain them in captivity, for saola, extinction in the wild would mean its extinction everywhere, with no possibility of recovery and reintroduction,” IUCN said.
The Vientiane meeting identified snaring and hunting with dogs, to which the saola is especially vulnerable, as the main direct threats to the species.
“Experts at the meeting emphasized that the saola cannot be saved without intensified removal of poachers’ snares and reduction of hunting with dogs in key areas of the Annamite forests,” IUCN said. “Improved methods to detect Saola in the wild and radio tracking to understand the animal’s conservation needs are needed, according to the biologists.
“In addition, there needs to be more awareness in [Laos], Vietnam and the world conservation community of the perilous status of this species and markedly increased donor support for saola conservation.”
IUCN is the world’s oldest and largest global environmental organization, with more than 1,000 government and NGO members and almost 11,000 volunteer experts in 160 countries. Its headquarters are in Switzerland. The organization works on biodiversity, climate change, energy, human livelihoods and greening the world economy by supporting scientific research, managing field projects all over the world, and bringing governments, NGOs, the UN and companies together to develop policy, laws and best practice.
Earth’s Future May Rest on Risky Geoengineering, Scientists Conclude
Alexandra Cousteau’s Blue Planet
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Future ethical questions for digital placemakers
Date Published: 24th August, 2018
The rise of digital placemaking has been supported by emerging digital technologies – from smart clothing to city-wide sensor networks – that go beyond the smartphone.
But while conversations around technological possibility are important, larger ethical questions have come to the fore. There are groundbreaking developments in the Internet of Things, augmented reality and smart cities almost daily, but recently the narrative has expanded from tech possibilities to one of governance, ethics, sustainability, privacy, trust, safety and security.
In July 2018, the UK’s Ministry for Housing, Communities and Local Government published the ‘Local Digital Declaration’ that seeks to transform the next generation of public services, enabled by digital technologies but underpinned by citizen needs, privacy and security. While currently looking at the digitisation of public services, it seems reasonable that the values and principles of this declaration could readily be adapted for the benefit of our shared public ‘smart’ spaces.
You may like: Beyond the smartphone: Innovation in material technology for digital placemaking
Ethics, governance and trust must become central themes for digital placemaking practitioners in the future. To establish our ethical course for the future, however, we have to start with the present.
The current ethical conversation
“Tech companies focus intensely on preventing crashes. A rigorous effort to anticipate what could go wrong is already standard practice for specialists in system reliability, which deals with “what-ifs” around computer failures. A higher standard for safety would simply do the same for “what-ifs” around human consequences.”
– Yonatan Zunger, 2018, Boston Globe
Zunger writes in the aftermath of the Cambridge Analytica scandal, in which the common practices around big data – mass analysis, psychological profiling, targeted advertising and interactions – were clearly demonstrated as a political force. These techniques are hardly unusual: they’re the bread and butter of digital marketing. Yet when they entered the political arena, deployed to influence democratic rather than consumer choice, a line was crossed, and data harvesting entered the public interest.
What’s interesting and crucial for us, as experimenters, placemakers and creators, is that the lessons of the Cambridge Analytica-Facebook situation are learnt. We need to work assiduously to ensure that our present and future cities do not follow the same path.
Computer ethics is nothing new, of course. As for back as 1948, MIT professor Norbert Wiener questioned the ethical issues surrounding information technology in his book Cybernetics. In 1973, the Association for Computing Machinery (ACM) adopted its first code of ethics.
Subsequently, the work of Luciano Floridi – Professor of Philosophy and Ethics of Information at Oxford University, Director of Oxford’s Digital Ethics lab, and Faculty Fellow of the Alan Turing Institute (the UK’s national institute for data science) – investigated the philosophies and ethics of computing in all guises.
Floridi’s work continues today, focusing on brand new tech and innovations. The difference between the technology of today and that of the mid-90s, of course, is the ubiquity of data and the extent to which it forms and impacts our day to day lives. Our decision-making processes are increasingly distorted by the sheer amount and accuracy of the data we have available: we’re more aware of changes in our environment than ever, in more detail and at greater pace, too.
For digital placemaking practitioners – those studying, shaping and augmenting the relationships between people, place and technology – ethics form a crucial part of the decision-making process for projects. So what questions should we be asking, and how do we ensure we avoid the moral issues brought to a head by recent revelations?
Ethical issues for future development
“Information Communication Technologies (ICT) have profoundly changed many aspects of life. They have had a radical and widespread influence on our moral lives and on contemporary ethical debates. Examples come readily to mind, from trust online to phone hacking, from the digital divide to a dystopian ‘surveillance society’, from privacy and freedom of expression to Wikileaks, from artificial companions to cyberwar.”
— Prof. Luciano Floridi, The Ethics of Information
Professor Floridi suggests ICTs are bringing about a fourth revolution, a fundamental change in how we understand ourselves and the world. We are not disconnected individual agents, according to Floridi: we are informational organisms, sharing a global environment that is made of information. Our sense of self, environment and sustainability has to reflect that so many of our circumstances exist purely in the realm of information – they are not practical problems, and they do not have a concrete, permanent solution.
The aforementioned ACM code of ethics still stands today, updated to reflect these modern challenges. Its general ethical principles are:
1.1 Contribute to society and to human well-being, acknowledging that all people are stakeholders in computing.
1.2 Avoid harm.
1.3 Be honest and trustworthy.
1.4 Be fair and take action not to discriminate.
1.5 Respect the work required to produce new ideas, inventions, creative works, and computing artifacts.
1.6 Respect privacy.
1.7 Honour confidentiality.
Other organisations are similarly trying to tackle these issues. In 2012, the EU established the Onlife Initiative – a research project that hopes to rethink the philosophy on which policies are built in a hyperconnected world, so that we may have a better chance of understanding our ICT-related problems and solving them satisfactorily.
The PETRAS Internet of Things Research Hub (a consortium of nine UK universities), meanwhile, is working to establish principles of trust and privacy at the heart of the IoT, retaining human oversight and restraining the automated, automatic use of big data.
The goal is to ensure that people remain responsible for and in control of decisions about how devices are used, and to what end, and to make recommendations on policy that foster responsible development of IoT devices and technologies.
Each of these movements is doing great work in trying to understand, govern and manage our relationships with technology in line with a set of ethical standards. But still they are aimed principally at technologists. Technology is just one element of digital placemaking, however, so when also considering people and place, it becomes more complex.
Many placemaking projects are charged with telling the story of a place, of being authentic and valuable to the communities that will use them day to day. To this end, we also need to ask:
How can we be thoughtful about how we design our systems?
Do we have buy-in from all stakeholders?
Are we helping the environment?
Do our projects hold authenticity and inclusivity dear?
Are we telling the right story?
Are we contributing social, cultural or economic value?
Does our work enhance people’s experience of a location?
These are challenging questions for anyone working in the public realm, but they are essential to make sure the work we’re doing is valuable to our public spaces and to the people that inhabit them. Before we rush headlong into the unknown – putting technology before people, the apps before the application – we need to really question the ethical ramifications of our endeavours.
Society, like technology, is undergoing a period of dramatic change. In the last few years, we have seen information and communication become bigger and more complex than ever – unethical activity has become easier to recognise, yet perversely harder to stop. The public debate on and around the global infosphere is a reflection of broader, older political and social praxis – an extension of the world which is by no means free of its problems.
People are people: they’re struggling to adapt to a bigger and more complex world than they’ve ever lived in before. To ensure that world is worth living in, we need buy-in from the people who will be living there. Digital placemakers need faith and trust from the people who are going to interact with their work: we can secure that only by being truthful and honest.
How to measure the ROI of app technology in engineering firms
People-first apps: The importance of putting business need ahead of tech
Jo Morrison
Programme Director: Digital Innovation
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An engaging family trail for one of London's most famous landmarks
Sector: Heritage
Services: Design, Technical Build, UX, Workshop
Tower Bridge was built over 120 years ago and to this day is considered an engineering marvel. Beyond being one of London’s most iconic landmarks, it is arguably one of the most famous and instantly recognisable structures in the world.
Each year over 800,000 people visit the Tower Bridge Exhibition, a significant proportion of whom are visiting London as families from the UK and abroad. Striving to keep their audiences engaged and offer the best experience of the Bridge possible, Exhibition Development Manager for the Bridge and The Monument, Dirk Bennett and his team decided to create a gaming app to inspire, engage and most of all, entertain their young patrons.
“Our interpretation plan identified families with children as one of our key target audiences. As part of the activity we were looking to incorporate a treasure hunt element and although this could of taken any form we felt an app was the best way to do that.” – Dirk Bennett, Exhibition Development Manager, Tower Bridge & Monument
Inspired by Victorian engineering’s inventive use of technology, and the capabilities of modern smartphones, Dirk Bennett was interested in how the features of the phone could introduce a mechanic element to the experience.
It’s how modern audiences use their phone. It’s what they’re used to and what they expect. They ping them, shake them, tilt them, turn them over… we wanted to explore how that could interact with the site.
Dirk Bennett, Exhibition Development Manager, Tower Bridge & Monument
However, it was important that the app didn’t take over the experience of visiting Tower Bridge. Therefore, we aimed to design activities that would help visitors make connections between the digital and physical experience; taking the latter as the inspiration, reference and starting point for the app.
For example, as you look down to the river through Tower Bridge’s famous glass floor, you can blow into your phone to steer a sailing boat under the bridge; in the Engine Rooms, your phone becomes a spanner that you hold up and turn, to tighten loose screws. Each time you complete an activity, you’re awarded a sound, allowing you to make the bridge sing, with a growing collection of sound effects inspired by the bridge. These activities encourage users to experiment and play along with their families to enjoy the bridge, as well as the app.
With that in mind, we created a treasure hunt format that helps guide users through the space, to keep visitors moving. At each stage, there are games or facts to enjoy and each activity can be revisited or replayed, by scrolling back up through their journey.
How Calvium Helped
Calvium devised a project calendar that began with a co-creation workshop involving a cross-section of the Tower Bridge and Calvium teams. The workshop provided a way for teams to share and develop ideas together, learn the motives behind requirements, and understand the technical possibilities. We believe it’s important to get a working prototype available quickly, so that testing can start as soon as possible. So together, we decided on a set of activities to prototype – and put our designers & developers to work.
“I’ve always been of the opinion that it helps you avoid costs and wasted time in the long run if you invest a little bit more at the outset to test it. Calvium shared this belief.” – Dirk Bennett, Exhibition Development Manager, Tower Bridge & Monument
The prototypes were used to drive a series of user testing sessions, where we observed the behaviour of our target audience and gathered feedback on the works-in-progress. Each session provided insights into the different approaches people took to interacting with the device, and the site itself. Seeing these interactions helped us to design an app that balances between guiding and entertaining visitors, and allowing them to enjoy the on-site displays.
We took the time to really get to know the site, the stories and experiences that the Tower Bridge team were looking to create. A combination of research, site visits and group discussions with different teams within Tower Bridge gave us a more holistic idea of what goals needed to be met.
The emphasis on co-creation has been a huge factor in making this project such a success. The combination of the Tower Bridge team’s expert knowledge of their visitors, and Calvium’s understanding of mobile experience; made for a genuinely engaging app and a brilliantly enjoyable working process.
Working with Calvium has been a real pleasure. From the start there was a level of mutual understanding that meant there was never any fuss or drama. We gave them a clear brief, and they would come back with great suggestions. It’s been a great project to work on.
For more information about Tower Bridge, please visit www.towerbridge.org.uk.
Photo credit: Tower Bridge
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{%=o.description%}
Sonicycles
DIY Instruments
Musical Bicycles
By Stefano Pagani By Stefano Pagani
09/25/15 AT 12:44 PM
https://cambridge.nuvustudio.com/posts/85313/video
Final Final
09/25/15 AT 9:15 AM
https://cambridge.nuvustudio.com/posts/85174/final
By Kalala Kiwanuka-Woernle and 3 others By Kalala Kiwanuka-Woernle, Stefano Pagani, Calder Martin, Lila Hempel-Edgers
The Sonicycle studio was given the task to create a bike that was a musical instrument that also looked cool and had the ability to turn on and off the sound.
Our group created a bike that when rode makes noises because of the number of instruments, but can also make music when it is stationary. A big part of our process was using our new skill welding to attach the instruments to our bike.
Our bike has a variety of instruments such as a drum, a thumb piano, wind chimes, spoke sliders and a wheel clacker. This allows the rider to enjoy music while riding and make music when they come to a stop.
We began the project by researching how instruments are made and how to make your own, then we looked at how people had combined instruments with bikes to make music. We spent about a week working on our own instrument and creating new ones. Our group then broke off into four groups to focus on their individual instruments to attach to the bike. While we were working on our instruments we also did lots of practice welding.
Our bike is made up of many parts because of the various types of instruments. The drum is a gear with a plastic circle screwed to it that also has a hand-brake that doubles as a mallet to hit the drum and make the sound. We have the wind chimes that are attached at the top tube and when the bike is ridden the hit each other making sound. The spokes sliders move up and down the spokes when the wheels turn making sounds, but also make really cool designs because of the centrifugal force. The thumb piano is welded to the handlebars and has a bar the stretches across the wooden box. The bar holds up levers with screw on the end and when you press them, they hit the keys, resulting in different notes from a scale being made. Last is the wheel whacker which is a piece with bike chains at the end. This is connected to a bike rack that has the ability to be raised or lowered resulting in the wheel being whacked and sound being made.
Each of us broke off to work on instruments that had already been prototyped or others had created and we improved them. We originally began with the idea of only being a percussion bike, but then we went off of that idea and ended up with instruments like the thumb piano. As a group we also spent lots of time on finding ways to make the whole bike an art piece and not just the music that was coming out of it. We focused on using pieces of the bike for completely different purposes and making it unique.
One of the main challenges that we faced as a group was working as a group. Because we were working on very different projects, it was very easy to go a couple days without communicating with everyone else. This became a really big probably though by the end of the project because people were wanting to put their instruments in the same place or projects not getting done because people didn’t know what others were doing.
Iterations :
Iteration (Wind Chimes) :
We began the process of making the wind chimes with the idea of having actual wind chimes and attaching them to the top tube. While working with the different bike pieces we realized that the gears made a pretty sound when they collided and we decided to make the gears into the wind chimes. After coming up with the placement and the order of the “wind chimes” we spray painted them silver and pink. Last, I hung up the wind chimes attaching them with zip ties and strung them through the zip tie with a wire.
Iteration (Spoke Sliders) :
Initially, I came up with the idea to attach bells to the spokes of the bike so that when the rider pedaled the bells would make noise, but after talking to my group we thought it wouldn’t work as well as I planned and we didn’t have any ideas on how to attach the bells to the spokes so that they could still make noise. We ended making the spoke sliders which are these little 3D printed pieces that snap onto the spokes. They’re really cool because when you pedal, they slide around and make noise, but if you pedal fast enough, you can’t hear them anymore because of the centrifugal force.
Iteration (Drum) :
Calder came up with the idea to create an instrument that was similar to a kick drum where you didn’t need to manually hit the drum. He first started out making a drum out of popsicle sticks and a mallet that was made out of a ping pong ball and wire. After, he found a brake gear and decided to base his project around that. He laser printed a drum piece that would keep the drum head in place and refined the design of the drum head and attached more pieces such as the bracket. Later on in the project he focused on finding a solution to turning on and off his bike by adding a lever and cutting in have a nut and attaching it to the top tube of the bike.. Calder finished off his process of welding his drum to the front of our bike.
Iteration (Wheel Clacker) :
Stefano’s idea for the wheel clacker came from the card in the spokes sound concept, and combined that with the idea to create sound from the energy of moving the wheel. From taking apart the bike wheel he found that a bicycle hub could double as a bearing with many mounting opportunities. After experimenting with different ways to mount the hub he found that the luggage mount was the most effective. After mounting the hub and fixing chains to it, he worked on a way to turn the instrument on and off. He took a shifter off an old bike and used the cabling for it to lower the luggage rack, carrying the hub to make contact with the wheel resulting the hub spinning and making sound.
Iteration (Thumb piano):
There were many steps that I took and models that I made to complete my final project. The first thing I did was making a cardboard model. In my cardboard model, I made a bike rack, a plate, and put tines on top of that. I had not made any drawings or planned anything out, so my finished product turned out a lot different than that prototype. The next thing I did was making some drawings and start working on rhino. On rhino, I designed keys and a box. When I laser cut them, they were the wrong scale and the wrong shape. The scale that I had made was a major scale, but it only had six notes so they sounded wrong. I went back on rhino and fixed this problem by redesigning the keys to make a six note pentatonic scale. I printed that and the new top out, and fit it to the rest of the box. After that, I read about the materials I could use to make my bars. Every website said that bars like these have to be made out of aluminum. The aluminum bars arrived and I cut the tines out of those. When those were finished and the holes were drilled into them, I had to figure out a way to mount them. I settled on putting a nail through the hole and then putting a nut and felt on top of that. After I slid the keys on, I put a lock nut onto the top to make sure that the tines could not slide off. The last step was attaching it to the bike. I welded a steel bar onto the handlebars and then screwed the box into it. I added zip ties to fasten it more.
Final Post Final Post
By Lila Hempel-Edgers and 3 others By Lila Hempel-Edgers, Calder Martin, Kalala Kiwanuka-Woernle, Stefano Pagani
11/10/15 AT 9:57 PM
By Jackson Wu and 3 others By Jackson Wu, Dylan Smyth, Daniel Bassett, Jack Mullen
IMG_9020-01.jpg
Bicycles are typically seen as moving, but quiet things and musical instruments are typically stationary. Over the past two weeks, our group aimed to subvert both of those ideas with the music box bike. When in motion, the music box bike uses the motion from the back wheel to spin a series of gears attached to the bike frame. The final gear, a whole bicycle wheel, spins a studded cylinder which plays a kalimba attached to the back of the bicycle. We added in some gears for aesthetics, and gave it a paint job to match our theme.
By Jack Mullen and 3 others By Jack Mullen, Dylan Smyth, Jackson Wu, Daniel Bassett
Bicycles are typically seen as moving but quiet things and musical instruments are typically stationary. Over the past two weeks, our group aimed to subvert both of those ideas with the music box bike. When in motion, the music box bike uses the motion from the back wheel to spin a series of gears attached to the bike frame. The final gear, a whole bicycle wheel, spins a studded cylinder which plays the kalimba attached to the back of the bicycle.
We were given the challenge of making a bike that played music when we rode it. More specifically, our group was tasked with making the bike a plucked or stringed instrument. We got our original inspiration for this idea through a video of a man riding a bike that then played a music box like instrument. He did this through gear reduction and a plucking mechanism. After seeing this we thought that we could do it better by having all of the gear reductions contained on the moving bike, instead of sprawled out in a room like the guy in the video. After getting our inspiration we came up with a complicated plan to complete this project. Our main idea was to attach a music box to the back of the bike, and use the motion from the back wheel to rotate the cylinder. We planned on doing this by slowing down the rotational speed of the cylinder by creating a huge gear reduction through connecting the smallest gear on the bike to several other gears on the rear basket frame. After connecting a few gears together, one of them would turn another bike wheel that we fastened to the back of the bike, and that would turn a cylinder that would pluck our instrument.
Our plan was to make a bike that played a music box. In order to play the music box at a reasonable tempo, we needed to slow the rotation speed of the bike gears down. We did this through gear reduction that we created by connected smaller gears to larger gears, thus slowing the rotational speed. First, we took some bike chain and a large gear from a different bike and used the chain to connect the smallest gear on our bike the larger gear that we took. The larger gear was connected to the bike. The connection from the small gear to the large gear did slow down the rotational speed, but in order to slow it down further, we had to add another component to the system. We fixed a small spool to the large gear that ran a bike tube that spun a bike wheel that we took and connected to the back of our bike. Now we have two gear reduction that end with a bike wheel spinning very slowly. We took out the axle of the bike wheel and replaced it with threaded rod. We could screw on our plucking cylinder to that threaded rod, so when the whole mechanism spun, the cylinder would turn and pluck our music box. The music box ended up just being a wooden box with popsicle sticks as teath. At the end of our project we had a bike that when you peddled, it turn a bunch of gears and wheels that spun a cylinder that plucked our music box to make noise.
The first iteration of the music box teeth was a steel pipe with steel bicycle spokes welded onto it. First we used a tuner and a ruler to measure the length of a bicycle spoke when it made the note G, and then we figured out G an octave lower. We mathematically found out the rate of change in the spokes for a chromatic scale, and then we calculated the angle the pipe had to be at to make the spokes level. Ultimately, this iteration was scrapped because of how little sound the steel spokes made. We were basing this design off a contraption that Kirk made, two titanium pipes welded together with titanium spokes welded into that. At time, we did not know that the spokes in our predecessor were titanium. The material of our version contributed largely to its failure.
To make the final version, we first designed a box in Rhino and laser cut it. From there we had three other main components: the tines (popsicle sticks), the nut (to suspend the tines above the box), and the bridge (to apply pressure to the tines). When making the final product we had to add an additional screw in the middle of the bridge because the bridge was too loose and could not make any sound.This is less of a music-box-teeth type design and more of a kalimba.
The cylinder was less of a challenge, but we had issues nonetheless. The first iteration was cardboard, a foot long, and was divided into 24 ½-inch sections. The concept was that the circular ½-inch sections would be divided into . I decided to make it out of cardboard at first because it was easy to work with, inexpensive, and the cylinder for the music did not have to resonate. The main issue with this iteration was that the cylinder actually did have to be strong to support its own weight and not crumple.
The final iteration was made of PVC. It had two wooden caps with holes in the center of each. Over the holes are nuts on each side that allow the pipe to screw on and off the axle. When tightened, the nuts apply enough pressure to keep the pipe firmly attached to the axle. The PVC is more difficult to hammer fingers (to pluck the kalimba) into. For fingers, we used cut-off, filed-down nails. In the end, we also greatly reduced the number of horizontal fingers and notes.
On our last day of building, we were testing our design and the gear mechanism fell apart. The tube was not feeding correctly, the gear was unaligned, and in the process of fixing it, we snapped the spool. We had little time to fix the problem but in the end we made the design better. While we reglued the spool back together, we found wood locking nuts that would much more efficiently hold the mechanism together and keep things in alignment. After the fix, we had a much better arrangement of the gears and spool, because of the addition of spacers, and the design had not broken since.
After the spoke model failed, we tried a variety of other materials and methods for the teeth. The recurring problem with these trials was that none of the materials could produce a note, resonate and sustain in the right way. The only material that had ideal results was titanium, but that was not viable to due to cost and lack of access. It would also be a hard metal metal to work because of its strength. First we tried a laser-cut wooden plank with teeth measured out by the bar length website. It did not have enough resonance, so we scrapped it. We also tried to make teeth out of sheet metal, but sheet metal was of limited access, so we only had one piece of sheet metal. That piece was too thin, and the entire sheet resonated when one tooth was stuck, so that idea is not viable either. We ended up going with popsicle sticks, which I was hesitant about at first, but the sticks had a good sound, and were easy to work with and access.
We spent most of a day designing the cylinder/axle connection. The problem was to make the axle firmly attach to the cylinder, but also make it interchangeable. The first idea was to make two caps with nuts in the center and bolt those to the cylinder. This would mean tightening the nuts tightens the cylinder around the axle, and can later be unscrewed. A later idea was to make two felt-lined wheels that attach to the axle with two locknuts each. The wheels would have threaded holes, and when the cylinder was slid onto the wheels, you would be able to screw the cylinder to the wheels, and unscrew it when you were done. In the end, we went with a variation of the first idea, because the threaded holes did not seem reasonable.
Music Box Day 6 (final day) Music Box Day 6 (final day)
By Jackson Wu By Jackson Wu
https://cambridge.nuvustudio.com/posts/85110/music-box-day-6-final-day
Today was the final day of building. Me and Jack spent most of the day building the kalimba. In the first part of the day, we made a prototype to make sure our design would work. Some of the issues with the prototype that we found were splintering when we drilled the holes in the wood, the holes not being drilled precisely enough, and the bridge/nut not being angled. Thanks to the prototype, we able to work out these issues before they became a problem.
To make the final version, we first designed a box in Rhino and laser cut it. From there we had three other main components: the tines, the nut (to suspend the tines above the box), and the bridge (to apply pressure to the tines). When making the final product we had to add an additional screw in the middle of the bridge because the bridge was too loose and could not make any sound. It was also a challenge to line the kalimba up with the cylinder, but we were able to do it. And with that, our physical work has ended! The cylinder can rotate via pedal and make a sound on the kalimba.
Kirk Tegelaar | 09/25/15 AT 7:17 AM | Reply
My only wish is that there was more time to compose a song and "program" it onto the cylinder, for lack of a better word. In a way, the earliest computer may be the the cylinders that program looms to make intricate patterns: similar to the drum that plays your kalimba. I'm relieved that you found a material that produced a pleasant and resonant sound: I would have never guess that popsicle sticks would beat out bicycle spokes. Go team!
By Simon Zalesky and 3 others By Simon Zalesky, Jonah Stillman, John Duval, Jameson Woods
Our task was to modify bikes and make them musical. We spent a few days creating our own instruments in order to get a feel for the kind of work we would be doing. After our first few intro days, we were divided into groups and began work on our respective bikes. Our original sketches included a very long, intricate tube system that resembled a French horn. After we did our initial sketch, we came up with the idea of having a detachable bike seat that doubled as a clarinet. After some experimenting and drilling, we realized that the seat was not a viable way of producing sound. We decided instead to focus on the tube systems, and began considering the idea of building a xylophone into the frame of the bike.
We started to firm up our ideas plan out our design. An idea that came up was a horn that had a mouthpiece that came out of the handle bars. This mouthpiece would only come out on one side, and on the other, a tube would lead into coiled pvc, or hose. We found out that the longer the tube was, the deeper the sound. Later, we decided that this may get in the way of other instruments. So we postponed the horn idea until we know what else we want to fit on the bike.
We went on a field trip to GoodWill and purchased lots of items that could double as instruments. We began testing things out, brainstorming where to put our new objects. We ultimately agreed that we should mount a drum set onto the handlebars. We also decided to attach platforms to the back and front of the bike. This would give us more "real estate" and more space to add instruments. We spent the majority of that day sketching and planning.
We began learning how to weld. This was important because a lot of our project involved metal on metal connection. After completing the welding tutorial, we stripped paint from the places on the bike that we were going to weld. We also prepped our bike for painting and priming.
We then looked to start welding on to the bike itself. First, we wanted to weld a base platform to a bar that comes off of the handlebars. After this weld cooled down, we started experimenting with ways to attach our instruments. First up was our jar drum. We decided to drill a hole in the side of the frame, instead of welding it on. We thought that a system that could be adjusted may be better than the more permanent solution of welding. We decided to spray paint our bike frame. First we sprayed it with primer. Once that dried we put on our first coat of pink paint. Later that day we explored the possibilities of experimenting with LED's.
On the second to last day to work on the bike we started off with the goal of finishing all of our instruments. We attached them one by one and now we have all of our instruments mounted on to the handlebars. Before we continued, we came up with the general, overlying, idea of what our bike could be described as. We came up with a junkyard bicycle with instruments that you could play as percussion and some that you can play similarly to a trumpet. We also mounted a lamp to the back of the bike that we will put an LED light strip in. At first we were going to use the regular light bulb, but we were advised to use the LED's because they are more energy efficient and therefore we'd be able to power it for longer. After this, we needed to solder the wires to the LED light strip and this was very interesting. After welding this seems similar but also very different. The process is similar but the way that it works isn't. Welding uses an electrical circuit to heat the metal to the melting point, and that is how it fuses. Soldering on the other hand, uses filler material to attach the two. Nevertheless, it is still a delicate process that required precision. One of the challenges with the wiring was that we wanted to run the wires through the part of the lamp that the original wire was running through, but it is very hard to feed them through. This was because the original wire was flat and the new ones were not. While a few of us focused on the wiring, the rest added the two horns to our bike. One of which has a coiled hose attached to a bent metal tube that runs towards the back of the bike. The other goes straight off of the front of the handlebars, and has a deeper sound, almost like a truck horn. The one that goes off of the back has a medieval fanfare horn type of sound. It took us a while to get to where we are now, but now that we finished we can all say that we are proud of what we came up with. Our bike was never super well thought out, to be honest. We had ideas here and there of what we wanted to have on our bike. A horn here a drum there, and things like this. It wasn’t until the last couple days that we reached a point of cohesion during which everyone was working towards one goal. That was when we became sure of our design. At first we were a little bit lost amongst all the possibilities, with welding in mind, as well as painting and extra finesse kind of details, kind of distracted us from what we needed to think of. What is the idea behind our bike?
Our bike can be played while riding and while stationary. Using a combination of drums and horns, our bike achieves a unique sound and aesthetic. It has two drums and two horns. One of the drums was one of Jackson’s drums. It has holes in the top with copper rivets to achieve a snare drum sound. The other drum is a cooking pot It resonates really well, and is able to produce a sound that is similar to a steel drum. The main horn on our bike is a bent metal tube that runs along the side of the bike, and is attached to a rubber hose that wraps around the handlebars. You can play this while riding if you are able to ride with one hand and pull the hose out of the holster. It sounds kind of like a train horn. The other horn is shorter and you can play by leaning forward. It is much lower and has a fog horn type of sound. We also have a lamp that we took the original wiring and light bulb mount out and replaced it with arduino powered LED’s. We have LED’s on the bottom as well.
By Simon Zalesky and 3 others By Simon Zalesky, Jameson Woods, Jonah Stillman, John Duval
Our custom bicycle can be played while riding and while stationary. Using a combination of drums and horns, our bike achieves a unique sound and aesthetic. Our bike has two drums and two horns. One of the drums was one of Jackson’s drums. It has holes in the top with copper rivets to achieve a snare drum sound. The other drum is a jar that would probably be used for holding sugar or something like that. It resonates really well, and is able to produce a sound that is similar to a steel drum. The main horn on our bike is a bent metal tube that runs along the side of the bike, and is attached to a rubber hose that wraps around the handlebars. You can play this while riding if you are able to ride with one hand and pull the hose out of the holster. It sounds kind of like a train horn. The other horn is shorter and you can play by leaning forward. It is much lower and has a fog horn type of sound. We also have a lamp that we took the original wiring and light bulb mount out and replaced it with arduino powered LED’s. We have LED’s on the bottom as well.
Music Box Day 5 Music Box Day 5
https://cambridge.nuvustudio.com/posts/85010/music-box-day-5
It is getting down to crunch time, and we are rethinking our design for the music box itself. Our group tried a bunch of different designs today for the teeth. First we tried a laser-cut wooden plank with teeth measured out by the bar length website. It did not have enough resonance, so we scrapped it. We also tried to make teeth out of sheet metal, but sheet metal was of limited access, so we only had one piece of sheet metal. That piece was too thin, and the entire sheet resonated when one tooth was stuck, so that idea is not viable either. We ended up going with popsicle sticks, which I was hesitant about at first, but the sticks actually have a good sound. Tomorrow we need to build the box, the teeth, and the drum, but we have designs for all three, so it should not be impossible.
For the drum (cylinder), we are back to the design of two caps on each end of the drum holding the drum to the axle.
One thing we did complete today was the gear mechanism for turning the music box; I'm really glad that works. It is inspiring to see something planned on paper a week ago in real life.
I was surprised how little the sound was from the teeth you were making: I'm sure glad popsicle sticks show promise. I'm looking forward to seeing what you come up with today.
Adam Steinberg | 09/24/15 AT 3:30 PM | Reply
This has been through a ton of iterations with a good bit of frustration, but your group has really stuck to it. Lots being learned. Remember to document your process! I wish we had a chance to find a better material for the tines.
t(:done_arranging)
Done Arranging
Kirk Tegelaar
Adam Steinberg
Calder Martin
Daniel Bassett
Dylan Smyth
Jack Mullen
Jackson Wu
Jameson Woods
Jonah Stillman
Kalala Kiwanuka-Woernle
Lila Hempel-Edgers
Simon Zalesky
Stefano Pagani
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SHAUN O’REILLY
London-based singer/songwriter Shaun O’Reilly blurs the lines between the melancholic mellowness of Elliott Smith, and the blues bark of Captain Beefheart.
His fondness of folk led him away from a metal band and into a solo career, with recent shows seeing him pull crowds across Holland and France. His single, ‘Witches’, was featured in legendary Americana publication No Depression, while Words For Music branded him “a people’s poet with the language of song running through his veins.
His debut album, ‘It’s a Vulgar Road We Take,’ was released on 22nd February 2019, courtesy of label Us Is The New Them. He was rewarded with his hard work on the BBC airwaves, with an in-depth interview and track premiere of ‘Took To Drinking’. The legendary DJ Dean Jackson went on record as saying the LP “made him want to play it on repeat”.
For fans of: Americana, Folk, Acoustic Guitar, Blues
KAROBELA
LONGY
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Dog Fighting & Cock Fighting: Cultural Phenomenon?
Tags: All, All posts, Animal cruelty, Animal rights, Atlanta Falcons, Bad Newz Kennels, Cock-fighting in early America, COMMENTARY, Cultural nature of dog fighting, Culture, Dogs, DOMESTIC VIOLENCE, Hisgtory of cock-fighting, History, How cock-fighting was done in Early America, Human Rights, Illegal dog-fighting, Jennifer Daugherty, Latest post, Lifestyle, Michael Vick, Michael Vick apologizes, Michael Vick dog fighting, Michael Vick sentenced, Misc., Miscellaneous, Moreau de St. Mery’s American Journey 1793-1798, National Football League, Op Ed, Opinion, Reflections, Southeastern Virginia, Thoughts, Vick dogfighting, Vick illegal dogfighting, Whoopi Goldberg
DOG FIGHTING & COCK FIGHTING:
CULTURAL PHENOMENON?
On July 17, 2007, Michael Vick was charged with owning and operating an illegal dog-fighting organization, aptly called Bad Newz Kennels, in rural southeastern Virginia. Not only was excessive violence applied to “losing” dogs—allegedly, there was substantial gambling.
Vick was suspended indefinitely from the National Football League, where he was a quarterback with the Atlanta Falcons. He also lost his lost his contract with Nike and endured the wrath of animal rights groups. The allegations were investigated by local and federal authorities. Vick was defended by a legal defense team consisting of five top-notch lawyers.
Vick admitted to killing six to eight dogs whose demonstrated poor performance during training sessions. He also admitted to financing the Kennels and bankrolling gambling on the dog fights. When he entered his plea in federal court, he apologized and asked for forgiveness. On December 10, 2007, he was sentenced to 23 months in prison. Approximately fifty persons attended the sentencing hearing, some siding with animal rights activists, some supporting Vick.
Vick mustered a short speech, apologizing to some people and admitting “I’ve used poor judgment.”
According to Whoopi Goldberg, the problem may be cultural. On the television program, The View, she defended Vick by stating that “from where he comes from” in the South, dogfighting isn’t that unusual.
“It’s like cockfighting in Puerto Rico,” she said. “There are certain things that are indicative to certain parts of the country.”
Co-host Joy Behar looked horrified at Goldberg and asked, “How about dog torture and dog murdering?” Goldberg replied that for many people, dogs are sport, and it appeared it took awhile for Vick to realize that he was up against serious charges.
“I just thought it was interesting, because it seemed like a light went off in his head when he realized this was something that the entire country didn’t appreciate,” she said.
According to historical journals, Whoopi has a point. During America’s early days, cock-fighting, was commonplace. A French military man touring the United States between 1780-1783 wrote this about the Americans:
“They have another sport, which is (more…)
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State route No. 90—American Veterans Memorial Highway—Washington green highway.
A state highway to be known as state route number 90, and designated as the American Veterans Memorial Highway as well as a Washington green highway, is established as follows:
Beginning at a junction with state route number 5, thence, via the west approach to the Lake Washington bridge in Seattle, in an easterly direction by way of Mercer Island, North Bend, Snoqualmie pass, Ellensburg, Vantage, Moses Lake, Ritzville, Sprague and Spokane to the Washington-Idaho boundary line.
[ 2007 c 348 § 407; 1991 c 56 § 2; 1971 ex.s. c 73 § 2; 1970 ex.s. c 51 § 29.]
Findings—2007 c 348: See RCW 43.325.005.
Purpose—1991 c 56: "In order to create a great memorial and tribute to American veterans, it is proposed that the Washington state portion of Interstate 90 be renamed in their honor, to become the westernmost portion of a memorial highway reaching across the United States." [ 1991 c 56 § 1.]
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Archaeology in Romagna
You are here: Art & Culture > Archaeology in Romagna
Last update: 11 April 2019
Archaeology means emotions, a sense of wonder for discovery, but also love for travel. It’s a journey backwards in history, that aims at knowing step by step what our origins are and from where we come. This is a chance to give our present a social meaning through the interpretation of material rests, but also of written and iconographic remains our ancestors left us during their life.
Emilia Romagna, like all the rest of Italy, over the millennia experienced different people and cultures that have been marking and moulding history over the centuries. Archaeological digs started from the 19th century onwards, whether fortuitous or planned. The findings led to the definition of an ever more precise timeline, especially as regards the alternation of cultures, playing an active role in the creation of collective memory. Today, part of the findings are guarded inside the museums and the archaeological sites spread throughout the Romagna.
In this piece, we are going to start a journey in order to get to know more closely the sites and to give you some useful advice if you want to visit them personally.
Ravenna and its province
Domus of the Stone Carpets
Where: via Barbiani | Ravenna
It is one of the most important archaeological sites discovered during the last twenty years in Italy. It is an estate dating back between the Roman and the Byzantine Era with finely decorated mosaic and marble floors.
Ravenna National Museum
Where: via San Vitale, 17 | Ravenna
The museum is inside the Benedictine monastery of San Vitale and it hosts important archaeological findings and collections of minor arts that go backwards inside the history of Ravenna and its territory, they stem from different periods of history, from the Protohistoric Era until the Late Middle Ages.
The (so-called) Theoderic’s Palace
Where: via di Roma, corner with via Alberoni | Ravenna
According to some people, this building was part of the at that time King Theoderic’s Palace, but others say that it is what remains of an ancient Late Medieval church. What is certain is that at the highest floor it guards some of the mosaic and marble decorations that were unearthed at the beginning of the last century in the Late Antique Imperial Palace in Ravenna.
(So-called) Theoderic’s Palace
Tamo Museum
Where: via Rondinelli, 2 | Ravenna
It is a display area entirely dedicated to the art of mosaic: splendid artifacts coming from Ravenna and its territory are proof of the greatness of this craft technique.
The Archiepiscopal Museum
This museum was built during the second half of the 17th century in order to keep the artworks of the ancient cathedral, which, right during that period, was demolished and rebuilt. It has been collecting over the centuries a number of objects recovered from archaeological works that were carried out in the churches of the Diocese. Its most important feature is in its inside though: it enshrines one of the Unesco monuments of the city i.e. the archiepiscopal chapel of Sant’Andrea.
The Ancient Port of Classe
Where: via Marabina, 7 | Ravenna
The porticoed warehouses along the freight stations of a channel and on a paved street are what is left of the ancient port of Classe. It was built at the beginning of the 5th century when the capital of the Roman Empire moved from Milan to Ravenna.
Ancient Port of Classe
Classis – Museo Della città e del Territorio
Where: via Classense, 29 | Ravenna
It is one of the most important archaeological museums in Italy and a real trip backwards in history. Housed in the ex-sugar factory of Classe, it stretches over an exhibition area of 2800 square metres, surrounded by a green park of one and a half hectares always open to the public.
The Roman Villa in Russi
Where: via Fiumazzo, 25 | Russi
One of the best-preserved country-villas of the whole Northern Italy is only 20 km westwards from Ravenna. It was build to grow food aimed at the military Roman fleet stationed in Classe, and today it looks like as it should have been during the first epoch of Roman Empire history (1st – 2nd century a.D.).
Forlì/Cesena and its province
MAF – Forlimpopoli archaeological museum ‘Tobia Aldini’
Where: Piazza Fratti, 4 | Forlimpopoli
It is hosted inside an Albornoz fortress and, thanks to the archaeological findings of the area of Forum Popili, it guides visitors inside the local history. It is an itinerary that goes from the Paleolithic until the Middle Ages.
City Museum | Monsignor Domenico Mambrini
Where: via Pianetto Borgo | Galeata
The museum is near the archaeological area of the Roman city of Mevaniola, and it is a part of the Convent of the Minor Fathers in Pianetto. Inside, an itinerary retraces the history of the Roman-Umbrian city of Mevaniola, of the refined and elegant Theoderic’s Villa, of the lone Abbey of Sant’Ellero and of the Castle of Pianetto.
Sarsina Archaeological Museum
Where: via Cesio Sabino, 39 | Sarsina
It is one of the most important archaeological museums in Northern Italy. It opened at the end of the 19th century and it has been collecting over time always more materials coming from the excavation in the city and, most of all, in the necropolis in Pian di Bezzo. Even if it hosts items of a very long time frame, its collections focuses mostly on the Republican Imperial Epoch (1st century b.C. until 2nd – 3rd century a.D.).
Cesena archaeological Museum
Where: Piazza Maurizio Bufalini | Cesena
The Malatestian Library is home to this museum, which is also part of the Unesco register Mémoire du Monde. The museum retraces the history of Cesena and of its territory thanks to its material culture.
Seafaring Museum
Where: via Armellini, 18 | Cesenatico (FC)
Along the harbour canal of Cesenatico, the museum hosts several relics related to the city’s past, most of them dating back to the Roman Age.
Renzi Museum | San Giovanni in Galilea
Where: via Matteotti, 27 | Borghi (FC)
It was founded in 1885 by Don Francesco Renzi and it is one of the most ancient museums in Italy. The museum recollects the history of the territory between the Valleys of the rivers Marecchia and Rubicone thanks to its various themed collections and several items that have been found over the centuries.
Archaeological Museum of Compito
Where: via San Giovanni, 7 | Savignano Sul Rubicone
This museum was born in 1930 with the aim of collecting the archaeological objects found along the Via Aemilia. It’s Giorgio Franchini who asked for this museum at the time, and now it hosts a very significant collection of architectural and sculptural slivers, figurative terracotta linked to the decoration of important buildings dating back to the Late Republican Era, several Etruscan and Roman coins, as well as pottery and even fossils and osteological findings.
Rimini and its province
Bridge of Tiberius, Arch of Augustus and Roman amphitheatre
Where: city centre | Rimini
The historic centre of Rimini jealously enshrines these three Roman monuments; they are reference points to know the history of the ancient Ariminum.
