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The dataset generation failed
Error code: DatasetGenerationError
Exception: ArrowInvalid
Message: JSON parse error: Missing a closing quotation mark in string. in row 37
Traceback: Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
df = pd.read_json(f, dtype_backend="pyarrow")
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
return json_reader.read()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
obj = self._get_object_parser(self.data)
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
obj = FrameParser(json, **kwargs).parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
self._parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
ujson_loads(json, precise_float=self.precise_float), dtype=None
ValueError: Trailing data
During handling of the above exception, another exception occurred:
Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
for _, table in generator:
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
raise e
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
pa_table = paj.read_json(
File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 37
The above exception was the direct cause of the following exception:
Traceback (most recent call last):
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
parquet_operations = convert_to_parquet(builder)
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
builder.download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
self._download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
self._prepare_split(split_generator, **prepare_split_kwargs)
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
for job_id, done, content in self._prepare_split_single(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
raise DatasetGenerationError("An error occurred while generating the dataset") from e
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pred_label
string | pred_label_prob
float64 | wiki_prob
float64 | text
string | source
string |
|---|---|---|---|---|
__label__wiki
| 0.655079
| 0.655079
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Parents Share Brutally Truthful Confessions About The Times They've REGRETTED Possessing Their.
Your Blog » Parents Share Brutally Truthful Confessions About The Times They've REGRETTED Possessing Their.
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42 year-old Julian Assange spent much of his challenging childhood moving from place to location in the Australian countryside. By the time he was in his teens, he showed early indicators of what would become an obsessive commitment freedom of information. As a teenage hacker he was charged with cyber mischief after breaking into targets like Canadian telecom giant Nortel and the American Space Program. In 2006, he registered the domain name , a port of get in touch with for men and women willing to blow the whistle on abuse of energy. Even in these early days, Assange saw a need to have to connect with mainstream media. A partnership with the Guardian showed proof of government corruption and further judicial murders in Kenya - a scoop which most of the globe ignored. He invites individuals to add his handle, RIchKidSnaps, on Snapchat so that he can send them pictures from his own lavish lifestyle, and he also accepts snaps from the equally rich, which then go on his Facebook and Instagram pages. Can. 964 §1. The correct place to hear sacramental confessions is a church or oratory. If you have any thoughts concerning wherever and how to use mouse click the next site (http://Minnaflatt831441.Wikidot.com/blog:2), you can make contact with us at our own website. §2 regards norms for the confessional and does not apply to your query §3. Confessions are not to be heard outside of a confessional with no a just result in.Despite the fact that several sociopaths can be very charming, they harbor strong antisocial inclinations. They can be incredibly charming, and then cold and Additional Hints distant. They are also not fairly genuine in the interactions either. When individuals are quite polar in their behavior, ranging from antisocial to extremely charming, it's a marker of disintegration in their psyche - and it really is a red flag. It can also be an try to elicit rejection and wounding, to then control the other people with. It is often accompanied with a lack of compassion or standard consideration of another's life. If it does not feel genuine from inside them, it could very properly be a particular person with sociopathic tendencies.Other posts that may desire you:http://www.fagro.edu.uy/agrociencia/index.php/directorio/comment/view/384/0/26058https://revistas.unal.edu.co/index.php/ingeinv/comment/view/31947/34566/218885http://sophiamoreira62.wikidot.com/blog:164http://www.purevolume.com/listeners/paulojoaolucasmelo/posts/8562024/E+Pensando+Em+Um+Gasto+Cal%C3%B3rico+Maiorhttp://serv-bib.fcfar.unesp.br/seer/index.php/alimentos/comment/view/777/0/4195'The Confessions of Congressman X' hit the Web with a shock wave Thursday after reported on its bombshell admissions about craven, cynical and lazy legislators who cannot be bothered to do their jobs. None of these safeguards can decide regardless of whether those posting and commenting on confessions are bona fide students of a certain school.Exciting go through:http://periodicos.unicesumar.edu.br/index.php/saudpesq/comment/view/1700/0/47794http://serv-bib.fcfar.unesp.br/seer/index.php/Cien_Farm/comment/view/888/0/3969http://matheuscarvalho06.wikidot.com/blog:138http://publicaciones.unitec.edu.co/ojs/index.php/IGO/comment/view/100/99/23703http://periodicos.unicesumar.edu.br/index.php/saudpesq/comment/view/1700/0/62601'The days when a group of barristers would go out at lunchtime, drink vast amounts of red wine then go back to court in the afternoon are lengthy gone. Most barristers are reluctant to go out and drink on a college evening simply because it is hard to function effectively with a hangover.Following displaying a picture of Mays and Richmond carrying the unconscious victim by her arms and legs, he demands justice for her, asking that her attackers and their accomplices confess their crimes and apologize publicly to the victim. Otherwise, he warns, they face the release of additional incriminating proof and individual data, which includes their social security numbers (this in no way happened). The video concludes with screenshots of many of the "deleted" Tweets, Instagram photographs, and Facebook posts. "Some people deserve to be peed on," says a single "I have no sympathy for whores," writes yet another.As for my digital persona, I believe it really is closer to a correct reflection of myself. But I've come to recognize that a digital expression is just a measurement of a moment in time it in no way really captures the true spectrum of human existence. Online bios and digital interactions translate info from our experiences, personal expressions, and aspirations, but never actually encompass our deepest insecurities, traumas, or pain. Every connection starts from a potential lie about who we are and focuses on who we want to be.I believe that on the internet confessions are attractive because it enables for men and women to share their inner most thoughts and feelings with out the consequences of the reactions from the true planet. It offers men and women a false because of relief, as they are in a position to share some thing private with the on the web globe, but remain disconnected from it.