Arch of Augustus
The surgeon’s Domus
Where: Piazza Ferrari | Rimini
It is a veritable Roman Domus that was dug in extension at the beginning of the 1980s right in the heart of Rimini: it consists of more than 700mq of mosaic floors and material structures. The excavation led to the discovery of the remains of a Late Imperial dwelling and of the tracks of a Late Medieval village and of a big burial site.
The surgeon’s Domus, Rimini
Rimini City Museum
Where: via L. Tonini, 1 | Rimini
This museum is dedicated to the city’s history and, inside its archaeological section, it offers an excursus that goes from Prehistory until Late Antiquity. The exhibition consists of the surgical instruments and artifacts that were found during the excavation in Piazza Ferrari and of the splendid mosaics from Palazzo Diotallevi.
“Arimini” Visitor Center
Where: Corso d’Augusto, 235 | Rimini
The great Giulio Caesar’s avatar guides you along a multimedia and interactive itinerary at the discovery of Rimini and its territory.
Villanovan Municipal Archaeological Museum
Where: via Sant’Agostino, 14 | Verucchio
The museum is inside the Agostinian Fathers Monastery dating back to the 14th century. It hosts objects and furniture recalling the Etruscan occupation over the whole area dating back to the Orientalising Epoch, one of their most glorious periods. The museum exhibits relics coming from hundreds of Villanovan and Etruscan tombs dating back between the 10th and 6th century b.C.
The Villanovan Municipal Archaeological Museum
MUSAS – Santarcangelo Archeological History Museum
Where: via Montevecchi, 41 | Santarcangelo di Romagna
Deep in the heart of one of the most beautiful villages of the province of Rimini, the museum hosts and gives value to the archaeological and art-historical heritage of the city and its territory.
Riccione Territory Museum L. Ghirotti
Where: via Lazio, 10 | Riccione
The most significant testimony linked to Riccione and its surroundings, belonging to a period that goes from prehistory to the Roman Age, is guarded inside this museum. A rich choice of fossils, minerals, rocks and a wide range of stone, bone, pottery and metal items is on display here.
Regina Museum
Where: via Pascoli, 23 | Cattolica
This museum hosts an entire section dedicated not only to the local seafaring but also to the building phases and the further developments of the ancient city of Cattolica, from the very first years of Romane Age until the Late Imperial Age.
archaeology - itineraries - Romagna
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Jacob Maslow
Israeli Startup Paving Way for AI-Assisted Healthcare
The Israel startup sector is helping innovate the healthcare industry, which was once considered one of the most efficient in the world. OECD reports then started to paint a different picture of the health system in Israel.
The report found that expenditures on health care was just 7.7% of the country’s GDP, much lower than the average of 9.3%.
Private expenditures were at 37.9% of all payments, more than the average of 28.5%. Patients in Scandinavia have the least private hospital cover at 16%.
Occupancy is cited as a major detriment to Israel’s healthcare system, too. Occupancy rates are higher than other OECD members, which is delaying care to patients and straining the already-low budget set aside for healthcare.
But technology has the ability to help reverse this trend.
Israeli doctors have started testing artificial intelligence technologies in hospitals. The software aims to assist doctors in determining whether certain patients should be operated on. Testing has been kept very quiet, but reports claim that the secret program has been put in several hospitals across the country.
Patients may not have been alerted to the process, which is a concern, but the technology, despite the controversy, is an exciting step forward in healthcare.
Tel Aviv’s MEDecide Ltd., a local startup founded in 2015, provides the AI software that is assisting with surgery decisions. The goal of the company, when viewing their website, is reportedly to innovate the healthcare industry and allow for a higher standard of safety.
How does this all relate to the issues Israel’s healthcare is facing?
First, the technology will help determine if surgery is needed. Unnecessary surgeries are costly, and the software will help to improve the overall patient care while keeping costs lower. Valuable resources, often provided to patients that may not need surgery, will now be available to patients that positively need surgery.
Insurers will also benefit from the new technology with lower risks and costs.
Artificial intelligence is being implemented under a pilot program, but the way the software works is also interesting. The software will analyze the patient’s information to recommend whether the patient needs surgery or not.
Test results, medication, discomfort and medical history will all be analyzed so that the software can recommend surgery options or additional testing to better identify the patient’s issues. The software will also be able to recommend therapeutic procedures.
Transparency issues aside, because I firmly believe that doctors should have told their patients that AI was helping with their diagnoses, AI is set to pave a new future for healthcare. Israel’s health system could benefit greatly from lower costs, granted the GDP expenditure is far lower than in other countries.
MEDecide claims that their software is aimed at the United States industry in an attempt to ensure a surgery is required before pre-approval. Pre-approval surgeries are the most common and often the most unnecessary.
Despite MEDecide focusing on international usage, the startup has the potential to increase the quality of care at home, lower costs and eliminate unnecessary surgeries that are common around the world.
Jacob Maslow is passionate about writing. For more than ten years, he's used that passion to transform the web presence of a number of legal and medical professionals in creative, innovative and effective ways that get them noticed in a crowded field. Jacob is originally from Brooklyn. He packed up his five children and made Aliyah in 2014. Jacob's experience and varied interests lend themselves to a diverse palette of topics ranging from technology, marketing, politics, social media, ethics, current affairs, family matters and more. In his spare time, Jacob enjoys being an active member of social media including groups on Facebook and taking in the latest movies.
Going Down the Drain
Esor Ben-Sorek
Bovine Words: Cows and Cowboys
Reuven Chaim Klein
Deb Riechmann
Matt Lebovic
Israel health system suffers from ‘systemic failures’, report says
Shoshanna Solomon
Barak charges Netanyahu behind Daily Mail ‘blood libel’ tying him to Epstein
Jacob Magid and Raoul Wootliff
Rescued twice: The archive that survived the Holocaust and the AMIA attack
Alan Grabinsky
TOI staff
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Eunomia Archive »
WeGiveYou (-PH) vs Z Eternal Ally (TEA)
Deizel
Dear foxer this is for u dear
Battle for Kattegat
Moguli[-PH] from Romalia, Marion[-PH] from Aincrad, Nomore[-PH] from Soulz, Marmulan, Death The KiD[-PH] from Aincrad, RadeonIntel[-PH] from Romalia
Slugg[TEA] from Symphytum, Echo[TEA] from Helicon, Foxer[TEA] from Kattegat, Valhalla, Deizel[TEA] from Deizel - w1, ZAlKA _ c, zahle, FIYADIYEH _ s, Deizel - M1, UNiQ[TEA] from Deizel - M1, Spectra[TEA] from Treno, Helpmeoirbti[TEA] from Dragonx, Deizel - M1, Darth Vader[TEA] from Helicon, Dragonx, Nagat Zuul, Deizel - M1, Castor[TEA] from Deizel - M1
............................................. - Slinger.................................3(-0)
Sulphur Carabineer......................9(-0) - Sulphur Carabineer....................500(-0)
Spearman..............................0(-308) - Spearman..............................558(-6)
Swordsman...........................30(-1289) - Swordsman..........................684(-1377)
Hoplite..............................2(-1944) - Hoplite...........................2074(-2031)
............................................. - Battering Ram..........................69(-0)
Catapult...............................19(-0) - Catapult...............................89(-0)
Doctor..................................1(-0) - Doctor.................................60(-0)
Cook...................................20(-0) - Cook..................................152(-0)
Gyrocopter.............................4(-43) - Gyrocopter...........................122(-43)
Steam Giant...........................11(-24) - Steam Giant...........................398(-0)
............................................. - Wall....................................3(-4)
Archer.................................0(-96) - Archer................................110(-0)
Mortar..................................2(-0) - Mortar.................................48(-0)
Generals..............................-4815.1 - Generals..............................-4606.9
Offensive points.....................11517.25 - Defence points.......................12037.75
Damage Received........................240755 - Damage Received........................230345
Damage Percent............................51% - Damage Percent............................49%
Winners: Deizel[TEA], UNiQ[TEA], Castor[TEA], Helpmeoirbti[TEA], Darth Vader[TEA], Echo[TEA], Foxer[TEA], Spectra[TEA]
Losers: RadeonIntel[-PH], Slugg[TEA], Moguli[-PH], Nomore[-PH], Marion[-PH], Death The KiD[-PH]
1 of Deizel[TEA]'s units are stationed in Kattegat.
338 of Deizel[TEA]'s units are stationed in Kattegat.
10 of Deizel[TEA]'s units are stationed in Kattegat.
151 units from Echo[TEA] are protecting the town of Kattegat.
151 of Helpmeoirbti[TEA]'s units are stationed in Kattegat.
362 of Spectra[TEA]'s units are stationed in Kattegat.
3 of Darth Vader[TEA]'s units are stationed in Kattegat.
167 of Darth Vader[TEA]'s units are stationed in Kattegat.
2 of Foxer[TEA]'s units are stationed in Kattegat.
10 of Foxer[TEA]'s units are stationed in Kattegat.
940 of UNiQ[TEA]'s units are stationed in Kattegat.
249 of Castor[TEA]'s units are stationed in Kattegat.
98 of Castor[TEA]'s units are stationed in Kattegat.
Slugg[TEA]'s army has fled because they were exhausted from fighting.
Foxer[TEA]'s army has fled due to a lack of morale.
Foxer[TEA]'s army has fled because they were exhausted from fighting.
Deizel[TEA]'s miracle 'Hephaistos` Forge' has been activated. (25.06.2017 15:53:00)
Death The KiD[-PH]'s miracle 'Hephaistos` Forge' has been activated. (25.06.2017 15:53:00)
Nomore[-PH]'s miracle 'Hephaistos` Forge' has been activated. (25.06.2017 15:53:00)
Darth Vader[TEA]'s army has been called back and have left the battlefield.
Darth Vader[TEA]'s army has fled because they were exhausted from fighting.
Darth Vader[TEA]'s army has fled due to a lack of morale.
Nomore[-PH]'s army has been called back and have left the battlefield.
Marion[-PH]'s army has been called back and have left the battlefield.
Moguli[-PH]'s army has been called back and have left the battlefield.
As Death The KiD[-PH] did not have any units left to hold on to the main battle line, the rest of the army has withdrawn.
Death The KiD[-PH]'s army has been completely destroyed.
RadeonIntel[-PH]'s army has been completely destroyed.
NO one cared WHO i was ..... Until i put on the MASK
Z eternal ally.
foxer
Deizel wrote:
Thank you Bro you are the Leader
another watterville battle .
Sea battle near Aincrad
Spectra[TEA] from the wild hunt, UNiQ[TEA] from Deizel - M1, Deizel[TEA] from Deizel - M1, Noh, Castor[TEA] from Noh, Helpmeoirbti[TEA] from Dragonx, Eliotness[TEA] from Eliotness, Darth Vader[TEA] from Yarzi, marmor, Kattegat, Slugg[TEA] from Pisum
Nomore[-PH] from Asupre, Kristal, Marion[-PH] from Aincrad, RadeonIntel[-PH] from Demonz
Ram Ship.............................53(-103) - Ram Ship..............................0(-116)
Fire Ship............................46(-221) - Fire Ship.............................4(-163)
Catapult Ship..........................15(-0) - Catapult Ship.........................280(-0)
Rocket Ship............................13(-0) - Rocket Ship.............................6(-0)
Paddle Speedboat.......................16(-0) - Paddle Speedboat........................0(-1)
Tender.................................13(-0) - Tender..................................8(-0)
Ballista Ship...........................3(-0) - Ballista Ship..........................25(-0)
Mortar Ship............................24(-0) - .............................................
Steam Ram..............................50(-0) - .............................................
Diving Boat............................10(-0) - .............................................
Generals..............................-1885.2 - Generals................................-1597
Offensive points.......................3992.5 - Defence points...........................4713
Damage Received.........................94260 - Damage Received.........................79850
Winners: Slugg[TEA], Eliotness[TEA], Castor[TEA], Helpmeoirbti[TEA], Darth Vader[TEA]
Losers: Deizel[TEA], RadeonIntel[-PH], UNiQ[TEA], Nomore[-PH], Marion[-PH], Spectra[TEA]
Spectra[TEA]'s army has fled because they were exhausted from fighting.
UNiQ[TEA]'s army has fled because they were exhausted from fighting.
Nomore[-PH]'s army has fled because they were exhausted from fighting.
Nomore[-PH]'s army has fled due to a lack of morale.
Deizel[TEA]'s army has fled because they were exhausted from fighting.
Deizel[TEA]'s army has fled due to a lack of morale.
nice package - Riley & Nomore = 9 k General point each , i have a question when the war is over do u thing that u will have any package left .
The CR's above are warming to my heart, been a long long time since i read a war thread where the cr's showed constantly such examples of teamwork coming together.
I applaud both sides in this conflict.
castor1311983
Thank you bro.
satanas wrote:
dear maybe we are not from the first 5 alliance but as a team we can do any thing i'm very happy for the TEA member they are to great warriors . they will make some sneak attack in the evening and kill all our troop but we will build up and revenge .
as for the -ph player waiting for ur replay about the end of this war , i know it want be today but when u get our troop but i will be waiting for that .
and this is not full report...
i got other one but summary will be bigger
Ram Ship............................226(-103) - Ram Ship..............................0(-116)
Fire Ship...........................118(-221) - Fire Ship.............................0(-167)
Catapult Ship..........................49(-0) - Catapult Ship..........................0(-39)
Rocket Ship............................29(-0) - .............................................
............................................. - Paddle Speedboat........................0(-1)
Tender.................................15(-0) - .............................................
............................................. - Ballista Ship..........................0(-25)
Damage Received.........................94260 - Damage Received........................102070
137 units from Helpmeoirbti[TEA] are blocking the port entrance to Aincrad
14 units from Eliotness[TEA] are blocking the port entrance to Aincrad
20 units from Castor[TEA] are blocking the port entrance to Aincrad
65 units from Slugg[TEA] are blocking the port entrance to Aincrad
285 units from Darth Vader[TEA] are blocking the port entrance to Aincrad
RadeonIntel[-PH]'s fleet was completely destroyed.
One question for -PH .
Ending of war conditions
He have 2 options,
1. He will demolish his temple and never create again in 41:48 or;
2. He will make it lvl 14 and assign all the priest.
The war will end 3 days after he accomplished one of the two options.
The question is what if Deizel our leader does not accomplish one of these options the war will keep going on till ever ?
UNiQ wrote:
Endless and eternal war? I cannot see a problem here...
Also nice work so far both, some decent CRs there and well done TEA for coming out on top so far
Yo UniQ, yes it will not end until 2 options meet,
-TEA-, nice cooperation from your alliance!
We Give You
Nomore wrote:
sneak attack like always it's been 2 month and every time u act like a snake in a holl , it's so -ph , but even we will give u hell .
as for ur question UNIQ i thing the answer is : The war will end 3 days after he accomplished one of the two options.
that mean that the reason for the attack is not about the temple but u now there is no man over there , to say there heart out they need a reason to do so .
i was checking in the highscore and see some player that have no alliance , i thing that -ph should get them . u know u need more player from the first 100 table to join u dear .
that how u can win it with out a fight , as for us we will build up and for the first time i will tell u this in the board .
- ph u have gain an Eternal enemy in this server .
as for a player from ur alliance have change the name of his town to " PAYBACK TIME " , i remember that player have message me one month ago and say that we are not man and we are sissy . the little kid never grow up .
that said good job for the sneak attack " Eternal enemy "
is this is what u called PAYBACK? dont warry cuz were not done yet.
RadeonIntel[-PH] from Ethos, Marion[-PH] from Aincrad
Eliotness[TEA] from Eliotness, Slugg[TEA] from Pisum
Ram Ship...............................0(-20) - Ram Ship...............................0(-33)
Fire Ship.............................13(-17) - Fire Ship..............................0(-23)
Catapult Ship.........................246(-0) - Catapult Ship...........................0(-9)
Ballista Ship..........................25(-0) - .............................................
Generals...............................-205.4 - Generals...............................-365.2
Offensive points..........................913 - Defence points..........................513.5
Winners: RadeonIntel[-PH]
Losers: Slugg[TEA], Eliotness[TEA]
72 warships are being moved from RadeonIntel[-PH] to Aincrad
255 units from Marion[-PH] are defending the port of Aincrad
Eliotness[TEA]'s fleet was completely destroyed.
As Slugg[TEA] did not have any units left to hold on to the main battle line, the rest of the army has withdrawn.
Battle for Dark-Wine
RadeonIntel[-PH] from Treno, Riley[-PH] from Treno
PT_assassin[TEA] from Dark-Wine, Slugg[TEA] from Symphytum, Deizel[TEA] from Deizel - w1
............................................. - Spearman................................0(-2)
Sulphur Carabineer....................288(-0) - Sulphur Carabineer.....................0(-31)
Swordsman..........................1217(-248) - Swordsman.............................0(-196)
Hoplite............................1291(-434) - Hoplite...............................0(-310)
Battering Ram...........................6(-0) - .............................................
Catapult...............................24(-0) - .............................................
Doctor..................................5(-0) - .............................................
Cook...................................14(-0) - .............................................
Steam Giant...........................251(-0) - .............................................
Gyrocopter.............................54(-0) - .............................................
Mortar.................................33(-0) - .............................................
Offensive points.........................1986 - Defence points...........................2263
Winners: Riley[-PH], RadeonIntel[-PH]
Losers: Deizel[TEA], PT_assassin[TEA], Slugg[TEA]
1862 units from Riley[-PH] are maintaining occupation of town Dark-Wine.
30 units from RadeonIntel[-PH] are maintaining occupation of town Dark-Wine.
Deizel[TEA]'s miracle 'Hephaistos` Forge' has been activated. (26.06.2017 4:58:25)
PT_assassin[TEA]'s miracle 'Hephaistos` Forge' has been activated. (26.06.2017 4:58:25)
PT_assassin[TEA]'s miracle 'Colossus' has been activated. (26.06.2017 5:36:37)
PT_assassin[TEA]'s army has been called back and have left the battlefield.
Deizel[TEA]'s army has been completely destroyed.
Slugg[TEA]'s army has been completely destroyed.
WeGiveYou
[-PH]
quarto wrote:
ahaahahaha ur so good when u attack one player with 2000 troop . do u thing that is ur payback . ahahahhahahaah
and that what we call we are online . back up or u will be dead .
Sea battle near Eliotness
RadeonIntel[-PH] from Pisum, Eliotness, Marion[-PH] from Eliotness, Jue Viole Grace[-PH] from Treno
Slugg[TEA] from Boletus, Deizel[TEA] from Deizel - w1, Helicon, Castor[TEA] from Dragonx, ladyhunter[TEA] from the wild hunt
Ram Ship...............................6(-29) - Ram Ship..............................95(-18)
............................................. - Ballista Ship.........................264(-0)
Fire Ship...........................214(-120) - Fire Ship............................274(-80)
Catapult Ship.........................219(-1) - Catapult Ship..........................17(-0)
Rocket Ship............................15(-0) - Rocket Ship............................23(-0)
............................................. - Paddle Speedboat.......................17(-0)
Mortar Ship.............................8(-2) - .............................................
Generals...............................-940.2 - Generals.................................-586
Offensive points.........................1465 - Defence points.........................2350.5
Winners: Deizel[TEA], Slugg[TEA], Castor[TEA], ladyhunter[TEA]
Losers: Jue Viole Grace[-PH], RadeonIntel[-PH], Marion[-PH]
69 warships are being moved from ladyhunter[TEA] to Eliotness
152 warships are being moved from Deizel[TEA] to Eliotness
220 warships are being moved from Castor[TEA] to Eliotness
2 units from Slugg[TEA] are defending the port of Eliotness
Jue Viole Grace[-PH]'s miracle 'Hephaistos` Forge' has been activated. (26.06.2017 7:36:23)
As RadeonIntel[-PH] did not have any units left to hold on to the main battle line, the rest of the army has withdrawn.
As Jue Viole Grace[-PH] did not have any units left to hold on to the main battle line, the rest of the army has withdrawn.
As Marion[-PH] did not have any units left to hold on to the main battle line, the rest of the army has withdrawn.
RadeonIntel[-PH]'s army has been called back and have left the battlefield.
Jue Viole Grace[-PH]'s army has been called back and have left the battlefield.
I wonder how long did u cook your BBQ's that your towns are burning 12 hours straight..
and yeah! its Round 35 and counting
Battle for Pisum
yhabs2017[-PH] from Treno, Jue Viole Grace[-PH] from Treno, Moguli[-PH] from Treno, Noh, RadeonIntel[-PH] from Treno, Dark-Wine, Nomore[-PH] from Treno, Death The KiD[-PH] from Treno, Marion[-PH] from Treno
Castor[TEA] from Dragonx, Taungu, Yangon, UNiQ[TEA] from Dragonx, Battle B, Slugg[TEA] from Pisum, Helicon, Lactuca, Symphytum, Boletus, Eliotness[TEA] from Yarzi, Spectra[TEA] from Dragonx, Helpmeoirbti[TEA] from Dragonx, Deizel[TEA] from Deizel - w1, Helicon, Echo[TEA] from Helicon
Generals.............................-10109.3 - Generals.............................-12119.3
Wow! Nice job -PH I do believe that's the 2nd HoF battle on this server!
RadeonIntel
I don't Know why you keep fighting even... Its been 12hrs since the battle start and its still going on. Why are you keep stalling these fight? There will be another Time just Give up.
yhabs2017[-PH] from Treno, Moguli[-PH] from Treno, Noh, RadeonIntel[-PH] from Treno, Dark-Wine, Nomore[-PH] from Treno, SwEEt ReVenGE[-PH] from Treno, Death The KiD[-PH] from Treno, Marion[-PH] from Treno, Jue Viole Grace[-PH] from Treno
Castor[TEA] from Dragonx, Taungu, Yangon, UNiQ[TEA] from Dragonx, Battle B, Spectra[TEA] from Dragonx, Helpmeoirbti[TEA] from Dragonx, Deizel[TEA] from Deizel - w1, Helicon, acpajax[TEA] from Ajax-Wine, Ajax_Marble, Echo[TEA] from Helicon, Slugg[TEA] from Pisum, Helicon, Lactuca, Symphytum, Boletus, Eliotness[TEA] from Yarzi, Dream
............................................. - Slinger................................91(-0)
Swordsman..........................344(-3062) - Swordsman..........................178(-3472)
Hoplite............................254(-3335) - Hoplite............................260(-4839)
Sulphur Carabineer....................675(-0) - Sulphur Carabineer....................408(-0)
Battering Ram..........................70(-0) - Battering Ram..........................99(-0)
Steam Giant.........................394(-313) - Steam Giant...........................7(-245)
Cook..................................100(-0) - Cook..................................121(-0)
Doctor.................................36(-0) - Doctor.................................30(-0)
Gyrocopter............................0(-119) - Gyrocopter............................10(-77)
Archer................................300(-0) - Archer................................172(-0)
Spearman............................142(-401) - Spearman.............................18(-585)
Battle for Eliotness
Death The KiD[-PH] from Treno, Moguli[-PH] from Noh, SwEEt ReVenGE[-PH] from Treno, illidan[-PH] from Treno, Jue Viole Grace[-PH] from Treno, Nomore[-PH] from Treno, Riley[-PH] from Treno, RadeonIntel[-PH] from Noh
Slugg[TEA] from Symphytum, ladyhunter[TEA] from the wild hunt, Spectra[TEA] from Dragonx, acpajax[TEA] from Ajax_Crystal, Helpmeoirbti[TEA] from Dragonx, Eliotness[TEA] from Eliotness, Helicon, Symphytum, Arcadia, Yarzi, Caesars, Mouraba3 amne, vengerberg, Dream, Deizel[TEA] from Deizel - w1, the wild hunt, Helicon, Dark-Wine, Dragonx, Ajax-Wine, UNiQ[TEA] from Battle B
Sulphur Carabineer....................288(-0) - Sulphur Carabineer.....................95(-0)
............................................. - Spearman...........................219(-1265)
Swordsman.........................1000(-1393) - Swordsman...........................19(-1465)
Hoplite...........................1100(-2485) - Hoplite............................534(-3097)
Battering Ram..........................10(-0) - Battering Ram..........................0(-15)
Cook...................................39(-0) - Cook...................................41(-0)
Archer...............................406(-52) - Archer................................100(-0)
Gyrocopter.............................0(-54) - Gyrocopter.............................0(-64)
Steam Giant..........................371(-13) - .............................................
Offensive points........................17700 - Defence points........................13558.5
Kermit The Frog
RadeonIntel wrote:
There is an art to big battles and can be good. The fact it's 43% to 57% and still going is crazy. With one team looking like they have no swords left... % about to go crazy in favour of one side.
I don't get how big fights are stalling? Troops are dying every 15 mins what more do you want?
DarkLord of ICE wrote:
yes it is dear dark lord . as u know they have more research that us some of our player don't have cook but even so we may are not from the first top 5 alliance but we can fight .
as for one -ph player that have change his town name to HELLO SISSYS , A fact for u little boy in the morning u where 9 k general now ur 4.5 k general . i will let u decide what u should tell ur self .
all that say i wold like to say nice job for the 2 alliance and nice fight .
as always they recall there ship when they see 3 or more player are getting to the battle
Sea battle near Treno
Deizel[TEA] from Deizel - w1, Eliotness, Helpmeoirbti[TEA] from Dragonx, Castor[TEA] from Noh
SwEEt ReVenGE[-PH] from Carinio BrutaL, Nomore[-PH] from Marmulan, Marion[-PH] from Treno, RadeonIntel[-PH] from Ravenstern, Treno, Jue Viole Grace[-PH] from Tears
Ram Ship..............................43(-54) - Ram Ship...............................0(-26)
Catapult Ship..........................17(-0) - .............................................
Ballista Ship.........................255(-0) - .............................................
Paddle Speedboat.......................17(-0) - .............................................
Generals..............................-1001.6 - Generals...............................-861.6
Winners: Deizel[TEA], Castor[TEA], Helpmeoirbti[TEA]
Losers: Jue Viole Grace[-PH], RadeonIntel[-PH], Nomore[-PH], Marion[-PH], SwEEt ReVenGE[-PH]
101 units from Castor[TEA] are blocking the port entrance to Treno
233 units from Deizel[TEA] are blocking the port entrance to Treno
76 units from Helpmeoirbti[TEA] are blocking the port entrance to Treno
Jue Viole Grace[-PH]'s miracle 'Hephaistos` Forge' has been activated. (26.06.2017 14:02:21)
Helpmeoirbti[TEA]'s miracle 'Hephaistos` Forge' has been activated. (26.06.2017 14:26:14)
SwEEt ReVenGE[-PH]'s army has been called back and have left the battlefield.
Jue Viole Grace[-PH]'s fleet was completely destroyed.
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October 12, 2018 / 9:58 AM / 9 months ago
Saudi team arrives in Turkey for Khashoggi investigation: sources
ISTANBUL (Reuters) - A delegation from Saudi Arabia has arrived in Turkey as part of a joint investigation into the disappearance of prominent Saudi journalist Jamal Khashoggi, three Turkish sources said on Friday.
Security barriers are seen outside the Saudi Arabia's consulate in Istanbul, Turkey October 12, 2018. REUTERS/Murad Sezer
A Saudi source also said a senior royal, Prince Khaled al-Faisal, visited Turkey on Thursday for talks. Later the same day Turkey said the two countries had agreed to form a joint working group - at Riyadh’s initiative - to investigate the case.
Saudi state news agency SPA later quoted a Saudi official as welcoming Turkey’s approval of its request to form the team.
U.S. President Donald Trump, speaking to reporters in Ohio, said he had not yet spoken to Saudi Arabia’s King Salman about Khashoggi’s disappearance but would be calling him “pretty soon.”
“This is a very serious thing and we’re looking at it in a very serious manner,” Trump said.
Khashoggi entered the Saudi consulate in Istanbul on Oct. 2 to get documents for his forthcoming marriage. Saudi officials say he left shortly afterwards but Turkish officials and his fiancee, who was waiting outside, said he never came out.
Turkish sources have told Reuters the initial assessment of the police was that Khashoggi, an outspoken critic of the Saudi government, was deliberately killed inside the consulate.
Riyadh has dismissed the claims.
SPA said on Friday that Saudi Arabia’s interior minister, Prince Abdulaziz bin Saud bin Naif, condemned the “lies and baseless allegations” against the kingdom, although he praised the joint investigation with Turkey.
The Saudi delegation, which arrived in Turkey on Thursday, is meeting a Turkish prosecutor investigating the case as well as representatives from the Justice Ministry, Interior Ministry, police and the national intelligence agency, one source said.
There is no set date for how long the meetings will take, but “very quick results need to be seen”, the source said. The team is now in Istanbul and will continue to work over the weekend, the source added.
Prince Khaled, the governor of Mecca, made his brief visit in his capacity as special adviser to King Salman, a source with links to the prince’s family told Reuters, in a move that would suggest the monarch was treating the issue as a priority.
President Tayyip Erdogan has previously said that Turkey could not remain silent over Khashoggi’s disappearance and called on officials at the Saudi consulate in Istanbul to prove he had left the building.
On Tuesday, the Turkish foreign ministry said the Saudi consulate in Istanbul would be searched as part of the investigation.
Reporting by Orhan Coskun; Additional reporting by Roberta Rampton in Cincinnati, Ohio; Writing by Sarah Dadouch; Editing by David Stamp and Alistair Bell
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Q and A with Cowboys’ captain from Canada, Tyrone Crawford
John Kryk
Updated: January 11, 2019 11:33 AM MDT
Falcons sign Deion Jones to four-year, US$57M extension
Adjei records first 100-yard game in Eskimos' win over Lions
It's a must-win for Stamps with Argos in town
On his neck scare, fatherhood, the Rams, Kris Richard and more
Tyrone Crawford off the football field is more quiet, humble and big-hearted than you’d probably expect from a player whose position – defensive line – requires such unrelenting ferocity.
Yet the 29-year-old’s football coaches – from his high school in his hometown, Windsor, Ont., to community college in California, to Boise State University in Idaho, to the Dallas Cowboys of the NFL – all will swear that is the case with Crawford.
I’ve known him since before he was drafted in 2012 and can vouch, too.
What his defensive line coach at Boise State, Pete Kwiatkowski, told me in 2012 still applies: “He’s extremely reliable, conscientious. Very respectful. He keeps his ego in check, big-time. He’s got a boatload of talent and doesn’t let that go to his head, at all.”
It’s why for the second straight season Crawford has served as a Cowboys team captain. His locker-room leadership and on-field effectiveness as a versatile end/tackle in Rod Marinelli’s stingy defence are two reasons Dallas finds itself in the position it’s in this week, two victories from the franchise’s first Super Bowl berth in nearly a quarter-century.
Dallas (11-6) plays Saturday night at the Los Angeles Rams (13-3), in the first of two weekend NFC divisional playoff games (8:15 p.m. EST, CTV via FOX).
Cowboys head coach Jason Garrett oozed respect for Crawford in an impromptu hallway interview in 2014. Garrett said a few nice things about him, started to walk away, stopped, then circled back to me – clearly feeling that what he’d said may have sounded too canned, too corny or too clichéd.
“We love Tyrone Crawford,” Garrett said. “He made such an impression on us literally on the first day of training camp … We have a lot of hopes for him. He’s just one of those guys that you love to have in your organization. We feel that he has a lot of upside physically, but then he has the approach that you love to hopefully achieve all of the potential that he has. He works the right way, plays the right way.”
And so what if he doesn’t have a boisterous, bigger-than-life, in-your-face personality? As Crawford approaches the climax of his seventh season wearing Silver & Blue, only three teammates now have been in Dallas longer: 14th-year long snapper L.P. Ladouceur (of Montreal), ninth-year linebacker Sean Lee and eighth-year offensive tackle Tyron Smith.
Crawford has enjoyed his most productive NFL season so far – with 5.5 sacks, 12 QB hits, 25 QB pressures, four tackles-for-loss, a forced fumble and two pass knockdowns.
In a phone interview with Postmedia this week from Cowboys headquarters in Frisco, Texas, Crawford addressed everything from how he and wife Kelsey became parents last July, to this season, to suffering a scary but ultimately temporary neck injury two days before Christmas, to this week’s game, to the Cowboys’ boisterous secondary coach, Kris Richard, and more.
Tyrone Crawford #98 of the Dallas Cowboys is carted off the field after an injury in the first quarter against the Tampa Bay Buccaneers at AT&T Stadium on December 23, 2018 in Arlington, Texas. Tom Pennington / Getty Images
Here’s an edited Q&A transcript:
You’ve become a father since last we spoke. Your daughter is six months old now?
Yeah, little Mia is a beautiful little girl. Almost seven months. She’s just amazing.
I know you’ve talked a lot already about your scary neck incident of a few weeks ago. I wonder what went through your mind during that small window of uncertainty – like, do you suddenly question why you play such a dangerous contact sport?
I guess maybe I didn’t think about why I’m playing this sport, but more along the lines of, like, I hope I’m not done with football or injured to the point where I can never again play with my daughter, or do the normal things in life. Those are some things I don’t even want to say or the worst case. But it’s a dangerous sport. I knew that coming in. I’ve been playing it my whole life. I was just hoping it was nothing too crazy – a life-changing injury.
Did you know that you were being rushed to hospital strictly for precautionary reasons, that everything medically on the field checked out positively?
Oh yeah, I knew that. I told them my neck had cracked, and immediately I found out that that’s the wrong thing to say to your trainers. Because right away they said, “We’re bringing the board out and you’re going to Baylor Hospital.” But I’m really close to a couple of our trainers, and I said to them, “Before you put me on the board at least text my wife and tell her that I’m just going for precautionary reasons.” So they got hold of Kelsey and told her that, and then they put me on the board.
So after just the one game off, you came back and played last week against Seattle, and you guys totally shut down the NFL’s No. 1 rushing attack. Did you think you guys were capable of doing it, to that degree?
I think we’re capable of anything this season under this coaching staff. I honestly believe my confidence, our confidence, may be too high at times. Just when I’m walking around in person I think these things are possible. We enjoy it out there together. As long as we’re enjoying ourselves out there, playing football, hopefully, things can just keep on going right for us.
Seattle tight end Nick Vannett afterward told me that you guys out-gameplanned them, out-physicaled them. How do you account for how much better your defence is this year?
Honestly? I feel it’s continuity. We’ve learned this defence through the years to become better and better. Obviously, we’ve added new guys. But most are the same old guys that we’ve had. Coach (Kris) Richard was a big help, with his presence here and what he has going with the secondary. We’ve all felt pretty good. Things are going our way.
Did you think about your neck much during last Saturday’s game against the Seahawks?
No, I was just pumped to get back on the field. I came out okay, definitely. Obviously, it’s a football game so you’re going to come out with your usual bumps and bruises, but I’m good.
The way playoff football is, with each win you’re gonna then play somebody even better. In your case this week you’re going from the No. 1 rushing attack and No. 27 passing attack of the Seahawks, to the No. 3 rushing attack and No. 5 passing attack of the Rams. As much as everybody likes to talk about Jared Goff and their sophisticated passing attack, they’re still like Seattle in that they want to establish the run first, right?
Yeah, they’ve got a nice little balance there but they like to run that ball. They’ve got a great back there, Todd Gurley, so we’ve just got to play our style of ball. Make sure we’re on our alignments, assignments and (technique) and just ball, man. Do what we do, and keep rockin’.
You guys hold your training camp every summer in California, in Oxnard. And with tickets still available at the Coliseum this week, don’t you think you’re going to see a lot of blue and silver up in the crowd?
Definitely. That, and just because the Cowboy Nation is big right across the whole United States. It’s eye-opening to see at our away games almost as many Cowboys fans as home-team fans. They show up, they show out and we look forward to them being there.
You mentioned coach Richard and his impact. Can you elaborate? He’s had some head-coach interviews.
The guy is an animal, man. In a good way. He’s definitely one of the best coaches I’ve been around in my NFL experience. The fact he’s got the experience and this year under (defensive coordinator) Rod Marinelli was definitely good for him too. Whatever he has a chance to do, he’s going to be good at it. He’s a powerhouse coach. Knows what he’s doing, knows what he’s talking about and he knows how to get guys ready. We’re extremely blessed to have him. If he moves on to a better opportunity for his life, his career and his family, then all blessings to him.
Can you give me an example of what you mean when you say he’s an animal?
He does this quick little speech on Saturday nights, and he goes through a series of film. He always has the right things to say, brings a lot of passion. When he first got here we were all in the defensive room and he was talking technique with the DBs and the linebackers, in relation to the quarterback’s eyes. And here he was, running back and forth across the room. Amazing. He has his cleats on for some of the practices, and gets out there to demonstrate. He’s just intense. He’s a players’ coach, and it definitely shows because he puts a lot of passion into teaching technique and schemes. And it’s most definitely contagious.
You’re in Year 7 now with the Cowboys. Has the team been as good, or at least as confident, as it appears right now heading into this big game?
I don’t even want to go into confidence, because we’ve been in this position before, two years ago, in the divisional round. And we lost. We’ve got to approach this like it’s any other football game. We’ve got to go into Los Angeles and just do what we do. But I definitely feel good about this team. I love the energy that we’re bringing, and I just hope we can make some history.
I’ve known you since before the Cowboys drafted you, and I remember in your first few years there you seemed like the polite, quiet Canadian kid who seemed just happy to be there. Now for the second straight year you’re a captain, with a definite leadership role on this team. Do you ever pinch yourself?
It’s definitely something to be proud about. I mean, it’s the Dallas Cowboys. You know about the star, you know about the logo. To put that ‘C’ on your chest, it definitely makes you proud of yourself. It’s a role that you have to take seriously because young guys do look up to you to see how you’re doing things on a daily basis. You’re an example to a lot of people. Hopefully, I’m playing that role well.”
JoKryk@postmedia.com
@JohnKryk
Washington 2 Final
Arizona 19 Final
Toronto 4 Final
Detroit 2 Final
Chi White Sox 5 Final
Houston 11 Final
LA Angels 2
LA Dodgers 7 Final
San Diego 3 Final
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Pierce County’s Aging and Disability Resource Center has teamed up with the Davis Phinney Foundation for Parkinson’s to offer three free community workshops to help people learn more about Parkinson’s and the resources available to them.
“Living and Thriving with Parkinson’s” will be presented by Davis Phinney Foundation’s West Coast Ambassador Jill Ater. Jill was diagnosed with Parkinson’s in 2005 at the age of 42. She was awarded the Outstanding Woman in Business in 2013 and now lives in Tacoma assisting with Parkinson’s support groups and events throughout the greater Sound Puget Sound area.
“Living and Thriving with Parkinson’s” will be held three times:
Feb. 6 – 6:30 to 7:30 p.m. Sumner Branch Library, 1116 Fryar Ave. in Sumner
Feb. 10 – 10 to 11 a.m. Pierce County Sound View Building, 3602 Pacific Ave. in Tacoma
Feb. 14 – 6:30 to 7:30 p.m. University Place Branch Library, 3609 Market Place W. in University Place
Neil Diamond’s recent announcement that he was retiring from touring after his diagnosis of Parkinson’s stunned many fans. It’s an unfortunate reminder that the disease can strike anyone. Parkinson’s is a complex disease that can affect almost every part of the body, ranging from how people move to how they feel to how they think and process. Currently there is no single cause of Parkinson’s or predictor of who will get it. The average age of onset for Parkinson’s is 60 years old but people under age 40 can also be diagnosed. Right now, one person in 20 over the age of 80 has been diagnosed with Parkinson’s.
“Parkinson’s is a life-changing disease,” said Aaron Van Valkenburg, Pierce County Aging & Disability Resources manager. “While Parkinson’s may not directly cause death, it is a progressive disease without a cure. There are important things that people with the disease, family members, friends and caregivers can do to live a full and meaningful life over the long term.”
Like so many other chronic conditions, treating Parkinson’s can be expensive. On average, Parkinson's patients in this country spend $12,000 to $17,000 a year out of pocket. And 80 percent of Parkinson's patients are on Medicare. Parkinson’s disease is one of the conditions that can meet Social Security’s “Compassionate Allowances” provision for disability determination.
For more information on these free, no RSVP workshops, call 253-798-4600. For information on possible weather postponement call 253-798-8787.
Bob Riler, Pierce County Human Services Aging & Disability Resources
briler@co.pierce.wa.us
⇐Previous Workshops provide powerful tools to help support caregiversNext⇒ Volunteers needed to help identify people experiencing homelessness
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2019 Best of Liberty
Classifieds/Legals
Liberty Life
Pennysaver
Those Who Served Articles by author Liberty County arrests Long County News
21st annual back-to-school-rally huge success
Deputy thanked for act of kindness
Planning officials approve rumble strips location change
Metropolitan planning officials approve rumble strips location change
BOE approves superintendent evaluation application
Hush Paddles ‘a big win’ for Girls on the Run
DNR announces recent gamefish record
Bradwell alumnus runs 100th marathon
Dove hunters: Season changes for 2019-2020
Nugget’s NBA summer league roster includes a familiar name
Courier Virtual Reality Channel
Fort Stewart Fourth of July recap
Huckleberry Lane standoff
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48th Brigade returns home
Pernell Boston hit and run case revisited
Georgia General Assembly plays by a different set of rules
Stick with the plan; Trust God has a plan for your life
‘Crawl’ entertaining, slick horror flick
Sound off for July 17
A eulogy for three extraordinary wise men
VIDEO: 150 48th Brigade soldiers return
Kroger joins forces with the USO
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Local public notices State public notices Place a classified ad
Local inducted into home county's hall of fame
Tico Brown's image is on a wall in the gym of the high school he attended in Kokomo, Ind.
Updated: Nov. 10, 2007, 5:01 a.m.
As an insurance agent at Cotton States Insurance in Hinesville, Tico Brown is a customer-service oriented businessperson.
But on the basketball court, Brown was legendary.
This weekend, the native of Kokomo, Ind. will be recognized in his hometown for his basketball talent as he’s inducted into Howard County’s Hall of fame.
“I’m deeply honored,” Brown said. “Anytime you are picked to go into a hall of fame, it’s a celebration of your accomplishments. For that, I’m deeply honored that they thought of me. I guess I’m just surprised people still remember me from the days when I played. When you get a little older, you think of that as a previous life. I mean that is the way I thought of basketball these last few years - like a previous life.”
Brown still holds the Continental Basketball Association’s record as the all-time leading scorer with a total of 8,538 points and an average of 23.5 points per game in his eight-year career.
His basketball career started when he was a student at Kokomo High School. Brown was a three-sport athlete, playing football, basketball and track, where he still holds Kokomo’s high-jump record at six feet, eight inches.
But his main passion was basketball.