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| 0.558732
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Search results for Peel)
1. [Bookplate for Sir Robert Peel] In black ink. Armorial bookplate. Argent (silver) three sheaves of as many arrows proper, banded gules (red). On a chief azure (blue) a bee volant, or (gold). Crest of a demi-lion rampant argent, gorged with a collar azure, charged with three bezants, holding between the paw a shuttle, or. Below the escutcheon is a banner containing the Latin motto.
2. [Bookplate for Arthur Richard Springett] In black ink on white paper, this bookplate consists of a shield or escutcheon Gules (red) party per fess wavy with three crescents, two over one, Argent (silver). The closed, barred helm in profile toward the dexter half bears a crest of a displayed eagle upon a nowed snake in a figure eight and a straight wreath. The helm is surrounded by mantling. Below the escutcheon, a banner bears the motto 'MEMOR ET FIDELIS' [Latin: Mindful and Faithful].
3. [Bookplate for Maurie Barrett] Printed in black ink on white paper, with a peel and stick feature. The image is a version of the crest of the Arms of Canada. It shows a crowned lion standing on a wreath, with mouth open and tongue extended. The lion holds aloft the maple leaf and looks out from his frame which is surrounded by more maple leaves in a double frame. The lion's position, with the dexter forepaw raised and head turned to face the viewer, is known as passant guardant. The lion's tail is flamboyant and resembles the mantling often found on heraldic bookplates.
4. [Bookseller's Tickets for Chapman's Book Store] 1) In metallic gold ink on black glossy paper, the bookseller's ticket consists of plain text with no border or decoration.
2) In metallic gold ink on black matte paper, the bookseller's ticket consists of a gold border surrounding gold text.
5. [Bookplate for Hermes Circulating Library] Textual bookplate printed in black ink and three fonts delineating terms for borrowing. One hand in blue ink.
6. [Bookplate for Nicholas Garry] Printed in black ink on off-white paper. In the centre is a family shield, decorated with with a chevron pattern in solid black and white ground with a spotted pattern. A ‘V’ shape in the centre of the shield intercepts and counterchanges the chevron colours. Above this is an extended arm in armor holding a circular disc that repeats the pattern on the shield.
7. [Bookplate for James Scott Howard] Black ink on cream paper. Crest features a ship’s steering wheel with stringy foliage extending from the left and leafy foliage extending from the right atop a crest-wreath. Shield is sable and party per fess. Top section is charged with a white cross in the center with a fleur-de-lis on either side. The bottom section is charged with a white ship steering wheel that is identical to the one in the crest. The motto is printed on curling ribbon below the shield in capitalized, serif, white block font with black outline. Below the motto, the bookplate owner’s name Is printed in sentence case, black, serif font.
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__label__cc
| 0.640208
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The All Ireland 2022
Video Licence
VIDEO LICENCE APPLICATION FORM
To be submitted not less than 10 days before the competition date.
in the case of the All Ireland please check cut-off date on your syllabus e-mail
Camera Operator First Name*
Camera Operator Last Name*
Competition Name*
Date Field
Name Of Person/s To Be Recorded
Competition Number
Ts&Cs*
I consent to the conditions set out below
I consent to having this website store my submitted information so they can respond to my inquiry
The video licence must be available for inspection by DSI officials during any recording at competitions/championships during the year
A licence remains valid for one competition only
Licences will be colour coded for ease of use and ease of monitoring
Parents or guardians must apply on behalf of competitors under the age of 16
Competitors aged 16 or over must apply themselves for licence
Video licenses are granted under the rule 22 below
A licence will not be granted to adults or children if the above is not adhered to
22. VIDEOS AT COMPETITIONS
Video recording devices may only be used at competitions when a licence to use one has been issued by DSI
Application for a licence for the All Ireland Championships to use a video recording device must state the name of the camera operator, the couple(s) to be recorded, and the specific competitions for which permission is required. It must be with the video license controller not less than twenty one (21) days prior to the event
Video operators may only record the couple(s) for which a licence has been granted, in those specific competitions
Applicants must accept the conditions laid down in the licence
GDPR places direct data processing obligations on businesses and organisations at an EU-wide level. By agreeing to our Ts&Cs you consent to becoming the data controller in accordance with the GDPR Rules.
According to the GDPR, you may only process personal data under certain conditions. For instance, the processing should be fair and transparent, for a specified and legitimate purpose and limited to the data necessary to fulfil this purpose. It must also be based on one of the following legal grounds.
The consent of the individual concerned.
A contractual obligation between you and the individual.
To satisfy a legal obligation.
To protect the vital interests of the individual.
To carry out a task that is in the public interest.
For your legitimate interests, but only after having checked that the fundamental rights and freedoms of the individual whose data you are processing are not seriously impacted. If the person’s rights override your interests, then you cannot process the data.
More GDPR information can be found here The Data Protection Commission
Copyright Dance Sport Ireland
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__label__cc
| 0.548997
| 0.451003
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Home > US > CA
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Phil Hendrie Show
Phil satirizes and pokes fun at the issues and issuemakers of the day with radio theater that introduces guests with viewpoints that are, well, let's just say they are a bit unusual.
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Background Briefing
Ian Masters interviews expert guests, policy makers, and critics offering analysis and insight on national security, foreign and domestic policy, and political issues. The program airs Monday-Thursday... (view more)
A Free Daily Comedy Podcast from Adam Carolla
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The DeMaio Report
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Marketplace with Kai Ryssdal (APM)
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The business behind the technology that's obsessing us and changing our lives.
Tech News Today (TWiT)
Tech News Today explores the most important stories of the day in conversation with the world's leading journalists live each weekday at 7:00pm Eastern, 4:00pm Pacific, 23:00 UTC. Give us your news an... (view more)
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Rawe Feed Radio with Michael Precise the white trash heart throb
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The Brett Winterble Show is heard Monday through Friday from 3-6 pm on News Talk 1110 & 99.3 WBT. After spending nearly a decade with Rush Limbaugh as a Producer, Brett began his own show in 2008. Bre... (view more)
Guns and Butter
"Guns & Butter" investigates the relationships among capitalism, militarism and politics. Maintaining a radical perspective in the aftermath of the September 11th attacks, "Guns & Butter: The Economic... (view more)
The Week Starts Here (KPFA)
Provides an inspirational, empowering environment to serve as a platform to build a sustainable community experience. People are empowered when they feel they can "make a difference". Community ba... (view more)
John and Rachel
If you’ve ever hung out around the living room with friends who love to make each other laugh, make each other think, and even make each other a little crazy sometimes… that’s pretty much what t... (view more)
It is a mixture of political commentary, observations on both local and national news and reflections on social issues presented with humor. Armstrong and Getty describe their humor as "the day to day... (view more)
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Chad Benson doesn't look or sound like a typical talk radio host. And that's a GREAT thing. Conversational, informative, irreverent and very FUNNY. Chad's take on the issues offers a refreshing sound ... (view more)
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KCRW, a community service of Santa Monica College, is Southern California's leading National Public Radio affiliate, featuring an eclectic mix of music, news, information and cultural programming.
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| 0.621002
| 0.621002
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music | Saturday, December 31, 2016
I did this last year so I thought I'd do it again. I know there are glaring holes in this, like I know about A Tribe Called Quest, I just haven't listened to it except for that time my roommate blasted it in the main room and I loved it. But here are albums that I honestly listened to and honestly dug a lot. Will post a youtube and featured youtube comment like I did last time.
Noname - Telefone (hip hop)
Top release. At an easy 30 minutes, it's an incredibly smooth listen with a variety of gentle but catchy melodic beats and soulful features to go with her relaxed, unassuming rapping. I believe this is her debut mixtape. It's all very hopeful sounding but there are some heartbreaking tracks, for example one written for her terminated babe, the topic handled in a personal, simple, and non-political way I'd never heard before. Anyway, I'd put this album on for anyone.
This girl is in a lane of her own, which is why she's so refreshing to listen too. She reminds me of Erykah
Big Black Delta - Tragame Tierra (pop, indie)
One of my favorite bands, and I'm not quite sure why they're not more popular. This album had a Kimbra feature, which hopefully boosted them up! Great track too! I followed this project on PledgeMusic where I pre-bought the album and also a poster which has been up on my wall most of the year, and I got to see personal updates from Jonathan Bates and snag some unreleased tracks. Still can't believe "Wrong Blonde Susan", one of the unreleased tracks, isn't on this album but maybe he's got other plans for it... this album is still real good though. He wrote this music through tough times of loss--his father and a close friend. There was one evening in May this year where I drunkenly put this album on and bawled loudly in the living room for the entire 50 minute duration after reading a sad child cancer story on Facebook. It's not a sad album though. It's uplifting, optimistic, gentle and whimsical sometimes and massive and hard-hitting other times, but always kind. This album is my friend.
Actually fucking criminal that more people don't know about BBD.
TV Girl - Who Really Cares (pop, chillwave)
There's a small venue a couple blocks away that serves serious cocktails, called The Liquor Store. I saw Vektroid was playing there so I was like yeah I'll be there! I didn't know this headliner TV Girl though, but I checked out some tracks and it seemed really fun. And then I was suddenly really into TV Girl. It just immediately clicked with me. It's bright, sugar-sweet, sample-heavy homemade pop from LA with some simple, petty, very frank lyrics. Some of the lines on here is just devastating. I made sure all of it was on Genius. "And when she finally came even though she faked it / It was much appreciated / At least she had the decency / To try to make a sound she thought I'd like" sung over this cool trippy beat. It's mostly songs bitching about girls he slept with, but it's great. I could see people having issues with the vocals/production/polish/formula/blah blah but this is a gem and I'm glad it exists.
It's weird. I want you guys to get successful and make it but at the same time I don't want you guys to be bastardized by normies. Is this how hipsters feel?
Sammus - Infusion (hip hop)
I discovered Sammus this year because she spoke at XOXO. She put this EP out this year, so I listened to it, and this got me immediately hooked. She later put out a full album called "Pieces In Space" and it's good but I'm posting the EP because I listened to it more. She has good words to say on good topics. I like her style. She also makes a bunch of Metroid references I don't get. But it's ok, I hear the rest of it.
Is her album out? She's addressing a real topic, one rarely discussed in rap over a fire instrumental.
Anderson .Paak - Malibu (hip hop, soul)
Well here's one that definitely is making all the other lists. And it's so cool to see this happen for Anderson .Paak. I remember learning of him for the first time when Tokimonsta released "Realla" with him on vocals, and I was addicted to that song for months. I love Tokimonsta, but I kept coming back to how good this guy sounded. I don't even know why "Realla" wasn't more popular. But anyway here he is, with what he made, and it's definitely different from that Tokimonsta track--much warmer, more soul, more hip hop. It's not a short album and to be real honest I have a hard time with full-length CDs for hip hop because of how dense it tends to be, but this is pleasingly varied and well-paced.