Initially cut from the team as a freshman, Brown returned the following year and made the varsity squad. As a senior, he averaged 14.5 points and nine rebounds per game.
He played one year at Emmanuel College before being recruited to play for Georgia Tech. During his three years at Georgia Tech, he became the team’s number five all-time leading scorer with 1,308 points and was twice named to the All-Metro Conference. At Tech, he averaged 16-17 points a game.
Brown was the first pick of the second round of the NBA draft for the Utah Jazz in 1979. He ended up in the CBA playing for Anchorage, Detroit and Savannah. In addition to being the all-time leading scorer for the CBA, he led the CBA in scoring twice, once while playing for Detroit and once in Savannah.
His excellence in basketball did not stop after he retired.
Brown currently coaches the AAU South Georgia Kings. Seven of the Kings were selected to participate at a freshman sophomore camp in Norcross, where three finished in the top 50 cream of the crop and two finished in the top 25.
Brown’s 16-year old son, Rion, a sophomore at Liberty County High School, was among those in the top 50.
“Like father, like son,” Lisa Brown, Tico’s wife, said. “Tico is a very humble and modest man. He didn’t tell anyone about the induction but I told him that this was big and being that I’m his biggest fan. I want everyone to know because it is quite an accomplishment. His son always worked hard and looked up to him but now he is even prouder of his father.
“Some of the kids I coach are young and I don’t think they understand what being inducted into the hall of fame really means,” Tico said. “They know it’s an honor for me and the other coaches have made a big deal about it but you know I don’t think it’s really hitting them.
“My son is real proud of me. He understands what this means and that is good enough for me,” Brown said.
He looks forward to going back to his hometown of Kokomo, not only for the induction ceremony but for something that means much more.
“I’m looking forward to hugging and kissing my mother who still lives in Kokomo. I just want to give her a big ole bear hug and a kiss because I have not seen her for a while,” Brown said.
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Former Goldman President Predicts the Creation of a New Global Cryptocurrency
Gary Cohn, former President of Goldman Sachs and former chief economic advisor to the current US President, suggests that a brand-new digital currency will be dominant on the world’s financial market, but it will definitely not be bitcoin.
"I'm not a big believer in bitcoin. I am a believer in blockchain technology...I do think we will have a global cryptocurrency at some point where the world understands it and it's not based on mining costs or cost of electricity or things like that," Gary Cohn told CNBC on "Squawk on the Street."
Cryptocurrencies such as a bitcoin and other altcoins can be gained by mining, a process of solving complex mathematical tasks. This fintech process is powered by potent computers and large amounts of electricity. The possessors of the bitcoin mining computers obtain new crypto coins as a result.
Such financial technology gives customers an opportunity to send tokens in any part of the world quickly and with a minimum transaction cost. Nevertheless, a bitcoin still has some processing issues like managing large transaction volumes.
Cohn also stated that the new global virtual coin would be simpler and easier for potential users to understand than the coins operating on the cryptocurrency market now.
"It will be a more easily understood cryptocurrency. It will probably have some blockchain technology behind it, but it will be much more easily understood how it's created, how it moves and how people can use it."
Blockchain Cryptocurrency Financial Market Bitcoin USA
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Letter of Congratulations to Federal Health Minister for the National Transplantation Council
The Honourable Allan Rock
Brooke Claxton Building
Postal Locator 0916A
Dear Mr. Rock:
Re: Organ Donation
The Catholic Organization for Life and Family (COLF) would like to commend you and your provincial counterparts for agreeing to establish a national transplantation council to improve the rate of organ donation in this country.
As an organization dedicated to promoting human life and dignity, we strongly support organ donation as a way to give new life and health to others and to stand in solidarity with those who are in need and suffering.
We were pleased to read in the media reports that the new council will include ethicists and members of the public. While we strongly affirm organ donation in principle, there are many ethical issues that need to be addressed such as the criteria for deciding who receives an organ, defining the moment of death and the necessity of informed consent for donation. The ethics and safety of xenotransplantation require in-depth study.
As an organization concerned with the family, we intend to prepare some popular education materials which will include the importance of discussing this decision with family members before a health crisis. We also hope that the Government will be involved in educating the public on this vital issue.
We look forward to hearing more about the work of the new Council. If you think that there is any way that our organization could contribute, we would be happy to do so.
Most Reverend Adam Exner, O.M.I.
Archbishop of Vancouver
Chairperson of the Catholic Organization for Life and Family
Published in In Action
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Spring Term 2012 Program Update
I want to congratulate all the students that I work with for their progress during this term so far. I especially want to commend the following students for their hard work: Alex in Virginia, Brendan and Danielle in Ohio, Nick and Max in Colorado, Rahul in D.C., Josh in Pittsburgh, Ben in New Jersey, and Anna Maria in Chicago.
A special congratulations for Courtney in Pittsburgh, who put together a 2K walk for the African Rural Schools Foundation, for whom I was her Senior Project Advisor. Also a special note on Cathy Lipson, who earned her master’s degree at Sonoma State in California, with whom I collaborated on her master’s thesis. Cathy has now been accepted to a Ph.D. Program at U.C. Berkley, and we’re working on an article about her thesis findings for College Strategy Blog.
I also want to thank the many parents that I’ve worked with, including Joan in Southern California, Tracie in Southern California, Michele and Mike in New Jersey, Jeanette in Virginia, Amy and Pat in Maryland, Satish and Veena in Georgia, Belinda and Dan in Ohio, Wendy in Ohio, Brian in Pittsburgh, Donna and Matt in Pittsburgh, and Kathy in Chicago.
The colleges that I had students at or otherwise dealt with during the Spring 2012 term include: George Washington, Kenyon, Wittenberg, University of Colorado, University of Denver, University of Virginia, University of Alabama, University of Pittsburgh, Carnegie-Mellon, Edinboro, Adelphi, Hofstra, Univerisity of North Carolina at Greensboro, Columbia Chicago, Savvanah College of Art and Design, Kent State, DePaul, Loyola, and Fairleigh-Dickinson.
I want to thank the following for our continued collaborations to help students: Eileen Gorry, M.D., Dan Monti, M.D., Wendy McSparren, L.S.W., the Mary Ann and Carrie at University of Pittsburgh Medical Center’s ADHD Clinic, Jay Einhorn, Ph.D., in Chicago, and Allan Clark, M.D., in Pittsburgh.
A special thanks to Darshan Shah, Director of Disability Services at Fairleigh-Dickinson College, Florham campus, for all of his help this term.
Also, thanks to Brian Scott in West Palm Beach, Florida, whose encouragement and friendship has helped to develop my work. Brian is now in a M.S.W. program at Florida Atlantic, and I look forward to collaborating with him at deeper levels in the future.
I also want to thank the readers of College Strategy Blog for their interest in my work and the issue of success in higher education.
Student Senior Project: Walk for African Rural Schools Foundation
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Category Archives: Astronomy
Making Eagles Fly, A Chat with NASA’s Bob Jacobs
By Cindy Chin, CEO CLC Advisors, LLC
This article is part of a series of articles on design thinking and thought leaders that transform into what we at CLC Advisors, LLC call “i.e.,” the “idea economy.” Where ideas become and transform into widgets for those who choose to dare mighty things and build something.
Image: NASA
I first met NASA’s Deputy Associate Administrator Bob Jacobs, during the transition of Space Shuttle Atlantis from Kennedy Space Center to the Kennedy Space Center Visitor Center, signalling the end of NASA’s 35-year space shuttle program five years ago. He’s the man at comms mission control behind NASA’s 1500 websites, social media accounts, and official communications and part of a slice of living American history. When he asked one of his mentors before taking the job at NASA, his mentor advised him and said, “You can either continue to write about history or be a part of it.” He took the job. Those are big shoes to fill and Bob Jacobs would be the type of person to tell whether a design of a shoe is big enough and whether it will work. In his case they would be moon or anti-gravity boots and emerging technologies. He’s seen them all and then some.
Where did you start out in your career? When did you find your calling?
I started in broadcasting, specifically in radio in 1979. I was a Mass Communications freshman at Middle Tennessee State University and terrific of the future. I wasn’t really sure what to do, but this seemed like a good, general major. I visited the campus radio station with a friend who was more advanced in the major and fell in love. To understand my eventual career path you would have to know a little about the history of Nashville television. Let’s just press fast-forward and acknowledge that television and multimedia were the initial driving forces to a communications career that has now spanned nearly 40 years. I still consider myself a journalist at heart.
Early in my career I discovered the importance emerging technologies can play in effective communications. Now don’t get me wrong, platforms such as Snapchat and Twitter should not be considered communications solutions. They’re tools, no more effective than the invention of radio. You have to know how to use them. You still need to know how to integrate the technology with solid communications practices. And you’ll always need good writers and creative communicators to use those tools effectively.
What was your first NASA memory?
As a child, watching television coverage of Gemini missions in my grandmother’s den. I come from the Apollo generation. I was 8-years-old when Neil and Buzz landed on the moon. I remember the incredible joy I felt watching the first color images f
rom Apollo 12 and crying when Alan Bean accidentally pointed the camera at the sun, burning out the pickup tube. There was no television that entire mission. I remember the networks covering the moonwalks with bad-looking stand-ins on a set and mission audio. It has been my greatest privilege to get to know and work with my childhood heroes and be able to call them friends.
Bob Jacobs, Annie & the late Senator John Glenn. Image courtesy of NASA/Bill Ingalls.
What is it like to witness living history firsthand?
I was struggling joining NASA communications in late 2000. I was working at Associated Press in technology development and missed the editorial side, and we just didn’t find the right fit at AP. When the news chief position at NASA opened, I jumped at the chance, but I struggled with moving from a news organization to a position many consider to be PR. I talked about this with one of my mentors and he said, “You can either continue to write about history or be a part of it.” That was the nudge I needed. I officially joined NASA in July 2000. I have been fortunate to witness and be a part of history. High school students today have never known a time when humans weren’t living and working in space, or when there were working science laboratories on Mars. That’s heady stuff. I’m honored to help tell the stories of the scientists and engineers who achieve these amazing feats.
How much curiosity, creativity, and imagination is necessary in what you do daily? What is the percentage breakout?
What’s Edison’s old quote that genius is one percent inspiration and ninety-nine percent perspiration? There’s a lot to that. Again, creative ideas can come easy. A lot of people have the answer. The trick is to know how to make that answer a reality. I love watching children at museums. Their minds aren’t cluttered with educations and bias and fear of the unknown. They ask the most outrageously creative yet simple questions. I don’t know how it works for others, but I spend a lot of time trying to plug into that kid who loved Lost in Space on TV. The kid who couldn’t wait for the teacher to pull out the television to watch a launch.
What are the key attributes that have contributed to your success? How did you define it?
Well, there’s a built-in assumption I’ve been successful. I’ll let outsiders make that determination. I’ve had many failures in my career. But if there are any keys to successful communications, it lies in thinking big, pushing boundaries, and then having a plan for making those big thoughts a reality. I don’t buy into many of today’s business buzzwords. I hate people who call themselves “ideators.” What the hell is that? Ninjas and gurus should steer clear of me. Anyone can come up with solutions. The challenge is to be able to turn that solution into action and results. People who just want to throw their grand idea for someone else to execute is lazy. If I give you an idea, there’s going to be a tangible artifact at the end of the process, be it a book, video, event, or one of the world’ss most recognized social media brands. Ideas are easy. Anyone can tell you to “do more concerts in the park.” The trick is to navigate within the available resources are structures of your organizations and still be able to execute. That doesn’t mean you shouldn’t break rules. However, if you’re going to implement transformation that’s lasting and get other people to buy into your idea so it becomes part of the new model, you have to spend time working within the existing framework. Here’s where I refer you back to John Kotter. Remind me to send a “thank you” note to John for my career! Finally, you have to surround yourself with smart and good people. Note the use of the word “good.” I mean that in every definable sense you can imagine. In the end, a leader is successful by the people who carry out the elements of any plan. I’m lucky to be surrounded by a lot of talented individuals who are good people. Organizations often mistake aggression and asshole for talent. Being mean doesn’t make you good at being a leader. It just makes you mean.
This article first appeared on Medium. To read more about our chat with Bob, his advice on crisis communications, insights into what it is like to manage NASA’s over 1500 websites and social media accounts, The Jacobs Four Commandments for Crisis Communications, and what’s on his mind these days, please go to our Medium page here.
About Bob Jacobs
Bob Jacobs is a recognized leader in social media engagement, strategic and crisis communications, and innovative media development. He is currently the NASA Deputy Associate Administrator for Communications and has directed projects and work that earned three Emmy Awards in Television, eight Webby Awards for the best Internet site, and three Shorty Awards for best social media.
Bob has earned four agency medals for exceptional achievement, exceptional service, and outstanding leadership. He is the senior career NASA spokesperson and serves as Deputy Associate Administrator for the Office of Communications, and often publicly represents the Office of Administrator and other senior agency leadership. He is responsible for directing and executing many of the agency’s outreach activities.
His creative communications approach led to the collaboration on such films as “Hidden Figures and “The Martian.” Bob led a number of public and education events related to the films, including public premieres and videos with Ridley Scott, Matt Damon, Jessica Chastain, Janelle Monáe, and Taraji P. Henson. He directed the collaboration on the Internet-based Third Rock Radio station and the highly-popular Angry Birds Space mobile gaming platform. Bob also developed, co-authored and edited four books, including “Hubble: A Journey through Space and Time” and “Apollo: Through the Eyes of the Astronauts,” plus a children’s book “The Astronauts Alphabet.”
A Nashville native, he earned a bachelor’s degree from Middle Tennessee State University and a master’s degree from Seton Hall University.
For more than 50 years, NASA has been breaking barriers to achieve the seemingly impossible — from walking on the Moon to pushing the boundaries of human spaceflight farther than ever before. We work in space and around the world in laboratories and wind tunnels, on airfields and in control rooms to explore some of life’s fundamental mysteries: What’s out there in space? How do we get there? And what can we learn that will make life better here on Earth? We are passionate professionals united by a common purpose: to pioneer the future in space exploration, scientific discovery and aeronautics research. Today, we continue NASA’s legacy of excellence and innovation through an unprecedented array of missions. We are developing the most advanced rockets and spacecraft ever designed, studying the Earth for answers to critical challenges facing our planet, improving the air transportation experience, and so much more. Join us as we reach for new heights and reveal the unknown for the benefit of humanity.
About Cindy Chin
Ms. Chin is an entrepreneur, venture strategist, & cultural ambassador of the arts & sciences. As CEO of CLC Advisors, LLC, she is an advisor & board member to founding startup teams, opportunity scout for VC & LP partners, a global strategic thought leader, & a sought-after speaker.
Cindy is also a NASA Datanaut, an open data innovation program to promote data science, coding, and gender diversity. The NASA Datanauts program operates within the Office of the CIO at NASA Headquarters. She is also a mentor in the Google Launchpad Mentor Program, Stanford University’s Technology Entrepreneurship and undergrad programs, and a member of the faculty of the Startup Executive Academy of Silicon Castles in Salzburg, Austria.
Cindy is passionate about social impact, smART cities, public-private sector partnerships & building great companies. She achieves this by defining strategies for building multidisciplinary ecosystems, accelerators, outreach, & innovation phases of ventures, alternative revenue generation & sustainability. Gender parity & diversity are factors for consideration.
About CLC Advisors, LLC
CLC Advisors, LLC is a firm of trusted advisors and management consultants focusing on development and execution strategies to build and incubate value-based business ventures, innovations, initiatives, and forward exponential technologies to future societies and smART cities. We are dedicated to finding solutions for traditional business models or expanding into the growing arenas of impact investing, corporate social responsibility, sustainability, and philanthropy venture capital.
Posted in Aerospace, Astronomy, Communications, i.e., idea economy, Impact, Leadership, NASA, NASA Social, Networking, Science, smARTs, Social Media, Space, STEM, Technology, What if?
Pew! Pew! Laser tag with Space Lasers
Posted on November 8, 2017 by CLC Advisors, LLC
Copyright © Cindy Chin. All rights reserved.
Last week, I had a site visit to NASA Goddard to tour the facility again where the laser instrument on NASA’s ICESat-2 satellite — called ATLAS, for Advanced Topographic Laser Altimeter System — is undergoing testing before its 2018 launch.
NASA Goddard. Copyright © Cindy Chin. All rights reserved.
The ATLAS lidar on ICESat-2 uses 6 laser beams to measure the earth’s elevation and elevation change. By arranging the beams in three pairs of two, scientists can also determine the slope between the two beams, a key component of determining elevation change along the Reference Ground Track.
Data measurements and project scientist presentation was displayed on NASA Goddard’s stunning hyperwall where the implications of one (1) meter of sea level rise will have huge economic implications on cities around the globe. The data shows that the ice in Greenland and the Nordics is already shrinking on the effects of #climatechange.
In addition to speaking to the project scientists of ICESat2, during the visit I got to see the Global Ecosystem and Dynamics Investigation instrument as it is being built. Pronounced “Jedi,” GEDI launches in 2019 to the International Space Station and will be used to obtain NASA’s first high-resolution laser ranging observations of the 3D structure of Earth. The casing for GEDI is almost complete and will be launched into space on a #SpaceX’s payload to the ISS, International Space Station. NASA uses VR and Oculus Rift for laser communications demonstration of the TDRS.
On an unplanned visit, my second, to NASA Hubble’s Control Center with Hubble Deputy Project Manager Jim F. Jeletic, we learned that guidance sensors on are used to control the Hubble Telescope. Mission Control Center functions autonomously today and Hubble’s team is excited for the launch of the James Webb Space Telescope in 2019 from Kourou, French Guiana. With the #data collected from both telescopes, Hubble at visible light, near infrared (IR), and ultraviolet light, and James Webb at unprecedented resolution and sensitivity from the long-wavelength (orange to red) visible light through the mid-infrared (0.6 to 27 micrometer) range, the data will give a more complete picture of our universe, stars, and other galaxies, complementing Hubble’s data.
It also was exciting to see the mock-up of WFIRST, Wide-Field Infrared Survey Telescope, that will be used to explore dark matter and exoplanets and the preparation of TIRS, Thermal Infrared Sensor that be launched with Landsat-8.
The visit concluded with a laser demonstration of TDRS, Tracking and Data Relay Satellites, at the NASA Goddard Geophysical abd Astronomical Observatory (GGAO) and it’s command centers where a laser beam is shot into the sky every few minutes and captured by a passing satellite. The precision of space lasers used in optical communications is looking for a target no larger than a dime, an incredible feat, and the research and development is setting the path for future optical communications for satellites that is beyond GPS here on low-Earth orbit.
Thank you to #NASASocial and NASA Goddard for letting me tag along on the site visit. It was a long and really inspiring day! #pewpew #spacelasers
Image: NASA Social
To learn more about what is happening at NASA Goddard Space Flight Center, please see below:
NASA ICESat2 Mission: https://icesat-2.gsfc.nasa.gov
NASA Space Lasers: https://icesat-2.gsfc.nasa.gov/space_lasers
NASA GEDI (Global Ecosystem and Dynamics Investigation): https://science.nasa.gov/missions/gedi
NASA Hubble Mission: https://www.nasa.gov/mission_pages/hubble/main/index.html
NASA TDRS, Tracking and Data Relay Satellites: https://www.nasa.gov/mission_pages/tdrs/home/index.html
NASA GGAO, Goddard Geophysical and Astronomical Observatory: https://cddis.nasa.gov/ggao/
About NASA Goddard
NASA’s Goddard Space Flight Center in Greenbelt, Maryland, is home to the nation’s largest organization of scientists, engineers and technologists who build spacecraft, instruments and new technology to study Earth, the sun, our solar system and the universe.
Just outside Washington, Goddard is home to Hubble operations and the upcoming James Webb Space Telescope. Goddard manages communications between mission control and orbiting astronauts aboard the International Space Station. Goddard scientists stare into the sun, grind up meteorites for signs of life’s building blocks, look into the farthest reaches of space, and untangle the mysteries of our own changing world. Goddard engineers construct sensitive instruments, build telescopes that peer into the cosmos, and operate the test chambers that ensure those satellites’ survival.
Named for American rocketry pioneer Dr. Robert H. Goddard, the center was established May 1, 1959, as NASA’s first space flight complex. Goddard and its several installations are critical in carrying out NASA’s missions of space exploration and scientific discovery.
For more information, please visit the NASA Goddard website at https://www.nasa.gov/goddard
Posted in Astronomy, idea economy, NASA, NASA Social, Social Media, STEM, Technology, What if?
Full Moon Rise at Stonehenge
Posted on October 17, 2015 by CLC Advisors, LLC
By Cindy Chin, CEO & Founder, CLC Advisors, LLC
On Sunday, 27 September, 2015, twenty-eight amateur and professional astronomers and photographers ranging from ages 5 to 65 descended upon the English countryside in Salisbury, UK, to the Stonehenge monument in Amesbury. The reason for this occasion that has been occurring for the past twelve years was to view the full moon rise amongst the stones.
Autumn Supermoon rise at Stonehenge. Salisbury, UK.
Since 2002, Pete Glastonbury has been organizing this special access event to view the full moon risings for the last 12 years. The first was a special commission for Stonehenge that included renowned archaeoastronomers Professor Gerald Hawkins, Professor Vance Tiede and Professor Hubert Allen. Fast-forward a dozen years and we have English Heritage’s steward Simon Banton as unofficial guide and new generations of astronomers.
Pete Glastonbury
This year wasn’t any regular autumn full moon rise, but a “super moon” coinciding with a blood full moon in combination with a total lunar eclipse later in the evening. This phenomenon has not occurred in more than 30 years, the last occurring in 1982, and the next one expected in 2033. The perigee full moon, when the moon is closest to the earth (approximately 31,000 miles closer), was fully visible rising from the stone circle of Stonehenge and our group of astronomers were ready with their cameras and tripods to capture the moment as the sun was seen setting directly behind them.
Sunset at Stonehenge Circle, 27 September, 2015
Lunar eclipses typically occur about twice a year when the Earth’s shadow blankets the moon from the sun. Modern-day scientists and astronomers can predict eclipses many centuries into the future and the stones at Stonehenge were constructed in a fashion that in ancient times communities were using their own methods to predict such occurrences. This fourth and final eclipse of a lunar tetrad was also called the “blood moon” as the moon appears in a reddish-orange brown during full lunar eclipse.
Supermoon rise at Stonehenge Circle
According to Simon Banton, a steward of English Heritage who led this group into the inner circle of the stones, the builders of Stonehenge were astonishing engineers. “Someone conceived the design of the structure as an architect. There are many hundreds of stone circles in Britain alone. Stonehenge was built with stones designed to fit into other stones. Two uprights and one across the top of the stones.”
Bluestones, polished & unfinished
English Heritage’s Steward Simon Banton holding a Bronze Age axe head. Stonehenge, Salisbury, United Kingdom.
The winter solstice sunset signifies the end of one cycle and the beginning of another cycle. The only unarguable alignment of Stonehenge in the way it was built in the direction facing the winter solstice with a progression in height: Two small, two medium, and one large, increasing in height. Entering the temple is most impressive is what’s facing, framing, or from the heel stone.
British-born American archaeoastronomer Gerald Hawkins first proposed that Stonehenge was an an ancient astronomical observatory that was used to predict the movements of the stars and sun. Using an early-model IBM 7090 computer, Hawkins entered the positions of the standing stones and other features of Stonehenge to model the movements and positions of the sun and moon using the positions of 56 holes as markers for the moon and sun to calculate the nodes of lunar orbit twice a day in a 28-day cycle.
One of the 56 Aubrey holes at Stonehenge.
With modern-day technology in archaeoastronomy, science is able to replicate and predict the accuracy of the stones at Stonehenge to measure the lunar orbits and seasons and their relevance even today. As space science outreach and retired teacher Chris Starr, 62, from Somerset said, “The experience of watching the moonrise was once in a lifetime, the sharing of a common experience from today, and what the ancients witnessed. Sharing a sense of wonder and a common thread. Stonehenge is an observatory built by some really smart ancestors. Even emerging from the plains of East Africa. It must have been quite a spectacle for our ancestors.”
Somerset’s Chris Starr at Stonehenge examining Bluestones.
Todd Howard, 40, another Stonehenge participant who was introduced to these outings through SpaceFest channels, pondered on the construction of Stonehenge. “It was built by intelligent people with astronomical awareness. Too many things that don’t line up to be a full observatory, but it had a huge social element to it,” as people traveled as far as Scotland to feast and celebrate the beginning of the new year.
Todd Howard
The furthest participant to travel was astrophotographer Jeanette Lamb, 52, who came all the way from Queensland, Australia, for the first time. She has entered local astronomy competitions and has been awarded prizes for her photographs of the night sky and stars. “I cried when the moon rose over the stones. The history and privilege of being allowed at Stonehenge to view the moon rise is amazing. When you live in a country where there is no astronomical society, online communities bring astronomers and space scientists together. The online community is making our world smaller.” Indeed it is.
Astrophotographer Jeanette Lamb. Photo credit: Amjad Zaidi.
For more on the documentary Pete Glastonbury and Silent Earth are currently filming, including the work of Professor Gerald Hawkins here.
This full article can also be found on Silent Earth’s website here.
Posted in Archaeoastronomy, Astronomy, Case Studies, Education, English Heritage, Green business & Sustainability, Science, Social impact, Stonehenge, Sustainability, UNESCO, World Heritage | Leave a reply
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NMU at Western Michigan, November 9 and 10
Alaska @ Lake Superior State, 11/8 & 9
NCAA Selection Process
ECAC Pick 'em, Week 3
Minnesota at Notre Dame 11/8 & 11/9
Miami @ St. Cloud State Nov. 8th-9th: Beginning of a Rivalry?
UNO vs NODAK. The Sioux and their fans are looking for redemption
Huntsville at Anchorage….. midnight matinee for the Chargers
MSU @ MTU: Spartans travel to Houghton, return home defeated?
UND, Boston U, and Miami fans
College Hockey Lives Here on Whitney Ave: Yale vs. Quinnipiac 11/9/13
RPI vs. Union (11/15 & 11/16)
Minnesota hosts Mankato State of Minnesota : 11/15 & 11/16
SCSU @ UAH: Nic Dowd singing Lynyrd Skynyrd week
LSSU at MTU - The spinoff returns
tUMD @ UND - Tim Horton's and a Olive Garden?! I should move to Grand Forks now...
ECAC Championship in Lake Placid, tickets on sale.
WCHA: Let's talk Hockey!
Where Have All The Broncos Gone? WMU 2013-14
Wisconsin @ Miami
CCHA Redeaux - Michigan @ UNO - 11-15 & 11-16
Fire Seth Appert
RPI @ Mercyhurst (11/22, 11/23)
Keep Seth Appert
Fire FlagDUDE....
Colorado College at St. Cloud State: No, the Big 10 Season STILL Hasn't Started
Minnesota hosts UMD : 11/22 & 11/24
Wisconsin Hockey Vol. XXVIII: This could be a banner year, but how would we know?
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Hockey East Playoff Picture
WCHA What-If Calculator
WCHA Pick 'em - week 16
Is the beanpot being broadcast online at all?
Boston University at UMass Lowell 2/5
Hockey East Thoughts/Predictions Feb 5-Feb 8
Versus on Directv - Enough is Enough!!!
NMU Pick to Click: Better see the doctor about your Hartigan, just in Case.
Hockey East - Who's in, who's out, who's home: by the numbers - 2009-10 edition
VIDEO: St. Cloud State Freshman Ben Hanowski ties game with .1 sec left --- 2/4/10
R.I.P Miami's Brandon Burke....
Outdoor Hockey at Notre Dame?
RPI & Union @ Harvard & Dartmouth (2/12 & 2/13)
UND at SCSU: Which goon will cheap shot Marvin first?
DU vs UM 2/12-2/13 at Magness
CCCP week 19
Minnesota State @ UW.... back to indoor hockey.
The Battle of the Michigan Directional Schools 2010--Western @ Northern Feb 12-13
Yale & Brown @ Colage & Cornell
WCHA pick 'em ---- WEEK 18
Hey, We Suck Less Now: Michigan Tech Season Thread Part VI
WCHA 2010-11 Schedules Collaboration
ECAC Pick 'em -- Week 12
SCSU Season Thread 2-Do We Hate Everybody as Much as They Hate Us?
RPI 2010 Recruiting III: Monty's Quest for the Holy Grail
Maine at Boston University 2/12 and 13
Hockey East Thoughts/Predictions Feb 12-Feb 13
Future of Elite Player Development
The 2010 Beanpot, Part II - BC: Beanpot Champions
NMU Pick to Click: The Butcher shop is a front for our Crew
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A Painted House
Until that September of 1952, Luke Chandler had never kept a secret or told a single lie. But in the long, hot summer of his seventh year, two groups of migrant workers — and two very dangerous men — came through the Arkansas Delta to work the Chandler cotton farm. And suddenly mysteries are flooding Luke’s world.
A brutal murder leaves the town seething in gossip and suspicion. A beautiful young woman ignites forbidden passions. A fatherless baby is born … and someone has begun furtively painting the bare clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down structure in gleaming white. And as young Luke watches the world around him, he unravels secrets that could shatter lives — and change his family and his town forever…
Before The Firm and The Pelican Brief made him a superstar, John Grisham wrote this riveting story of retribution and justice — at last it’s available in a Doubleday hardcover edition. In this searing courtroom drama, best-selling author John Grisham probes the savage depths of racial violence…as he delivers a compelling tale of uncertain justice in a small southern town…Clanton, Mississippi.
The life of a ten-year-old girl is shattered by two drunken and remorseless young men. The mostly white town reacts with shock and horror at the inhuman crime. Until her black father acquires an assault rifle and takes matters into his hands.
For ten days, as burning crosses and the crack of sniper fire spread through the streets of Clanton, the nation sits spellbound as young defense attorney Jake Brigance struggles to save his client’s life…and then his own.
Tell Me Your Dreams
The fast-paced novel from the internationally bestselling author of The Best Laid Plans, Morning, Noon & Night and Bloodline.
Someone was following her. She had read about stalkers, but they belonged in a different, faraway world. She had no idea who it could be, who would want to harm her. She was trying desperately hard not to panic, but lately her sleep had been filled with nightmares, and she had awakened each morning with a feeling of impending doom.
Thus begins Sidney Sheldon’s chilling novel, Tell Me Your Dreams.
Three beautiful young women are suspected of committing a series of brutal murders. The police make an arrest that leads to one of the most bizarre murder trials of the century.
Based on actual events, Sheldon’s novel races from London to Rome to Quebec City to San Francisco, with a climax that will leave the reader stunned.
The Appeal (Hardcover)
In a crowded courtroom in Mississippi, a jury returns a shocking verdict against a chemical company accused of dumping toxic waste into a small town’s water supply, causing the worst “cancer cluster” in history. The company appeals to the Mississippi Supreme Court, whose nine justices will one day either approve the verdict—or reverse it.
The chemical company is owned by a Wall Street predator named Carl Trudeau, and Mr. Trudeau is convinced the Court is not friendly enough to his interests. With judicial elections looming, he decides to try to purchase himself a seat on the Court. The cost is a few million dollars, a drop in the bucket for a billionaire like Mr. Trudeau. Through an intricate web of conspiracy and deceit, his political operatives recruit a young, unsuspecting candidate. They finance him, manipulate him, market him, and mold him into a potential Supreme Court justice. Their Supreme Court justice.
The Brethren
Trumble is a minimum-security federal prison, a “camp,” home to the usual assortment of relatively harmless criminals–drug dealers, bank robbers, swindlers, embezzlers, tax evaders, two Wall Street crooks, one doctor, at least five lawyers.
And three former judges who call themselves the Brethren: one from Texas, one from California, and one from Mississippi. They meet each day in the law library, their turf at Trumble, where they write briefs, handle cases for other inmates, practice law without a license, and sometimes dispense jailhouse justice. And they spend hours writing letters. They are fine-tuning a mail scam, and it’s starting to really work. The money is pouring in.
Then their little scam goes awry. It ensnares the wrong victim, a powerful man on the outside, a man with dangerous friends, and the Brethren’s days of quietly marking time are over.
* Slightly used or almost new.
In the corridors of Chicago’s top law firm: Twenty -six-year-old Adam Hall stands on the brink of a brilliant legal career. Now he is risking it all for a death-row killer and an impossible case.
Maximum Security Unit, Mississippi State Prison: Sam Cayhall is a former Klansman and unrepentant racist now facing the death penalty for a fatal bombing in 1967. He has run out of chances — except for one: the young, liberal Chicago lawyer who just happens to be his grandson.
While the executioners prepare the gas chamber, while the protesters gather and the TV cameras wait, Adam has only days, hours, minutes to save his client. For between the two men is a chasm of shame, family lies, and secrets — including the one secret that could save Sam Cayhall’s life… or cost Adam his.
In a weedy lot on the outskirts of Memphis, two boys watch a shiny Lincoln pull up to the curb…
Eleven-year-old Mark Sway and his younger brother were sharing a forbidden cigarette when a chance encounter with a suicidal lawyer left Mark knowing a bloody and explosive secret: the whereabouts of the most sought-after dead body in America. Now Mark is caught between a legal system gone mad and a mob killer desperate to cover up his crime. And his only ally is a woman named Reggie Love, who has been a lawyer for all of four years.
Prosecutors are willing to break all the rules to make Mark talk. The mob will stop at nothing to keep him quiet. And Reggie will do anything to protect her client — even take a last, desperate gamble that could win Mark his freedom… or cost them both their lives.
The King of Torts
The office of the public defender is not known as a training ground for bright young litigators. Clay Carter has been there too long and, like most of his colleagues, dreams of a better job in a real firm. When he reluctantly takes the case of a young man charged with a random street killing, he assumes it is just another of the many senseless murders that hit D.C. every week.
As he digs into the background of his client, Clay stumbles on a conspiracy too horrible to believe. He suddenly finds himself in the middle of a complex case against one of the largest pharmaceutical companies in the world, looking at the kind of enormous settlement that would totally change his life—that would make him, almost overnight, the legal profession’s newest king of torts…
The Last Juror (Hardcover)
In 1970, one of Mississippi s more colorful weekly newspapers, The Ford County Times, went bankrupt. To the surprise and dismay of many, ownership was assumed by a 23-year-old college dropout, named Willie Traynor. The future of the paper looked grim until a young mother was brutally raped and murdered by a member of the notorious Padgitt family. Willie Traynor reported all the gruesome details, and his newspaper began to prosper.
The murderer, Danny Padgitt, was tried before a packed courthouse in Clanton, Mississippi. The trial came to a startling and dramatic end when the defendant threatened revenge against the jurors if they convicted him. Nevertheless, they found him guilty, and he was sentenced to life in prison.
But in Mississippi in 1970, life didn’t necessarily mean life, and nine years later Danny Padgitt managed to get himself paroled. He returned to Ford County, and the retribution began.
The Litigators
The partners at Finley & Figg—all two of them—often refer to themselves as “a boutique law firm.” Boutique, as in chic, selective, and prosperous. They are, of course, none of these things. What they are is a two-bit operation always in search of their big break, ambulance chasers who’ve been in the trenches much too long making way too little. Their specialties, so to speak, are quickie divorces and DUIs, with the occasional jackpot of an actual car wreck thrown in. After twenty plus years together, Oscar Finley and Wally Figg bicker like an old married couple but somehow continue to scratch out a half-decent living from their seedy bungalow offices in southwest Chicago.
And then change comes their way. More accurately, it stumbles in. David Zinc, a young but already burned-out attorney, walks away from his fast-track career at a fancy downtown firm, goes on a serious bender, and finds himself literally at the doorstep of our boutique firm. Once David sobers up and comes to grips with the fact that he’s suddenly unemployed, any job—even one with Finley & Figg—looks okay to him.
With their new associate on board, F&F is ready to tackle a really big case, a case that could make the partners rich without requiring them to actually practice much law. An extremely popular drug, Krayoxx, the number one cholesterol reducer for the dangerously overweight, produced by Varrick Labs, a giant pharmaceutical company with annual sales of $25 billion, has recently come under fire after several patients taking it have suffered heart attacks. Wally smells money.
A little online research confirms Wally’s suspicions—a huge plaintiffs’ firm in Florida is putting together a class action suit against Varrick. All Finley & Figg has to do is find a handful of people who have had heart attacks while taking Krayoxx, convince them to become clients, join the class action, and ride along to fame and fortune. With any luck, they won’t even have to enter a courtroom!
It almost seems too good to be true.
And it is.
The Litigators is a tremendously entertaining romp, filled with the kind of courtroom strategies, theatrics, and suspense that have made John Grisham America’s favorite storyteller.
The Other Side of Midnight
One of Sidney Sheldon’s most popular and bestselling titles.
A gripping, glamorous novel of scorching sensuality and heart-stopping evil. A beautiful French actress whose craving for passion and vengeance takes her from the gutters of Paris to the bedroom of a powerful billionaire; a dynamic Greek tycoon who never forgets an insult, never forgives an injury; and a handsome war hero lured from his wife by another woman.
From Paris to Washington, Hollywood to the islands of Greece, The Other Side of Midnight is the story of four star-crossed lives enmeshed in a deadly ritual of passion, intrigue and corruption.
The Rainmaker
John Grisham’s five novels — A Time To Kill, The Firm, The Pelican Brief, The Client, and The Chamber — have been number one best-sellers, and have a combined total of 47 million copies in print. Now, inThe Rainmaker, Grisham returns to the courtroom for the first time since A Time To Kill, and weaves a riveting tale of legal intrigue and corporate greed. Combining suspense, narrative momentum, and humor as only John Grisham can, this is another spellbinding read from the most popular author of our time.
Grisham’s sixth spellbinding novel of legal intrigue and corporate greed displays all of the intricate plotting, fast-paced action, humor, and suspense that have made him the most popular author of our time. In his first courtroom thriller since A Time To Kill, John Grisham tells the story of a young man barely out of law school who finds himself taking on one of the most powerful, corrupt, and ruthless companies in America — and exposing a complex, multibillion-dollar insurance scam. In hs final semester of law school Rudy Baylor is required to provide free legal advice to a group of senior citizens, and it is there that he meets his first “clients,” Dot and Buddy Black. Their son, Donny Ray, is dying of leukemia, and their insurance company has flatly refused to pay for his medical treatments. While Rudy is at first skeptical, he soon realizes that the Blacks really have been shockingly mistreated by the huge company, and that he just may have stumbled upon one of the largest insurance frauds anyone’s ever seen — and one of the most lucrative and important cases in the history of civil litigation. The problem is, Rudy’s flat broke, has no job, hasn’t even passed the bar, and is about to go head-to-head with one of the best defense attorneys — and powerful industries — in America.
TV/Movie & Video Game Adaptations
Literary Criticism & Theory
Regional & Cultural
Spies & Politics
Social & Family Issues
Mothers & Children Fiction
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Home › A Moving Train
Discussion Donald Trump
ikiT USAPosts: 7,260
Jesus H. Christ.
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Hampton VA 04182016 Columbia SC 04212016 Fenway Park Boston MA 08072016 Amsterdam NL 06132018
EV Providence 06152011
Thirty Bills Unpaid Posts: 16,881
To boot...
He speaks as if he's a muscle bound super jock. He's a skinny fat guy: a tubby guy with wimpy arms, weak legs, saggy boobs, and a big bum (might be wearing a diaper though). The goofball's biggest form of exercise was a few weeks back when he tossed paper towel rolls. He doesn't even walk to the green after hitting the ball there in seven shots (only two on the scorecard though).
In all seriousness... I guarantee you that dipshit has never once worked a day in his life where he got his clothes dirty, got sweaty, and felt fatigue but pushed through because the job needed to get finished (ie. strip forms from a basement... or help somebody move).
Embarrassing. And if a US citizen isn't embarrassed... it's because they're too f**king stupid to be embarrassed.
"My brain's a good brain!"
"As a Deputy DA in Gadsden when Roy Moore was there, it was common knowledge about Roy's propensity for teenage girls. I'm appalled that these women are being skewered for the truth. It was common knowledge that Roy dated high school girls, everyone we knew thought it was weird...We wondered why someone his age would hang out at high school football games and the mall..."
https://twitter.com/JesseLehrich/status/929451829657853952
mrussel1 Posts: 12,856
The center must hold. It held in France, Sweden and other places. But there are more battles to come.
tbergs Posts: 5,792
Un-fucking-believable! I'm sure our resident naysayers could find a positive spin for this too and blame it on the left.
It's a hopeless situation...
Halifax2TheMax Posts: 20,430
tbergs said:
I heard it was antifa that organized it with BLM to make white nationalists look bad. False flag ops.
09/15/1998, Mansfield, MA; 08/29/00 08/30/00, Mansfield, MA; 07/02/03, 07/03/03, Mansfield, MA; 09/28/04, 09/29/04, Boston, MA; 09/22/05, Halifax, NS; 05/24/06, 05/25/06, Boston, MA; 07/22/06, 07/23/06, Gorge, WA; 06/29/08, 06/30/08, Mansfield, MA; 08/18/08, O2 London, UK; 10/30/09, 10/31/09, Philadelphia, PA; 05/15/10, Hartford, CT; 05/17/10, Boston, MA; 05/20/10, 05/21/10, NY, NY; 06/22/10, Dublin, IRE; 06/23/10, Northern Ireland; 09/03/11, 09/04/11, Alpine Valley, WI; 09/11/11, 09/12/11, Toronto, Ont; 09/14/11, Ottawa, Ont; 09/15/11, Hamilton, Ont; 07/02/2012, Prague, Czech Republic; 07/04/2012 & 07/05/2012, Berlin, Germany; 07/07/2012, Stockholm, Sweden; 09/30/2012, Missoula, MT; 07/16/2013, London, Ont; 07/19/2013, Chicago, IL; 10/15/2013 & 10/16/2013, Worcester, MA; 10/21/2013 & 10/22/2013, Philadelphia, PA; 10/25/2013, Hartford, CT; 11/29/2013, Portland, OR; 11/30/2013, Spokane, WA; 12/04/2013, Vancouver, BC; 12/06/2013, Seattle, WA; 10/03/2014, St. Louis. MO; 10/22/2014, Denver, CO; 10/26/2015, New York, NY; 04/23/2016, New Orleans, LA; 04/28/2016 & 04/29/2016, Philadelphia, PA; 05/01/2016 & 05/02/2016, New York, NY; 05/08/2016, Ottawa, Ont.; 05/10/2016 & 05/12/2016, Toronto, Ont.; 08/05/2016 & 08/07/2016, Boston, MA; 08/20/2016 & 08/22/2016, Chicago, IL; 07/01/2018, Prague, Czech Republic; 07/03/2018, Krakow, Poland; 07/05/2018, Berlin, Germany; 09/02/2018 & 09/04/2018, Boston, MA;
"If you're looking down on someone, it better be to extend them a hand to lift them up."