What a pimp track! It's that deep house groove baby. Too much hype on trap and dubstep; that shit sounds all the same. Soul less. But this right here...this right here has soul & groove written all over it. Deuce.
Justice - Woman (pop, electronic)
They released it not too long ago so I can't say how it ages, but they did good on this album imo. It's real fun to listen to front to back--there's not a single bad track on this. No, it won't compare to Cross. Nothing will. This is a very well done album regardless.
dropping this at the Halloween party
Kishi Bashi - Sonderlust (pop, indie)
This radio-friendly indie pop is not a genre I'm super interested in these days, but that's how I felt about his last album too (which I loved), and this is also a super solid, enjoyable album. In this one he plays around with sort of classic-rock-sounding grooves--a friend pointed out the similarity to early Pink Floyd in "Who'd You Kill", for example. I noticed this shift towards classic rock in Of Montreal's 2015 album too. Is that a thing now..? There's also this 70's pop sounding ballad "Say Yeah" and a couple epic-sounding tracks. It's varied and ever positive, a good one to put on around family or at parties where it's more about the conversation or at work when you just need some damn musicky music. You need those.
it's like a melody that you've known your whole life, but never heard until now.
Santigold - 99 Cents (pop)
This album is a joy. Santigold makes pop that is just a little bit obnoxious, a little weird, in the exact way that tickles my pop desires. Syrupy, childlike, infectious. Driven, off-kilter, satisfying. There are some surprisingly dark tracks on this too: "Walking In A Circle" is whimsically icy like Fever Ray, and "Before The Fire" has this Wild Beasts understated percussion going on. The low point is "Who Be Lovin Me" with a painful ILOVEMAKONNEN feature. Otherwise, it's a pretty interesting release.
Her songs are so unconventional yet completely my flavor and I feel enriched after hearing her songs, loved it, again!
Open Mike Eagle - Hella Personal Film Festival (hip hop)
To be real honest this was hit/miss for me, but the hits are so good (and also Open Mike Eagle is my fave) this is still one of my tops. I got really excited with the music video of "Check 2 Check", it's so funny and so good. Though I wasn't thrilled with all the songs, hearing him grapple with (I believe) nonmonogamy issues in the songs "Insecurity" and "Insecurity Pt 2" was incredible. He handled the issue of racial bias in "Smiling", with some of my favorite lines on how to treat a black man such as him on the street: "Nobody needs your patronizing hip-hop nod / Just be a person / That's the bottom line be a person / And fuck the rhyme scheme this time just be a person". I lol'd at his out-of-nowhere (but somehow so appropriately so)-lament in the joy-filled "I Went Outside Today" saying "I looked up what Lena Dunham said and I shouldn't haaaaave" because even when you're having a great day and feeling invincible you can still make some innocent slip-ups. All this stuff is why I love OME.
This is dope.
Other notable releases, select songs linked:
Radiohead - A Moon Shaped Pool: The only album of theirs besides OK Computer that I've gotten into. Very good. I stopped after a month because it's too sad though.
AlunaGeorge - I Remember: Very solid dancey electronic pop sophomore album. It's more mainstream-sounding than their debut, with trap beats and features. Delightful!
STRFKR - Being No One, Going Nowhere: Enjoyed this. Super accessible psych indie electro pop whatever. Fun melodies!
Lizzo - Coconut Oil: This EP is really fun. Didn't know about Lizzo before this, but it seems like she's blowing up right now.
Mr. Oizo - All Wet: Oizo is weird. This is weird. It's a welcome return, with surprising big name features. Hit/miss like usual, obnoxious, a quick entertaining listen.
Kero Kero Bonito - Bonito Generation: KKB's second LP! I think I like the singles over the album as a whole. Kind of long, prefer the second half.
Tobacco - Sweatbox Dynasty: One of my favorite artists! Ended up not being a favorite release, but still scratches the itch I had for new music from him.
Deerhoof - The Magic: Another good un from prolific Deerhoof. An interesting mish mash of genres on this one. Deviations from their usual. Not bad, though.
Mykki Blanco - Mykki: Yay Mykki! Mixed bag, but it's always refreshing to hear more queer hip hop, and it's sounding real good.
This entry was posted on 8:17 PM and is filed under music . You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
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| 0.692875
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Satin Island
by Tom McCarthy
it must make the everyday all primitive and strange
2.7 I’d met Madison, as I’ve already mentioned, two months earlier, in Budapest. I’d been at a conference. She’d been there with some girlfriends. We’d got talking in the hotel bar. An anthropologist, she’d said; that’s … exotic. Not at all, I’d replied; I work for an incorporated business, in a basement. Yes, she said, but … But what? I asked. Dances, and masks, and feathers, she eventually responded: that’s the essence of your work, isn’t it? I mean, even if you’re writing a report on workplace etiquette, or how to motivate employees or whatever, you’re seeing it all through a lens of rituals, and rites, and stuff. It must make the everyday all primitive and strange—no? I saw what she was getting at; but she was wrong. For anthropologists, even the exotic’s not exotic, let alone the everyday. In his key volume Tristes Tropiques, Claude Lévi-Strauss, the twentieth century’s most brilliant ethnographer, describes pacing the streets, all draped with new electric cable, of Lahore’s Old Town sometime in the nineteen-fifties, trying to piece together, long after the event, a vanished purity—of local colour, texture, custom, life in general—from nothing but leftovers and debris. He goes on to describe being struck by the same impression when he lived among the Amazonian Nambikwara tribe: the sense of having come “too late”—although he knows, from having read a previous account of life among the Nambikwara, that the anthropologist (that account’s author) who came here fifty years earlier, before the rubber-traders and the telegraph, was struck by that impression also; and knows as well that the anthropologist who, inspired by the account that Lévi-Strauss will himself write of this trip, shall come back in fifty more will be struck by it too, and wish—if only!—that he could have been here fifty years ago (that is, now, or, rather, then) to see what he, Lévi-Strauss, saw, or failed to see. This leads him to identify a “double-bind” to which all anthropologists, and anthropology itself, are, by their very nature, prey: the “purity” they crave is no more than a state in which all frames of comprehension, of interpretation and analysis, are lacking; once these are brought to bear, the mystery that drew the anthropologist towards his subject in the first place vanishes. I explained this to her; and she seemed, despite the fact that she was drunk, to understand what I was saying. Wow, she murmured; that’s kind of fucked.