Libtardaplorable©. And proud of it.
Brilliantati©
Alt-right and Trump voters, this is what you've wrought.
Hmmmm, Trump likes Putin, met with Dutarte and was effusive with Xi and thinks he can be friends with little rocket man someday. Notice a pattern here?
stuckinline Posts: 2,515
There are 7 year old Girl Scouts that are able to do this better than the baffoon.
FRIENDSHIP CIRCLE The Friendship Circle is often formed at the end of meetings or campfires as a closing ceremony. Everyone gathers in a circle, and each girl crosses her right arm over her left and holds hands with the person on each side. Once everyone is silent, the leader starts the friendship squeeze by squeezing the hand of the person next to her. One by one, each girl passes on the squeeze until it travels around the full circle.
HesCalledDyer MarylandPosts: 14,524
I'm sure there are some "good people" in there.
Star Lake 00 / Pittsburgh 03 / State College 03 / Bristow 03 / Cleveland 06 / Camden II 06 / Washington DC 08 / Pittsburgh 13 / Baltimore 13 / Charlottesville 13 / Cincinnati 14 / St. Paul 14 / Hampton 16 / Wrigley I 16 / Wrigley II 16
stuckinline said:
Lol. He's inhuman.
At least he's getting some exercise.
before all the unnatural handshaking...what a fucking embarrassment.
https://twitter.com/dougmillsnyt/status/929189052598902784
my god he is stupid
Abe Froman Posts: 3,678
Gern Blansten said:
He's such a fucking embarrassment. I cringe at having to say he is the POTUS more and more as each day goes by.
B-bye Roy! Couldn't have happened to a nicer bigot and hypocrite.
http://www.al.com/news/index.ssf/2017/11/roy_moore_alabama_sex_claims.html
http://www.cnn.com/videos/politics/2017/11/09/mobile-reporters-question-mcconnell-moore-sot.cnn
Shining, smiling, laughing examples of why women don't "come forward sooner."
Fox News will be breaking a story tonight on the Democrats and "Uranium Two" scandal.
josevolution Posts: 21,323
HesCalledDyer said:
"IF" That's the word i keep hearing from this asshole ..
jesus greets me looks just like me ....
So refreshing to see that we can believe what this president says. He’s so honest.
https://www.washingtonpost.com/news/fact-checker/wp/2017/11/14/president-trump-has-made-1628-false-or-misleading-claims-over-298-days/
oh yeah and this happened, just like Trumpito asked for before he left.
nothing like doing that big homework project the night before it's due...
"On the eve of the hearing, Sessions appeared to throw those Republicans — and his boss — a bone. The Justice Department sent a letter Monday night informing Goodlatte that it had directed senior federal prosecutors to evaluate "whether any matters merit the appointment of [another] special counsel." Earlier this year, Goodlatte had demanded a DOJ investigation into "alleged unlawful dealings at the Clinton Foundation" and other scandals focused on Democrats."
Lock her up, right?
https://twitter.com/NPR/status/930411690868531200
Post edited by ikiT on November 2017
what a worm.
dignin Posts: 7,298
Tiki said:
The Juggler Behind that bush over there.Posts: 34,083
Trump tweeted his support, yet again, for the outlying, republican leaning Rasmussen poll that has him at a historically low 46% approval rating.
He called it "one of the most accurate polls last time around"
Well, this is what they had last time around: HRC winning popular vote by about 2% and HRC winning electoral college 322-216
http://www.rasmussenreports.com/public_content/political_commentary/commentary_by_larry_j_sabato/our_final_2016_picks
The last time Trump touted Rasmussen when they had him in the mid 40's (again, historically low), it dipped back down to the low 40's shortly thereafter.....like what will most likely happen now. He's not going to tout it then though. Trump's a "fucking moron" (Sec of State's words).
Bentleyspop Craft Beer Brewery, ColoradoPosts: 6,388
Donald Trump says something that isn't true 5.5 times a day. Every day.
http://www.cnn.com/2017/11/14/politics/trump-fact-checker-1628/index.html
JimmyV Boston's MetroWestPosts: 12,485
Bentleyspop said:
His vocabulary is shrinking, he doesn't know what is true and what is fantasy, and it is unclear anyone around him ever disagrees with his ramblings.
"...I changed by not changing at all..."
HughFreakingDillon WinnipegPosts: 18,124
JimmyV said:
He is their meal ticket. it is ever apparent that his madness and inability to lead is inconsequential to them. all that matters to them is that they hold the cards, not that the joker is in fact real and holding them.
https://www.youtube.com/watch?v=xidg4oMhBGA
The Juggler said:
Whoops.....hours after his tweet, it's already back down to 44%. SAD.
https://projects.fivethirtyeight.com/trump-approval-ratings/?ex_cid=rrpromo
Smellyman AsiaPosts: 3,707
So good, nails it every time.
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Otis Elevator’s Judy Marks Talks Leadership, The Future Of Manufacturing
Patrick Gorman
Otis Elevator’s Judy Marks
As president of the world’s largest elevator company, Otis Elevator Co.’s Judy Marks knows that standing pat isn’t an option in a world where technology shaping the future in all sectors of business—especially for an industry leader. In the year ahead, Marks told Chief Executive that Otis will continue to drive change through new technologies, including IoT and artificial intelligence solutions such as Otis ONE, the company’s connected elevator platform that personalizes the service experience through real-time, transparent information sharing, proactive communication tools and predictive maintenance insights.
“We will be transforming ourselves and disrupting ourselves,” Marks says. “That’s part of the culture of reinvention in a company that happens to be number one in our market now, but we can’t rest.”
Marks was named president of Otis, a United Technologies Corp. (UTC) company, last October after serving as CEO of Siemens USA and as CEO of Dresser-Rand, a Siemens business. She has also held leadership positions at Lockheed Martin and IBM over the course of her career.
Chief Executive caught up with Marks to talk about why establishing a people-first workplace is so important, how humans and machines are working together in manufacturing and how Otis is leveraging emerging technologies, among other topics.
The importance of creating a people-first workplace
I truly believe culture makes a difference in any enterprise. But when you look at Otis, where we’ve got 68,000 colleagues distributed across the world and almost half of those every day are not being supervised—they’re out at our customer locations doing over 100,000 service calls every day, let alone installations—it’s critical that we have a culture that people can relate to, support, and feel proud of, because that enables outstanding customer service. It enables us to be responsive.
People try to be innovative in technology, but I think culture needs to be just as innovative. We are one of the pre-eminent field service companies in the world. And to do that, it starts with empowerment and respect, and then what you find is tremendous loyalty and tremendous focus on delivery of our products and service, so that our customers can really move passengers around the globe safely and quickly.
Conducting the symphony between automation, robotics, and human workers in manufacturing
Symphony is a great term for it. And I sincerely believe there’s a role for automation and robotics, especially for high-volume repetitive tasks, or tasks that would put a human at risk of an accident or worse. And there are absolutely just as important roles for humans in terms of the analysis they bring, the passion they bring, and the ability to continue flow all the way through the process.
We do use robotics extensively in many of our factories, especially on those with high-volume tasks, and even in low-cost environments. There are places where robots are absolutely the right business case where labor is low-cost. But it’s really reinventing the flow of what you want to accomplish, because just applying a robot to replace a human task isn’t optimal. So we’ve really tried to step back and say, “What’s the right flow? Where and when do we get our just-in-time parts? How do we automate the lines? How do we do process improvements?”
And then, most importantly for us, which is a little different than most manufacturers, we do not generate a final product. We generate an assembly of parts and elements that all have their final assembly at our customer location at installation. So, we don’t have exactly the same thing rolling off the line, a final inspection and ship. We go through those steps, but final inspection happens long after we’re at a job site doing the installation, doing the adjustments, and making sure that it’s a perfect fit and it’s working up to the specifications we’ve signed up to.
“I try to build teams by sharing a vision, eliminating obstacles and by creating an environment where people really resonate with their mission.”
Leveraging technology and the new Otis ONE IoT service platform
It’s fascinating when you think that we were the original innovator of the safety elevator, and now 165 years later, in a business that’s continued to have evolutionary change for that first 165 years, I think we are now seeing significant exponential change because of not just the mechanical approach—and there’s continuing mechanical advances in safety, and in speeds, and elevator movement—but it’s the underlying data that tells us all about people movement.
People movement in the building, vertical people movement, the times around that, the surges of that, and then just as importantly, the destinations they’re interested in, and then you can tie buildings together in terms of smart buildings. Because if you understand when someone’s entering, you can get them to their destination as quickly as possible, you can connect it with other building activities like energy efficiency, edge back lighting, all of that.
But the core is that every elevator is data-rich. We’ve manufactured over 3.5 million elevators and escalators in the history of Otis. And so, you think about all the sensors out there in a building, and because they’re all data-rich, the challenge is how do you turn that data into action? How do you capture the data, encapsulate it, and use tools so that people can visualize it and turn it into action?
That’s really where Otis ONE takes us with transparency in the data for our customers. It lets us be preventive, and it lets us be predictive so that we can actually notify a customer before there is a failure. We can replace a part just on the brink or before it fails so that there’s no shutdown, there are no entrapments, and really guarantee higher quality of service, which is really what our customers tell us they want.
The evolution of her leadership style
I think I’ve really honed my collaboration muscle. And embracing diversity of thought, so that recognizing that everyone comes to a problem with a different approach, and if you can optimize the approach and drive collaboration, the end result actually is exponentially better than anything any individual could have done.
I try to build teams by sharing a vision, eliminating obstacles and by creating an environment where people really resonate with their mission. At Otis, our mission is all about moving people, and we have over 2 billion people a day touch our product. So, while that’s a tremendous responsibility, it’s also a tremendous mission and tremendous opportunity.
And I think if you stop any of our 68,000 colleagues on any given day in a shopping mall, at a metro, in an office building, and just ask them what Otis stands for, they’ll tell you about our culture, they’ll tell you about how proud they are of our legacy, and they’ll tell you how proud they are of their building, and of keeping that building running.
The key attributes of outstanding leaders at Otis
I think they share a few attributes. One would be reasoned, but rapid decision making. We live in a world where analysis is critical, but decision making is even more important. And the only caveat I’ll put on that is we will never—especially being in the life safety business—we will never rush a decision that has implications to the safety of our employees or our passengers.
I think that’s a key attribute. I require people to be collaborative and to recognize that the sum of all the voices is far more impactful than anything else we could do. And so, I will tell you that I look for leaders who are not only comfortable but focused on empowering and developing the people around them.
And the reason it’s so important to us is with over 1,000 branch offices, we can’t make decisions on a daily basis, sitting here in headquarters, nor can any of our regional headquarters. We have to empower our local leaders. We have to make sure they understand our fundamentals, and our foundations, and our values and our ethics. But we then have to give them the tools and the ability to make decisions.
And they may not always make the right ones, but as long as they don’t cross an ethical line we will absolutely work with them and use it as a learning moment. We want them to make the decisions every day, and actually run these branches like they’re their own company.
Read more: Five Fortune 500 CEOs on Strategy During Uncertain Times
Patrick Gorman is managing editor of Chief Executive magazine and Corporate Board Member magazine. He is based in Stamford, CT.
AMN Healthcare CEO: Diversity and Inclusion are Good. Equality is Better.
Nothing Fails Like Success: Why Change Now Happens Faster Than Ever
Marriott’s Arne Sorenson: 2019 CEO of the Year
33Across CEO On Bringing The Company Back From The Brink
Product CEOs: Do You Have A Platform Strategy?
Great Leadership Teams Optimize Collaboration
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Ciaran O'Mahony
Month / November 2018
November 20, 2018 by Ciaran O'Mahony
All Blacks Usually Get Rub of the Green, Say Irish
Former Ireland International, Shane Byrne, says that “50/50 calls” always go the All Blacks’ way because they intimidate referees.
The No.2 ranked Irish are full of confidence and will take on New Zealand this weekend at the Aviva Stadium in Dublin.
But Byrne, who faced New Zealand for Ireland and the British and Irish Lions, says they will not only be battling one of the most dominant teams in world sport, but also the referee.
“They’re a hard team to play against because you’re not just playing against the way they play. They clearly intimidate referees, they push the law right to the edge,” Byrne says.
“They do things that you normally wouldn’t get away with and that’s something that is very, very frustrating from a player’s point of view,” he says.
For Byrne, New Zealand legend Richie McCaw was a major beneficiary of this, constantly “living on the edge”, with little penalty.
“No one else in the world would have gotten away with that [his aggressive tactics], not just because he was so good at his job but because of who he was and who he played for.”
Big “50/50 calls” that can turn the game rarely go against the Kiwis, he says, and in a game where “the margins are very, very small,” that can prove costly.
Ireland’s coach, Joe Schmidt, echoed this sentiment, highlighting that in Ireland’s last match with New Zealand, many bizarre decisions went against them.
It was a controversial game in which many felt that two of New Zealand’s players deserved red cards.
Schmidt, a New Zealander himself, says “I think people can make their own minds up about those [decisions].”
“There were decisions made by the referee that befuddled everybody,” says Schmidt.
New Zealand coach, Steve Hansen, was bullish after that game, rubbishing suggestions the All Blacks are a “dirty side” and arguing their tactics were within the laws of the game.
Both sides are looking for bragging rights and mental edge heading into next year’s Rugby World Cup in Japan.
Hansen says Ireland’s rise in the world rankings has been impressive and his side are out to prove they are still the world’s best.
“These are the type of test matches that gets everyone up. It’s number one versus number two and there’s a real excitement that’s building as we get closer to Saturday.”
Schmidt says Ireland is more than ready for the challenge and we should expect “a spiky contest” this weekend.
November 20, 2018 June 14, 2019 by Ciaran O'Mahony
Regional Town Rallies against Deportation of Asylum Seeker Family
The public reaction to the removal and detention of an asylum seeker family shows that the Government’s immigration policy is out of touch with the community, according to Tamil Refugee Council (TRC) spokesman.
The family is in limbo after it was flown to Perth and scheduled to fly back to Sri Lanka on the 12th of March, before a late injunction prevented their deportation.
“The Australian government claims that regional Australia supports its immigration policy, but the regional town of Bileola is outraged,” says Aran Mylvaganam.
Mylvaganam, who is based in Melbourne, arrived in Australia as an orphan refugee in 1997 and founded the TRC in 2011 to assist other vulnerable Tamil refugees and asylum seekers.
“We are encouraged by the support the family has received from a small town in regional Queensland, which is a mainly conservative area,” he says.
He says the significant backlash the Government has received throughout Australia shows that it is “not listening to the community” when it comes to immigration policy.
“Every time we deal with cases like this and there are so many rejections to applications for asylum, it can be hard to be optimistic, but it’s heartening when people get behind us,” Mylvaganam said.
Treasurer of the Deakin University Liberal Club, James Bell, says he is not surprised by Biloela’s reaction to the raid and detention of the family.
He agrees that people living in remote areas often get little exposure to people from different cultural backgrounds and “can sometimes be set in their ways.”
“In that sense it might seem a bit unusual, but I don’t think it’s that unusual when you think about what Australians are like in general,” Bell said.
“Australians are pretty multicultural people and pretty welcoming to other cultures,” according to Bell.
Mylvaganam says he is horrified by the Government’s actions not only as a refugee rights advocate, but as a father.
He says that Dharuniga (9 months old) and Kopiga (2 years old) were not allowed to sit with their mother, Priya, while they were driven to the airport and their father, Nadesalingam, was taken there separately.
“As a young father, I know what it means to separate my daughter from me. I can’t believe they would do that,” he said.
“The children are disoriented and crying all the time in the detention centre and the detention officers only let them play outside for half an hour,” according to Mylvaganam.
The Australian Border Force declined to comment on the story, but a spokesperson for the Department of Home Affairs released a statement saying that the family have “been comprehensively assessed by the department, various tribunals and courts and have consistently been found not to meet Australia’s protection obligations.”
“Those unwilling to depart voluntarily will be subject to detention and removal from Australia,” according to their spokesperson.
“All detention and removal operations are carried out in a way that ensures the safety and security of detainees. Appropriate consideration is given to the needs of any children involved,” they said.
Mylvaganam feels that many refugees and asylum seekers like Nadesalingam and Priya, who arrived by boat in 2012 and 2013, are inadequately assessed under the Government’s “enhanced refugee screening process”.
He says their claims are usually processed on the basis of a “15 minute initial statement when they get off the boat.”
Bell echoes this, arguing that the case highlights the weaknesses of Australian immigration law and policy in processing asylum seekers’ claims.
“These are the human consequences of the rigid application of the law, which is exactly what migration law is concerned with and it’s quite difficult to come up with a legal framework that takes the human impact of these cases into account,” Bell says.
“They’ve been in Australia, created a life here and been widely accepted in the community. It seems that although it’s not directly related to their asylum application, it’s still such an important human factor that needs to be considered,” he says.
For Bell, this case highlights the need to change the law and “put greater weight on the fact that people have been here for such a long time and assimilated into the country.”
“You can’t just rigidly apply policy, you can’t just refuse someone’s asylum status because he doesn’t quite meet the legal criteria,” according to Bell.
Although he feels immigration policy needs a significant overhaul, Bell says allowing the family to stay would raise other complex legal and moral issues.
“I would say yes, they should stay. But it’s so much more complex than that, you can’t just say they deserve to stay because then you’re inherently treating everyone differently in the eyes of the law if you do that,” he says.
“Based upon applying the law, the father isn’t supposed to be here,” says Bell.
He says “the amount of publicity this has received weighs pretty heavily upon executive decision-makers and there’s a huge amount of public pressure on them.”
“It’s not fair if one person doesn’t receive the same attention and then there’s a particularly poignant case and the facts are particularly emotional and because of the amount of reporting it receives, this person is treated differently,” says Bell.
Meanwhile, Biloela resident Angela Fredericks’ petition to stop the deportation has over 100,000 signatures and counting.
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angiemoonthemod 01/06/2018 5 Comments
Pride season is coming, with festivals and parades all over the world. Since I’ve started this blog, the world has been progressing on LGBT rights, but we still have a ways to go.
To celebrate Pride Month, we’ll be talking about the LGBT Songs of Classic Rock. This is a two part article. We will start in 1955 and go all the way to 1971. The second part will go from 1972 all the way to the 80s. This article will emphasise rock and roll songs with a gay, bisexual, lesbian, transgender, androgynous, or crossdressing theme.
The most popular post on my blog by far is the post about LGBT rock stars (which is far from complete, I need to add a bunch more musicians). I think that it’s important to talk about LGBT themes in rock music over the years. The songs with positive representations can make an excellent alternative pride playlist for when you want a rock and roll mood.
Since these songs were released anywhere from 30-40-50 years ago, the language might be a bit outdated and the representations are far from perfect. Some of these songs were considered quite progressive during the time they were released, when homosexuality was considered a mental illness and crossdressing was illegal.
Tutti Frutti – Little Richard – Little Richard is a pioneer in so many ways, musically and image wise. This was his first hit single and one of the best examples of early rock and roll. It was revolutionary and fresh. The song’s lyrics, which referenced homosexuality, were changed, to fit into the conformist 50s mainstream culture. The original lyrics were: “Tutti Frutti, good booty. If it don’t fit, don’t force it. You can grease it, make it easy”. The lyrics were re-written to “Tutti Frutti, aw rooty. Tutti Frutti, aw rooty.”
How did it age? 8/10 Certainly those lyrics aren’t family friendly, but the song as we know it, that’s fine.
Jailhouse Rock – Elvis Presley – By far, one of Elvis’s most famous songs and the music video for it with Elvis dancing with backup dancers dressed up as prisoners on a jail set is iconic. The reference to gay romance is found in the lyric: “Number 47 said to Number 3, ‘You’re the cutest jailbird I ever did see. I sure would be delighted with your company,’ Come on and do the Jailhouse Rock with me.”
How did it age? 8/10 Well, it’s a light-hearted song that’s fun to dance to. There’s no implication that straight people can turn gay or anything (even then, it’s cool to experiment and sexuality is fluid). The lyrics aren’t making light of prison rape.
Sally Go Round the Roses – The Jaynetts – One interpretation of this song is that Sally is gay and she is upset that her crush is going with another girl. At the time, a same sex relationship was taboo. One interpretation of the lyrics says that she talks to the roses because she is lonely and has no one to talk about this with. It’s a heartbreaking and haunting song.
Just want to add that I really like Pentangle’s 1969 cover of the song.
How did it age? 10/10 It’s sad and reflects the history of the time period. The song has nothing that straight up says it’s about being gay, so there isn’t anything offensive.
Andrew’s Blues – The Rolling Stones – Easily the raunchiest Stones song ever. Surprisingly this was recorded very early on in their career. You can find the song easily and read the lyrics that reference Andrew Loog Oldham sleeping with both sexes for yourself.
It’s not radio friendly, but it seems like The Rolling Stones had a fun time recording this with Gene Pitney, Graham Nash, and Allan Clarke. Phil Spector even dropped into the recording session.
The song was never officially released, and only a few acetates were pressed. Some survived and copies of the song were made on bootlegs.
How did it age? I don’t know if I can even give this a rating. There are some songs released today that are just as raunchy (I’m thinking music by Nicki Minaj, Peaches, Rihanna, etc). They were taking the piss out of Andrew Loog Oldham. It’s not progressive. I’m guessing they were very, very drunk when recording this.
Have I the Right? – The Honeycombs – This song was written by the gay songwriting team of Ken Howard and Alan Blaikley. They were prominent songwriters and wrote songs for Lulu, Elvis, The Herd, Petula Clark, and more.
The Honeycombs were a pop group from London active from 1963-1967. The name of the band came from the drummer, Honey Lantree, who was a hairdresser and stood out at the time as being one of the few female drummers to achieve mainstream success in the era. This song was their debut single and it sold over a million copies.
While the song was sung by straight men, it was written by gay men. It’s a love song.
How did it age? 10/10 It’s cute and fun and it goes a bit proto-punk at times.
Are You a Boy or Are You a Girl? – The Barbarians – A garage rock song about androgyny. Back in the 60s, men were starting to grow out their hair to the point where from behind they might be mistaken for girls and wearing tighter clothes. The 60s was a time of androgyny, scrapping gender labels, and being yourself, a change from the conformist days of the 1950s.
How did it age? 8/10 I personally like feminine looking men so I don’t see anything wrong with a boy who looks like a girl. From looking at the lyrics, it doesn’t seem to make fun of trans people. The song’s written in a joking sort of way because the band had long hair themselves.
See My Friends – The Kinks This song was groundbreaking in multiple ways because of its use of the sitar and tambura and Ray Davies making his foray into writing LGBT themed songs. Davies himself said that the theme of the song was “more about camaraderie than homosexuality, but then it borders on that.” He actually wrote this song about the death of his sister. Still, people have interpreted it as having a gay theme.
How did it age? 10/10 Perfect for when you want a psychedelic touch on your pride playlist.
You’ve Got to Hide Your Love Away – The Beatles One interpretation of this song is that it’s about their manager Brian Epstein, who was gay, but hid it in public. Simply put, it’s possibly about being in the closet. It’s a fair interpretation.
How did it age? 10/10 Since it isn’t explicitly about being gay, I can’t say much about that. As for whether to put it on your pride playlist, may not fit the mood because it’s about being in the closet, still it’s relatable to a lot of people.
Do You Come Here Often? – The Tornados – Considered one of the first gay songs to be released on a major record label. The song has a lot of jazzy organ in it, making it different from their other guitar-driven songs. About two and a half minutes in, two men have a flirty conversation over the music.
Coincidentally, The Tornados’ producer, Joe Meek was gay. During Meek’s lifetime, homosexuality was illegal and he got in trouble a few times. His story was a tragic one, his life ended in a murder-suicide.
He killed his landlady and himself. He was also accused of plagiarising The Tornados’ “Telstar” from the tune of “La Marche d’Austerlitz” from the 1960 film Austerlitz. Meek never made money from the song in his lifetime and the case was settled in his favour three weeks after he killed himself.
One more coincidence, the keyboard player’s name is David Watts (not the same one mentioned in The Kinks song though).
How did it age? 10/10 When most of the song is instrumental, there isn’t much to be offended by. The conversation is cute and flirty. Of course it sounds old because it’s from over 50 years ago, but the values aren’t vintage.
I’m a Boy – The Who – Actually not the first song about being transgender. Hermione Baddeley sang a song back in 1961 called “I Changed My Sex”. Unfortunately, I cannot find audio of it so I didn’t write a piece about it earlier.
Pete Townshend wrote the song and he shares lead vocals with Roger Daltrey. Pete Townshend had many rock opera ideas and this song was intended for an unrealised one called Quads, a rock opera set in the future where parents can choose their children’s sex. This is the one surviving song.
“I’m a Boy” tells the story of a family who ordered four daughters, but instead they get three daughters, named Jean Marie, Felicity, and Sally Joy and a son. The boy calls himself Bill and he has an interest in doing typical boy things like playing sports and playing in the mud. The mother forces Bill to be a girl, making him wear makeup, dresses, and wigs.
How did it age? 10/10 Very well. There is nothing offensive about it. Sing it at a pride karaoke.
When a Girl Loves a Girl – Jack Hammer – This song about same sex love was on Hammer’s 1966 album, Brave New World. It’s a jazzy ballad about two women who love each other, sung from the point of view of a confused, but open minded guy.
Overall, the album is really woke and discusses political and social issues.
You can hear it at 24:56 in the link below.
How did it age? 10/10 Ahead of its time. The straight male narrator is aware and open minded. The message is one of acceptance.
Arnold Layne – Pink Floyd – A Syd Barrett-penned song about a crossdresser with a strange hobby, stealing women’s clothing from clotheslines in their backyards. A quirky song from the psychedelic era of Pink Floyd. It’s worth watching the low budget music video for it where they ran around by the shore wearing masks and dressed up a mannequin. As someone who loves vintage clothing, gotta love their dress sense, since that’s what I aspire to look like (except a bit more feminine).
How did it age? 2/10 I know it’s based on a real guy in Cambridge, but don’t play this at Pride. Not a good representation of drag queens.
David Watts – The Kinks – A song about a real guy named David Watts, who was a music promoter and actually had a crush on Dave Davies. Music journalist Jon Savage considers this song to be one of Ray Davies’ most homoerotic songs. The lyrics are from the point of a boring, simple guy who has a boy crush on the refined, stylish David Watts.
Not only does he have a boy crush on David Watts, David Watts is gay, described in the song as “so gay and fancy free” and that “all the girls in the neighbourhood try to go out with David Watts… but can’t succeed.”
How did it age? 10/10 Well enough, this is pride-friendly.
She’s a Man – Tages – A psychedelic song by Swedish band Tages. Probably about a drag queen.
How did it age? 3/10 I don’t think the representation was positive necessarily and we don’t use dead names anymore. At least there’s no using the wrong pronouns? All I know is the language in the song wouldn’t be acceptable today.
Triad – The Byrds – A song about a threesome. A man sleeps with two women, presumably the women are bisexual.
How did it age? 10/10 It’s free love hippie stuff. Everyone seems happy and it’s consensual.
Born a Girl – Pleasure – Obscure song by an unknown band called Pleasure. Some people classify this as a Northern Soul song. So we’ll have to analyse the lyrics.
“You should have been a boy, but you were born a girl.”
I couldn’t tell if this song is about a trans woman or a tomboy. Two different ways you could go with this one. They might be talking about the brain/body or sex/gender mismatch, also known as dysphoria or a cisgender woman who is in touch with her masculine side.
It has a nice piano break and I like the harmonica. Regardless, it’s a song with a gender theme.
How did it age? Since I really don’t know the meaning of this. To be safe, don’t play this at Pride.
Emmie – Laura Nyro – This song off her classic album, Eli and the Thirteenth Confession, is considered the first lesbian love song. Laura Nyro herself was bisexual and had relationships with both men and women.
How did it age? 10/10 It’s a cute song. Nothing harmful about it. Just a woman loving another woman.
I Love You Alice B. Toklas – Harper’s Bizarre – This song was used in the romantic comedy of the same name starring Peter Sellers, who plays lawyer Harold Fine. Harold is engaged to Joyce and they live a very square life. Joyce makes Harold set an exact date for their wedding. They argue about it while Harold is trying to pull out of a difficult parking space. A car is blocking their way, they try to move it, and it rolls into their car. While the car is being repaired, the only loaner available is a colourful hippie station wagon. Harold hesitates, but reluctantly takes it. The car is foreshadowing for what is about to happen. A change in life, some pot brownies (hence the movie title), and a pretty girl.
Alice B. Toklas wrote a cookbook that had a recipe for pot brownies. She was in a nearly 4 decade long relationship with writer Gertrude Stein. Both partners were part of the Parisian avant-garde scene in the early 20th century.
In 1946, Stein passed away, leaving Toklas widowed. Toklas passed away in Paris in 1967 at the age of 89.
How did it age? 10/10 Harmless sunshine pop theme song for a movie that really doesn’t have much to do with Alice B. Toklas. The song was released only the year after homosexuality was decriminalised and it makes no secret that Alice and Gertrude were a couple.
Sister Ray – The Velvet Underground – The studio version of this song is on the album, White Light/White Heat and is a 17 minute experimental epic that talks about 8 characters. When played live, it was as long as 30 minutes.
Many of the characters are drag queens and Sister Ray is a crossdressing smack dealer. They end up having an orgy. A fitting distorted, fractured guitar sound accompanies the story.
Of the song, Lou Reed said, “It was built around this story that I wrote about this scene of total debauchery and decay. I like to think of ‘Sister Ray’ as a transvestite smack dealer. The situation is a bunch of drag queens taking some sailors home with them, shooting up on smack and having this orgy when the police appear.”
How did it age? 7/10 Not a positive representation, but it’s a fictional story and it’s no “Arnold Layne”. Not a family-friendly song because of the discussion of drugs and sex, but the Velvet Underground aren’t the best band for G-rated music. That said, it’s a good song.
Something Strange – The Herd – A psychedelic pop song that tells the story of a boyfriend and girlfriend who go on holiday away from watchful eyes. The boyfriend thinks he’s happy. Later, the girlfriend is sick and gets bedrest in their room, the boyfriend “takes a stroll in the jasmine scented night, gay voices beckon to some new delight.” When they are on their way home, they sit by each other, but it’s not the same.
This song can be interpreted as being about either a gay or bisexual man who is in the closet who leaves his girlfriend and sleeps with a guy. I don’t think gay meant happy in this context.
How did it age? 10/10 The guy is hopefully going to come to terms with his sexuality. His sexuality is not viewed in a negative way. The something strange to me seems like they aren’t in love anymore.
The American Way of Love – The United States of America – A psychedelic song that mentions drag queens and encounters in the men’s room. Marrying electronic sounds with rock and roll and talking about current events, the band’s sound was avant-garde and political.
This song is no exception, starting with a Jefferson Airplane/Guess Who/Steppenwolf-esque sound, mixing it with circus/jazzy kind of music, taking a heavier and more experimental (like a proto-Hawkwind) turn in the second part of the song. The song ends with a soft sort of classical sound mixing in psychedelic sounds.
How did it age? 10/10 It’s fun, crazy, experimental, and unique. Nothing offensive.
Candy Says – The Velvet Underground – This soft song is about Candy Darling and mentions gender dysphoria in the lyric, “Candy says I’ve come to hate my body”. In the song, it seems like Candy wants to fit in and be happy. Unfortunately, Candy Darling died five years after the song was released at the age of 29. She never got any transition surgeries.
How did it age? 10/10 It’s sadly a reality that many trans people can’t transition and do what they need to do to feel comfortable in their bodies.
Get Back – The Beatles – Has a verse that starts “Sweet Loretta Martin thought she was a woman, but she was another man.” The song is all about reversal and maybe this is a reference to gender dysphoria. It seems like Loretta was a crossdresser or a trans woman.
How did it age? 4/10 So many different ways to interpret this song. The song was a jam that evolved and had a theme of people changing and reversing. I’m sure the Beatles didn’t have malicious intentions when writing this so I’ll give them a break here. I’m not sure why she needs to get back? The language has changed a lot over time.
Honky Tonk Women – The Rolling Stones – The Rolling Stones released this single on 4 July 1969. The inspiration behind this song came from when they went to Brazil on holiday, particularly inspired by the caipiras who lived in the rural areas.
This song also has a lot of Southern American inspirations too, as a honky-tonk is a country music bar, where there are women who dance.
The lyrics mention a drag queen: “I met a gin soaked, bar-room queen in Memphis,
She tried to take me upstairs for a ride. She had to heave me right across her shoulder ’cause I just can’t seem to drink you off my mind.”
How did it age? 10/10 I don’t think this song is harmful.
Leave This Lesbian World – Improved Sound Ltd – Krautrock band Improved Sound Ltd released this psychedelic experimental song about a girl who was assaulted and is told to leave this lesbian world and be with men.
The drum track is reversed. Krautrock bands like Neu! did similar things with their sound, remixing tracks, speeding them up, slowing them down, and playing them backwards.
How did it age? 0/10 The song doesn’t understand sexuality and I don’t think that’s how you speak to a rape victim. I get some misogynistic vibes from this.
Polythene Pam – The Beatles – This short song was part of the classic Abbey Road Medley. It goes “Well you should see Polythene Pam, she’s so good looking but she looks like a man. Well you should see her in drag dressed in her polythene bag.”
How did it age? 0/10 It’s transphobic, no way around that.
Stop the World and Let Me Off – The Flaming Ember – This Detroit blue-eyed soul band recorded this song about a woman leaving a man for another woman. The narrator seems to be heartbroken.
This song was released as a single in 1969, but also on their 1971 album, Sunshine.
How did it age? 9.5/10 I feel bad for the narrator, he’s heartbroken. He doesn’t say anything homophobic to the woman or anything biphobic to his ex. This song shows you can be heartbroken without being hateful. It may not fit the pride mood, but it’s a good song.
And They Lazed on the Verandah – Fresh – Off their album, Out of Borstal, is this song about two guys having sex in prison, written by Peter Sarstedt. Simon Napier-Bell, who managed The Yardbirds and Marc Bolan, produced this album.
The song tells a story of men who turn to other men to fulfil their sexual needs while in prison.
You can find more information on the song here.
Lola – The Kinks – This list isn’t complete without “Lola”. Many older trans women felt that this song gives them a feeling of acceptance. The song is based on a story about the Kinks’ manager Robert Wace dancing with a trans woman in Paris.
The song describes a man going to a club and dancing with a trans woman named Lola. She has a deep voice and is very strong. The guy figures out that she’s trans and he’s confused, but in the end he has respect for Lola.
My personal favourite lyric in the song is “girls will be boys and boys will be girls. It’s a mixed-up, muddled-up, shook up world, except for Lola.”
Drummer Mick Avory had a different explanation, saying that the song was inspired by him frequenting trans bars. He said that because of the band’s name, they had a lot of transgender and drag queen fans.
A nice little bonus is Lola is mentioned a decade later in the song “Destroyer”.
How did it age? 8/10 Lola isn’t represented poorly at all, especially considering the time period, it’s not perfect to today’s standards (with lyrics like “I’m not dumb but I can’t understand why she walked like a woman, but talked like a man”) but that was almost 50 years ago. Lola isn’t being misgendered, which is great, can’t say that about “Sex Change Sadie.”
Some might say that the description of Lola as strong and having a deep voice is a bit stereotypical, but today people are transitioning younger and younger and surgeries are getting better, making it easier to pass.
“Lola” is a fan and band favourite and an essential if you’re getting into The Kinks. It’s a safe enough song to play. Know your audience.
Schoolboy Blues – The Rolling Stones – Also known as “Cocksucker Blues” (of which a documentary of the same name was made in 1972), the song is a parody of Dr John’s “The Lonesome Guitar Strangler”.
The Rolling Stones needed to release one more single to fulfil their contractual obligations to Decca Records. Mick Jagger decided to release an explicit song that mentions oral and anal sex to upset the executives at Decca. For obvious reasons, the song was never released at the time, but it appeared on compilation albums and bootlegs.
Decca got their revenge by releasing a compilation album around the time the Stones were to self-release their new album.
How did it age? I can’t give it a solid rating, but I don’t think there’s necessarily any homophobia in it, nor was that the intention. I think the Rolling Stones just wanted to be edgy for the sake of it and piss off the squares at the record label. Either way, I wouldn’t put this on a playlist, not just because of the language, but because it’s not The Stones’ best work.
Andy Warhol – David Bowie – Simply put, it’s an acoustic song about one of David Bowie’s biggest inspirations. Andy Warhol was openly gay before the gay liberation movement took off.
The song opens up with some outer space like sounds with David Bowie correcting producer Ken Scott’s pronunciation of Warhol before the acoustic part begins.
How did it age? 10/10 It’s a nice tribute to Andy Warhol. Play it if you like him.
Hey Willy – The Hollies – This edgy hard rocking song is about a drag queen, known as Billy at home and called silly by his father, but known as Sadie in the clubs. Willy/Sadie is pretty and confident.
How did it age? 8.5/10 From what I can tell, it’s about a drag queen who is a rocker and is having a good time. Not really offensive. It’s a good song so play it (loud).
It Ain’t Easy – The Sad – Obscure glam rock song that tells the story of a bisexual man and how his wife isn’t the most accepting of it, but he’s proud of his sexuality.
Two standout lyrics: “I go to parties on my own, but not for long am I alone. There’s always some young girl or even boy inside and I don’t care which one I take home at night.” And “I’m not to blame for how I am. And what’s more, I don’t give a damn. I’m not ashamed to be a king of all the queens.”
How did it age? 10/10 Bisexuals may relate to this. We’re not always accepted by either straight or gay people, being called too gay or too straight. If you like obscure 70s rock, go for it and put it on a pride playlist. It’s catchy.
Oh! You Pretty Things – David Bowie – Well known for the lyric, “You got to make way for the homo superior.” Nietzsche, Aleister Crowley, and Edward Bulwer-Lytton inspired this lyric and song generally with an idea of aliens coming to take over, but this could be interpreted as having a gay and sexual liberation theme. It’s all how you look at it.
Begins with a nice piano by Rick Wakeman (who would later on go on to join Yes) before going into the catchy chorus.
How did it age? 9/10 If you have a problem with the term, “homo” then leave it off your playlist. Personally, I don’t think it’s a problem because David Bowie was bisexual.
Queen Bitch – David Bowie – Tribute to Lou Reed, sound is reminiscent of his Velvet Underground songs, especially the guitar. The particular song lyric that references homosexuality and crossdressers are “I’m up on the 11th floor and I’m watching the cruisers below. He’s down on the street and he’s trying hard to pull sister Flo,” Cruiser is slang for gay man. The Queen Bitch is likely a trans woman.
The song is written from the point of view of a guy looking up from a high rise hotel, seeing a guy he fancies going for a prostitute, sister Flo. He’s upset and says that he can do better than that, but with a little jealousy. The narrator later on laments that he couldn’t be with the guy he likes and he leaves because he feels bad.
How did it age? 10/10 It’s a fun, energetic song, one of his best pre-Ziggy songs. No misgendering here.
Sex Change Sadie – Honeycombak – A song telling the story of a trans woman or drag queen (I’m thinking trans though) addressed as “Sex Change Sadie”. She is described as a “strange boy wearing girlie’s clothes”.
The chorus goes “Sex Change Sadie, he thinks she’s a lady. Sex Change Sadie, no one really knows, Sex Change Sadie, he can’t have a baby”
The song mentions places in London like Piccadilly Circus, Leicester Square, and Woodford Green, and how there are “boys just like him there”.
How did it age? 0/10 Holy misgendering Batman! I wouldn’t say it has a good representation of trans people from the nickname “Sex Change Sadie” to using male pronouns to reducing her to a man wearing women’s clothing, and portraying her as some sort of oddity. This is a good guide on how not to refer to a trans person.
Another way I saw the “he thinks she’s a lady” lyric was that a guy saw the drag queen and thought she passed well. Either way, it’s not a positive representation because the whole trans people “tricking” cis people stereotype is offensive.
From the production value to the social attitudes, it’s easy to tell this is a product of the early 70s. It’s admittedly catchy proto-glam rock, but don’t play it at pride.
Walk on the Wild Side – Lou Reed – Can’t leave off this classic song that name drops famous trans Warhol Superstars like Holly Woodlawn, Candy Darling, and Jackie Curtis. Bisexual actor Joe Dallesandro is mentioned as well. The song was ground breaking, discussing trans people, drugs, male prostitution, and oral sex.
Holly Woodlawn is described as leaving Miami after being bullied, hitchhiking, and transitioning to female. Candy Darling is mentioned doing sex work to survive while trying to achieve fame. Jackie Curtis is mentioned speeding away in a car, crashing and imagining she was James Dean.
How did it age? 8.5/10 Lou Reed paid respect to all these icons in this song, telling their stories.
I found a lot of information on this website, Queer Music Heritage. Give the website a visit if you want to learn more about LGBT history in music (not just classic rock). The website is really comprehensive and talks about so many different genres.
Enjoyed this post? Read part two.
Did I miss a song or do you have a different interpretation of these songs? Hear a new jam? Share your thoughts in the comments section below. 😃
CategoriesThe Diversity of Classic Rock
Tags1960s, 1970s, 60s, 70s, Bisexual, classic rock, crossdressing, Drag, Drag Queens, Gay, history, Lesbian, LGBT, LGBTQ, music, representation, Transgender, Transsexual
Review and Profile: Little Man’s new single: BLVD
Interview: Jae Murphy of Via Novus
LGBT Musicians from the 1960s-1980s – The Diversity of Classic Rock 01/06/2018 at 14:42
[…] Want to learn more about LGBT history in classic rock? Read my post about classic rock songs about LGBT people. […]
🏳️🌈 The LGBT Songs of Classic Rock: Part 2 1972-1988 🏳️🌈 – The Diversity of Classic Rock 13/06/2018 at 12:32
[…] case you missed it, you can read the first part of the series here. You can also read a post I wrote about LGBT rock stars […]
Philip Lukehart 09/07/2018 at 09:44
You need to participate in a contest for probably the greatest blogs on the web. I’ll recommend this website!
angiemoonthemod 09/07/2018 at 11:00
Thank you! 😃
Thoughts on Ariana Grande headlining Manchester Pride – The Diversity of Classic Rock 27/02/2019 at 16:13
[…] in a video or album. Again, I think there are better LGBT anthems, which I outline in these posts (Part 1: LGBT songs of the 60s and early 70s) (Part 2: LGBT songs of the 70s and 80s). I have bigger issues than Ariana Grande songs. Honestly, […]
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USC Longevity Institute and Valter Longo Labs
HOW TO STAY YOUNG
10 Tips for Longevity
Daily Longevity Diet
Exercise and Longevity
Recipes of Longevity
FOR DOCTORS AND POTENTIAL PATIENTS
Neurodegenerative Diseases
Professor Guido Kroemer
Professor, Faculty of Medicine, University of Paris Descartes; Director, Apoptosis, Cancer and Immunity Research Team, French Medical Research Council (INSERM); Director, Metabolomics and Cell Biology Platforms, Gustave Roussy Comprehensive Cancer Center; Physician, Hôpital Européen George Pompidou, Paris, France; Foreign Adjunct Professor, Karolinska Institute, Stockholm, Sweden.