enjoyed this
—p.19 by Tom McCarthy 2 years, 10 months ago
it made me famous—relatively speaking
I wrote about all this. It made me famous—relatively speaking. Let’s not get carried away. A famous anthropologist, even one with a real book out, is about as well-known as a third-division footballer. No, less: let’s say an Olympic badminton player, or a reality-TV contestant from an unpopular show five years ago. And come to think of it, I’m even exaggerating the degree of fame my study brought me in my own field, let alone the world of letters. Rather than “made me famous,” it would be more accurate to say that the book “garnered me some attention”—the odd public reading, the odd newspaper review; and, as they say, tomorrow’s fish (unlike ichthyomancers) can’t read. It was enough attention, though, to bring me onto Peyman’s radar, there to beep, or throb, or do whatever things on radars do; which, in turn, prompted him to pluck me from the dying branches of academia and re-graft me inside the febrile hothouse of his company.
I took out all the revolutionary shit
[...] I stole a concept from the French philosopher Deleuze: for him le pli, or fold, describes the way we swallow the exterior world, invert it and then flip it back outwards again, and, in so doing, form our own identity. I took out all the revolutionary shit (Deleuze was a leftie); and I didn’t credit Deleuze, either. Big retail companies don’t want to hear about such characters. I did the same thing with another French philosopher, Badiou: I recycled his notion of a rip, a sudden temporal rupture, and applied it, naturally, to tears worn in jeans, which I presented as the birth-scars of their wearer’s singularity, testaments to the individual’s break with general history, to the successful institution of a personal time. I dropped the radical baggage from that, too (Badiou is virtually Maoist). This pretty much set up the protocol or MO I’d deploy in my work for the Company from then on in: feeding vanguard theory, almost always from the left side of the spectrum, back into the corporate machine. The machine could swallow everything, incorporate it seamlessly, like a giant loom that reweaves all fabric, no matter how recalcitrant and jarring its raw form, into what my hero would have called a master-pattern—or, if not that, then maybe just the pattern of the master.
my job was to put meaning in the world
[...] While my supposed business, my “official” function, as a corporate ethnographer, was to garner meaning from all types of situation—to extract it, like a physicist distilling some pure, unadulterated essence out of common-mongrel compounds, or a miner drawing gold ore from deep within the earth’s bowels—I sometimes allowed myself to think that, in fact, things were precisely the other way round: that my job was to put meaning in the world, not take it from it. Divining, for the benefit of a breakfast-cereal manufacturer, the social or symbolic role of breakfast (what fasting represents, the significance of breaking it); establishing for them some of the primary axes shaping the way in which the practice of living is, or might be, carried out; and watching the manufacturer then feed that information back into their product and its packaging as they upgraded and refined these, I understood the end-result to be not simply better-tasting cereal or bigger profits for the manufacturer, but rather meaning, amplified and sharpened, for the millions of risers lifting cereal boxes over breakfast tables, tipping out and ingesting their contents. Helping a city council who were thinking of creating parks and plazas but had yet to understand the ethnographic logic driving such an act; laying out for them the history of public (as opposed to private) space, making them grasp what these zones fundamentally embody, what’s at play in them from a political and structural and sacred point of view; and doing this in such a way that this whole history is then injected back into the squares, sports-fields and playgrounds millions of citizens will then inhabit—same thing. Down in my office, stirred and lulled by ventilation, I would picture myself as some kind of nocturnal worker, like those men who go out and repair the roads, or check the points and switches on the railway tracks, or carry out a range of covert tasks that go unnoticed by the populace-at-large, but on which the latter’s well-being, even survival, is dependent. While the city sleeps, bakers are baking bread in night-kitchens, milkmen are loading crates onto their floats; and river-men are dredging riverbeds or checking water-levels, while other men in buildings with nondescript exteriors track storm surges and spring- and neap-tides on their screens, and activate the flood defences when this becomes necessary. When the populace-at-large wakes up, they just see the milk there on their doorstep, and the fresh bread in the shop down the street, and the street itself still there, unflooded, un-tsunamied from existence; and they take it all for granted, where in fact these men have put the milk and bread there, and have even, in deploying the flood defences, put the city there as well, put it back there every time they deploy them. That’s what I was doing, too, I told myself. The world functioned, each day, because I’d put meaning back into it the day before. You didn’t notice that I put it there because it was there; but if I’d stopped, you’d soon have known it.