Dr. Kroemer received his Ph.D. and M.D. degrees from the University of Innsbruck, Austria in 1985, and completed his post-doctoral training at the Collège de France, Nogent-sur-Marne. He subsequently earned a Ph.D. in molecular biology from the Autonomous University of Madrid in 1992. Prior to joining INSERM in 1994, he was a senior scientist with the European Community at the Spanish National Research Council (CSIC), the National Center of Molecular Biology, and the National Center of Biotechnology.
Known for his groundbreaking work in the fields of cell biology and cancer research, Dr. Kroemer is credited with the discovery that the permeabilization of mitochondrial membranes constitutes a decisive step in programmed cell death. He has published more than 1,000 scholarly papers in top journals, including Science, Cell, and Nature.
In addition to his academic appointments, he is the current director of the Paris Alliance of Cancer Research Institutes (PACRI) and LabEx Immuno-Oncology; the founding director of the European Research Institute for Integrated Cellular Pathology (ERI-ICP); and the founding president of the European Academy of Tumor Immunology (EATI).
Professor Brian Kennedy
Professor Valter Longo, Ph.D
Professor Frank Madeo
Doctor Raffaele Vardavas
Copyright © 2019 Create Cures Foundation.
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Tag: Russia
[150] Matt Taibbi On Russiagate Collapse & $21 Trillion at Pentagon
This post was published at Redacted Tonight
David Stockman explains why Russia is not a threat to the US – July 23, 2018
The RussiaGate Witch-Hunt—The Deep State’s “Insurance Policy”
There was a sinister plot to meddle in the 2016 election, after all. But it was not orchestrated from the Kremlin; it was an entirely homegrown affair conducted from the inner sanctums—the White House, DOJ, the Hoover Building and Langley—-of the Imperial City.
Likewise, the perpetrators didn’t speak Russian or write in the Cyrillic script. In fact, they were lifetime beltway insiders occupying the highest positions of power in the US government.
Here are the names and rank of the principal conspirators: John Brennan, CIA director; Susan Rice, National Security Advisor; Samantha Power, UN Ambassador; James Clapper, Director of National Intelligence; James Comey, FBI director; Andrew McCabe, Deputy FBI director; Sally Yates, deputy Attorney General, Bruce Ohr, associate deputy AG; Peter Strzok, deputy assistant director of FBI counterintelligence; Lisa Page, FBI lawyer; and countless other lessor and greater poobahs of Washington power, including President Obama himself.
To a person, the participants in this illicit cabal shared the core trait that made Obama such a blight on the nation’s well-being. To wit, he never held an honest job outside the halls of government in his entire adult life; and as a careerist agent of the state and practitioner of its purported goods works, he exuded a sanctimonious disdain for everyday citizens who make their living along the capitalist highways and by-ways of America.
This post was published at David Stockmans Contra Corner on Monday, December 18th, 2017.
Obama DOJ Didn’t Bother To Interview FBI Informant Before Filing Charges In Uranium One Scandal
Do you ever get the sense that with certain investigations, primarily those targeting conservatives, the FBI has a tendency to dot every ‘i’, cross every ‘t’ and pursue charges at all costs, no matter how minor, but with others (think Hillary’s email scandal) even the most glaring violations of federal law seem to go unpunished?
For example, compare and contrast the Flynn charges versus how the Hillary email investigation was conducted by the Comey-led FBI. On the one hand, Flynn held perfectly legal conversations with the Russian ambassador to the United States AFTER the U. S. presidential election, a common practice for presidential transition teams, yet for some inexplicable reason, probably having something to do with fears of being charged with a bogus ‘Logan Act’ violation in Mueller’s Russian collusion witch hunt, decided to lie about them during interviews with the FBI. As a result of his lies, Flynn has now plead guilty to two counts of false statements, has been ruined financially by mounting legal bills and could end up serving jail time.
On the other hand, compare that outcome to the Hillary email scandal where there is tangible evidence and first-hand testimony that Hillary and her team knowingly violated a Congressional subpoena by deleting 33,000 emails, habitually destroyed evidence with hammers so it could never be recovered and routinely compromised American national security interests by sending “Top Secret” communications via unsecured channels…something that Comey originally defined at “gross negligence” even though he later changed his language to “extreme carelessness” to assure that Hillary could never be pursued with criminal charges. So what were the punishments for all those federal crimes? Well, rather than pursue charges against Hillary and/or various members of her staff the FBI decided to “hand out immunity deals like candy.”
Now, in just the latest bit of evidence that the Justice department has been politically compromised, we learn from John Solomon of The Hill that the DOJ didn’t even bother to interview a key FBI informant before filing criminal charges in the Uranium One scandal back in 2014.
While he was Maryland’s chief federal prosecutor, Deputy Attorney General Rod Rosenstein’s office failed to interview the undercover informant in the FBI’s Russian nuclear bribery case before it filed criminal charges in the case in 2014, officials told The Hill. And the prosecutors did not let a grand jury hear from the paid informant before it handed up an indictment portraying him as a ‘victim’ of the Russian corruption scheme or fully review his extensive trove of documents until months later, the officials confirmed.
RT & Michael Flynn: Is That The Case Mueller Is Going To Make?
With every other attempt to put together a convincing Russiagate case having failed – the indictments against Manafort, Gates and Papadopoulos make no allusion to the collusion allegations at the heart of it, and the FBI has now admitted to Congressional investigators that it cannot verify the Trump Dossier, the document which appears to have triggered the whole inquiry – it seems that the pressure is now increasingly on Michael Flynn.
Shortly after the indictments against Manafort, Gates and Papadopoulos I speculated that an indictment against Flynn might be pending. News that his lawyers have broken contact with the President’s lawyers hardens that suspicion. There are also rumours that Special Counsel Mueller may also be considering an indictment against his son.
The trouble is that nothing that is known about General Flynn’s activities during the 2016 election campaign give any reason to think that he was involved in any sort of illegal collusion with the Russians.
The only case that can convincingly be made against him is that he failed to register under FARA in connection with paid lobbying work he did for a foreign government. However the government in question is Turkey not Russia.
I wonder whether this may explain the otherwise highly oppressive and legally dubious decision to force RT to register under FARA as a foreign agent?
Flynn did appear on RT on a number of occasions, and did attend an RT dinner where he was famously photographed sitting at the same table as President Putin.
FBI Warns Of Growing Threat Of Left-Wing Violence
Via Greg Hunter’s USA Watchdog blog,
Best-selling author Edward Klein’s latest best-selling book is called ‘All Out War: The Plot to Destroy Trump.’
Klein reveals that this plot started in the Obama White House just weeks after Donald Trump won the 2016 election. Klein explains,
‘Susan Rice was invited to come to a dinner party and give the President (Obama) a plan, and her plan was to unmask the names of Donald Trump associates who had been inadvertently picked up by electronic intercepts by the National Security Agency (NSA). The names of these Americans were supposed to remain confidential. She (Susan Rice) suggested they would be unmasked, meaning they would become public, and they would be distributed widely throughout the intelligence community. Inevitably, therefore, she admitted those names would be leaked to the mainstream media (MSM), and the story would begin that there was collusion between Donald Trump and the Russians. This, of course, was always a fairytale because we have had an investigation going on for more than a year and a half, and no one has come up with a scintilla of evidence to prove that…
She (Susan Rice) wasn’t doing anything illegal, but clearly she was doing something unethical, to put it mildly, because President Obama and his national security advisor were using the intelligence community as a weapon against their political enemy Donald Trump.’
Why Is The DOJ Downplaying Reports Of Proof Linking Obama And Clinton To Russian Corruption
Following the release of the identity of the FBI informant, Justice Department officials in recent days said that informant William Campbell’s prior work won’t shed much light on the U. S. government’s controversial decision in 2010 to approve Russia’s purchase of the Uranium One mining company and its substantial U. S. assets.
However, The Hill’s John Solomon has reviewed 1000s of new memos from an FBI informant that clearly show illegal activity surrounding a Russian plot to corner the American uranium market, ranging from corruption inside a U. S. nuclear transport company to Obama administration approvals that let Moscow buy and sell more atomic fuels.
FBI Informant Has Video Of Russian Agents With Briefcases Of Bribe Money In Clinton-Uranium Scandal
An undercover FBI informant in the Russian nuclear industry who was made to sign an ‘illegal NDA’ by former AG Loretta Lynch, claims to have video evidence showing Russian agents with briefcases full of bribe money related to the controversial Uranium One deal – according to The Hill investigative journalist John Solomon and Circa’s Sara Carter.
The informant, whose identity was revealed by Reuters as William D. Campbell, will testify before congress next week after the NDA which carried the threat of prison time was lifted. Campbell, originally misidentifed by Reuters as a lobbyist is actually a nuclear industry consultant who is currently battling cancer.
As previously reported, Campbell was deeply embedded in the Russian nuclear industry where he gathered extensive evidence of a racketeering scheme involving bribes and kickbacks.
‘The Russians were compromising American contractors in the nuclear industry with kickbacks and extortion threats, all of which raised legitimate national security concerns. And none of that evidence got aired before the Obama administration made those decisions,’ a person who worked on the case told The Hill, speaking on condition of anonymity for fear of retribution by U. S. or Russian officials. -The Hill
Next-Generation Crazy: The Fed Plans For The Coming Recession
Insanity, like criminality, usually starts small and expands with time. In the Fed’s case, the process began in the 1990s with a series of (in retrospect) relatively minor problems running from Mexico’s currency crisis thorough Russia’s bond default, the Asian Contagion financial crisis, the Long Term Capital Management collapse and finally the Y2K computer bug.
With the exception of Y2K – which turned out to be a total non-event – these mini-crises were threats primarily to the big banks that had unwisely lent money to entities that then flushed it away. But instead of recognizing that this kind of non-fatal failure is crucial to the proper functioning of a market economy, providing as it does a set of object lessons for everyone else on what not to do, the Fed chose to protect the big banks from the consequences of their mistakes. It cut interest rates dramatically and/or acquiesced in federal bailouts that converted well-deserved big-bank losses into major profits.
The banks concluded from this that any level of risk is okay because they’ll keep the proceeds without having to worry about the associated risks.
At this point – let’s say late 1999 – the Fed is corrupt rather than crazy. But the world created by its corruption was about to push it into full-on delusion.
The amount of credit flowing into the system in the late 1990s converted the tech stock bull market of 1996 into the dot-com bubble of 1999, which burst spectacularly in 2000, causing a deep, chaotic recession.
This post was published at DollarCollapse on NOVEMBER 17, 2017.
Identity of Secret Informant In FBI’s Clinton Probe Unveiled
More information about the Congressional probes into the Obama-era Uranium One deal leaked out Thursday when Reuters reported that Senate Republicans say their investigation into the Clinton’s role in approving the deal largely hinges on the testimony of a secret informant who was until recently the subject of a federal gag order.
But a month after Trump asked the DOJ to lift the gag order – a command that the DOJ promptly obeyed – the man has decided to speak out publicly for the first time in an interview with Reuters.
His name is Christopher Campbell, and was formerly a lobbyist for Tenex, the US-based arm of Rosatom, the Russian government’s nuclear agency.
At the time the Uranium One deal was approved, Campbell was a confidential source for the FBI in a Maryland bribery and kickback investigation that eventually led to the conviction of the head of the US unit of Rosatom, the Russian state-owned nuclear power company that received permission to buy Uranium One from a US strategic-resources panel, on bribery and corruption charges. Campbell was identified as an FBI informant by prosecutors in open court and by himself in a publicly available lawsuit he filed last year, but his identity as the informant was somehow not widely known, Reuters noted.
At Last – Clinton Foundation Gets Investigated
What goes around, comes around. The Washington Post has reported that the Department of Justice has instructed the US Attorney’s Office to investigate the controversial sale of a uranium group to Russia during the presidency of Barack Obama and the role of the Clinton Foundation. The Obama administration approved the deal in 2010 giving Moscow control of a much of the American uranium sources. It turns out that the FBI had gathered significant evidence that Russian nuclear industry officials were engaged in bribery, kickbacks, extortion and money laundering to get the deal in the USA. According to a letter released on Monday, Justice Secretary Jeff Sessions instructed the prosecutors to consider, inter alia, the appointment of a special investigator and an extension of the investigation.
Sessions Considers Appointing Special Counsel To Investigate Clintons
With Special Counsel Robert Mueller reportedly preparing to make another round of arrests in his probe into the Trump campaign’s efforts to ‘collude’ with Russia, House and Senate Republicans – not to mention President Donald Trump – will be thrilled to learn that Attorney General Jeff Sessions might soon appoint a second special counsel to investigate allegations of corruption and self-dealing involving several prominent Democrats and Obama-era officials, including Bill and Hillary Clinton.
According to the Washington Post, Attorney General Jeff Sessions is entertaining the idea of appointing a second special counsel to investigate alleged wrongdoing by the Clinton Foundation and the controversial sale of a uranium company to Russia. A letter obtained by WaPo shows Sessions directed senior federal prosecutors to explore at least some of these matters and report back to him and his top deputy, Rod Rosenstein, as to whether the DOJ should follow up with a full-blown investigation.
For months now, President Trump has encouraged Sessions to appoint a special prosecutor to investigate the Clintons. Those calls grew louder – and were joined by several senior Republicans in Congress – after it was revealed that the DNC and the Clinton campaign jointly financed the infamous ‘Trump dossier’ – which contained several salacious claims that the FBI reportedly used to justify launching the original investigation into collusion between the Trump camp and Russia back in July 2016.
RUSSIA CONSIDERS DESIGNATING CNN, VOICE OF AMERICA AS FOREIGN AGENTS
Editors Note: This is interesting when you consider the fact that ‘news’ outlets such as CNN seemingly do work for the globalist establishment which has no allegiance to any one country but absolutely does lobby against the betterment of various countries across the world.. Designating them as foreign agents would not be devoid of truth.
Russia is considering designating CNN, Voice of America and Radio Liberty as foreign agents, now that the U. S. has forced state-run RT to register as a foreign agent.
Russian officials said Friday that they’re thinking of making private and government-run American media entities register as foreign agents, which is exactly what Russia warned it would do if American authorities moved to censure RT, The New York Times reports. Such a move could prevent CNN and other U. S. state-owned media entities from operating or distributing content in certain areas.
This post was published at The Daily Sheeple on NOVEMBER 11, 2017.
Podesta Group “Will Not Exist At The End Of The Year”
While all eyes (from the left and the establishment right) remain on Trump (daring to shake Putin’s hand this weekend), the mainstream media appears to be missing the news that the lobbying firm founded by longtime Democratic operative Tony Podesta is reportedly on the verge of shuttering after being swept up in special counsel Robert Mueller’s Russia probe.
Just three weeks after we reported that special counsel Mueller was targeting lobbying firm Podesta Group. and just two weeks after Tony Podesta resigned from his position at the firm he founded, The Hill reports that Kimberley Fritts, the Podesta Group’s chief executive, told employees on Thursday that the firm would not exist at the end of the year and that they would likely not be paid through the end of November, sources told CNN.
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Pantera Capital Opens Third Crypto Venture Fund, $71M Raised So Far
Pantera Capital is looking for investors for its third crypto venture fund. The first investment is in Bakkt, the new project backed by a lot of high-profile names, including the NYSE parent company.
by Satanislav Milanov
Pantera Capital, one of the largest institutional investors in the cryptocurrency space, is starting its third fund, according to a filing with the United States Securities and Exchange Commission (SEC). Funding for the Venture Fund III began on July 31 and has currently attracted $71.44 million.
The document does not reveal many more details, except that 90 investors have contributed to the project so far. The total goal of the fundraiser is specified as „infinite”, though a report from TechChurch claims it to be $175 million. No matter the target, even the funds raised so far outweigh the initial capital of some previous Pantera funds – the Venture Fund II raised $13 million in 2016, while the ICO Fund gathered $25 million in 2017.
The new fund has already announced its first investment - in Bakkt (pronounced “backed”), the massive project developed by Intercontinental Exchange, the parent company of the New York Stock Exchange (NYSE). Other key names behind it are Microsoft and Starbucks. The initial version of the product will be launched in November, with one-day delivery Bitcoin futures being the main highlight.
Venture capital investing is traditionally one of the riskiest forms of investing, as these funds usually back multiple startups. The hope is that a few of them will eventually become successful and cover the losses experienced in the rest (and earn a significant profit). Their performance, however, is often quite volatile. Adding the inherit significant swings in the cryptocurrency space on top of that, one can imagine Pantera’s results. They have been extremely good and quite disappointing at various points in time.
by Satanislav Milanov, 16 August 2018
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You are here:Home / Limyaael Rants / Changing Characters & Themes
Limyaael's Rant #111: Changing Characters & Themes
Mainly this applies to long series, or multiple series with the same themes. I’ve written both, and noticed some of the same problems in each. Some advice to keep the characters changing, in the service of change rather than static formulas.
(Of course, static formulas may be fun depending on the genre. Mysteries and romances often thrive on them. But if it’s not obvious by now, I think fantasy can be more than that. Yes, I am biased. Fantasy kicks much ass).
1) Make sure to change your lead character’s personality over time.
This is one reason I find it hard to read hard-boiled detective series; the detective always seems to have the same baggages, the same methods of doing things, the same lines. They evolve beyond character quirks into strict outlines the character must fit- or rather, they don’t evolve at all, which is the problem. The only one of these series I ever managed to enjoy was Raymond Chandler’s Philip Marlowe series, probably because of Chandler’s language.
This static nature can kill a fantasy series, since very few of them have the structure of repeated adventures that a detective series does (another of Chandler’s saving graces). Most fantasies tell an advancing story, about saving the world or completing a quest or fighting a war or building a society- or should. An unchanging main character is a grand way to make it seem as if the story isn’t advancing at all.
Give your lead character problems that alter him permanently. Make him suffer. Make him grow (or lose) in magic. Shake his whole world up in one novel and show him dealing with that in the next. Above all, don’t let healing processes take him right back to the person he was before. I detest the scene- and it comes in most fantasy novels- where a character wakes from a coma or returns from a mission or comes out of depression, and “smiled the same way he always did.” He wouldn’t smile the same way he always did. It might not be weaker, if the experience strengthened him, but it should be changed.
I think the need for change is greater, not less, when dealing with immortal characters and long stretches of time in a book or between one book and another. Otherwise, your immortal characters become lifeless caricatures, a la most fantasy elves, and the years mean literally nothing. Only if you’re really going for this should you leave immortal characters the same, and that makes it all the harder for readers to relate to them. Most authors don’t hesitate to give immortal characters physical advantages. Why strip all emotional complexity from them as a punishment?
2) Keep count of the years.
If you have a ten-year-old character at the beginning of the novel, and by the end seven years have passed, the character should be seventeen. I know, this is probably the most obvious thing you ever heard in your life, but it gets ignored in a lot of fantasy series. To an extent the blame can be laid at the feet of series in other genres, such as the endless high school series like Sweet Valley Twins where the characters never age, but a lot of it is people not wanting to alter their characters again. The seventeen-year-old acts as calm and submissive, or as defiant and nasty, as the ten-year-old, with no change at all.
A lot of people do try to make some adjustment for teenagers, but even there, change happens up to a certain point and then stops. The hero who lost his “true love” at sixteen will still be brooding about this ten years later, when he’s twenty-six, with no sign that he’ll ever stop, unless the author just as mechanically strips him of grief and brings in a new “true love.” Time doesn’t appear to touch the character’s personality at all, never mind his wounds.
A comparison with yourself can be valuable here. Imagine what you were like ten years ago. What did you care about? Now ask yourself how many of those same things you still care about.
Most people lament the passing of favorite cartoons, fads, foods, toys, concerns, and so on with, “Oh, yeah! I remember that!” Why not adapt that to the fantasy world? Why does the hero always recognize the heroine at once when she comes walking up to his door ten years later? Why not have him squint his eyes, stutter around her, and perhaps even have forgotten that incident she was referring to?
3) Incorporate mortality as well as eternity.
Often, deaths in fantasy are excused with some tale of an afterlife, or the idea that “Well, they died in the service of a higher purpose, so it’s all to the good.” This diminishes grief, and, I think, is one of the reasons that fantasy characters can seem to go unmarked (except in the most superficial ways, such as the frozen PTSD-like reaction I mentioned earlier) by death and loss. Mortality is tucked away. Loss dies a death. Characters are deposited in front of elves to watch them sing, say, “Oh, how sad,” and then hustled away to a new pretty thing, without ever thinking of the elves again.
I don’t usually think much of Tolkien as a characterizer, but he manages to evoke sadness with a master’s hand. The Fellowship sees beautiful things (Lothlórien, for example) that are dying, and then the Elves leave Middle-earth, and the appendices of the books conclude with the dying or passage over the sea of the major characters. It’s one of the things that makes Middle-earth seem like a complete world, that it can have an end.
Mortality can change your characters. If your sheltered princess, who’s never been in any danger before, comes near an assassin’s knife, what is she going to think? It should affect her far more profoundly than a little faint and screaming fit, and it shouldn’t be completely soothed away by one of the other characters saying he’ll protect her.
4) Don’t contain change just because the story is self-contained.
Don’t end a story or series or book with the assumption that the character isn’t going to change any more. I roll my eyes when the characters appear to be perfectly in love, when the royal pair is perfect for the throne, when everyone predicts perfect children and no more threats for them. The story ends there, and with it, the characters cease to live. There should be at least doubt for them off the page.
Many authors know the sensation of characters running away from them in the story. The end is your chance to let them run away from you forever. Let the reader wonder what is going to happen. Implant seeds of arguments, perhaps not ones that would tear the couple apart but ones that would happen. Don’t try to imagine their family life; after all, especially if they come from abusive or tragic backgrounds, there’s no guarantee they’ll be perfect parents. Don’t make it clear what kind of life is waiting for them. It could be anything. This is much better than one of those stupid epilogues taking place a few years later that makes it clear the characters have no enemies and the most beautiful children and the most wonderful lives imaginable.
It’s hard to achieve a balance of this and satisfying your readers, of course, but my favorite authors all manage it. Their characters are people, not models the authors are positioning on their stage for their own amusement.
5) Challenge yourself.
This is the best way of avoiding repeating themes. Written two books or two series about saving the world? Do something different next time. Force yourself to write from the perspective of a character who’s the complete opposite of your previous main character. Tackle a different fantasy subgenre. Do research in a different direction. If you wrote an all-human society the first time, do this one from within a non-human society.
Sometimes all that’s needed is a change of setting. I’ve completely ignored Terry Brooks’s Shannara series for a while, because he seems to repeat the same themes and pattern of saving the world in all of them. (His concentration on a few families doesn’t help this). But he wrote an urban fantasy trilogy that I actually enjoyed (Running with the Demon, Knight of the Word, Angel Fire East), because, even though it was also about saving the world, he dealt with a much darker canvas, two main characters in unpredictable patterns, and evil forces not incarnated in mystical objects, the way they tend to be in Shannara.
The comforts of writing a familiar world are, of course, comforts. That can’t be overstated. I know that I’m in danger of being trapped in minutiae in the first world I created; I’m no longer in need of establishing huge political and historical structures, so I write stories that delve into things happening around the edges instead. But these end up connecting back to other stories I’ve already written. I’ve gotten suspicious of myself there. In new worlds, I’m forced to cope with different races and geography and circumstances, and not rely on what I’ve already established.
6) Know when to let go.
I’ve lost all respect for authors like Jordan and Goodkind and R. A. Salvatore, Laurell K. Hamilton and Mercedes Lackey. It went first for their writing ability, and now I get impatient with the way they’re stretching their series. Either they’ve lost all control of their casts of characters, or they’re milking them for money, or both.
It’s probably possible to stretch any story, and even easier with fantasy than with most of them, since they often have a whole new world to play in, large casts of characters to show off, and magical systems to explore. But at some point, you have to leave. Your characters have their own lives to lead (see point 4). If you’re writing a biographical fantasy that’s with them from birth to death, at some point they still have to die. If you’re writing about their children (must you?) those children will pass beyond you, too, especially if you’re faithfully paying attention to point 2 and aging them. Family-centered or dynasty-centered fantasies can be fun, but only if the characters have their own personalities and aren’t just repeats of their ancestors. Too many of them are. At that point, it’s time to wave them on into their own sunrise and go on into your own.
This is a reason that it’s a good idea to develop a sense of the length of a series. If you know that a trilogy will contain it best, don’t start changing your mind about that just to spend more time with the characters, no matter how much you love them. And don’t write another trilogy in continuation if you don’t have something truly new to say.
There’s a special situation that applies when an author isn’t stretching a series for money, love of the world, or love of a family, but because of falling in love with a character. This is yet another reason out of the grand panoply of them to avoid falling in love with your character. Writing book after book about the same character because they’re who you love turns comfortable and boring and eventually unreadable. Most series disintegrate in quality as they lengthen. The only exception I can think of is Terry Pratchett’s Discworld series, and he pays attention to time and past experiences, doesn’t spend every book on the same group of characters, and has changed his writing style from one filled mostly with humor to one filled mostly with satire that cracks down all the harder for being thoughtful and not a joke-a-minute. (And even then, there are people who don’t like his newer books).
Know when to say good-bye, unhood the falcon, and let it fly.
It’s a shame, really, how many stories are spoiled by the characters always being the same over book after book.
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You are here:Home / Limyaael Rants / Using the Insider
Limyaael's Rant #400: Using the Insider
The “insider” in the title of this post means someone who’s a native member of the culture/world you’re writing about, or at least familiar with it. A common worldbuilding trick in fantasy is to bring a visitor, a sheltered innocent, or sometimes a complete alien, as in modern-day people crossing over from Earth, into the picture so you have someone who will ask questions about aspects of the culture and can be Explained At. But outsiders have problems, too, the most pernicious of which is limiting the stories you can tell. Using the other half of the equation and telling fantasy stories with insiders is very far from impossible. And no, it does not need to involve the characters telling each other in monologues what they should have known already.
1) Stories of discovery and revolution.
Instead of discovering an entirely new world, stories like this take a comfortable, complacent insider squatting in the middle of her social networks and toss a few home truths at her. Perhaps she finds out that, hey, those lovely contented peasants singing in their fields? Totally a figment of the upper class’s imagination. Her sister’s blissful marriage to a high-status artist? Actually a slow, sadistic strangling of her sister’s spirit. Her big project that’s about to change the face of her science? Dangerous or offensive to someone in the government, and it’s been shut down.
Granted, these kinds of stories often work best with high-status insiders—those who haven’t had to come face-to-face with fairly basic truths about their world in the daily struggle with survival, until now. But they combine the appeal of the new, and of the character change often desired in outsider stories, with the fact that you can actually write about someone who has connections: a job, a family, friends, communities she’s responsible to or a part of. And now she has to do something about what she’s just learned. Hello, conflict and plot.
It’s a very different perspective from the wandering maverick or the jaded former hero or the orphaned savior of the world, and it will challenge and stretch the fantasy writer who has only ever written from those eyes.
2) The pseudo-epic.
In some ways, I feel bad using the term “pseudo-” here, as that usually has negative connotations, but, on the other hand, I refuse to call a story “epic” merely because it’s long and has a large cast of characters. I think epics should involve fundamental ripples or changes in the larger world; they should be stories of events. So, here you are.
The pseudo-epic is the story of a communal mind, such as a nation, a province, a few nations, or even just a town or extended family. The world and the characters create one another, and different perspectives are seen and taken up. (Note that this doesn’t automatically mean multiple viewpoints; well-done omniscient will do, as well). The exploration centers on what is already familiar to the characters, but, in the daily operations of their lives, some will change, some will fail, some will triumph, and, in the meantime, the reader is being invited to peer into this miniature created world.
The best examples I can think of technically belong to “realistic” novels, such as Dickens’s London. However, one could also argue for some of Kay’s novels as coming into this genre (though tentatively, because they nearly always involve some grand change in the society, too); he attempts to filter the light of a historical age through a fantastic lens, and show us how characters think about more than magic or what will happen tomorrow. I also suspect, from what I’ve heard, that Islandia would fit here, but I haven’t read it.
A pseudo-epic is nearly impossible to write from the eyes of any character but an insider or an outsider becoming an insider, I would think. An outsider protagonist just passing through, or permanently alienated from the world around him, isn’t going to allow himself to sink into the communal mind and detail it this way.
3) Negotiation fantasy.
This is the, also tentative, name I’m giving to what could be a fantasy bildungsroman, the novel of growing up, that didn’t involve journeys and wars and quests and attempts to save the world. The character comes to maturity—by upending herworld, not the world of everyone around her. And her actual inner self changes and is changed in response to the forces she negotiates with, such as economy, politics, nature, family relationships, disease, science, art, and religion.
I briefly thought about saying this is like fantasy of manners, but every single definition of fantasy of manners I’ve read is different, and anyway several of them include a kind of coldness or detachment towards the characters. The kind of story I’m envisioning couldn’t have too much of that, or it would replicate the outsider perspective all over again. This is the kind of tale where an outsider becomes an insider: puts away some of her childish things and accepts the responsibility of interacting with other people, not running away from them or breaking off ties with them. Like the pseudo-epic, this would be concerned with both setting and character; unlike the pseudo-epic, it would be more tightly focused.
(Did I mention that all of these ideas are provisional, shifting, and in the nature of perspectives I’m trying on to see what happens? Yeah.)
4) Culture clash.
In this case, the insider does meet up with unfamiliar beliefs and ideas, but she does it while ensconced in her own beliefs and ideas, not so separated from everything that she’s a blank slate for the new culture to write itself on. What she learns is variously argued with, investigated, poked at, wrestled with, embraced, accepted, shoved away, treated with a cold shoulder, and so on. This is a subgenre about halfway between pseudo-epic and negotiation fantasy; the protagonist is probably not the only one changed, but you probably won’t show every single variety of change that occurs in everyone in the two cultures.
The best example I can think of here is Joy Chant’s The Gray Mane of Morning. The protagonist, Mor’anh, is the chosen of a god, and he travels to an alien culture to acquire better metal weapons for his very low-tech people, who are facing an enemy who already has them. On the other hand, though he admires the urban culture he encounters and stays there for some time, he doesn’t simply shed his prior beliefs and accept the new ones wholesale (which often seems to happen with fantasy protagonists who enter another culture, unless it’s evil; “everything you know is a lie” is disappointingly prevalent, as if one cannot meet another culture without the prior one becoming a conspiracy theory). Mor’anh goes back home, marries and lives and fights among his tribe, and uses his new knowledge mainly to taunt his tribe’s enemies with glories he’s seen and they haven’t. The trade of ideas and goods occurs, and more is promised in the future, but one culture doesn’t simply absorb the other.
I like this because it’s more complicated than adoption, absorption, obliteration, or the turning of one culture into a secret group whose main purpose is to hide underground, raise the Chosen One, and complain about how much better things were back in the good old days. Complication is a definite bonus for me, because it’s harder to write and make intelligible, and things that are harder to write make me try harder.
5) Showing of everyday life.
This is the kind of story I’m trying to write right now, and struggling with. The insider protagonist demonstrates her world’s philosophy, social class, and belief structure in what she implicitly assumes is true. The constant interjections of new ideas might be considered, but they’re as often rejected. She knows what she believes and clings to it. If she changes her mind, it’s for good reason, not just because the new ideas are shiny or because some old woman is telling her a tale of a lost kingdom in a stentorian voice.
In other words, this is the story of the average person in your fantasy world—not the breakaway genius, not the unfortunate exile who will be summoned back to a new position of power, not the amnesiac with a mysterious and tragic past just waiting to burst on him like a flood. The kind of person who, in fact, usually ends up acting as a jealous rival to the genius, a stupid guard or henchman chasing the exile, or the nearly witless local person a little uneasy about the amnesiac. You know. Them. The normal ones.
This kind of story is hard to write—for me. It can be hard to make interesting—for authors who are trained in the outsider story (like me), who assume that the only kind of worthwhile story is about the outsider, or for whom “normal” is a fighting word. But it is teaching me all sorts of things both about how often I tend to rely on protagonists who question more than this and thus provide me with an easy excuse to explain, and what stubbornness looks like from the outside, when it’s not someone righteously refusing to be cowed by enemies who want her dead or silenced, but someone who just wants the politics to go away and leave her alone because she doesn’t have anything to do with them and she knows it, thanks. If it breaks new ground, it’s at least an effort in a worthwhile direction, a lesson that can help me, or maybe someone else, write better stories like this in the future.
6) Making the status quo human.
I’ve remarked before that it seems most fantasy heroes are rebels—sometimes literally so, sometimes only against conventions forced on them by their society. (This is the part where “normal” is a fighting word again, because of courseconventions are forced on fantasy heroes! Who would obey them by choice?) This isn’t necessarily a problem by itself. The problem comes when the hero being a rebel implicates anyone fighting for the opposite side as not-a-person.
If I had to pick one thing that I’m trying to accomplish in writing, it would be, “Nothing human is strange to me.” Or, just this: empathy. Sometimes that means a nonhuman perspective, sometimes a questioning of my own biases, sometimes taking a side that’s perfectly available and has a voice but which is usually ignored. (Someday, I will have to put my money where my mouth is and write a fundamentalist Christian character who is not a parody or a caricature). Trying to humanize a character working for the status quo, an insider who may be working for reform and not revolution, or even someone who distrusts reform altogether, is a case of the third.
There are plenty of reasons to oppose revolution. The character you write can do so. Maybe she distrusts the rebels’ methods. Maybe she’s just cynical enough to note a lot of similarities in “revolutionist” rhetoric to what’s already propounded. Maybe she’s one of those people who is eager for change, but, as the change evolves, realizes that she’s far too iconoclastic to belong to the hero-worship, conformity, or simplification of complex issues demanded. Maybe she finds absolute fulfillment in what she has already, like her artistic career, and sees no reason to run off and join a mass movement. Maybe she’s one of the people indicted by the change; the polytheists naturally blame the monotheists who oppressed them, and she’s a sincere monotheist. There are so many reasons beyond EVIL EVIL EVIL.
Take out the revolutionary component, and you still have a story. What about writing a fantasy where the protagonist already has power and struggles to use that power responsibly, instead of growing into it over the course of the story? There’s sometimes an implication—largely given by ending the fantasy story just as the hero/ine takes the crown or the reins of government—that what’s truly important is the journey, not the destination. That’s kind of unfortunate when the destination is a new force of law under which other people have to live. So, imagine an insider who has influence. What does he or she do with it? How is he responsible? What moral or ethical dilemmas does she struggle with that can’t be solved simply by waving a sword in the air and yelling a lot?
Once again, more complications.
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Jew Fish Bay and Oatley Park Baths
Rodger Robertson
Your Community Heritage Grant - The Georges River Project
Persistent URL for this entry
http://dictionaryofsydney.org/entry/jew_fish_bay_and_oatley_park_baths
To cite this entry in text
Robertson, Rodger, Jew Fish Bay and Oatley Park Baths, Dictionary of Sydney, 2014, http://dictionaryofsydney.org/entry/jew_fish_bay_and_oatley_park_baths, viewed 18 Jul 2019
To cite this entry in a Wikipedia footnote citation
cite web | url= http://dictionaryofsydney.org/entry/jew_fish_bay_and_oatley_park_baths | title = Jew Fish Bay and Oatley Park Baths | author = Robertson, Rodger | date = 2014 | work = Dictionary of Sydney | publisher = Dictionary of Sydney Trust | accessdate = 18 Jul 2019
To cite this entry as a Wikipedia External link
cite web | url = http://dictionaryofsydney.org/entry/jew_fish_bay_and_oatley_park_baths | title = Jew Fish Bay and Oatley Park Baths | accessdate = 2014 | author = Robertson, Rodger | date = 2014 | work = Dictionary of Sydney | publisher = Dictionary of Sydney Trust
[media]In 1887 the Oatley Park reserve was created on a headland on the northern side of the Georges River. Consisting of 45 hectares of native bush tracks and amenities for the public to enjoy, the area is maintained by Hurstville Council. To the east of the park is Jew Fish Bay, named after the adjacent headland. One of the features of the bay is a beach protected by a long shark-proof net. This area is known as Sandy Beach and is the home of the Oatley Amateur Swimming Club since 1927.
Oatley Amateur Swimming Club
[media]The Oatley Amateur Swimming Club was formed at a time when Oatley had no real entertainment. The club was provided swimming events and training as well as entertainment by way of dances, movie nights, card and bingo nights, excursions to other swimming clubs and events. In the 1930s a bus ran on the weekends from Oatley Station to the baths bringing people from all over Sydney. [1]
Shark-proof netting
[media]In 1927, the shark-proof netting was extended beyond its original limited area. The netting proved to be ongoing issue, with the original iron mesh rusting quickly in the salty water. In 1946, races had to be suspended due the poor quality of the netting. [2] It was eventually replaced in 1980 with a fibreglass mesh. In the 1930s, club members caught prawns inside the netting.
[media]During the depression construction work on the foreshore, along with the building of roads and a 'castle' with a kiosk, made the park and the beach more popular. Hundreds of people came to the baths on the weekend to swim casually and to participate in the club’s competitions.
The club needed a turning board at the 50 yard mark and this proved a difficult task – the turning board consisted of 44-gallon drums lashed together but like the shark nets, they too rusted quickly – as did the steel pontoons that replaced them.
[media]The original dressing sheds were galvanised iron and could only fit a few people at the same time. The club used its facilities in Woonona Parade for a clubhouse and storage area until the present room at the beach was constructed. The clubhouse was used for social activities especially if the off-season. The premises, purchased in the 1930s, were used as a kindergarten for many years before being sold in 2002. [3]
By the 1950s the club provided movies – 'Flicks for Nix' was the advertising line. [4] They also produced a newspaper called 'Splash' which provided information on the swimming competition results and social events as well as other administrative matters. The club ran regular life-saving classes under the authority of the Royal NSW Lifesaving Society and 'Learn to Swim' classes to teach local children.
Hedley Mallard is considered to be the founding father of the club. Mallard later became Mayor of Hurstville Council, beginning a long and excellent arrangement between the club and the council over provision of faculties and maintenance at the beach.
Ray Stevens was a member for over 50 years. During that time he served as President from 1961 to 2002 and as Treasurer and Secretary prior to this.
Distinguished members of the club include Frank Stevens, who was selected in the Australian swimming team for the 1950 Commonwealth Games. [5]
Throughout its existence, swimming club members have also participate in sporting teams such as soccer, netball, water polo and rugby league.
The Oatley Amateur Swimming Club's history had a strong beginning, even flourishing during the Depression years. After World War II, the club continued to its strong membership but went through a low period in the 1970s before picking up in the 1980s. It has flourished ever since and now boasts over 100 members who meet regularly during the summer for structured swimming competitions and social events.
Noel Donnan and Keith Heckenburg (eds), Oatley Writes: A Souvenir Publication of Oatley's 150th Anniversary, 1833–1983, Oatley 150th Anniversary Committee, Oatley, New South Wales, 1984
Oatley Amateur Swimming Club, club records, unpublished
Oatley Heritage and Historical Society records, www.oatleyhistory.org.au
Ray Stevens, Oatley Amateur Swimming Club History: 1927–1982, unpublished
Rodger Robertson, History of Oatley Amateur Swimming Club, unpublished
St George and Sutherland Shire Leader, February 2011
[1] Ray Stevens, Oatley Amateur Swimming Club History: 1927–1982, unpublished, p 2
[3] Rodger Robertson, History of Oatley Amateur Swimming Club, unpublished
[4] Ray Stevens, Oatley Amateur Swimming Club History: 1927–1982, unpublished, p 10
Pools Rivers and Catchments Swimming
Georges River
Oatley
Oatley Park Baths
Robertson, Rodger
Rodger Robertson is a member of Oatley Heritage and Historical Society and Kogarah Historical Society. He researches and writes about local and family history. Rodger has a keen interest in the digitalisation of historical material for preservation and distribution
The Australian Government's Your Community Heritage Program supported the Georges River project to include additional material about the Georges River in the Dictionary of Sydney in 2014.
Sandy Beach, Georges River, Oatley 2012
Oatley Park
Public park established in 1888 on a tree covered peninsula in the lower Georges River.
River that rises at Appin in the upland swamps of the O'Hares Creek catchment, and flows 80 kilometres north and east to meet Botany Bay at Taren Point, in Sydney's southern suburbs. The total catchment is over 930 square kilometres managed by a large number of local government authorities and is the main tributary of Botany Bay.
Hurstville City Council
Council established to govern the Hurstville area in 1887, which became a City Council in 1988. It was merged with Kogarah to form Georges River Council in 2016.
Jew Fish Bay
Bay on the north side of Georges River adjoining Oatley Park 2 kilometres south west of Oatley.
Community swimming club which provided training, competitions and evening entertainment.
Swimming lesson at Oatley Park Baths 1928
Oatley railway station
Station originally opened in 1886 but moved to its current location in 1905.
Oatley Amateur Swimming Club 1937
Oatley Park Baths, Sandy Beach 1928
Oatley Ladies' Swimming Club 1937
Royal Life Saving Society
Organisation which works to prevent drowning and facilitate healthy active lifestyles through water safety education programs. The New South Wales branch was the first formed in Australia.
Mallard, Hedley Richard Horace
Local resident who worked tirelessly for the provision of a swimming club in Oatley.
Stevens, Ray
Local resident who was active in the Oatley swimming club for over 50 years.
Stevens, Frank
Champion swimmer, noted academic and successful barrister who spent his life fighting oppression, racism and corruption.
Global conflict during the years 1939–1945. Australia's involvement in the second world war began with Prime Minister Robert Menzies' radio announcement on 3 September 1939 that the country was at war, and ended with Japan's unconditional surrender on 14 August 1945. As a member of the British Commonwealth, Australia fought with the alliance of powers known as the Allies (Great Britain, France, United States of America, the Soviet Union and China) against the Axis powers (Germany, Japan, Italy). More than a million Australians served, and for the first time the country came under direct military attack.