what matters is what’s left when that attempt has failed
The Company’s logo was a giant, crumbling tower. It was Babel, of course, the old biblical parable. It embodied one of Peyman’s signature concepts. Babel’s tower, he’d say, is usually taken to be a symbol of man’s hubris. But the myth, he’d carry on, has been misunderstood. What actually matters isn’t the attempt to reach the heavens, or to speak God’s language. No: what matters is what’s left when that attempt has failed. This ruinous edifice (he’d say), which serves as a glaring reminder that its would-be occupants are scattered about the earth, spread horizontally rather than vertically, babbling away in all these different tongues—this tower becomes of interest only once it has flunked its allotted task. Its ruination is the precondition for all subsequent exchange, all cultural activity. And, on top of that, despite its own demise, the tower remains: you see it there in all the paintings—ruined, but still rising with its arches and its buttresses, its jagged turrets and its rusty scaffolding. What’s valuable about it is its uselessness. Its uselessness sets it to work: as symbol, cipher, spur to the imagination, to productiveness. The first move for any strategy of cultural production, he’d say, must be to liberate things—objects, situations, systems—into uselessness. I read this for the first time, long before I worked for him, in Creative Review; then later, with slight variations, in Design Monthly, Contemporary Business Journal and Icon.
good exposition example
a world in which faith plays a fundamental role
The article kept mentioning “faith.” Skydivers are induced into and graduate up through a world in which faith plays a fundamental role. They must believe in their instructors; in the equipment; in the staff packing their rigs; in tiny ring-pulls, clips and clip-releases, strips of canvas, satin, string. It could be argued, wrote the author, that this belief had nothing of the devotional or metaphysical about it, since each of the things to be believed in had a solid evidential underpinning: the mechanics of a ripcord, say, or a spring-loaded riser—or, of course, on a larger scale, the overall infallibility of physics, its laws of resistance, drag and so on. Yet, he claimed, these things could only carry one so far towards a gaping hole in a plane’s side, and the fundamentally counterintuitive act of throwing oneself through it: to cite the clichéd but apt maxim, they could take the horse to water, but they couldn’t make it drink. That final spur, the one that carried skydivers across the threshold, out into the abyss, was faith: faith that it all—the system, in its boundless and unquantifiable entirety—worked, that they’d be gathered up and saved. For this man, though, the victim, that system, its whole fabric, had unraveled. That, and not his death, was the catastrophe that had befallen him. We’re all going to die: there’s nothing so disastrous about that, nothing in its ineluctability that undermines the structure of our being. But for the faith, the blind, absolute faith into whose arms he had entrusted his existence, from whose mouth he’d sought a whispered affirmation of its very possibility—for that to suddenly be plucked away: that must have been atrocious. He’d have looked around him, seen the sky, and earth, its landmass and horizon, all the vertical and horizontal axes that hold these together, felt acceleration and the atmosphere and all the rest, the fundamental elements in which we hang suspended all the time, whether we’ve just jumped from an aeroplane or not—and yet, for him, this realm, with all its width and depth and volume, would have, in an instant, become emptied of its properties, its values. The vast font at which he prayed, and into which he sank, as though to re-baptize himself, time and again, would, in the blink of a dilated eye, have been voided of godhead, rendered meaningless. Space, even as he plunged into it, through it, would have retreated—recoiled, contracted, pulled back from its frontiers even though these stayed intact—withdrawn to some zero-point at which it flips into its negative. Negative world, negative sky, negative everything: that’s the territory this man had entered. Did that then mean he’d somehow fallen through into another world, another sky? A richer, fuller, more embracing one? I don’t think so.
after whatever parachute it had put its faith in had failed
8.12 Later that evening I sat down, once more, to plot the framework of my Great Report. The clearing I’d made on my desktop was still there, untouched and un-encroached-on—save by a small, dead moth whose corpse had landed there after whatever parachute it had put its faith in had failed. I swept it aside; and, once again, the space was pristine, perfect, blank. Tabula rasa: I pronounced the words aloud as I surveyed the leather, breathing in its smell of cut grass and detergent. Just sitting before it, above it, filled me with a sense of infinite possibility. I pictured myself as an industrialist, viewing a clearing in the forest where his factory would go; or as an urban planner, given carte blanche to design from scratch a new, magnificent cosmopolis; a mathematician, a topologist or trigonometrist, contemplating space in its most pure and abstract form; an explorer, sea-discoverer, world-conqueror from centuries gone by, standing at his prow as his dominion-to-be hove into view: this virgin territory that he would shape after himself and make his own. Placing my laptop in the middle—the exact, geometric centre—of this clearing, I opened a fresh document and stretched its borders out until it filled my screen entirely. As I did this, though, just as the document’s expanding lower boundary reached the bottom of my screen, my finger momentarily lost contact with the glide-pad; when the finger made contact again, it caused the applications docked invisibly at the screen’s base to pop up, impinging on the clean neutrality both of the screen and of my mind. Trying to hide them once more, I accidentally tapped on the docked news page, which slipped from its box, inflating as it rose, like some malicious genie, taking the screen over—and in an instant, all the extraneous clutter, all the world-debris, that I’d so painstakingly eliminated flooded back into the clearing, ruining it.