Leafy southern residential suburb on the Georges River. Built on the land granted to James Oatley, a convict clockmaker, it began to develop in the 1960s.
Recreational baths in the Georges River adjacent to Oatley Park. Sharkproof netting and significant reconstruction was undertaken in 1930 though the baths had been in use since 1919.
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Home Tags Christianity
Review: ‘Godspell’ at Villanova Theatre
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Sarah Ruhl’s Passion Play is an epic three-part play set in three eras—Queen Elizabeth's England, Adolf Hitler's Germany, and Ronald Reagan's America. It’s a fancifully...
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If Secretary of State John F. Kerry is willing to think way outside the box in his attempts to break the seemingly eternally intransigent...
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Dear Music, I Love You
Without a song or a dance what are we?
Five Song Playlist: Ke Dezemba Boss
December is probably the hardest time of the year to be away from South Africa because it’s the holidays AND summer so people are pretty much wildin’. There’s the heat and the long weekends and the national distinction between just December and Dezemba, which is the spirit of pure party.
If you want to hear what that Dezemba feeling sounds like, I don’t think there’s anyone who did it better than Hip Hop Pantsula, aka Jabulani Tsambo, who passed away earlier this year from suicide. HHP will always be 100% Dezemba, especially the song “Jabba.” It’s one of my all time favorite songs ever, especially so because he raps in my mother tongue, and the sample of “Heaven Must Be Missing an Angel” by Tavares offers the perfect groove for this cheeky, joyous track.
And since it’s also the season of year end lists and I’m feeling nostalgic for home, I’m dedicating this list to African artists that I had on repeat this year (and yes, I did listen to “Jabba” even though it wasn’t Dezemba). Most of them happen to be Nigerian acts who pioneered or excelled in creating Afrobeat and highlife music – energetic jazz and funk infused bops. There’s Fela Kuti of course, because what kind of Afrolist would it be without him, and the Lijadu Sisters, whose afro-disco vibes made them a moderate success in the US and Europe from the mid-60s to the 80s (and owners of the best bassline on this list). William Onyeabor was a little more underrated in his day, but his innovative play with synthesizers made him a bit of an indie darling, and a documentary and compilation cover album featuring the likes of Hot Chip and Damon Albarn gave him cult status in the present day.
Finally, there’s Ebo Taylor, a Ghanian and the only one still actively making music. He released an album this year called Yen Ara, which marked the 60th anniversary of his career in music that includes hanging out in London with The Beatles and Fela Kuti.
Put this on loud. Picture Christmas with swimming pools and picnics instead of with sweaters and snow (or in my case, rain), get seriously loose because the rules simply don’t apply when it’s Dezemba.
five song playlist, playlist
Remember This? Britney Spears “…Baby One More Time
Hello/Goodbye
I’m a South African living in Oakland and the type of person who plays a song she likes too many times a day. I love everything about music: listening to it (loudly), playing it (averagely), and talking about it (to remind us that we’re all on the same team).
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Home » blog » Bert Jansch: “Reynardine” and “Angie”
Bert Jansch: “Reynardine” and “Angie”
Perhaps if the certain things had happened differently, some of the incredibly talented guitarists born in The United Kingdom during the 1940s who we now know as rockers — Eric Clapton, Dave Davies, Ronnie Wood, Pete Townshend, Keith Richards and others — would have had more quiet careers like those of John Renbourn and Bert Jansch, who were founding members of the iconic group Pentangle.
It’s possible to see those folks, particularly the professorial Clapton, as English country gentlemen. For their part, it’s fair to ask whether Renbourn and Jansch made a conscious effort not to join the British invasion and play rock, or was it just too foreign to their natures. These are interesting questions to think about as that generation reaches its 70s.
It’s also interesting to note that in 2010 Jansch–who, as the bio that begins below notes, actually is Scottish–performed at Clapton’s 2010 Crossroads festival and opened for Neil Young during his tour.
In any case, here is the start of Jansch’s Wikipedia profile:
Herbert “Bert” Jansch (3 November 1943 – 5 October 2011[1]) was a Scottish folk musician and founding member of the band Pentangle. He was born in Glasgow and came to prominence in London in the 1960s, as an acoustic guitarist, as well as a singer-songwriter. He recorded at least 25 albums and toured extensively from the 1960s to the 21st century.
Jansch was a leading figure in the British folk music revival of the 1960s, touring folk clubs and recording several solo albums, as well as collaborating with other musicians such as John Renbourn and Anne Briggs. In 1968, he co-founded the band Pentangle, touring and recording with them until their break-up in 1972. He then took a few years’ break from music, returning in the late 1970s to work on a series of projects with other musicians. He joined a reformed Pentangle in the early 1980s and remained with them as they evolved through various changes of personnel until 1995. Until his death, Jansch continued to work as a solo artist. Continue Reading…
Above is Reynardine and below is Angie.
Tagsbert jansch acoustic guitar bert jansch angie bert jansch pentangle bert jansch reynardine download free music videos download youtube videos
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Richie Havens, 1941-2013
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Requirements for Edge-to-Edge Emulation of Time Division Multiplexed (TDM) Circuits over Packet Switching Networks
RFC - Informational (October 2005; Errata)
Was draft-ietf-pwe3-tdm-requirements (pwe3 WG)
No shepherd assigned
Mark Townsley
danny@tcb.net, stbryant@cisco.com
Email authors Email WG IPR 1 References Referenced by Nits
Network Working Group M. Riegel
Request for Comments: 4197 Siemens AG
Category: Informational October 2005
Requirements for Edge-to-Edge Emulation of
Time Division Multiplexed (TDM) Circuits over
Packet Switching Networks
This document defines the specific requirements for edge-to-edge
emulation of circuits carrying Time Division Multiplexed (TDM)
digital signals of the Plesiochronous Digital Hierarchy as well as
the Synchronous Optical NETwork/Synchronous Digital Hierarchy over
packet-switched networks. It is aligned to the common architecture
for Pseudo Wire Emulation Edge-to-Edge (PWE3). It makes references
to the generic requirements for PWE3 where applicable and complements
them by defining requirements originating from specifics of TDM
Riegel Informational [Page 1]
RFC 4197 PWE3 TDM Requirements October 2005
1.1. TDM Circuits Belonging to the PDH Hierarchy ................3
1.1.1. TDM Structure and Transport Modes ...................4
1.2. SONET/SDH Circuits .........................................4
2. Motivation ......................................................5
3. Terminology .....................................................6
4. Reference Models ................................................7
4.1. Generic PWE3 Models ........................................7
4.2. Clock Recovery .............................................7
4.3. Network Synchronization Reference Model ....................8
4.3.1. Synchronous Network Scenarios ......................10
4.3.2. Relative Network Scenario ..........................12
4.3.3. Adaptive Network Scenario ..........................12
5. Emulated Services ..............................................13
5.1. Structure-Agnostic Transport of Signals out of the
PDH Hierarchy .............................................13
5.2. Structure-Aware Transport of Signals out of the
5.3. Structure-Aware Transport of SONET/SDH Circuits ...........14
6. Generic Requirements ...........................................14
6.1. Relevant Common PW Requirements ...........................14
6.2. Common Circuit Payload Requirements .......................15
6.3. General Design Issues .....................................16
7. Service-Specific Requirements ..................................16
7.1. Connectivity ..............................................16
7.2. Network Synchronization ...................................16
7.3. Robustness ................................................16
7.3.1. Packet loss ........................................17
7.3.2. Out-of-order delivery ..............................17
7.4. CE Signaling ..............................................17
7.5. PSN Bandwidth Utilization .................................18
7.6. Packet Delay Variation ....................................19
7.7. Compatibility with the Existing PSN Infrastructure ........19
7.8. Congestion Control ........................................19
7.9. Fault Detection and Handling ..............................20
7.10. Performance Monitoring ...................................20
9. References .....................................................20
9.1. Normative References ......................................20
9.2. Informative References ....................................21
10. Contributors Section ..........................................22
digital signals of the Plesiochronous Digital Hierarchy (PDH) as well
as the Synchronous Optical NETwork (SONET)/Synchronous Digital
Hierarchy (SDH) over Packet-Switched Networks (PSN). It is aligned
to the common architecture for Pseudo Wire Emulation Edge-to-Edge
(PWE3) as defined in [RFC3985]. It makes references to requirements
in [RFC3916] where applicable and complements [RFC3916] by defining
requirements originating from specifics of TDM circuits.
The term "TDM" will be used in this documents as a general descriptor
for the synchronous bit streams belonging to either the PDH or the
SONET/SDH hierarchies.
1.1. TDM Circuits Belonging to the PDH Hierarchy
The bit rates traditionally used in various regions of the world are
detailed in the normative reference [G.702]. For example, in North
America, the T1 bit stream of 1.544 Mbps and the T3 bit stream of
44.736 Mbps are mandated, while in Europe, the E1 bit stream of 2.048
Mbps and the E3 bit stream of 34.368 Mbps are utilized.
Although TDM can be used to carry unstructured bit streams at the
rates defined in [G.702], there is a standardized method of carrying
bit streams in larger units called frames, each frame contains the
same number of bits.
Related to the sampling frequency of voice traffic the bitrate is
always a multiple of 8000, hence the T1 frame consists of 193 bits
and the E1 frame of 256 bits. The number of bits in a frame is
called the frame size.
The framing is imposed by introducing a periodic pattern into the bit
stream to identify the boundaries of the frames (e.g., 1 framing bit
per T1 frame, a sequence of 8 framing bits per E1 frame). The
details of how these framing bits are generated and used are
elucidated in [G.704], [G.706], and [G.751]. Unframed TDM has all
bits available for payload.
Framed TDM is often used to multiplex multiple channels (e.g., voice
channels each consisting of 8000 8-bit-samples per second) in a
sequence of "timeslots" recurring in the same position in each frame.
This multiplexing is called "channelized TDM" and introduces
additional structure.
In some cases, framing also defines groups of consecutive frames
called multiframes. Such grouping imposes an additional level of
structure on the TDM bit-stream.
1.1.1. TDM Structure and Transport Modes
Unstructured TDM:
TDM that consists of a raw bit-stream of rate defined in [G.702],
with all bits available for payload.
Structured TDM:
TDM with one or more levels of structure delineation, including
frames, channelization, and multiframes (e.g., as defined in [G.704],
[G.751], and [T1.107]).
Structure-Agnostic Transport:
Transport of unstructured TDM, or of structured TDM when the
structure is deemed inconsequential from the transport point of view.
In structure-agnostic transport, any structural overhead that may be
present is transparently transported along with the payload data, and
the encapsulation provides no mechanisms for its location or
Structure-Aware Transport:
Transport of structured TDM taking at least some level of the
structure into account. In structure-aware transport, there is no
guarantee that all bits of the TDM bit-stream will be transported
over the PSN network (specifically, the synchronization bits and
related overhead may be stripped at ingress and usually will be
regenerated at egress) or that transported bits will be situated in
the packet in their original order (but in this case, bit order is
usually recovered at egress; one known exception is loss of
multiframe synchronization between the TDM data and CAS bits
introduced by a digital cross-connect acting as a Native Service
Processing (NSP) block, see [TR-NWT-170]).
1.2. SONET/SDH Circuits
The term SONET refers to the North American Synchronous Optical
NETwork as specified by [T1.105]. It is based on the concept of a
Nx783 byte payload container repeated every 125us. This payload is
referred to as an STS-1 SPE and may be concatenated into higher
bandwidth circuits (e.g., STS-Nc) or sub-divided into lower bandwidth
circuits (Virtual Tributaries). The higher bandwidth concatenated
circuits can be used to carry anything from IP Packets to ATM cells
to Digital Video Signals. Individual STS-1 SPEs are frequently used
to carry individual DS3 or E3 TDM circuits. When the 783 byte
containers are sub-divided for lower rate payloads, they are
frequently used to carry individual T1 or E1 TDM circuits.
The Synchronous Digital Hierarchy (SDH) is the international
equivalent and enhancement of SONET and is specified by [G.707].
Both SONET and SDH include a substantial amount of transport overhead
that is used for performance monitoring, fault isolation, and other
maintenance functions along different types of optical or electrical
spans. This also includes a pointer-based mechanism for carrying
payloads asynchronously. In addition, the payload area includes
dedicated overhead for end-to-end performance monitoring, fault
isolation, and maintenance for the service being carried. If the
main payload area is sub-divided into lower rate circuits (such as
T1/E1), additional overhead is included for end-to-end monitoring of
the individual T1/E1 circuits.
This document discusses the requirements for emulation of SONET/SDH
services. These services include end-to-end emulation of the SONET
payload (STS-1 SPE), emulation of concatenated payloads (STS-Nc SPE),
as well as emulation of a variety of sub-STS-1 rate circuits jointly
referred to as Virtual Tributaries (VT) and their SDH analogs.
2. Motivation
[RFC3916] specifies common requirements for edge-to-edge emulation of
circuits of various types. However, these requirements, as well as
references in [RFC3985], do not cover specifics of PWs carrying TDM
The need for a specific document to complement [RFC3916] addressing
of edge-to-edge emulation of TDM circuits arises from the following:
o Specifics of the TDM circuits. For example,
* the need for balance between the clock of ingress and egress
attachment circuits in each direction of the Pseudo Wire (PW),
* the need to maintain jitter and wander of the clock of the
egress end service, within the limits imposed by the
appropriate normative documents, in the presence of the packet
delay variation produced by the PSN.
o Specifics of applications using TDM circuits. For example, voice
applications,
* put special emphasis on minimization of one-way delay, and
* are relatively tolerant to errors in data.
o Other applications might have different specifics. For example,
transport of signaling information
* is relatively tolerant to one-way delay, and
* is sensitive to errors in transmitted data.
o Specifics of the customers' expectations regarding end-to-end
behavior of services that contain emulated TDM circuits. For
example, experience with carrying such services over SONET/SDH
networks increases the need for
* isolation of problems introduced by the PSN from those
occurring beyond the PSN bounds,
* sensitivity to misconnection,
* sensitivity to unexpected connection termination, etc.
document are to be interpreted as described in [RFC2119].
The terms defined in [RFC3985], Section 1.4 are used consistently.
However some terms and acronyms are used in conjunction with the TDM
services. In particular:
TDM networks employ Channel-Associated Signaling (CAS) or Common
Channel Signaling (CCS) to supervise and advertise status of
telephony applications, provide alerts to these applications (as to
requests to connect or disconnect), and to transfer routing and
addressing information. These signals must be reliably transported
over the PSNs for the telephony end-systems to function properly.
CAS (Channel-Associated Signaling)
CAS is carried in the same T1 or E1 frame as the voice signals,
but not in the speech band. Since CAS signaling may be
transferred at a rate slower than the TDM traffic in a timeslot,
one need not update all the CAS bits in every TDM frame. Hence,
CAS systems cycle through all the signaling bits only after some
number of TDM frames, which defines a new structure known as a
multiframe or superframe. Common multiframes are 12, 16, or 24
frames in length, corresponding to 1.5, 2, and 3 milliseconds in
duration.
CCS (Common Channel Signaling)
CCS signaling uses a separate digital channel to carry
asynchronous messages pertaining to the state of telephony
applications over related TDM timeslots of a TDM trunk. This
channel may be physically situated in one or more adjacent
timeslots of the same TDM trunk (trunk associated CCS) or may be
transported over an entirely separate network.
CCS is typically HDLC-based, with idle codes or keep-alive
messages being sent until a signaling event (e.g., on-hook or
off-hook) occurs. Examples of HDLC-based CCS systems are SS7
[Q.700] and ISDN PRI signaling [Q.931].
Note: For the TDM network, we use the terms "jitter" and "wander" as
defined in [G.810] to describe short- and long-term variance of the
significant instants of the digital signal, while for the PSN we use
the term packet delay variation (PDV) (see [RFC3393]).
4. Reference Models
4.1. Generic PWE3 Models
Generic models that have been defined in [RFC3985] in sections
- 4.1 (Network Reference Model),
- 4.2 (PWE3 Pre-processing),
- 4.3 (Maintenance Reference Model),
- 4.4 (Protocol Stack Reference Model) and
- 4.5 (Pre-processing Extension to Protocol Stack Reference Model).
They are fully applicable for the purposes of this document without
modification.
All the services considered in this document represent special cases
of the Bit-stream and Structured bit-stream payload type defined in
Section 3.3 of [RFC3985].
4.2. Clock Recovery
Clock recovery is extraction of the transmission bit timing
information from the delivered packet stream. Extraction of this
information from a highly jittered source, such as a packet stream,
may be a complex task.
4.3. Network Synchronization Reference Model
Figure 1 shows a generic network synchronization reference model.
+---------------+ +---------------+
| PE1 | | PE2 |
K | +--+ | | +--+ | G
| | | J| | | | H| | |
v | v | | | v | | v
+---+ | +-+ +-+ +-+ | +--+ +--+ | +-+ +-+ +-+ | +---+
| | | |P| |D| |P| | | | | | | |P| |E| |P| | | |
| |<===|h|<:|e|<:|h|<:::| |<::| |<:::|h|<:|n|<=|h|<===| |
| | | |y| |c| |y| | | | | | | |y| |c| |y| | | |
| C | | +-+ +-+ +-+ | | | | | | +-+ +-+ +-+ | | C |
| E | | | |S1| |S2| | | | E |
| 1 | | +-+ +-+ +-+ | | | | | | +-+ +-+ +-+ | | 2 |
| | | |P| |E| |P| | | | | | | |P| |D| |P| | | |
| |===>|h|=>|n|:>|h|:::>| |::>| |:::>|h|:>|e|=>|h|===>| |
^ ^ | | ^ | | | ^ | ^ ^
| | | |B | |<------+------>| | | | | |
| A | +--+ | | | +--+-E | F |
| +---------------+ +-+ +---------------+ |
| ^ |I| ^ |
| | +-+ | |
| C D |
+-----------------------------L-----------------------------+
Figure 1: The Network Synchronization Reference Model
The following notation is used in Figure 1:
CE1, CE2
Customer edge devices terminating TDM circuits to be emulated.
PE1, PE2
Provider edge devices adapting these end services to PW.
S1, S2
Provider core routers.
Physical interface terminating the TDM circuit.
PSN-bound interface of the PW, where the encapsulation takes
CE-bound interface of the PW, where the decapsulation takes place.
It contains a compensation buffer (also known as the "jitter
buffer") of limited size.
"==>"
TDM attachment circuits.
"::>"
PW providing edge-to-edge emulation for the TDM circuit.
The characters "A" - "L" denote various clocks:
The clock used by CE1 for transmission of the TDM attachment
circuit towards CE1.
"B"
The clock recovered by PE1 from the incoming TDM attachment
circuit. "A" and "B" always have the same frequency.
"G"
circuit. "G" and "H" always have the same frequency.
"C", "D"
Local oscillators available to PE1 and PE2, respectively.
Clock used by PE2 to transmit the TDM attachment service circuit
to CE2 (the recovered clock).
"F"
Clock recovered by CE2 from the incoming TDM attachment service
("E and "F" have the same frequency).
"I"
If the clock exists, it is the common network reference clock
available to PE1 and PE2.
"J"
"K"
("J" and "K" have the same frequency).
If it exists, it is the common reference clock of CE1 and CE2.
Note that different pairs of CE devices may use different common
reference clocks.
A requirement of edge-to-edge emulation of a TDM circuit is that
clock "B" and "E", as well as clock "H" and "J", are of the same
frequency. The most appropriate method will depend on the network
synchronization scheme.
The following groups of synchronization scenarios can be considered:
4.3.1. Synchronous Network Scenarios
Depending on which part of the network is synchronized by a common
clock, there are two scenarios:
o PE Synchronized Network:
Figure 2 is an adapted version of the generic network reference
model, and presents the PE synchronized network scenario.
The common network reference clock "I" is available to all the PE
devices, and local oscillators "C" and "D" are locked to "I":
* Clocks "E" and "J" are the same as "D" and "C", respectively.
* Clocks "A" and "G" are the same as "K" and "F", respectively
(i.e., CE1 and CE2 use loop timing).
Riegel Informational [Page 10]
+-----+ +-----+
+-----+ | |- - -|=================|- - -| | +-----+
| /-- |<---------|............PW1..............|<---------| <-\ |
|| CE | | | PE1 | | PE2 | | |CE2 ||
| \-> |--------->|............PW2..............|--------->| --/ |
^ ^
|C |D
+-----------+-----------+
|I|
Figure 2: PE Synchronized Scenario
o CE Synchronized Network:
model, and presents the CE synchronized network scenario.
The common network reference clock "L" is available to all the CE
devices, and local oscillators "A" and "G" are locked to "L":
* Clocks "E" and "J" are the same as "G" and "A", respectively
(i.e., PE1 and PE2 use loop timing).
| |<---------|............PW1..............|<---------| |
| CE1 | | | PE1 | | PE2 | | | CE2 |
| |--------->|............PW2..............|--------->| |
^ +-----+ +-----+ ^
|A G|
+----------------------------+------------------------------+
|L|
Figure 3: CE Synchronized Scenario
No timing information has to be transferred in these cases.
4.3.2. Relative Network Scenario
In this case, each CE uses its own transmission clock source that
must be carried across the PSN and recovered by the remote PE,
respectively. The common PE clock "I" can be used as reference for
this purpose.
Figure 4 shows the relative network scenario.
o Clocks "A" and "G" are generated locally without reference to a
common clock.
o Clocks "E" and "J" are generated in reference to a common clock
available at all PE devices.
In a slight modification of this scenario, one (but not both!) of the
CE devices may use its receive clock as its transmission clock (i.e.,
use loop timing).
+-----+ +-----+ v
^ +-----+<-------+------->+-----+
|A |
Figure 4: Relative Network Scenario Timing
In this case, timing information (the difference between the common
reference clock "I" and the incoming clock "A") MUST be explicitly
transferred from the ingress PE to the egress PE.
4.3.3. Adaptive Network Scenario
The adaptive scenario is characterized by:
o No common network reference clock "I" is available to PE1 and PE2.
o No common reference clock "L" is available to CE1 and CE2.
Figure 5 presents the adaptive network scenario.
|J |G
v |
^ +-----+ +-----+
| ^
A| E|
Figure 5: Adaptive Scenario
Synchronizing clocks "A" and "E" in this scenario is more difficult
than it is in the other scenarios.
Note that the tolerance between clocks "A" and "E" must be small
enough to ensure that the jitter buffer does not overflow or
underflow.
In this case, timing information MAY be explicitly transferred from
the ingress PE to the egress PE, e.g., by RTP.
5. Emulated Services
This section defines requirements for the payload and encapsulation
layers for edge-to-edge emulation of TDM services with bit-stream
payload as well as structured bit-stream payload.
Wherever possible, the requirements specified in this document SHOULD
be satisfied by appropriate arrangements of the encapsulation layer
only. The (rare) cases when the requirements apply to both the
encapsulation and payload layers (or even to the payload layer only)
will be explicitly noted.
The service-specific encapsulation layer for edge-to-edge emulation
comprises the following services over a PSN.
5.1. Structure-Agnostic Transport of Signals out of the PDH Hierarchy
Structure-agnostic transport is considered for the following signals:
o E1 as described in [G.704].
o T1 (DS1) as described in [G.704].
o E3 as defined in [G.751].
o T3 (DS3) as described in [T1.107].
5.2. Structure-Aware Transport of Signals out of the PDH Hierarchy
Structure-aware transport is considered for the following signals:
o E1/T1 with one of the structures imposed by framing as described
in [G.704].
o NxDS0 with or without CAS.
5.3. Structure-Aware Transport of SONET/SDH Circuits
Structure-aware transport is considered for the following SONET/SDH
circuits:
o SONET STS-1 synchronous payload envelope (SPE)/SDH VC-3.
o SONET STS-Nc SPE (N = 3, 12, 48, 192) / SDH VC-4, VC-4-4c,
VC-4-16c, VC-4-64c.
o SONET VT-N (N = 1.5, 2, 3, 6) / SDH VC-11, VC-12, VC-2.
o SONET Nx VT-N / SDH Nx VC-11/VC-12/VC-2/VC-3.
Note: There is no requirement for the structure-agnostic transport of
SONET/SDH. For this case, it would seem that structure must be taken
into account.
6. Generic Requirements
6.1. Relevant Common PW Requirements
The encapsulation and payload layers MUST conform to the common PW
requirements defined in [RFC3916]:
1. Conveyance of Necessary Header Information:
A. For structure-agnostic transport, this functionality MAY be
provided by the payload layer.
B. For structure-aware transport, the necessary information MUST
be provided by the encapsulation layer.
C. Structure-aware transport of SONET/SDH circuits MUST preserve
path overhead information as part of the payload. Relevant
components of the transport overhead MAY be carried in the
encapsulation layer.
2. Support of Multiplexing and Demultiplexing if supported by the
native services. This is relevant for Nx DS0 circuits (with or
without signaling) and Nx VT-x in a single STS-1 SPE or VC-4.:
A. For these circuits, the combination of encapsulation and
payload layers MUST provide for separate treatment of every
sub-circuit.
B. Enough information SHOULD be provided by the pseudo wire to
allow multiplexing and demultiplexing by the NSP. Reduction
of the complexity of the PW emulation by using NSP circuitry
for multiplexing and demultiplexing MAY be the preferred
solution.
3. Intervention or transparent transfer of Maintenance Messages of
the Native Services, depending on the particular scenario.
4. Consideration of Per-PSN Packet Overhead (see also Section 7.5
below).
5. Detection and handling of PW faults. The list of faults is given
in Section 7.9 below.
Fragmentation indications MAY be used for structure-aware transport
when the structures in question either exceed desired packetization
delay or exceed Path MTU between the pair of PEs.
The following requirement listed in [RFC3916] is not applicable to
emulation of TDM services:
o Support of variable length PDUs.
6.2. Common Circuit Payload Requirements
Structure-agnostic transport treats TDM circuits as belonging to the
'Bit-stream' payload type defined in [RFC3985].
Structure-aware transport treats these circuits as belonging to the
"Structured bit-stream" payload type defined in [RFC3985].
Accordingly, the encapsulation layer MUST provide the common
Sequencing service and SHOULD provide Timing information
(Synchronization services) when required (see Section 4.3 above).
Note: Length service MAY be provided by the encapsulation layer, but
is not required.
6.3. General Design Issues
The combination of payload and encapsulation layers SHOULD comply
with the general design principles of the Internet protocols as
presented in Section 3 of [RFC1958] and [RFC3985].
If necessary, the payload layer MAY use some forms of adaptation of
the native TDM payload in order to achieve specific, well-documented
design objectives. In these cases, standard adaptation techniques
SHOULD be used.
7. Service-Specific Requirements
7.1. Connectivity
1. The emulation MUST support the transport of signals between
Attachment Circuits (ACs) of the same type (see Section 5) and,
wherever appropriate, bit-rate.
2. The encapsulation layer SHOULD remain unaffected by specific
characteristics of connection between the ACs and PE devices at
the two ends of the PW.
7.2. Network Synchronization
1. The encapsulation layer MUST provide synchronization services
that are sufficient to:
A. match the ingress and egress end service clocks regardless of
the specific network synchronization scenario, and
B. keep the jitter and wander of the egress service clock within
the service-specific limits defined by the appropriate
normative references.
2. If the same high-quality synchronization source is available to
all the PE devices in the given domain, the encapsulation layer
SHOULD be able to make use of it (e.g., for better reconstruction
of the native service clock).
7.3. Robustness
The robustness of the emulated service depends not only upon the
edge-to-edge emulation protocol, but also upon proper implementation
of the following procedures.
7.3.1. Packet loss
Edge-to-edge emulation of TDM circuits MAY assume very low
probability of packet loss between ingress and egress PE. In
particular, no retransmission mechanisms are required.
In order to minimize the effect of lost packets on the egress
service, the encapsulation layer SHOULD:
1. Enable independent interpretation of TDM data in each packet by
the egress PE (see [RFC2736]). This requirement MAY be
disregarded if the egress PE needs to interpret structures that
exceed the path MTU between the ingress and egress PEs.
2. Allow reliable detection of lost packets (see next section). In
particular, it SHOULD allow estimation of the arrival time of the
next packet and detection of lost packets based on this estimate.
3. Minimize possible effect of lost packets on recovery of the
circuit clock by the egress PE.
4. Increase the resilience of the CE TDM interface to packet loss by
allowing the egress PE to substitute appropriate data.
7.3.2. Out-of-order delivery
The encapsulation layer MUST provide the necessary mechanisms to
guarantee ordered delivery of packets carrying the TDM data over the
PSN. Packets that have arrived out-of-order:
1. MUST be detected, and
2. SHOULD be reordered if not judged to be too late or too early for
playout.
Out-of-order packets that cannot be reordered MUST be treated as
7.4. CE Signaling
Unstructured TDM circuits would not usually require any special
mechanism for carrying CE signaling as this would be carried as part
of the emulated service.
Some CE applications using structured TDM circuits (e.g., telephony)
require specific signaling that conveys the changes of state of these
applications relative to the TDM data.
The encapsulation layer SHOULD support signaling of state of CE
applications for the relevant circuits providing for:
1. Ability to support different signaling schemes with minimal
impact on encapsulation of TDM data,
2. Multiplexing of application-specific CE signals and data of the
emulated service in the same PW,
3. Synchronization (within the application-specific tolerance
limits) between CE signals and data at the PW egress,
4. Probabilistic recovery against possible, occasional loss of
packets in the PSN, and
5. Deterministic recovery of the CE application state after PW setup
and network outages.
CE signaling that is used for maintenance purposes (loopback
commands, performance monitoring data retrieval, etc.) SHOULD use the
generic PWE3 maintenance protocol.
7.5. PSN Bandwidth Utilization
1. The encapsulation layer SHOULD allow for an effective trade-off
between the following requirements:
A. Effective PSN bandwidth utilization. Assuming that the size
of the encapsulation layer header does not depend on the size
of its payload, an increase in the packet payload size
results in increased efficiency.
B. Low edge-to-edge latency. Low end-to-end latency is the
common requirement for Voice applications over TDM services.
Packetization latency is one of the components comprising
edge-to-edge latency, and it decreases with the packet
payload size.
The compensation buffer used by the CE-bound IWF increases
latency to the emulated circuit. Additional delays introduced by
this buffer SHOULD NOT exceed the packet delay variation observed
in the PSN.
2. The encapsulation layer MAY provide for saving PSN bandwidth by
not sending corrupted TDM data across the PSN.
3. The encapsulation layer MAY provide the ability to save the PSN
bandwidth for the structure-aware case by not sending channels
that are permanently inactive.
4. The encapsulation layer MAY enable the dynamic suppression of
temporarily unused channels from transmission for the structure-
aware case.
If used, dynamic suppression of temporarily unused channels
MUST NOT violate the integrity of the structures delivered over
the PW.
5. For NxDS0, the encapsulation layer MUST provide the ability to
keep the edge-to-edge delay independent of the service rate.
7.6. Packet Delay Variation
The encapsulation layer SHOULD provide for the ability to compensate
for packet delay variation, while maintaining jitter and wander of
the egress end service clock with tolerances specified in the
The encapsulation layer MAY provide for run-time adaptation of delay
introduced by the jitter buffer if the packet delay variation varies
with time. Such an adaptation MAY introduce a low level of errors
(within the limits tolerated by the application) but SHOULD NOT
introduce additional wander of the egress end service clock.
7.7. Compatibility with the Existing PSN Infrastructure
The combination of encapsulation and PSN tunnel layers used for edge-
to-edge emulation of TDM circuits SHOULD be compatible with existing
PSN infrastructures. In particular, compatibility with the
mechanisms of header compression over links where capacity is at a
premium SHOULD be provided.
7.8. Congestion Control
TDM circuits run at a constant rate, and hence offer constant traffic
loads to the PSN. The rate varying mechanism that TCP uses to match
the demand to the network congestion state is, therefore, not
The ability to shut down a TDM PW when congestion has been detected
MUST be provided.
Precautions should be taken to avoid situations wherein multiple TDM
PWs are simultaneously shut down or re-established, because this
leads to PSN instability.
Further congestion considerations are discussed in chapter 6.5 of
7.9. Fault Detection and Handling
The encapsulation layer for edge-to-edge emulation of TDM services
SHOULD, separately or in conjunction with the lower layers of the
PWE3 stack, provide for detection, handling, and reporting of the
following defects:
1. Misconnection, or Stray Packets. The importance of this
requirement stems from customer expectation due to reliable
misconnection detection in SONET/SDH networks.
2. Packet Loss. Packet loss detection is required to maintain clock
integrity, as discussed in Section 7.3.1 above. In addition,
packet loss detection mechanisms SHOULD provide for localization
of the outage in the end-to-end emulated service.
3. Malformed packets.
7.10. Performance Monitoring
SHOULD provide for collection of performance monitoring (PM) data
that is compatible with the parameters defined for 'classic',
TDM-based carriers of these services. The applicability of [G.826]
is left for further study.
The security considerations in [RFC3916] are fully applicable to the
emulation of TDM services. In addition, TDM services are sensitive
to packet delay variation [Section 7.6], and need to be protected
from this method of attack.
[RFC2119] Bradner, S., "Key words for use in RFCs to Indicate
[RFC3916] Xiao, X., McPherson, D., and P. Pate, "Requirements for
Pseudo-Wire Emulation Edge-to-Edge (PWE3)", RFC 3916,
September 2004.
[RFC3985] Bryant, S. and P. Pate, "Pseudo Wire Emulation Edge-to-
Edge (PWE3) Architecture", RFC 3985, March 2005.
[G.702] ITU-T Recommendation G.702 (11/88) - Digital hierarchy
bit rates
[G.704] ITU-T Recommendation G.704 (10/98) - Synchronous frame
structures used at 1544, 6312, 2048, 8448 and 44 736
Kbit/s hierarchical levels
[G.706] ITU-T Recommendation G.706 (04/91) - Frame alignment and
cyclic redundancy check (CRC) procedures relating to
basic frame structures defined in Recommendation G.704
[G.707] ITU-T Recommendation G.707 (10/00) - Network node
interface for the synchronous digital hierarchy (SDH)
[G.751] ITU-T Recommendation G.751 (11/88) - Digital multiplex
equipments operating at the third order bit rate of 34
368 Kbit/s and the fourth order bit rate of 139 264
Kbit/s and using positive justification
[G.810] ITU-T Recommendation G.810 (08/96) - Definitions and
terminology for synchronization networks
[G.826] ITU-T Recommendation G.826 (02/99) - Error performance
parameters and objectives for international, constant
bit rate digital paths at or above the primary rate
[Q.700] ITU-T Recommendation Q.700 (03/93) - Introduction to
CCITT Signalling System No. 7
[Q.931] ITU-T Recommendation Q.931 (05/98) - ISDN user-network
interface layer 3 specification for basic call control
[RFC1958] Carpenter, B., "Architectural Principles of the
Internet", RFC 1958, June 1996.
[RFC2736] Handley, M. and C. Perkins, "Guidelines for Writers of
RTP Payload Format Specifications", BCP 36, RFC 2736,
December 1999.
[RFC3393] Demichelis, C. and P. Chimento, "IP Packet Delay
Variation Metric for IP Performance Metrics (IPPM)", RFC
3393, November 2002.
[T1.105] ANSI T1.105 - 2001 Synchronous Optical Network (SONET) -
Basic Description including Multiplex Structure, Rates,
and Formats, May 2001
[T1.107] ANSI T1.107 - 1995. Digital Hierarchy - Format
[TR-NWT-170] Digital Cross Connect Systems - Generic Requirements and
Objectives, Bellcore, TR-NWT-170, January 1993
10. Contributors Section
The following have contributed to this document:
Sasha Vainshtein
Axerra Networks
EMail: sasha@axerra.com
Yaakov Stein
RAD Data Communication
EMail: yaakov_s@rad.com
Prayson Pate
Overture Networks, Inc.
EMail: prayson.pate@overturenetworks.com
Lycium Networks
EMail: ronc@lyciumnetworks.com
Tim Frost
Zarlink Semiconductor
EMail: tim.frost@zarlink.com
Author's Address
Maximilian Riegel
St-Martin-Str 76
Munich 81541
Phone: +49-89-636-75194
EMail: maximilian.riegel@siemens.com
this standard. Please address the information to the IETF at ietf-
ipr@ietf.org.
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Students write to politicians on MLK day
By: Sarah Verschoor | IDS
Photo by: Noble Guyon
On her day off school Amara Crook did not sleep in or hang out with friends. Instead, Crook wrote letters addressed to President-elect Donald Trump and Vice President-elect Mike Pence.
Crook was one of several students and Bloomington community members writing to newly elected officials at the LGBTQ+ Culture Center’s Martin Luther King Jr. Day write-in. The write-in was one of many campus events that took place Jan. 16 to honor King’s legacy through service and activism.
The center had stationary with “We the People” written on the top, writing prompts and tips for writing letters to government officials available for participants to use. They also had the contact information for Trump, Pence and Indiana representatives.
Crook, a senior at Bloomington High School North, wrote to soon-to-be inaugurated officials about their policies and focused on Trump’s stance on the Affordable Care Act and Pence’s position on women’s issues.
“I am a woman, so naturally I’m concerned,” Crook said. “Women are not quite equal to men. It’s important for all people to be treated the same way.”
She said Martin Luther King Jr. Day was especially appropriate to write these letters because King fought for equality for people in oppressed communities. Crook wrote multiple letters throughout the day.
“In order to honor his legacy we must fight for equality where there isn’t,” Crook said.
Jamie Bartzel, the LGBTQ+ Culture Center’s office supervisor, said the center offered the event as part of the Martin Luther King Jr. Day celebration and to get people thinking and encourage them to maintain contact with their representatives.
“His legacy is really important,” Bartzel said. “It is inspiration for all people who feel marginalized.”
She said letters are more personal and attention grabbing than writing to officials on social media. Letters are also a friendly forum to get students thinking about what they want to say, Bartzel said.
“It is easy on Twitter and Facebook for civil thoughts to get lost in the shuffle,” Bartzel said. “Inflammatory posts get the most attention, but they don’t advance dialogue.”
Another writer, IU sophomore McKenzie Conrad, said she came to the write-in because she thought it was important to get people together to deliver their concerns as a whole. Conrad wrote about women’s rights, the protection of LGBT rights and immigration.
Conrad said immigration policy was the most important issue for her because it raised so many concerns during the campaign season. She believes in equal opportunity for immigrants, she said.
“Listen to what we’re saying as a whole,” Conrad said in her letter. “Don’t shut out people. Look at the reasons people are reaching out.”
Crook and Conrad both said Trump and Pence’s election and democratic candidate Hillary Clinton’s loss were part of the reason they decided to write.
“My heart dropped even before it was officially declared,” Crook said. “I could see her lead slipping. It hit really hard.”
Conrad said was surprised with the outcome. She said media predictions made people complacent in voting.
“It was a whirlwind of shock,” she said.
Crook’s, Conrad’s and the other participants’ letters were mailed the day of the event and should reach the President-elect and Vice President-elect in time for the inauguration and start of their new term.
SOURCE: Indiana Daily Student
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Bibliography. Included in How Did Women Shape the Discourse and Further Interracial Cooperation in the Worldwide Mass Movement to Free the Scottsboro Boys?, by Sara L. Creed and Hasia Diner. (Binghamton, NY: State University of New York at Binghamton, 2004).
Carter, Dan T. Scottsboro: A Tragedy of the American South. New York: Oxford University Press, 1971.
Comprehensive history of the case from beginning to later lives of defendants and other participants. One of two standard reference works on Scottsboro; the other is Goodman.
Diner, Hasia R. In the Almost Promised Land: Jews and Blacks, 1915-1935. Westport, CT: Greenwood Press, 1977.
Far-ranging analysis of relations between Jews and Blacks, valuable for discussion of sympathy of Jewish leaders, and especially the ethnic and foreign-language press of New York City, toward the Scottsboro Boys.
Garrison, Dee. Mary Heaton Vorse: The Life of an American Insurgent. Philadelphia: Temple University Press, 1989.
Comprehensive biography of Vorse with scant coverage of her reportage of the second Scottsboro Boys trials and the writing of "How Scottsboro Happened." The work, nevertheless, provides valuable background information on Vorse and her career.
Goodman, James. Stories of Scottsboro. New York: Vintage Books, Random House, 1994.
The "stories" of Scottsboro constituted short chapters presenting the events as seen through the eyes of different participants. While not a chronological history, Goodman's is one of two standard reference works on Scottsboro; the other is Carter.
Graff, Ellen. Stepping Left: Dance and Politics in New York City, 1928-1942. Durham, NC: Duke University Press, 1997.
Brief reference to a dance created by Edith Segal and performed at Town Hall by the Red Dancers in 1934 as a protest of the Scottsboro verdicts provides an example of the artistic response to Scottsboro. References to songs and plays could also be cited, but this represented the only example of dance found.
Greenberg, Cheryl Lynn. "Or Does It Explode?": Black Harlem in the Great Depression. New York: Oxford University Press, 1991.
Greenberg documents many aspects of the Black experience of the Depression in Harlem and the survival strategies employed from 1930-1935. She cites the Communist Party's success in arousing passion over the Scottsboro case, but faults the party for not working with other Harlem support groups.
Hays, Arthur Garfield. Trial by Prejudice. New York: Covici-Friede Publishers, 1933.
Prominent jurist and libertarian Arthur Garfield Hays presented his thoughts and impressions of Scottsboro shortly after the 1933 trials. The work illuminated various legal motions, quoted extensively from the trial transcript, and provided insightful comments on the defendants, accusers and attorneys.
Kelley, Robin D. G. Hammer and Hoe: Alabama Communists during the Great Depression. Chapel Hill: University of North Carolina Press, 1990.
Authoritative work traces radicalism and Communist organizing among black industrial workers and share croppers in Alabama during the 1930s. Cites the Scottsboro Boys' defense by the International Labor Defense as giving credibility to the Communist Party's efforts and commitment while also documenting the influence of local customs and survival strategies in modifying Communist Party organizing and tactics in the state.
Khan, Lin Shi, and Tony Perez. Scottsboro Alabama: A Story in Linoleum Cuts. New York: New York University Press, 2002.
Powerful images presented in linoleum cuts from the 1930s, recently discovered, put the Scottsboro saga in the context of black people's struggle in America and the workers' struggle in the capitalist state. Text and commentary by Andrew Lee and Robin Kelley provide background on Scottsboro and analysis of its significance and its place in history.