I didn’t have any slides or clips
9.2 Talks were limited to fifteen minutes each. The other speakers’ PowerPoint presentations moved with sub-second precision from one image to the next as they talked with evangelic zeal of neuroscience, genomics, bio-informatics and a dozen other concepts currently enjoying their moment in the sun. When my turn came, I didn’t have any slides or clips. I started by saying that The Contemporary was a suspect term. Better to speak, I proposed, of a moving ratio of modernity: as we straddle the dual territories of a present that, despite its directional drive, is slipping backwards into past, and a future that will always remain notional, we’re carried through a constantly mutating space in which modernity itself is no more than a credo in the process of becoming “dated,” or at least historical. The term epoch, I informed my listeners, originally meant “point of view,” as in the practice of astronomy; only later, I said, did it start being used to organize the world into fixed periods. This latter use, I argued, was misguided. Instead of making periodic claims which, since they can’t be empirically justified, only produce an infinite regress of detail and futile quibbling over boundaries and definitions, we should return to understanding epoch as a place from which one looks at things. From that perspective, I went on—the perspective of shifting perspectives—we can still pose the question of the difference introduced by one day, one year, one decade, in relation to another. To understand that question fully, though (I concluded), what we require is not contemporary anthropology but rather an anthropology of The Contemporary. Ba-boom: that was my “out.” My talk was met with silence, then, when my audience realized that I’d finished, a smattering of polite clapping. No one approached me to discuss it afterwards. Later that evening, in the “wet” or Turkish sauna, I recognized one of the other delegates. He recognized me too, but broke off eye-contact immediately before slipping away into the steam.
—p.100 by Tom McCarthy 2 years, 10 months ago
I started seeing the Project as nefarious
[...] around this time, my attitude not only to the Great Report but also towards Koob-Sassen underwent a sea-change. I started seeing the Project as nefarious. Sinister. Dangerous. In fact, downright evil. Worming its way into each corner of the citizenry’s lives, re-setting (“re-configuring”) the systems lying behind and bearing on virtually their every action and experience, and doing this without their even knowing it … I started picturing it, picturing its very letters (the K a body-outline, the Ss folds of cloak, the hyphen a dagger hidden between these), slinking up staircases in the night while people slept, a silent assassin. That’s how I started seeing it. I couldn’t, at first, put my finger on a particular aspect or effect of it, nor on a specific instigator or beneficiary, that was itself inherently and unambiguously bad. But after a while I started telling myself that it was precisely this that made it evil: its very vagueness rendered it nefarious and sinister and dangerous. In not having a face, or even body, the Project garnered for itself enormous and far-reaching capabilities, while at the same time reducing its accountability—and vulnerability—to almost zero. What was to criticize, or to attack? There was no building, no Project Headquarters or Central Co-ordination Bureau. What person, then? The Minister with Shoes? She was no evil mastermind; she had no greater overview of the whole Project than I did. Her immediate boss, a man whose intellectual capacities (like all aristocrats, he was inbred) were held in almost open contempt by even his own cabinet members? The Project was supra-governmental, supra-national, supra-everything—and infra- too: that’s what made it so effective, and so deadly. I continued to ponder these things even as I laboured on, week-in, week-out, to help usher the Project into being, to help its first phase go live; and as I did, the more I pondered, ruminated, what you will, the more thoughts of this nature festered."
there’s no one to tell about it
inspo/dialogue
12.7 I visited Petr in hospital again. The worst thing about dying, he told me as I sat between his bed and the smudged windows, is that there’s no one to tell about it. What do you mean? I asked. Well, he said, throughout my life I’ve always lived significant events in terms of how I’ll tell people about them. What I mean is that even during these events I would be formulating, in my head, the way that I’d describe them later. Ah, I tried to tell him: that’s a buffering probl … but Petr wasn’t listening. The dying want to impart, not imbibe. When I was eighteen and I found myself in Berlin the day the Wall fell, he went on, as I watched the people streaming over, clambering up on it, hacking it down, I was rehearsing how to recount it all to friends after I got back home. I watched the people sitting on the wall, chipping at it with their chisels, and the guards standing around not knowing what to do … That’s what I was thinking, he said, what was running through my head, right in the moment that I watched them chiseling and chipping. Same as when I saw the shootout in Amsterdam. What shootout? I said. Didn’t I ever tell you about that? he asked. No, I answered. I found myself caught in the middle of a shootout between Russian gangsters as I came out of a restaurant, he explained. They were all firing from behind lamp-posts, dustbins, cars and so on, and I ducked into an alleyway and one of them was right there with me, holding this huge pistol, a gold one, which he balanced on the back of one hand as he shot it with the other. Wow, I said. Yes, Petr nodded—but the point is, that even as I cowered behind this gangster in this alleyway, I was practicing relating the episode when it was over. He had a huge pistol—a gold one, no less! And he balanced it like this … and it recoiled like that … Or: I was just ten feet away from him … I thought that he might turn his gun on me, but he ignored me … Trying out different ways of telling it, you see? Well, now, I’m about to undergo the mother, the big motherfucker, of all episodes—and I won’t be able to dine out on it! Even if there turns out to be a Heaven or whatever, which there won’t—but even if there does, I still won’t be able to, since everyone else there will have lived through the same episode, i.e., dying, and they’ll all go: So what? That’s boring. We know all that shit. So it’s lose-lose. Do you see my quandary? Yes, I said; I see that could be a problem.
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Fashion home portal Home & Lifestyle
top mansion
Solid showing in Turkish furniture exports despite virus
Turkey’s buoyant furniture sector managed to maintain its strong export performance in 2020 despite the coronavirus, according to industry experts.
Nuri Gürcan, head of the Furniture Industry Businessmen Association, said Turkey’s exports in 2020 totaled $3.5 billion, unchanged from the previous year, bucking the challenges of the pandemic.
Last year’s figures made Turkey the eighth-largest furniture exporter in the world, close on the heels of the U.S. with $4.7 billion and Canada at $3.7 billion.
“If we hit our target for 2021, which is around $4 billion to $4.5 billion, we’ll climb to seventh place,” he said.