Kinshasa, Kwando Mbiassi. The Man from Scottsboro: Clarence Norris in His Own Words. Jefferson, N.C.: McFarland & Company, 1997.
A book-length interview with Clarence Norris, the last surviving Scottsboro Boy, intersperses his earthy dialogue with trial transcripts, letters, documents, even the report of a neuropsychiatric exam, with the author's elaboration on points made by Norris. It spans his life from early childhood through the last decade of his life.
Miller, James A., Susan D. Pennybacker, and Eve Rosenhaft. "Mother Ada Wright and the International Campaign." American Historical Review (April 2001): 333-430.
A detailed account of Ada Wright's European trip in 1932, this article provides analysis of the Communist Party's use of the Scottsboro protests and how the protests were crafted to produce sympathy and outrage. It is the only other known historical study to focus on the protest and the role of a Scottsboro Mother.
Naison, Mark. Communists in Harlem during the Depression. Urbana, III.: University of Illinois Press, 1983.
This study of the Communist Party in Harlem in the 1930s provides a starting point for the study of the Scottsboro protests, supplying numerous descriptions of rallies, marches, protests, and the Communist and non-Communists participants.
Scottsboro: An American Tragedy. Barak Goodman and David Anker, Producers. Social Media Productions, for PBS Video, 2001.
The most recent television program on Scottsboro--it provides a good overview of the events and issues as well as the atmosphere of the 1930s. While the protest movement is mentioned and a New York march shown, this program, aired on PBS, contributes little more to the study of the protest movement or the role of women. An earlier television production (1976) led to lawsuits when, through an error repeated from Dan Carter's work, the script reported that both Ruby Bates and Victoria Price were dead; neither was, and Price sued.
The WPA Guide to New York City: The Federal Writers' Project Guide to 1930s New York. New York: The Guilds Committee for Federal Writers' Publications, Inc., 1939. Especially section on "The Harlems," 253-270.
No study of the 1930s should proceed without a review of the WPA Guide, the section on Harlem-Negro, Spanish, and Italian. The guide provides valuable period information about the look and feel of the area and the people in "the spiritual capital of Black America." Streets, major intersections, gathering places, institutions that appear in newspaper accounts of rallies and protests can be researched in the guide with descriptions of how they appeared and what significance they carried in the 1930s.
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Dot Earth | A Legal Defense Fund for Climate Scientists
A Legal Defense Fund for Climate Scientists
January 25, 2012 6:46 am January 25, 2012 6:46 am
Jay Paul for The New York Times Kenneth T. Cuccinelli II, Virginia’s Republican attorney general, has tried to use the courts to probe the work and finances of a climate scientist, Michael Mann.
For years, climate scientists have been assailed from many sides — through e-mail hacking, death threats, politician’s demands for documents, Freedom of Information requests (many having the strong smell of a fishing expedition).
A Climate Science Legal Defense Fund set up last fall has taken on a formal affiliation with Public Employees for Environmental Responsibility, an established nonprofit group offering aid and advice to government whistleblowers and scientists working on environmental issues.
Below you can read a news release distributed by one of the organizers of the fund, Scott A. Mandia, a physical sciences professor* at Suffolk County Community College. There will be three focal points, according to the fund Web site:
Litigation: The Climate Science Defense Fund is taking an active interest in litigation. Currently several climate scientists have litigation in the courts. The Climate Science Defense Fund will play an active role in helping raise funds for their defense, serving as a resource in finding pro-bono representation, and providing support during difficult litigation proceedings.
Education: The Climate Science Defense Fund will work to educate the scientific community about their rights and their responsibilities with regard to legal issues surrounding their work.
Knowledge Bank: The Climate Science Defense Fund will serve as a clearinghouse for information related to legal actions taken against scientists. Our goal is to provide lawyers representing scientists with information about past cases and strategies.
I conducted a short e-mail interview with Jeff Ruch (video interview), the longtime executive director of Public Employees for Environmental Responsibility:
Are you concerned that this stretches too far beyond PEER’s traditional role as protecting public employees, or is this a sign of PEER expanding beyond that sphere to any scientist working under public (federal) grants?
PEER has always defended scientists working at public universities or working under federal grants (for example…). In addition, we have assembled legal defense funds for public employees facing legal costs (for example…).
So, we – including our board of directors – see the Climate Science Legal Defense Fund as a direct extension of our previous work. It is another arrow in our quiver to further our mission – protecting public employees who protect our environment.
If that is the plan, are there specific foundation grants or other substantial initial individual contributions that have made this possible?
No. All funds have come from individual contributions. We will likely seek foundation support for the non-litigation activities of the defense fund, such as educating climate scientists about their legal rights and responsibilities and assisting university counsel in responding to vacuum cleaner information requests.
Also most of the wording [in the news release] relates to “corporate” or “industry” funded efforts when in fact there are and have been substantial efforts backed by foundations and individuals who are not directly connected with industry. Is that an intentional distinction?
The cases of which I am aware have a direct corporate connection, including the Attorney General of the Commonwealth of Virginia.
Finally, when the issue is the Freedom of Information Act (FOIA), there’s a murky line between what is fishing and what isn’t. Many FOIA requests of green groups over the years could be cast as such. This is one reason the Union of Concerned Scientists, for example, has walked a fine line in its statements on abuse of FOIA. Should a researcher using a state university e-mail address and working under federal grants be entitled to presume his/her correspondence is “private” (as described below)?
…The central issue is whether the subject of the inquiry is public business. Generally, scientific articles submitted in the author’s name with a disclaimer that the work does not represent the institution falls outside what is official business. Our main concern is that industry-funded groups and law firms are seeking to criminalize the peer review process by obtaining internal editorial comments of reviewers as a means to impeach or impugn scientists.
The grants themselves and the grant reports are public but a federal grant does not transform a university lab into an executive branch agency – which is the ambit of FOIA.
By the way, as an adjunct to our whistleblower practice, PEER makes extensive use of FOIA to force disclosure of matters other wise buried in agency cubicles. A good example of one our science-based FOIA [requesets] is this.
Here’s the news release from Mandia:
The Climate Science Legal Defense Fund (CSLDF) has found a non-profit home in Public Employees for Environmental Responsibility (PEER) which provides it fiscal sponsorship and logistical support. CSLDF lets scientific colleagues and the public directly help climate scientists protect themselves and their work from industry-funded legal attacks.
In recent years, these legal attacks have intensified, especially against climate scientists. The fund is designed to help scientists like Professor Michael Mann cope with the legal fees that stack up in fighting attempts by climate-skeptic groups to gain access to private emails and other correspondence through lawsuits and Freedom of Information Act requests at their public universities.
The project is co-directed by physical sciences Professor Scott Mandia of Suffolk County Community College and Joshua Wolfe, co-author of “Climate Change: Picturing the Science.” The Fund started this past fall after Prof. Mandia posted a “Dear Colleague” appeal for support which generated more than $10,000 in less than 24 hours (//bit.ly/qzg7X4). To date, CSLDF has raised $25,000. All contributions to CSLDF are tax-deductible.
“Academic salaries are not designed to support ongoing legal expenses in fights with corporate-funded law firms and institutes,” said Prof. Mandia. “These legal battles also have taken many of our brightest scientific minds away from their research.”
“Our goal is not only to defend the scientist but to protect the scientific endeavor,” explained Wolfe. “The Climate Science Legal Defense Fund was established to make sure that these legal claims are not viewed as an action against one scientist or institution but as actions against the scientific endeavor as a whole.”
In addition to its core mission of defraying legal fees, CSLDF will –
• Educate researchers about their legal rights and responsibilities on issues surrounding their work;
• Serve as a clearinghouse for information related to legal actions taken against scientists; and
• Recruit and assist lawyers representing these scientists.
“The Climate Science Legal Defense Fund dovetails with the mission of PEER – to protect those who protect our environment,” stated PEER executive Director Jeff Ruch. “When individual researchers find themselves under intense legal assault, they often have few resources. Their universities do not necessarily represent their interests and may be disinclined to resist corporate fishing expeditions. We are stepping into this void to provide direct aid to both the scientists and their institutions.”
Correction: January 25, 2012
The initial post incorrectly identified Scott Mandia as a professor of physics. He is a professor of physical sciences (with his degree in meteorology).
The State of the Union, With the Future in Mind
An Extraordinary Aurora Borealis
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The 2004 Boxing Day Tsunami destroyed many lives and livelihoods. After Oxfam’s first response DP Evaluation was asked to assess Oxfam's preparedness in terms of advocacy and communications. This piece of work involved interviewing a range of senior policy staff in Oxfam as well as international media and campaigns managers in the Oxford headquarters and in the south-east Asia region in order to assess the effectiveness of Oxfam’s response and learn lessons for the future.
Also in 2004 we conducted an evaluation of the coalition running the 'Olympics Campaign' with Oxfam, TUC and Labour behind the Label – Evaluation of the partnership and added values. The central piece for this evaluation was a carefully planned and sensitively facilitated workshop that allowed the team, coming from three very diverse organisations, to examine the strengths and weaknesses of their joint working with maximum openness. The workshop was followed up with one to one telephone interviews. The final report was well received: "What an excellent, upbeat yet eminently useful evaluation report." Chantal Duval, coordinator of Labour behind the Label.
"The tone and questioning of the workshop was very high quality. The way it was handled brought out the best in people, I am really looking forward to reading the final report." Mike Powers, Media Spokesperson, TUC
'The Big Noise to Make Trade Fair' – Evaluation of the Big Noise as a popular campaigning vehicle to collect signatures from around the world. This was a comprehensive review of Oxfam’s Big Noise, the popular mobilisation element of the Make Trade Fair campaign, which by December 2005, at the time of the WTO Ministerial in Hong Kong had been signed by 17.8 million people around the world, making it one of the world’s largest ever petitions. The aim of the review was to assess the outcomes and impact of the Big Noise, to learn what worked best and to make this information available for the future development of the trade campaign and for the future planning of Oxfam’s global popular mobilisation work. The Campaign Manager said: "… very professional input, the evaluation has played a vital role in helping us not only to draw out salient points in terms of impact, but also has allowed us to refine our communication about the Big Noise Campaign both within and outside the organisation to achieve better understanding as well as increased buy-in" - Jo Fox, Campaign Manager Oxfam GB
The review adopted a primarily qualitative approach, with the main source of information being a series of interviews with staff, volunteers, partners, signatories and decision makers around the world, based on twenty five key review questions developed jointly by Oxfam and DP Evaluation. This was supported by a document review and by a piece of quantitative work in the form of an online survey for signatories in the Global North. The review focussed on Burkina Faso, Colombia, Ethiopia, India and the Philippines, and on the UK and Spain but also used evidence from other countries. "The evaluation of Oxfam's ‘Big Noise to Make Trade Fair’ in 2006 was excellent in its design, planning and implementation. The findings and recommendations in the report are proving very useful to us and are already informing our strategic thinking about future global campaigns." Richard English, Trade Campaign Manager, Oxfam GB
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Archive | May 13, 2015
Snowed – Part 56
While they are chatting, Jaqwan tells them the identity of Mystery Date, none other than the young teacher, Anisette Parker. Mike, who had only ever seen her in the long dresses with her hair pulled back, hadn’t recognized her.
“She’s some sort of religious freak,” Cynthia said. “She borrowed that dress from my sister and Maddie did her makeup. She had no idea Ani was gong to go so crazy on you. If she’d known, she never would have done it. She really liked you, Mike.”
“I’m sorry,” I said, wanting to hide myself in a cold, dark place. “I didn’t know she liked me.”
“Maddie’s not the type to strut it,” David said. “But she kind of hoped you’d notice her at the party. She thought she was doing pretty well until Ani got involved.”
“She was,” I admitted. “I could’ve taken her home instead.”
“Why didn’t you?” Cynthia wasn’t mad, just curious.
“I don’t know. Something happened and all of a sudden, she wasn’t there. I was pretty drunk. I can’t believe I lost control of myself like that though. That’s totally unlike me. Even drunk. . . .”
“I think ‘at bitch drugged you, man,” Tim said. “I was watching you and all of a sudden you started acting all hot and horny like you were going to do her right there on Molly’s couch. You had your hands all over both of them. They helped you get your gifts home and you stayed with the brunette. Maddie come back screaming how she was gonna kill her and went home to throw her shit out in the snow.”
“We convinced her to pack it,” David explained. “But the lease is in Maddie’s name, so she was in her rights to toss Ani out.”
“Looks like I have an apology to make,” I said quietly.
Sarena took my hand, holding it close to her cheek. The police arrived shortly after that and I had to tell my sordid tale all over again so the officer could get it down. Jaqwan and the others identified Anisette Parker as the woman I’d taken home that night. I could feel my mother’s eyes on me and I felt dirty. I wanted to bathe for a week to get the stench of embarrassment off my body.
“Do any of you know where she’s staying?” The officer asked.
No one had a clue. All we could give him was the name of the school she worked at.
“And the hospital,” I said. “She had some women she carpooled with. One of them might know.”
“Do you know their names?”
“No, but they may know at the hospital. She works evenings on weekends.”
“I’ll get right on it. Thanks, Mr. Reuben. Sorry about your loss, sir.”
“Just find the crazy bitch before she does something else,” I said.
I could hardly swallow. I wanted to throw up all of a sudden. Six people could have died, and it was all my fault. Because I couldn’t control myself, took the wrong woman to bed, all this had happened. I gagged. Running to the bathroom, I slammed the door almost in Sarena’s face. I dry heaved over the toilet for several minutes, wishing I could puke. I’d feel better if I could.
There was pounding on the door. Several people spoke at once, but finally one voice drowned them all out. It was a calm voice, gentle, deep.
“Mike.” It was Chester. He never called me Mike. “Let me in, son. Let’s talk about this.”
I reached up, turning the lock. He came in, blocking the doorway when others tried to follow him. Holding up his hand, he pushed them back without touching them.
“It’s okay,” I heard him say softly. “I’ve got it. It’s okay.” He sat down on the floor next to me, legs crossed. “This is not your fault,” he said quietly.
“If I hadn’t. . . .”
He held up his hand, putting a halt to my babbling. He closed the toilet and damped a washcloth at the sink. Sitting next to me on the floor, he mopped my face.
“The girl is obviously unbalanced, obsessed. You aren’t responsible for her reaction. Did you do anything at all to encourage that girl?”
“You mean other than fuck her repeatedly?”
“I meant before that.” He reddened somewhat and I realized my language had offended him.
“No, sir.”
He nodded as if that was the answer he was after. “I didn’t think so. Did you ever give her any indication, before that night, that you wanted to be with her in a sexual way?”
“Honestly, Chester, I barely knew the girl existed. I mean, except in the general sense. She never looked like that. She’s mousy with long skirts and collars up to here,” I put my hand under my chin. “We’ve spoken on field trips, chatted about the kids. . . . But nothing ever to indicate that I wanted her. I try to be very professional on the job. I don’t use it as my own personal dating service. It’s just a goddamn school bus!”
© Dellani Oakes 2014
This entry was posted on May 13, 2015, in Snowed and tagged Cheyenne Wyoming, Dellani Oakes, Dellani's quote of the week, Halloween, Pennywise Press, romance, romantic suspense, Second Wind Publishing, Snowed, Tirgearr Publishing. 1 Comment
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Childrens Health, Transition to Transformation
Royal Society of Medicine, London
Dr Philip Thompson
GP Lead for Children
NHS South Worcestershire CCG
Dr Philip Thompson has lead the development of a set of guidelines which have now been rolled out across Worcestershire, looking at the identification and best practice management of the most common childhood presentations for urgent care. Philip has previously worked in a number of acute paediatrics departments as a junior doctor and ...
Sally Burlington
Head of Policy
Local Government Association (LGA)
Sally has had a wide ranging career in policy and strategy development in the Civil Service, particularly focusing on policies to tackle poverty and disadvantage. She spent 6 years in HM Treasury and a year at Kent County Council during which time she reviewed the council's procurement of social care and negotiated one of the first innovative ...
Alison Burton
Maternity and Early Years Lead
Alison is the National Lead for Maternity and Early Years in Public Health England. Alison started her career as a nurse working in City of London and Hackney before moving to Oxfordshire. She went on to train as health visitor and then a school nurse. Alison has worked in clinical practice for over 20 years and moved into public ...
Bridget Halnan
Early Years Committee Member
National Institute for Health and Care Excellence (NICE)
I qualified as a Health Visitor in 1984 and have always worked in the arena of supporting new families to achieve best health outcomes for their Infants and Children. My career has included working in research as well as teaching, but always having contact with families. As a research health visitor. I worked with Professor Lynne Murray in ...
Kenny Gibson
Head of Public Health Commissioning
Kenny started his NHS-career as a laundry assistant in 1981 before training as a nurse from 1982. He qualified as a nurse and midwife in Scotland and got the learning bug using the internet. He is now a perpetual learner using social media about all things relating to clinical practice and our health care systems – especially how to get the ...
Ailsa Swarbrick
Family Nurse Partnership National Unit
Ailsa has led the Family Nurse Partnership (FNP) National Unit since 2012, and is currently taking forward a significant programmes of development to increase impact, cost effectiveness and fit with local context and priorities. She has previously overseen FNP’s expansion, and led the Unit from the Department of Health to a consortium ...
Carey Oppenheim
Early Intervention Foundation
Carey has been Chief Executive of the Early Intervention Foundation, a charity and What Works Centre for early intervention for children and families since 2013. Carey’s previous roles include Co-director of the Institute of Public Policy Research, Special Advisor to Tony Blair in the Number 10 Policy Unit between 2000-05, specialising ...
Dr Patricia Mucavele OBE
Head of Nutrition
Children`s Food Trust
Tricia has been at the forefront of the Children's Food Trust's work over the last decade developing national school food standards and the first national, voluntary guidelines to support nurseries, children’s centres, pre-schools and childminders with helping young children eat better. Tricia has been with us ...
Melanie Gregory
The Ear Foundation
Melanie Gregory is the CEO of The Ear Foundation. She has 20 years’ experience working with families, children and adults with hearing loss. Her area of interest is person-centred practice and rehabilitative audiology. She has written numerous articles on motivational engagement, the patient journey and person-centred practice.
Professor Sally Kendall
Professor of Community Nursing and Public Health
Sally worked as part as a research team investigating the health promotion role of nurses, midwives and health visitors, and at the same time commenced her doctoral studies on the health visitor-client interaction. She gained her PhD from King’s College London in 1991 and took up a lecturing post. In 1999, she moved to the University of ...
Total Swimming
Clair Rees
Parent Infant Partnership (PIP) UK
Clair joined PIP UK in this role in February 2015 and has a diverse background of experience in Consultancy, policy, practise based research, training development, public speaking and leadership in the early years over 20 years. She has a specialism in perinatal and infant mental health formed through an eclectic range of clinical experience ...
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EEAS homepage > Armenia > EU remains committed to promoting and defending human rights in Yemen
EU remains committed to promoting and defending human rights in Yemen
The EU Annual Report on Human Rights and Democracy in the World 2018 was adopted by the Council on 13 May 2019. It highlights the EU's crucial role in the protection and promotion of human rights and democracy, including in Yemen. Through funding dedicated to relevant interventions, the EU's leverage in the multilateral context and its close coordination with its Member States, the EU continues to stand with the people of Yemen to ensure the realisation of their human rights and the respect for international humanitarian law in the war-torn country.
In 2018, the year of the 70th anniversary of the Universal Declaration of Human Rights, the EU continued its efforts to defend and promote the human rights of Yemenis suffering from the consequences of four years of armed conflict. In this context, special attention was paid to the promotion of gender equality and girls' empowerment. The EU allocated EUR 32 million to a global call dedicated to the fight against sexual and gender-based violence, among others in Yemen. It also promoted the role of women at different levels of the peace process, mediation and peacebuilding. The EU has further engaged in the promotion of International Humanitarian Law (IHL), a body of international law of crucial importance to prevent and mitigate the suffering of millions of civilians in Yemen. By funding the NGO Geneva Call, the EU supported the promotion of IHL among different types of non-state armed actors and further reinforced the humanitarian community's capacity to negotiate access with non-state armed groups.
At the heart of multilateralism, the EU continued to play a leading role in making the grievances of Yemenis heard. In the UN Human Rights Council, the EU raised issues of concern and in the Council's 39th session it supported the resolution on Yemen which renewed the existing mandate of the Group of Eminent Experts. Moreover, the EU worked in close cooperation with its Member States to advocate for the protection and promotion of human rights in Yemen. In January 2019, the EU Delegation to Yemen launched the Human Rights Bracelets Campaign on Instagram to accompany the third cycle of the UN Human Rights Council's Universal Periodic Review (UPR), in which Yemen's human rights situation was assessed. Through the campaign, the EU family aimed to demonstrate its support for human rights, the protection of civilians, and for the rapid and unhindered humanitarian access to those in need. As the month of June marks the end of the UPR, the EU encourages the Government of Yemen to thoroughly consider the recommendations put forward during this process, take appropriate measures to improve the human rights situation in Yemen and deliver on its human rights obligations.
Press and information team of the Delegation to YEMEN
Supporting one of Yemen's most important and yet most neglected economic sectors
Op-ed by the EU HoD on the occasion of the International Day in Support of Victims of Torture
EU supports crisis-affected rural communities in Yemen to build the resilience of the agricultural and livestock sector
Human rights and democracy in the world: 2018 EU annual report adoptedOn 13 May 2019, the Council adopted the EU annual report on human rights and democracy in the world for 2018.
Remarks by High Representative/Vice-President Federica Mogherini at the press conference following the Foreign Affairs CouncilRemarks by High Representative/Vice-President Federica Mogherini at the press conference following the Foreign Affairs Council
Supporting one of Yemen's most important and yet most neglected economic sectorsThe Yemeni fisheries sector has suffered greatly from the volatile and deteriorating situation in the country. This has left many coastal communities without livelihoods and increased their vulnerability to negative economic developments and the fallouts of war. Within the framework of the EU-funded
Op-ed by the EU HoD on the occasion of the International Day in Support of Victims of TortureProtection from torture must be ensured at all times and in all circumstances
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Get in Touch With the Hippie Culture - November's Culture Article
Get in Touch With the Hippie Culture
by Jay Brandley edited by Lynne Hand
The term hippie is often misunderstood by many. When thinking of the word or term hippie, many people often picture a bunch of people with beards, headbands, peace signs and bell-bottom jeans (see above). Well, there is much more to the concept of what a hippie or the hippie movement is.
The term hippie was popularized in the 60s, and is said to be derived from the word hipster. The movement originated and was popularized in the USA. Since the 1960s, the hippie movement has spread and you can see many people around the world who are part of the hippie movement.
The hippie movement was all about peace, love and freedom. These concepts are commonly known. The 1960s was a time of big change and adjustment. It was a time of war (I am sure that you are familiar with the Vietnam War) and during this time, older men as well as young boys who had just turned eighteen were being drafted to join the army. Many of these older men and young boys were sent to fight in the Vietnam War and did not make it home alive. This is a very touchy subject for many, so I will not delve too deeply into it. The point that I am trying to make is that the 60s was molded by people who fought in that war, the people who supported the war, and the people who strove for peace and strongly believed in love and freedom.
It was this last group of people who were called hippies. The concepts of peace, love, and freedom were at the root of the hippie culture, and the hippie movement, with this foundation of beliefs, has stood the test of time up until today. There are still many people who consider themselves to be hippies.
As with many concepts and movements, there are other things that spring from this belief and the hippie movement also has its own fashion trends and a sort of stereotyped clothing and apparel.
Now when we look at the fashion aspect of the hippie movement, things like colourful tie dye t-shirts and patchwork bell-bottom jeans and even Boho tribal styled skirts come to mind. The hippie trends and fashions of the 60s have even made it to the twenty first century.
The hippie movement along with its beliefs and fashion trends has survived up until today, even though it's nearly fifty years old.
For more great hippie fashion trends, check out Jays site Paisley Days. Paisley Days keeps you updated with great hippie clothes and accessories.
Camping - Travel Article May
English In Use - 'Whiff You Were Here'
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And it's Saturday,
and you better appreciate this
Friday night; well,
I said I'd try
I've come to the conclusion that the best way to start off with a woman's first range trip,
at least when she's visibly nervous, is very simple: "You can do this." Some stuff added in, but that seems to be the base. Men, on their first time- especially late teens/early 20's, it's not nervousness, it's "Don't do stupid things and we won't have to throw you out"; put more politely, but still, that being followed by the safety and how-to stuff.
The real problems generally come from someone who's not new to shooting, thinks they know it all, and don't like being told "Don't do that."
That's the extent of my deep thoughts for the evening. I shall now return to trying to get something done.
Pretty busy next few days;
light bloggage ahead. I'll try to make time for the data dumps, but no promises
From the only people professional enough to be trusted with guns:
An F.B.I. counterterrorism supervisor is under internal investigation after a woman stole his gun following a night of heavy drinking in a North Carolina hotel, according to documents and government officials.
In July, Robert Manson, a unit chief in the F.B.I.’s international terrorism section, had his Glock .40-caliber handgun, a $6,000 Rolex watch and $60 in cash stolen from his room at the Westin hotel in Charlotte, N.C., according to a police report.
Labels: General Idiocy
Feinstein is a nasty, corrupt, hypocrite politician who cares about one thing(besides money):
control. Always more control over the commoners.
It's interesting that Feinstein sees that as the "one reason" why this bill has been introduced. Not because it will stop mass shootings, or because it will make it harder for bad people to get guns, or even because it's a small step toward a less violent society.
Nope. This bill has been introduced for "one reason": so Democrats can score political points by holding it up and waving it every time there's a high-profile crime with a gun. Look! There's a bill right here, ready for debate and a vote! Will the bill do anything to stop these horrific attacks from happening? Well, no, but that's not the point.
It never is: CONTROL is the point. She keeps a bill sitting in a drawer just waiting for another chance to throw it out, and she always will.
Labels: 2nd Amendment, Hypocrite Politicians
Yeah, about that Australian Model of gun control,
not working so well.
Previously unseen police statistics show that the number of pistol-related offences doubled in Victoria and rose by 300 per cent in New South Wales. At least two other states also saw a massive jump in firearms-related offences during the same period.
Hmmm, wonder why they were 'previously unseen'.
The statistics detail the types of firearms offences police have pursued in the courts in the past decade and show some concerning findings, including a massive 83 per cent increase in firearms offences in NSW between 2005/06 and 2014/15, and an even bigger jump in Victoria over the same period.
So, bad guys are still getting guns despite honest citizens being screwed by the laws. Sound familiar?
Here's something else that'll sound familiar:
Samantha Lee, an advocate for tighter firearms laws at Gun Control Australia, said the laws regulating the sale of ammunition in Tasmania and Victoria were weak.
“There is very little regulation of ammunition purchase,” she said. “In most jurisdictions you can purchase ammunition because you have a firearm licence and there is no restriction on the type you can purchase – so if you own a rifle you can still purchase ammunition for a handgun.”
So 'very little regulation' means
"You can't buy it without a firearms license, and if you're caught with a round and you don't have said license you'll go to jail, but IT'S NOT ENOUGH!"
And it will never be enough for these people until it's all banned, and only the .gov and the crooks have guns.
(Yes, I know, the article's a couple of years old; the points still hold)
Labels: Gun Bigots
Yeah, things are so much better in Europe...
But while Swedish women rank among the most equal in the world, they increasingly fear for their physical safety on the streets. Reported sex crimes increased by 61 percent between 2007 and 2016. Meanwhile a rise in gang violence among men–the number of victims injured by gunshots increased by 50 percent between 2004 and 2016–indirectly affects the safety of women. Police admit that rape cases are piling up without being investigated because resources are being drained by gang violence and shootings.
And guess who seems to be 'overrepresented' in all this?
A similar study, conducted in 2005, showed an even higher overrepresentation of immigrants among sex crime suspects, by then up to 5.1 times as likely as Swedes to commit rape (see pages 70-77 for a summary in English). In the 2005 study, Brå explained the growing over-representation with reference to demographics and immigration: “[T]he number of people in Sweden belonging to the group of refugees, which have in earlier studies been shown to have an especially high propensity to commit crime, has increased.” It is a plausible hypothesis that the same mechanism is at work now.
And the government still doesn't want to talk about this part of it. Because PC No Matter The Cost is the most important thing.
Labels: Crimes, PC at any cost
Why, it's almost like there was a fix in...
Memos released to Congress yesterday show that former FBI Director James Comey watered-down his description of Hillary Clinton's conduct.
Originally Comey accused the former secretary of state of being “grossly negligent” in handling classified information in a draft dated May 2, 2016, but that was modified to claim that Clinton had been “extremely careless” in a draft dated June 10, 2016.
Comey stuck to that modified language when he announced in July 2016 that there would be no charges against Clinton.
Federal law states that gross negligence in handling the nation’s intelligence can be punished criminally with prison time or fines, according to The Hill, which first reported on the memos.
But we can trust the EffingBI. Y'know, Comey and all the other senior people involved in this.
Labels: Sorry Excuses for Lawmen
Labels: General Dumbassery
'toon clearing
I've come to the conclusion that the best way to s...
From the only people professional enough to be tru...
Feinstein is a nasty, corrupt, hypocrite politicia...
Snowflakes, whiny bitch snowflakes everywhere
Tell me again about the wonders of the Canadian he...
He actually expects anyone to believe that?
So, basically another Bernie supporter trying to k...
Piece of walking garbage murdered a bunch of peopl...
Why are woke social-justice clowns such whiny, wea...
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English for the underserved: Alternative technologies to bridge the digital divide
by Michael Carrier | 19 Jul, 2017 | Articles, EdTech, Featured, Guest posts, Main feature | 0 comments
This post is based on Michael Carrier’s talk at InnovateELT 2017 in Barcelona, English for the underserved – technology to close the digital divide.
Much of our work in ELT technology helps ‘first world’ kids with first world tech access. This post looks at the other world – the next billion learners, in rural areas of Africa & Asia. These learners and communities have difficulty accessing electricity, connectivity, textbooks – we can fix that with new EdTech.
Butare is a sizeable town in the south of Rwanda, about 4 hours from the capital Kigali. The school we were visiting was a collection of low red brick buildings around a fairly muddy and uneven school yard. The classrooms were cramped, given there were 50 kids in each, and the chalkboard was so scratched that it was hard to read the English vocab the teacher had written up.
We brought a gift of dictionaries, as they had none. They only had a few textbooks that were kept locked in the headteacher’s office. There was only intermittent electric power – but the learners were energetic, sharp and eager to learn.
Ever since I first visited Rwanda when I was at the British Council, and saw the difficult conditions that teachers faced in the rural and small town schools, I have felt that we in the EdTech community could really do a lot more to help students and teachers in developing economies. This led me to look into the world of ‘alternative’ EdTech, by which I mean simply innovative EdTech that is outside the mainstream of what schools and teachers normally use.
Our access to technology gives us such a privileged situation, because it brings access to global knowledge and opportunities for higher education, employment and mobility – exactly the life chances that students in emerging economies lack.
Although Western economies send billions in aid to emerging economies, it doesn’t always find its way into classrooms, and certainly not English language teaching classrooms. The UK aid ministry, DFID, has set its heart against ELT as a previous minister, Clare Short, considered learning English to be colonial and elitist.
Most aid agencies are rightly concerned with poverty alleviation, and with improving the basic education of primary school children, especially girls. This is the most important focus, of course, but it’s hard to see why a small slice of the £13 billion the UK spends on aid could not be targeted at improving access to educational technology and connectivity, so that disadvantaged students can get better opportunities to learn and expand their horizons.
The problem of digital learning is that, no matter how wonderful the technological affordances are, and how much they complement teaching and support learning, they are all somewhat useless if students cannot gain access to the technology because they lack the economic power or the infrastructure.
This is the so-called digital divide (a term I’m not particularly keen on). UNESCO defines the issue thus: ‘’the global spread of ICT has increased inequality, and … the poorest and most marginalised have therefore failed sufficiently to benefit”.
What attracted me to the world of ‘alternative’ technology is the energy and innovative spirit of the people who are trying to reverse this marginalisation while keeping a close eye on the cost to users.
There is no point in coming up with incredibly innovative new technologies if they are so expensive that no individual, school or village can afford them and only Western governments can utilise them – interactive whiteboards come to mind here, as a prime example of the most overrated and over-priced EdTech (cue howls of outrage from some quarters).
So I was drawn to projects like LifePlayer and Rachel (see below) because they seemed to be fresh and idealistic, innovative yet inexpensive, and held out the promise of solving real-world needs for disadvantaged people.
The key issues are easy to identify. Students and teachers need access to reliable electric power, access to Internet connectivity, access to devices that are Internet enabled, and access to a wide range of appropriate learning materials and content.
To solve the issue of access to electricity and reliable power, a number of organisations have been offering solar-powered technology. A good example is Lifeline Energy, run by Kristine Pearson from South Africa, which provides solar-powered radios and MP3 players to allow teachers and community leaders to bring audio content into rural areas and isolated villages without reliable power. The MP3 unit could record radio broadcasts for later sharing, and could be updated with new content by adding a cheap memory card in the front panel.
While at the British Council I set up a project with Kristine to buy large quantities of this solar-powered MP3 player, called the LifePlayer, and to equip them with memory cards containing the British Council’s listening material, podcasts, and teacher training material in audio format so that this could be used in low resource contexts.
This has been successfully rolled out in Kenya, Mozambique and Ethiopia and possibly other countries since, allowing both students and teachers to gain access to materials that would otherwise be too difficult to deliver via traditional publishing or broadcasting.
To solve the problem of lack of connectivity in remote or undeveloped areas, we need to look at the advances in long-distance wireless connectivity.
Intel have developed a new type of wireless Wi-Fi called WiMax, which can send Wi-Fi signals up to 5 miles along line of sight from antenna to antenna. This is used in some rural areas in England, where phoneline-based broadband is unavailable or too slow for people who need to work remotely. One friend of mine used something similar to set up a cooperative village Internet provider that broadcasts Wi-Fi from a dish on the tower of the village church.
The second connectivity support is to provide prepaid telco programs. This is relevant if your students have an Internet enabled phone, and a strong enough signal to be able to connect to the Internet from their location, but the cost of a monthly data subscription is far too high for them to afford.
The solution is to give them cheaper access through a prepaid card, which works like a scratchcard with a code number. For a small fee this gives, for example, one gigabyte of data access but does not commit users to an ongoing monthly subscription, which would be unaffordable. Intel have developed several programs like this, including with the Vietnamese Ministry of Education, in order to help people access the Internet via PC or phone at an acceptable cost.
Portable servers
What if power and connectivity access can’t be so easily solved as suggested above?
Then we have to take the Internet closer to the students – think ‘Internet in a box’.
What we need is a portable offline server. I know you’ve always wanted one.
A portable offline server is essentially a modified router, Wi-Fi access point and server squeezed into one small box, about the size of a A5 notebook.
In addition to the router you have at home, it has a hard drive to hold content selected by the teacher or school, and a rechargeable battery.
While it is in a centre with a live Internet connection, material can be downloaded from the web on to the server. Teachers can also upload and organize any type of content stored locally in their school, or created locally, for access by the whole class.
This content is all accessible via the Wi-Fi hotspot to anyone with a browser and a wifi device, even when the server is disconnected from the Internet – it’s self-sufficient.
It runs off its battery power, long enough for a school day, and it creates its own Wi-Fi hotspot. Students use phones or tablets to get wireless access to the curated content on the server’s hard drive – which is accessed via a standard browser.
As the server is portable and self-contained, it can be moved from room to room in a school or used outdoors in a more remote location where there is no electricity and no external connectivity.
The beauty of this solution is that teachers or schools or educational aid groups can preselect and load content onto these portable servers, via network or USB or memory card, charge them up in a central location and send them out with a group of phones or tablets or laptops to be used anywhere in the field.
The Intel version of this concept is called an ‘’education content access point’’ and costs around $250-$300. (https://www.intel.com/content/www/us/en/education/products/content-access-point.html ). There are others available, including one based on Raspberry Pi.
A fantastic example of this is the Rachel project.
Rachel stands for ‘Remote Area Community Hotspot for Education and Learning’. The charity that runs the Rachel project, WorldPossible, is determined to bring connectivity to the 60% of the world’s population that remains offline. This population is predominantly rural, low income, elderly, illiterate, or female.
A common refrain we hear is that children are in school, the teacher is there, but no-one is learning. Offline content serves as a resource for students and teachers to not just educate themselves, but also develop vital 21st century skills in digital literacy, research and critical thinking.
— Jeremy Schwarz, WorldPossible
The Rachel server runs on Ubuntu and drives tablets and notebooks in a small off-line learning lab, hosts off-line copies of websites, audio files, PDF reading texts, lesson plans, video clips and anything else that a standard browser can access.
The server is not much use without good learning content. We can’t expect local teachers to always create their own, so we need to direct them to external sources that are free – their budgets don’t run to expensive UK ELT textbooks.
Sources of off-line content are rich and varied, as open educational resources (OER) are being built up and extended in a number of different repositories – British Council being a prime example.
The Rachel project offers off-line versions of Wikipedia, TED talks, 400 books from the Gutenberg Project, the African Storybook project, and Radiolab.
Schools and teachers can provide their own off-line content simply by making any kind of locally-available or downloadable English language teaching material available in browser-readable format – such as PDF documents, listening files in MP3 format, and videos in MP4 format.
Device access
Of course, none of this is of much use unless students have devices which can access the Internet directly or via the off-line server.
The penetration of mobile phones even in emerging economies is extremely high and by 2022 it is estimated that there will be 8.9 billion mobile subscriptions and 6.1 billion unique mobile subscribers, which is almost one for every person alive on the planet.
It is therefore likely that in most locations a sufficient number of students in the class will have access to a phone that can be used to access learning content.
If not, schools and aid projects need to develop loan systems so that the teacher can bring one device per group of students into a class along with the off-line server.
Where this is not possible, then the students can also access learning content as a group rather than individually. Teachers can provide the class access to the learning material from the teacher’s phone or tablet, by connecting it to a portable Pico projector and displaying this on a white wall, or a wall covered with a white sheet of paper. It’s not cheap (about £200-250), but cheaper than a set of 50 tablets.
It seems only fair that we should look for ways to share the benefits we in richer countries have experienced, and some of these ‘alternative’ technologies may help to bridge that digital divide.
We will need more investment help, perhaps via EdTech NGOs that gain funding for such work, and we will need much wider access to open-source language learning materials – but that’s another topic.
I’m working on a longer exposition of these issues for a future paper, so check out www.michaelcarrier.com later for a copy of the article.
Michael is managing director of Highdale Consulting and consults for Cambridge English among other organisations. He has an MBA and an MA in Applied Linguistics and has worked in language education for many years in senior management at IH, British Council, and Cambridge English. His focus is teacher development, intercultural awareness, and the application of digital technology to education. He is on the boards of TIRF, ICC, International Students House, and is a Fellow of the RSA.
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Cooperative Extension: Tick Lab
Submit a Tick
Ticks of Maine
Tick Management
Tick Biology
Tick Photos
Deer Tick or Black-legged Tick
Scientific Name: Ixodes scapularis or Ixodes dammini (In 1993, I. scapularis and I. dammini were found to be the same species. Ixodes scapularis is now the accepted scientific name)
Common Name: Deer tick or Black-legged tick
Description: Adult females are typically less than 1/8 inch in length and males are slightly smaller. Adult females are brown to reddish-orange in color with a dark brown to black dorsal shield or scutum on the back, directly behind their head. After feeding, adult females can increase in size to as much as ½ inch in length and can range from a tan color to gray or dark brown. Adult males tend to be dark brown in color with no reddish coloration on the body. Adults have dark brown or black legs, thus the common name “black-legged” tick. Deer tick nymphs are very small, about the size of a poppy seed, and can be difficult to see. The six-legged deer tick larvae are even smaller, typically less than 1 mm.
Habitat/Range: Deer ticks are widely distributed in the eastern United States from Maine to Florida and westward around the Great Lakes. In Maine, they are most common in southern and coastal areas, but populations are advancing inland and have been found in northern Aroostook County. Deer ticks are commonly encountered in mixed forests and along the woodland edges of fields and suburban landscapes.
Life Cycle/Hosts: The deer tick is a three-host tick, meaning it utilizes a different host at each of its three active life stages (larva, nymph, and adult). It undergoes a two-year life cycle, beginning during the spring when an adult female lays several thousand eggs in the leaf litter. In early summer, tiny six-legged larvae emerge from the eggs and begin feeding on their first host, usually a small mammal. Many of these hosts, particularly mice and chipmunks, are infected with the agent that causes Lyme disease and transmit it to the larval ticks. Following a molt from the larval stage, nymphs generally feed on small to mid-size animals while the subsequent adults prefer deer. All stages will feed on humans and domestic animals. Adult deer ticks are found from early spring to late fall with two peaks, one in April or May and another in late October. Nymph numbers peak in June and early July.
Medical/Veterinary Importance: In Maine, deer ticks are vectors of several serious tick-borne diseases including Lyme disease, anaplasmosis, babesiosis, and Powassan virus. It is extremely important to check for and remove ticks from humans and pets as quickly as possible.
Adult Female
Adult Female Engorged
Adult Female (left), Nymph (right)
Photos by Griffin Dill
Tick Species of Maine
Tick Species of Maine Home
American Dog Tick
Brown Dog Tick or Kennel Tick
Gulf Coast Tick
Ixodes angustus
Ixodes brunneus
Ixodes dentatus
Ixodes gregsoni
Lone Star Tick
Mouse Tick
Rabbit Tick
Seabird Tick
Squirrel Tick
Winter Tick or Moose Tick
Woodchuck Tick
17 Godfrey Drive Orono, Maine 04473
Tel: 207.581.3880 or 800.287.0279 (in Maine) Fax: tickid@maine.edu
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Part 4 - Greece: The worst in everything?
Contributing to the general sense of helplessness and hopelessness is a commonly-held view that Greece and Greek society are inferior to the “civilized” – as they are often called – countries of the West. This inferiority complex deeply pervades the Greek psyche and every aspect of present-day Greek society.
Such a mentality has long been present in Greece. Successive waves of immigration out of Greece throughout the 20th century and into the 1970s resulted in a mentality which still lingers, that the “grass is always greener” overseas. With the onset of the economic crisis in 2008-2009, a new wave of emigration out of Greece commenced and approximately 600,000 individuals left Greece during this period. This new wave of emigration has resulted in the re-emergence of these old mentalities.
Old attitudes die hard, and in hearing many Greeks describe their country, one detects an overriding attitude, a prevailing sentiment that views Greece as a “banana republic” and “uncivilized” and that everything is better overseas in the aforementioned “civilized” countries of Northern Europe and the West. There is indeed a Greek word for this mentality: “xenomania,” literally meaning a fascination with anything foreign. Xenomania is rampant in Greece: ranging from the use of “Greeklish” instead of the Greek language, to the all-encompassing preference for seemingly anything foreign, from food to music to fashion.
A common refrain that is heard in Greece whenever anything negative occurs in the country, no matter how minor or inconsequential, is that such things occur “only in Greece.” These assertions often reach epically absurd proportions.
In February, a horrific car accident on one of Greece’s national highways resulted in the death of four people, including a pregnant woman and her three-year-old child who were sitting in an automobile parked at a rest stop. Immediately, a chorus of comments was heard throughout the traditional and social media about how terrible Greece is in all aspects. An ex-race car driver and current driving school owner, known popularly as “Iaveris,” stated on national television in response to the tragedy that “Greeks are the worst people in the world,” a remark which was met with overwhelming agreement in Greece’s public discourse.
This same “logic” is regularly and consistently applied to every real or perceived negative story, event, or facet of life in Greece. Cost overruns on a public works project? Only in Greece! Government corruption? Nowhere is it worse than in Greece! Major bankers and politicians going unpunished for their crimes? Only in Greece! Destructive forest fires? Football fans rioting? Doctors practicing medicine without a license? Workers being obliged to work unpaid overtime hours? Crooked taxi drivers that overcharge passengers? Cruelty towards animals? Small businesses that don’t issue a receipt for a minor purchase? Unfair judicial decisions? Low quality, sensational media outlets? Garbage strikes, or strikes of any variety? You get the point. Apparently, all of these terrible things are the exclusive traits of, exist in, or occur only in Greece.
Compounding this confounding line of thinking, most Greeks seemingly do not want to hear anything contradicting these widely-held beliefs that Greece is a corrupt, worthless, useless nation, the worst in anything and everything. Evidence or arguments to the contrary are not ordinarily received in a positive manner.
Indeed, it is quite likely that one will be attacked, frequently quite nastily, for pointing out that, for instance, German aviation workers were on strike for more days than their Greek counterparts, or that corruption and crime and violence exists in other developed countries and are not the exclusive realm of Greece. When all else fails and they find themselves devoid of a counterargument, a simple “yes, but we’re worse anyway” serves as an all-purpose catch-all to continue insisting what a horrible species Greeks are. It truly has attained the status of a fetish.
Related to this mindset is a longstanding need for positive affirmation from “outside.” The opinions of foreigners and visitors to Greece are held in high regard – certainly much higher than the thoughts of fellow Greeks. Evening television newscasts invariably accompany significant stories about Greek economic or political developments with a rundown of how the foreign press and overseas news agencies are evaluating these stories.
A favorite of the news media are the seemingly never-ending “evaluations” of the extent to which Greece is meeting the fiscal targets set for it by its “saviors” in the troika of Greece’s lenders: the European Commission, the European Central Bank and the IMF. Like a teacher lecturing a wayward student, the Greek media breathlessly report on the evaluation of foreign bankers and credit rating agencies, pedantically informing the public whether Greece is a “model student” of sound finance or not.
Ironically, when hatchet jobs have been performed against Greece by the international media – such as during the onset of the crisis, where numerous foreign (particularly German, British and American) media outlets published highly derogatory and racist accounts of the Greek crisis, portraying Greeks as lazy, culturally deficient and reckless, there was nary a word of organized protest out of Greece. The same was true in the 1990s, when Greece was, for example, absurdly blamed by Western media for the TWA Flight 800 disaster and described as a hotbed of terrorism, or deemed too incompetent and incapable of organizing the 2004 Summer Olympic Games prior to the event.
The evaluation of foreigners is valued, so long as they are foreigners from “civilized” countries which, in the eyes of many Greeks, are paragons of virtue and rule of law and can do no wrong. By comparison, Greece is viewed by Greeks themselves as a country that can barely do anything right.
Even positive news is often dismissed. Stories of Greek students who earned an award or distinction are met by comments about how they should “go abroad” to “save themselves.” A significant sporting achievement, such as Greece’s recent gold medal in the European under-20 basketball championships, inevitably leads to comments such as how “basketball is the only thing that functions properly in Greece.”
As with purported self-criticism, so-called self-deprecation is popular in Greece. Dating back well before the economic crisis, the material of stand-up comedians and television satire programs airing on outlets owned by corrupt oligarchs with specific political and social agendas invariably focused on corrupt, thieving or incompetent Greeks, the crooked government and the “dysfunction” of “Greek reality.” As with many stereotypes, there is a degree of truth – but when repeated ad nauseum, even in satirical form, such portrayals attain the de facto status of being the whole, entire truth.
Indeed, the media, just like the politicians, love to foster hopelessness and despair in the populace, whilst pushing a globalized diet of programming down people’s throats. Television newscasts frequently feature stories about Greeks who “made it” abroad, with their success generally attributed to the fact that they left Greece and found their fortunes in a “civilized” country. The “success stories” of those who opened a café in Helsinki or landed a job with NASA in Houston are touted; accounts of the less successful are ignored.
Life in these countries is idealized, and is often accompanied by stories of the Greek “brain drain,” or of innovative Greeks who found their entrepreneurial ideas stifled by “Greek bureaucracy”—without, however, ever performing any deeper investigation into exactly why the bureaucracy and public sector operate in such a manner. Foreign movies and TV series further paint an idealized portrait of the “civilized West.”
Years ago, pre-crisis, I recall being asked, in one conversation, if my family’s home in the United States was similar to that of “the Winslow family” (referencing the TV series “Family Matters”). This mentality is further reinforced by the experiences of many Greeks, whose only time spent abroad may have been a shopping trip to London, a vacation to the tourist attractions of Paris or Rome, or a few years spent in the artificial bubble of the “ivory tower” of academia, studying at a foreign university campus.
Exceptions do exist, and where they do, ridicule oftentimes follows. In a 2011 interview, Greek-American actress and television presenter Maria Menounos, who resides in the United States, stated her desire of eventually making Greece her permanent home. Reporting on this interview, privately-owned national broadcaster Alpha TV—at the time owned by the German RTL Group—heavily ridiculed Menounos for her interest in moving to a country whose residents all wish to leave. Through the tone of its report, Alpha TV portrayed Menounos (and by extension, anyone else who might harbor similar thoughts) as delusional, while reflecting the status quo school of thought that people are better off leaving the country, rather than staying – or, for that matter, moving to Greece from abroad.
In another example from 2012, Greek actress Katerina Moutsatsos, who also resides in the United States, produced a YouTube video titled “I Am Hellene,” a production which was meant to raise the spirits of the Greek people and to express some pride that was (and still is) sorely lacking. The video quickly went viral, soliciting a tremendous response from the media and the public – largely consisting of derision, insults, and vitriol. Some accused Moutsatsos of being a “fascist,” others mocked anyone who would even consider saying anything positive about Greece.
One particularly insidious form of conditioning is performed by Greek sports journalists. Knowing that they are reaching a demographic largely comprised of young men who are often frustrated and jobless, and resentful towards the Greek state for obligating them to spend nine months performing useless and menial tasks as military conscripts, these journalists, somewhat subliminally, use their platform to play with their audience’s frustration while delivering messages meant to further perpetuate the Greek inferiority complex.
For instance, the beautiful football palaces of England or Spain, the “well-behaved” spectators, the amazing and superior athletes, are all touted ad infinitum, which constant references to “corrupt Greek athletics” and “decrepit stadiums” and “incompetence,” messages which are taken to heart by a demographic that likely doesn’t watch television newscasts or regularly visit online news portals. The behavior of, say, British or German or other European football fans outside the stadium and outside the country is conveniently overlooked, while Greek spectators are lectured about their “lack of civility,” criticisms then parroted by legions of sports fans across Greece.
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EUMS Sinfonia
Auditions Strings: No, Rest of Orchestra: Yes
Rehearsal Space Reid Concert Hall, Bristo Square
Rehearsal Time Saturdays 10.30am – 1.30pm
Contact sinfonia@eums.org.uk
Sinfonia is a semi-auditioned full symphony orchestra that rehearses under the baton of Ondřej Soukup.
The orchestra aims to provide an opportunity for keen string players to get a chance to rehearse and perform with a full scale orchestra without the stress of auditions, whilst also trying to create enough of a challenge for the auditioned woodwind, brass and percussion sections. Auditions take place during Freshers Week at the beginning of every academic year and involve performing a previously selected piece of music as well as some sight reading. All string players are welcome to join the orchestra without auditioning, although we expect a standard of at least ABRSM grade 6 (grade 8 is ideal) to cope with the challenging repertoire.
Like the society’s other ensembles, Sinfonia holds a concert towards the end of every term in venues such as the Reid Concert Hall, Greyfriars Kirk and St Mary’s Cathedral. Recent concerts have included performances of challenging works such as Tchaikovsky’s Symphony No. 2 and Capriccio Italien, Pomp and Circumstance Marches by Elgar and Sibelius’s Symphony No. 3. Have a listen to one of our recordings on Last.fm.
Every other year, the orchestra joins forces with the society’s Chorus to perform a large scale orchestral and choral piece. Last year such a collaboration took place with the two ensembles delivering a superb performance of Mendelssohn’s Symphony No. 2 “Lobgesang” in St. Mary’s Cathedral on Palmerston Place. Sinfonia further serves as a platform for talented student soloists to perform with a full orchestra. Recently this has included a highly acclaimed performance of Saint-Saëns Cello Concerto No. 1. Click here to find more details about our past concerts.
Last but not least, Sinfonia has a lot to offer from a social perspective too. Social activities include lunch in Teviot after every rehearsal, as well as sectional meals and other events with the whole of the society.
For further details, please get in touch with our Sinfonia Manager at sinfonia@eums.org.uk.
Read about our other ensembles:
Chorus, an non-auditioned choir of over 100 people.
Symphony Orchestra, an auditioned, large orchestra of a very high standard.
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PSA-Dongfeng raises 2014 China sales target
SHANGHAI (Reuters) -- PSA/Peugeot-Citroen's Chinese joint venture with Dongfeng Motor raised its 2014 sales target by about 50,000 vehicles after a strong first-half sales performance.
Dongfeng Peugeot Citroen Automobile Co. Ltd. sold 343,170 vehicles in the first six months of the year, up 24 percent from a year earlier and almost double the industry's growth rate of 13 percent.
"Based on a strong performance in the first half and good prospects for the second half, we are adjusting the full-year target from over 650,000 to 700,000 vehicles," the company said in a statement.
PSA struck a deal in February with Dongfeng and the French government as part of a 3 billion euro ($4.08 billion) share sale that gave the French company much needed capital and greater access to Asia.
Dongfeng Peugeot said its existing three factories in China are at full capacity, producing 2,600 vehicles a day. Last week, Dongfeng Peugeot said it would build a fourth factory in China, part of plans to triple annual sales by 2020.
China, the world's biggest auto market, is key to PSA's turnaround plan as the struggling carmaker seeks to boost its Asia business in order to cut reliance on Europe, where vehicle sales are recovering slowly from an extended dip.
"New products are the main driver of our robust growth," the joint-venture carmaker said. Dongfeng Peugeot currently sells vehicles under the Peugeot and Citroen brands, and is planning to add Dongfeng's Fengshen range to its portfolio.
In the future, PSA’s new models and manufacturing technologies will be gradually introduced into the venture.
PSA also owns a joint venture with China's Chongqing Changan Automobile that makes the French automaker’s premium DS car brand.
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EVERY JURASSIC PARK FILM (INCLUDING FALLEN KINGDOM), RATED AND REVIEWED
June 6, 2018 June 6, 2018 | Alejo X
Today, the 6th of June 2018, Jurassic World: Fallen Kingdom comes out here in the UK. Whilst too young to have enjoyed the first instalment of this franchise upon its initial release, I do have fond memories of watching the movie and its sequels around the turn of the millennia. One particularly vivid memory – and it is strange the things we remember – is of my anger at a most irritating placement of an ad break during a television broadcast of the first film, just as a Tyrannosaurus rex tore the roof off the toilet in which cowardly lawyer Donald Gennaro (Martin Ferrero) hid, ruining one of the film’s most entertaining and iconic scenes with three minutes of unrelated adverts. Then came a hiatus of over a decade in which I didn’t watch any of them. In fact, I don’t remember caring much when I heard the first Jurassic World was coming out, as I’ve generally not been impressed with most franchise revivals (Star Wars prequel trilogy anyone?).
It may then surprise some of you to learn that I have tickets to see Fallen Kingdom this afternoon, the very first day it hits the silver screen. This is largely because of my girlfriend who, unlike me, never forgot about that world of prehistoric beasts. Since being together, we have seen all four films at least once every six months or so. Having stepped away from this world during my adolescence means that unlike Gloria, who grew with them, I have seen them from two vastly different perspectives: through the eyes of an excited child, to whom trips to London’s Natural History Museum to see the dinosaur skeletons were always the highlight of any week and voraciously consumed anything on the subject with unrestrained excitement (I never once missed an episode of the BBC’s Walking With Dinosaurs, and my first iMAX experience was a trip to that by Glasgow’s Science Centre aged 12 to see Dinosaurs Alive!); and as an adult for whom theme alone is not enough to really enjoy a film.
In anticipation of our cinema trip later today, here is what Gloria and I think of each move in the franchise (so far):
A: The original and still the best. Abounds with iconic scenes (clever use of a reflective door is a personal favourite). The concept was like nothing seen before, the dinosaurs in both appearance and behaviour are largely accurate for its time (as for that matter are most concepts of genetics and technology), and despite its ambition the story feels believable. It’s a movie that is exciting, serious, scary, and funny in equal measure and more importantly knows the right time and place for each. Alan (Sam Neill) and Ellie’s (Laura Dern) professional and “personal” chemistry is palpable and yet Jurassic Park resists any attempt to add any explicitly romantic twists to the plot. Exciting and genuinely fun yet somehow equally mature and sophisticated. What I’d give to drive through those gates…
G: Innovative. The first commercial movie to deal explicitly with humans and dinosaurs, and they got it just right. The special effects were not only amazing for the era, but have aged spectacularly well and are as watchable now as they were then. Overall, the ensemble of characters are endearing and have enough depth. The T-rex encounter while trapped in the car when the power goes out is one of the finest scenes in any movie I’ve ever seen, and Spielberg’s skilful manipulation of pacing in the scene in the kitchen makes it one of the most tense and exciting in the film.
The Lost World: Jurassic Park (1997)
A: My biggest issue with this film is the casting, which lost the two strongest performances from the original (Alan Grant and Ellie Sattler, of course) whilst keeping less likeable characters such as Ian Malcom (Jeff Goldblum) – not a bad performance may I add, but simply a character I find to be intrinsically annoying, though thankfully less so than I find him to be in the first movie (in which he is fairly two-dimensional). Whilst the casting and storyline at times feel distinctly like the result of a cash cow spin off situation, the dinosaur chases are phenomenal and there are enough enjoyable scenes for this to be a worthwhile watch.
G: This one definitely feels more like another film about dinosaurs than a genuine sequel to the first. The Lost World finds its feet after a fairly weak opening, getting into gear just in time for the return to the franchise’s dinosaur-packed islands. The characters are frustratingly poor: Malcom is arrogant and frustrating, Sarah (Julianne Moore) is imprudent and irresponsible, and Owen (Vince Vaughn) is quite simply unnecessary. It is a group of characters in dire need of a leader that inspires confidence, crying out for the safe hands of Alan Grant.
Jurassic Park III (2001)
A: A welcome return for Alan and, very briefly, Ellie too, with chemistry intact (though the introduction of her husband and their young child explicitly suggest the relationship to be nothing more than a friendship). I loved the abandoned feel of the island, setting the action firmly in dinosaur territory and adding to the sense of tension throughout. The much smaller ensemble and return to a more “brains over brawn” approach is also a definite improvement over the explosions and machine guns that were so prominent the second. This film strips away technology and science for a much simpler approach, building the story around the most basic concept of all: survival.
G: Glad to see the strongest characters back from the first movie, ditching The Lost World’s disjointed collection of irritating characters for a group firmly bound by the desire to survive. The group’s seemingly unshakeable teamwork – in particular the unspoken understanding and acceptance of the fact that people make mistakes and that sometimes bad things are done with good intentions – creates a real sense of family between all of the humans stuck on the island. This makes for an interesting turn from the more conventional human adversaries of the previous films in the series, and makes this one of the most simple and pure feeling films in the series.
A: A strange mix of unnecessarily futuristic technology (including hamster balls for humans and irresponsibly dangerous hybrid “designer” dinosaurs, something frankly ridiculous if we’re to believe this movie is set in a post-Jurassic-Park-catastrophe world) and disappointingly outdated and fictionalised dinosaurs (I won’t go into details as there are many much longer articles than this one dedicated solely to the subject). Jurassic World tries to capture the essence of Jurassic Park, but gets the balance wrong in my opinion, with the inclusion of comedic lines during some potentially quite tense moments and the unsubtle and predictable approach to developing the relationship between Owen (Chris Pratt) and Claire (Bryce Dallas Howard) – completely lacking the subtlety and tact that made that of Alan and Ellie so special – particularly disappointing when compared to the original. To its credit the film is a visual masterpiece and the reliance on animatronics is worth its weight in gold. If only those dinosaurs were accurate.
G: Tries way too hard to be funny and lighthearted, with pretty much all of the characters lacking a certain earnestness from which the film would have benefitted. I am also not a fan of the domesticated and frankly dog-like portrayal of dinosaurs: we’ve lost the focus on archaeology and palaeontology in exchange for dinosaurs that are dealt with from a purely financial perspective. I did like the final twist in which the Velociraptor Blue teams up with T-rex to defeat Indominus rex, and of course loved the long-awaited return to the Jurassic Park universe.
A: Tries, successfully, to be more emotional than the previous effort, which I liked. The film poses serious questions about the ethics of our manipulation and exploitation of nature and the morality of the economically motivated forces behind it. Unfortunately it also seems heavier on both special effects (I would have preferred more animatronics and less CGI) and action (which comes flying at you from all angles almost non-stop throughout). There was absolutely no mention of palaeontology or the natural biology of dinosaurs, instead choosing to focus on increasingly ridiculous (in name, appearance, and behaviour) hybrids, which are discussed and treated as though they were contemporary animals. The film is enjoyable enough, but felt less Jurassic Park than any other instalment in the franchise yet. No spoilers here, but the ending seems to open doors for expansion beyond the limits of those infamous islands, and even beyond dinosaurs themselves. I personally would have slightly altered the ending (to one that would firmly close the doors to any further damage to the franchise more films), but given its takings at the box-office I’m sure we’re in for a few more.
G: Nothing in this film blew me away as some aspects of the original “Park” films do, but I did really enjoy the more “intimate” moments shared with dinosaurs, as this film allows us closer to the dinosaurs and for longer than arguably any of the others. Some of the realism seems to have been lost, with Fallen Kingdom turning the series from the original sense of travelling back in time towards an increasingly science fiction universe. Whilst the constant action makes for exciting viewing, there were one too many near-misses casualty-free to be even remotely credible. Bayona (the director) and his team have made excellent use of not only lighting and shadows, but the cinematography and artistic direction itself to generating tension. I’ll be interested to see what I think after a second viewing…
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Ayn Rand's Career Advice Is Still on Point
These words of wisdom are applicable not only to Rand’s success but to the careers of any great achiever.
Kirk Barbera
Economics Work Self-Interest Ayn Rand Employment Advice Career
“Look.” Roark got up, reached out, tore a thick branch off a tree, held it in both hands, one fist closed at each end; then, his wrists and knuckles tensed against the resistance, he bent the branch slowly into an arc. “Now I can make what I want of it: a bow, a spear, a cane, a railing. That’s the meaning of life.”
“Your strength?”
“Your work.” He tossed the branch aside. “The material the earth offers you and what you make of it.
All great writers are polarizing. Ayn Rand, author of The Fountainhead and Atlas Shrugged, certainly fits this proposition. People tend to either love or hate her work. But as Winston Churchill once said, “You have enemies? Good. That means you’ve stood up for something, sometime in your life.”
What cannot be denied is the enormity of Rand’s success. After having everything taken from her in Soviet Russia, she fled to America with nothing. She proceeded to work year after year, taking odd jobs; sometimes working on movie sets in Hollywood, sometimes working as a waitress. But she never lost sight of her goal: to be a novelist.
It would take decades — including enduring the great depression — before she finally achieved success in writing. Her books have sold well over 30 million copies. In fact, Atlas Shrugged has shaped America’s intellectual landscape. And decades after her death, not a week goes by when she isn’t mentioned somewhere in the public.
Below are some quotes taken from various novels, interviews, and other writings, where she explains her views on career success. The advice is applicable not only to Rand’s success but, as you will see, to the careers of any great achiever. (For more, see "Killer Career Advice for College Graduates.")
Continually Seek to Understand
Every man is free to rise as far as he’s able or willing, but the degree to which he thinks determines the degree to which he’ll rise.
Do not let the hero in your soul perish, in lonely frustration, for the life you deserved but never have been able to reach. Check your road and the nature of your battle. The world you desired can be won. It exists, it is real, it is possible, it is yours.
In his autobiographical book, Delivering Happiness: The Path to Profits, Passion and Purpose, CEO of Zappos.com Tony Hsieh conveys his lifelong search for self-knowledge. Before starting Zappos, he founded numerous companies, some that failed miserably, some that succeeded but in the end, made him miserable.
Starting with a worm farm when he was 9, he moved on to a button-making business in junior high and then various endeavors in high school and college until he landed a well-paying job at Oracle — that bored him. He quit and started a company, LinkExchange, which was the first click-banner ad company on the web. Eventually, he discovered that he hated what the company had become, so he sold it. Later, he started his own nightclub, then a variety of other companies.
Along the way, he learned lessons about what works and what doesn’t, what he loved and what he hated. Finally, he got all that he wanted with Zappos. Ten years after its founding, it was purchased by Amazon for over $1 billion.
Love the Work
"But you see,” said Roark quietly, “I have, let’s say, sixty years to live. Most of that time will be spent working. I’ve chosen the work I want to do. If I find no joy in it, then I’m only condemning myself to sixty years of torture. And I can find the joy only if I do my work in the best way possible to me.”
If it’s worth doing, it’s worth overdoing.
“What in hell are you really made of, Howard? After all, it’s only a building. It’s not the combination of holy sacrament, Indian torture, and sexual ecstasy that you seem to make of it.”
In Creativity Inc, Ed Catmull, President of Pixar Animation and Disney Animation, explains his lifelong love of technology’s ability to bring art to life. As a boy, he sat transfixed as close to the T.V. as his parents would allow, waiting for the show “Walt Disney’s Wonderful World of Color.” Every week Walt himself would explain how the Disney magic was created. He demystified it. Catmull fell in love.
From then on he dedicated himself to the endeavor of using technology to bring art to life. He worked for George Lucas in a division of his company that would eventually be sold to Steve Jobs. Through twenty years of dedicated work, Catmull stayed true to his mission: to create the first feature-length animated film done completely on a computer. Until was born Toy Story.
Be Purposeful
I want to know that I’ve accomplished something. I want to feel that it had some meaning. At the last summing up, I want to be sure it wasn’t all—for nothing.
A career requires the ability to sustain a purpose over a long period of time, through many separate steps, choices, decisions, adding up to a steady progression toward a goal . . .In the course of a career, every achievement is an end in itself and, simultaneously, a step toward further achievements . . .In a career, there is no such thing as achieving too much: the more one does, the more one loves one’s work.
“I do not build in order to have clients. I have clients in order to build.”
As described in Wharton Professor Richard Shell’s book, Springboard: Launching your Personal Search for Success, the first TV Chef personality, Julia Child had one maxim for career success: “The more I cook the more I like to cook.” That’s it.
She found her craft and dedicated her life to it. Utilizing her youthful desire to become a novelist, she applied her writing skills in penning the 734-page best seller: Mastering the Art of French Cooking. Then she was asked to teach people how to cook a French Omelet on a local television show. The rest is history. Though some random occurrences occurred in her life, there was one overarching purpose: cooking.
Money Is a Means, Not an End
Now I don’t see anything evil in a desire to make money. But money is only a means to some end. If a man wants it for a personal purpose — to invest in his industry, to create, to study, to travel, to enjoy luxury — he’s completely moral. But the men who place money first go much beyond that. Personal luxury is a limited endeavor. What they want is ostentation: to show, to stun, to entertain, to impress others… At the price of their own self-respect. In the realm of greatest importance — the realm of values, of judgment, of spirit, of thought — they place others above self, in the exact manner which altruism demands. A truly selfish man cannot be affected by the approval of others. He doesn’t need it.
“Money demands that you sell, not your weakness to men’s stupidity, but your talent to their reason.”
In the latest biography about Steve Jobs, Becoming Jobs, the billionaire was quoted discussing money at different stages of his life. In his younger years, he admired men like Dave Packard, Andy Grove, Charlie Sporck and other empire builders. Jobs said “None of these people were really in it for the money… Dave Packard, for example, left all his money to his foundation.” Later in life Jobs explains the purpose of building a great company, “The company is one of the most amazing inventions of humans, this abstract construct that’s incredibly powerful. Even so, for me, it’s about the product. It’s about working together with really fun, smart, creative people and making wonderful things. It’s not about the money.”
Follow Rand’s advice or not. Your life is yours, as she would say. But the ones who listen and learn for themselves are the ones who achieve a life worth living.
Before you can do things for people, you must be the kind of man who can get things done. But to get things done, you must love the doing, not the secondary consequences. The work, not the people. Your own action, not any possible object of your charity.
Reprinted from Smash Cut Culture.
Kirk Barbera is a marketing strategist and storyteller.
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March 27, 2013 by The Phage
Some directors can become very genre-centric, or known for only one recurring idea that they implement in film after film. For some people this is great; “if it ain’t broke, don’t fix it”. But for others it can become a bit of a drag, as every new film delivers the same basic premise. Look at Michael Bay – he’s maligned for his use of CGI and explosions in near-enough every film he’s put out in the past decade. Then you have directors who switch it up film after film to tackle different genres. Perhaps the most famous example of this right now is Quentin Tarantino – I make no secret of my fanboyism of his catalogue of films. Each of his films has been stunningly different. But having said that… I think there’s another director out there more worthy of the accolade of “most diverse director”. And that would be Danny Boyle.
Danny Boyle is the guy behind Transpotting, The Beach, 28 Days Later, Slumdog Millionaire and 127 Hours to name but a handful. In there you have tales of drug addicts, a zombie apocalypse and the story of a guy who gets stuck under a boulder and gradually goes bonkers. Boyle isn’t afraid to tackle different genres. He’s also not afraid to tackle theatrics either, as he was the guy behind the London 2012 Olympic Opening Ceremony, which many hailed as fantastic (me included). So this brings us to Trance – his latest full length film. A film that I put down as one of the 13 to watch in 2013. So does it live up to my lofty expectations?
The look of bemusement on my face during the trailers for Trance…
First things first… I need to deal with the trailer for this film. It’s a trailer I’ve seen jammed in front of many other features recently. Honestly? The trailer is appalling. It actually reduced my hype levels for this film. A lot. It was disorientating, quite boring, and showed way too much narrative for my liking. It almost completely turned me off Trance. And I know some of you feel the same way about it too. Let me put this out there now – discard your thoughts from the trailer. The film is far better than those short teasers would have you believe.
Trance is a heist story. A heist story by way of hypnotherapy and mind-bending reality augmentation. At its core, Trance follows Simon (James McAvoy), who works at an arts’ auction house. Simon’s not playing by the rules. So when a £20 million+ painting rolls through the auction room and the building is raided by thieves led by Franck (Vincent Cassel)… well, Simon’s in on the act. It’s an inside job. The only trouble? James misplaces the painting following a blow to the head. Naturally, Franck and his group are not best pleased by this turn of events and try to force the answer out of Simon. When that doesn’t work, they resort to hypnosis by recruiting Elizabeth (Rosario Dawson) – a therapist. The film then focuses on Elizabeth trying to extract these concealed memories from James’ head…
But that’s only scratching the surface of what this film offers. Whilst my little synopsis accurately covers the first third of the film, it all goes extremely far into left field and gets pretty damn trippy and mind-bending. Immediate thoughts would point towards Inception and Vanilla Sky as inspirations for this film, but even then you’re not really coming close. What Danny Boyle has managed to do is create a vivid world, filled with believable characters and added this bizarre hypnosis twist in a way that really works.
Having said that, the mind-bending sections of this film did actually lose me at one point. I wasn’t sure what I was watching. Was I in reality, or was I in a regression? Maybe this was the point of a certain 10 minute stretch in the latter half of the film, but either way I felt lost. This shouldn’t be the aim of a film – to lose the audience. At all other points in the film I knew exactly what was going on and what was unfolding, but there were definitely sections of “what the hell is happening?”
Now, we need to focus on the acting of the three core players in the film: James McAvoy, Vincent Cassel and Rosario Dawson. As I mentioned in our Welcome To The Punch review, March is McAvoy season. Indeed, I actually saw him performing on-stage in London this past weekend as Macbeth. He was brilliant, if a little beardy and drooly. And Trance is another big outing for McAvoy. Arguably, Boyle has a good record of launching talent into the stratosphere. Just look at Cilian Murphy – a relative unknown when 28 Days Later was released. The same could actually be said of Ewan McGregor when he was selected for the role as lead in Trainspotting.
So, I actually hope that this gives McAvoy‘s career a massive boost. Not that he needs it, but I hope it does. Why? Because this is perhaps the best example I’ve seen of McAvoy‘s acting abilities. Trance really calls upon so many emotions from his character, James. I was sold on every facial tick, mannerism and emotion. A sublime performance. Similarly, Cassel ably plays out his role as the “bad guy” – a solid turn. Much praise has also been lauded on Rosario Dawson here, and it’s entirely merited. She’s an actress that’s already had some fine performances under her belt, but Boyle really brings out another side to her acting abilities, which is great to see.
The successful display of talent on show here is definitely down to Boyle‘s direction and Joe Ahearne and John Hodge‘s script. The film is anything but linear, but the characterisation is rich. One could argue that the film is not as well realised as some of Boyle‘s earlier works and indeed, that middle section got a bit too overwhelming, even for The Phage. There’s also an unexpected amount of gore and nudity (a heavy emphasis on pubic hair, or lack thereof). But then again, this is from the guy that had someone cut his arm off with a penknife and zombies that spewed blood at every turn, so perhaps it’s not that unexpected…
Cassel, McAvoy (with Macbeth beard), Dawson and Boyle – the key to the film’s success.
Trance is another resounding success for Danny Boyle. It has its flaws, it’s not perfect, but as a whole it works in a cohesive manner. It works not only because of Boyle‘s direction and an interesting script, but because of McAvoy, Cassel and Dawson. McAvoy in particular appears to be at the top of his game right now. The trailers for Trance may have dampened my enthusiasm for the film, but this was eradicated within the first 15 minutes. What prevails is an intriguing, thought-provoking film with more twists and turns than a helter-skelter. It’s definitely a film that demands to be seen more than once, that’s for sure.
So although Tarantino is probably at the forefront of your mind for taking on wildly different films nowadays, you’ve probably got to look to Danny Boyle for the truest example of this. His back catalogue includes rom-coms, drama, action and horror. Many of them being seminal examples of the genre. Where does Trance fit into this list? Well, it sits highly in his back catalogue. It may not be the shining example of a thriller in decades to come, but it’s one you definitely can’t predict. And who doesn’t love the unpredictable?
This entry was posted in Review and tagged amnesia, art theft, Danny Boyle, gore, heist, hypnosis, hypnotherapy, James McAvoy, nudity, psychadelic, pubic hair, Rosario Dawson, thriller, trippy, Vincent Cassel, violence. Bookmark the permalink.
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9 thoughts on “Trance (2013)”
keith7198 says: March 27, 2013 at 11:58 am
Solid review! Boyle is an interesting case for me. I love Slumdog, 127 Hours, and 28 Days. But he can get too excessive for me (which sounds like the case here). Appreciate the informative review Phage!
The Phage says: March 27, 2013 at 12:27 pm
You can definitely tell I enjoyed the film… I seemed to be writing forever. Quite a different story to Identity Thief…! I still say that if you find yourself at a loose end when this hits the US shortly, then give it a shot!
Mr Rumsey says: March 27, 2013 at 1:08 pm
It’s good to hear that this rises considerably above the trailer – that alone has reaffirmed my interest in this one quite a bit. Nice review!
The Phage says: March 27, 2013 at 4:05 pm
Honest to god… I don’t know who OK’ed that trailer. The music in it is what really annoyed me. Danny Boyle normally has a great ear for music in his films (Trance is no exception), but that whole thing wound me up. Enjoy it dude! Let us know your thoughts.
Abbi says: March 27, 2013 at 1:27 pm
Dying to see this now! Great review.
Definitely one to check out. It seems that it might not be to everyone’s tastes, but I thoroughly enjoyed it. As I say, it’s not perfect, but the fact I’d happily go and see it again shows it’s got to be pretty damn good!
Mark Walker says: March 27, 2013 at 1:58 pm
Youre quick off the mark on this one man. I don’t normally watch trailers and going by your review I’m glad I dont. What I am also glad to hear is that this stands up. I’m expecting good things and you’re write-up confirms that as well. Nice one!
Ha – yes indeed – I’ve been sitting on the review since Monday; just been waiting for it to actually be released. I don’t think you’ll leave disappointed when you head out to see it. Perfect? No. Boyle’s best? No. Damn good? 100%.
conordcfc says: March 29, 2013 at 8:23 pm
Excellent review my friend, glad to see you enjoyed the film! Check out my review if you get the time 🙂 http://conordcfc.wordpress.com/2013/03/29/film-review-trance-2013/
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Gov't to Press On With Health Reforms
Despite the sharp fall in oil revenues, the implementation of Health Reform Plan has remained on top of the government’s agenda
The Health Reform Plan is aimed at lowering the cost of treatment and improving the quality of services in public hospitals
President Hassan Rouhani has vowed to keep on track a national plan for major health reforms, despite a strained budget.
"The Health Reform Plan is alive and will resolutely continue on its path," IRNA quoted the president as saying in his speech to the Festival of Health Facilities Construction in Tehran on Tuesday.
The health program initiated during the early months of Rouhani's first administration is aimed at lowering the cost of treatment, improving the quality of services in public hospitals and offering physicians incentives to work in disadvantaged and remote regions.
Promoting natural childbirth and providing financial support to needy patients and those diagnosed with virulent and special diseases are also among the goals of the initiative.
"Despite the sharp fall in oil revenues, the implementation of Health Reform Plan topped the government's agenda during its first term," he said.
The newly reelected president first came to office in 2013 on a pledge to have economic sanctions removed. They had targeted key sectors of the oil-based Iranian economy.
Rouhani's assumption of office nearly coincided with a nosedive in oil prices.
He moved to deliver on his promise on sanctions by engaging in negotiations with major powers that produced a historic nuclear deal 18 months later in July 2015.
The pact has been in effect since January 2016 to ease sanctions in exchange for scaling back Tehran's nuclear work.
"The first step required on the path toward the resolution of the country's problems was to deal with the issue of sanctions ... The country ran into problems supplying medical equipment, medicines and pharmaceutical raw materials due to sanctions," he said.
But the moderate head of state and his team of negotiators have come under harsh criticism from conservative rivals who claim too many concessions were granted to the western side that has failed to ease the country's economic transactions with the world.
"The JCPOA would not have been accomplished had foreign minister [Mohammad Javad Zarif] backed down in the face of all those insults and strong words," he said.
Gov’t Pressing Ahead With Health Reforms
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MPWFortune 500
The Percentage of Female CEOs in the Fortune 500 Drops to 4%
Valentina Zarya
Chairwoman and CEO of IBM Ginni Rometty speaks onstage at the FORTUNE Most Powerful Women Summit on October 16, 2013 in Washington, DC.Photograph by Paul Morigi—Getty Images for FORTUNE
This article has been corrected. See below.
For women at the top levels of American business, it can sometimes feel like every step forward is followed by two steps back.
The 2016 Fortune 500 list, released on Monday, includes just 21 companies with women at the helm—compared to 24 last year and in 2014. Or, to look at it another way, women now hold a paltry 4.2% of CEO positions in America’s 500 biggest companies.
A number of factors conspired to make 2016 a tough year for the women of the Fortune 500. TJX (TJX) chief Carol Meyrowitz dropped off after retiring earlier this year, handing the reins her second in command, Ernie Herrman. Ellen Kullman, longtime CEO of DuPont (DD) also retired, though her departure was less harmonious. She stepped down after a bitter fight with activist investor Nelson Peltz, leaving some pundits with doubts about how much control she actually had over her exit.
Several of female CEOs from last’s list are still sitting in the corner office, but have vanished from the 500 due to shifts at their companies. Take Gracia Martore, former CEO of Gannett Company. When Gannett spun off its publishing business last year, Martore became chief of the resulting company, TEGNA, which is not large enough to qualify for the Fortune 500.
Meg Whitman, former CEO of Hewlett Packard, also lost her spot after the company split—though her case is a bit different. Whitman is now chief of the newly-formed Hewlett Packard Enterprise (HPE), which is not included on this year’s Fortune 500 due to a technicality in how the list is calculated. HPE will likely be back in the 500 next year.
Advanced Micro Devices (AMD) CEO Lisa Su, a newcomer to the list last year, no longer appears because AMD fell off the 500.
Sign up: Click here to subscribe to the Broadsheet, Fortune’s daily newsletter on the world’s most powerful women.
While it’s only natural for executives to retire and companies to split up, it’s notable that of the 29 new companies that joined the Fortune 500 this year, only one has a female CEO: Mary Laschinger of paper products and distribution company Veritiv (VRTV).
Laschinger and Occidental Petroleum’s (OXY) new chief executive Vicki Hollub, who took on the CEO role in April, are the only two new female faces on the 2016 Fortune 500.
Check out the new Fortune 500 at fortune.com/fortune500 for company profiles, financial data, stock quotes, CEO videos, interactive graphics, breaking news, and more.
There are also a number of familiar names on the list, including General Motors’ (GM) Mary Barra, IBM’s (IBM) Ginni Rometty, and Pepsico’s (PEP) Indra Nooyi, all of whom are also among Fortune‘s Most Powerful Women.
Looking ahead, the picture is mixed. On one hand, Ursula Burns has announced that she will step down as CEO of Xerox (XRX) when the company splits later this year. As the first black woman to lead a Fortune 500 company, Burns’ departure will be a serious loss. (She will become chairman of the company’s legacy hardware business after the split.)
However, there are also two women who are expected to step into the CEO’s office in July. Tricia Griffith will become the chief of Progressive (PGR), while Patricia Kessler Poppe will take on the CEO mantle for CME Energy.
See the full list of women CEOs in the Fortune 500 below:
A previous version of this story incorrectly stated that Occidental Petroleum CEO Vicki Hollub took office in December 2015. The correct timing is April 2016.
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24-hour Security for the Ziggodome
The Ziggo Dome is an ultramodern concert hall in South-East Amsterdam.
Since its opening in 2012 the Ziggo Dome has built up a solid reputation. Big names such as Adele, Bruno Mars, Lady Gaga and Pearl Jam have already performed there. The concert hall belongs to Live Nation, which also owns the Amsterdam ArenA and the Heineken Music Hall, and it can hold around 17,000 concertgoers and is fully equipped for optimal acoustics. An astounding 840,000 LED lights are used to turn the exterior of the building into a huge screen, enabling those standing outside to also gain a sense of the atmosphere in the concert hall.
With some 100 events and more than 1 million visitors a year, security is a key concept at the Ziggo Dome. Around 180 Panasonic digital surveillance cameras record what is happening at the concert venue non-stop. “Monitoring a building like the Ziggo Dome is no small task. The cameras are mainly used to support our security team of 150 employees, which is always in direct contact with the control room,” says Ronald Fiolet, Director of Operations of the Ziggo Dome.
A Panasonic 42” touch screen display gives the central coordinator in the control room an overview of all the surveillance cameras via a plan of the concert hall. “Thanks to the touch screen, he can quickly switch from one camera to another. If there is an incident, we have images of what is going on within seconds. Using the plan, the central coordinator can also guide security staff or emergency workers to the right place, while viewing them with live camera images.” Fiolet adds: “The system is quick and easy to use. The Ziggo Dome can be a real maze, but with the Panasonic system we can be on the spot inside a minute”.
For a concert venue like the Ziggo Dome, continuity is essential. Even in a darkened concert hall, the control room must be able to monitor security. This is possible with the Panasonic cameras, which provide excellent image quality even in minimal light. “In addition, the Panasonic cameras use embedded systems for a quick start up, such as after a power failure. This is essential during the live concerts and other events that take place here. Moreover the hard disks are connected to one another, so that if one crashes, another one automatically takes over,” says Fiolet. The Ziggo Dome is also very satisfied with the Panasonic cameras’ zoom function and razor-sharp images. “If anyone is loitering in a restricted or high-risk area, we can immediately zoom in with the cameras on his or her location. The super-sharp images also allow us to identify the person,” adds Ronald Fiolet.
But the surveillance cameras are still running even when there is absolutely nothing to do. “At such times there are no security staff present,” explains Fiolet. “Thanks to the Panasonic cameras we still have 24-hour awareness of everything that is going on in the Ziggo Dome.”
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About Panasonic System Communications Company Europe (PSCEU)
PSCEU is the European branch of Panasonic Systems Communications Company, the global B2B division of Panasonic. PSCEU’s goal is to improve the working lives of business professionals and help their organisations efficiency and performance. We help organisations capture, compute and communicate all sorts of information: image, voice, and textual data. Products include PBX telephone switches, document printers, professional cameras, projectors, large visual displays and rugged mobile PCs. With around 500 staff, engineering design expertise, global project management capability and a large European partner network, PSCEU offers unrivalled capability in its markets.
About Panasonic
Panasonic Corporation is a worldwide leader in the development and manufacture of electronic products in three business fields, consumer, components & devices, and solutions. Based in Osaka, Japan, the company recorded consolidated net sales of 7.85 trillion yen for the year ended March 31, 2012. Panasonic’s stock is listed on the Tokyo, Osaka, Nagoya and New York (NYSE:PC) Stock Exchanges. The company has the vision of becoming the No. 1 Green Innovation Company in the Electronics Industry by the 100th year of its founding in 2018. For more information on Panasonic, its brand and commitment to sustainability, visit the company’s website at http://panasonic.net
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