Nimble market mover
Turkey is also the world’s 13th-largest furniture manufacturer, and Gürcan said it managed to reach these impressive figures despite the virus thanks to its ability to keep sales channels active.
Iraq, Germany, Saudi Arabia, the U.S., Israel, France, Libya, the UK, Romania, and the Netherlands were Turkish furniture’s main export markets in 2020, he said.
“Especially 2020 was a banner growth year for our exports to the U.S.,” he added.
China took a back seat because it was ground zero for the virus, according to Gürcan, stressing that runaway freight costs made European countries turn closer to home to Turkey.
Koray Çalışkan, the chairman of Modoko, Turkey’s oldest furniture showroom, also praised the country’s strong export performance last year, saying Turkish furniture was one of the sectors that reacted the quickest to the changing pandemic market.
Sector players launched online shopping websites to meet demand during the lockdown, he said.
“We prepared the infrastructure for a virtual fair, which will last 365 days in an industry first,” he said.
Çalışkan highlighted that over the last two decades, Turkish exports surged 18-fold.
“Our focus now should be on how to boost our exports-per-kilogram,” he said, stressing that the sector is seeking ways to rack up more sales in the U.S.
Modoko wants to open a furniture showroom in the U.S. in 2021, similar to the one it already has in Dubai.
“We’re in the final stages for opening a showroom in the U.S.,” said Çalışkan.
“Using this center in the U.S., we’ll export more easily to Latin American countries.”
Besides boosting exports, the sector wants to create a perception of Turkish furniture and enhance its brand value abroad, he said.
“We’re an industry that sees a rise in exports every year, but in 2020 due to the pandemic, it was unchanged from the previous year,” said Çalışkan.
Source：Hurriyet Daily News
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Circle barbecue
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Homelifestyle International
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Amenities & Rates
Hammondsport: 15 minutes
Penn Yan: 15 minutes
Corning: 45 minutes
Watkins Glen: 45 minutes
Directions from Buffalo/Rochester
Take NY State Thruway (Interstate 90) East to Albany, take exit 44 (Canandaigua) Route 332 to Route 5 and 20. Turn left onto Route 5 and 20. Go approximately 3 miles to Route 247 turn right. Go on Route 247 to Route 364. Continue through the little town of Potter. Approximately 5 miles after Potter, you’ll see County Route 29, and also a sign giving mileage to Branchport (7 miles), turn right to Branchport. Continue 4 1/2 miles south of Branchport and watch for Gone with the Wind sign on the right hand side, turn up the driveway. You are now at Gone with the Wind Bed and Breakfast.
Directions from Corning and Points South
Take I 86 (State Route 17) to Exit 38 (Bath/Hammondsport) Rt.54. Continue on Rt. 54 through Bath, go seven miles to Hammondsport. Turn left at the light on 54A, through the village of Hammondsport, continue North on Rt 54A approximately 10 miles to Gone with the Wind Bed and Breakfast.
We are located between Boyd Hill Rd. to the South and Parker Hill Rd. to the North on Rt. 54A<
Come relax in the peaceful setting of our 1887 plantation-style bed & breakfast, nestled near the pure Keuka Lake waters, swimming, and foot paths.
Enjoy calming views of nature, fireplaces, A/C, sumptuous breakfasts, superior restaurants & wineries within 5-15 min., Wi-Fi and more.
“People from all around the world make their way up the short drive, under the canopy of trees to the peace, quiet and beauty of the pillared Gone With the Wind Bed and Breakfast.”
• 607-868-3088 •
14905 W. Lake Rd.
Pulteney, NY 14874
Copyright © 2023 Gone With The Wind Bed And Breakfast. All rights reserved.
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CLINUVEL Trial Results Show Drug Reduces DNA Damage
Results in “children of the moon” disorder have implications for populations at highest risk of skin cancer
MELBOURNE, Australia, Jan. 16, 2023 (GLOBE NEWSWIRE) — Results from a clinical trial in a genetic DNA repair disorder show that a new drug – afamelanotide – may be able to reduce the development of skin cancers. The trial results are the first showing the potential of afamelanotide, a melanocortin drug under development by CLINUVEL, to protect and treat patients with xeroderma pigmentosum (XP), a rare disorder which causes extreme rates of skin cancers and forces patients to live in the dark.
“XP patients are known as ‘children of the moon’ due to their need to avoid any light and sun exposure or risk severe, aggressive skin cancers from an early age,” CLINUVEL’s expert genomic scientist, Dr Jessica Nucci said. “Our first clinical trial results demonstrate that afamelanotide in adult XP patients can reduce key markers of light and ultraviolet DNA damage, suggesting we may be able to reduce the risk and frequency of skin cancers in these patients.”
Xeroderma pigmentosum affects patients’ ability to repair DNA skin damage following exposure to light, particularly ultraviolet (UV) radiation. The disorder – which affects an estimated one in a million individuals – leads to a 1,000-fold increase in the risk of skin cancer and, tragically, a life expectancy of around 30 years.
Australian biopharmaceutical company CLINUVEL started clinical trials of afamelanotide in XP patients in 2020, aiming to assess whether treatment with the drug could safely reduce the number of photoproducts – breakages in the DNA helix known as CPDs – as well as showing improvement in other markers of skin damage.
Results from the first three XP patients treated showed a reduction in CPDs, particularly at deeper levels of the skin, as well as a decrease in sunburn (under controlled laboratory conditions). Key markers such as p53 and γH2AX also showed response to the drug.
The expert physicians caring for the XP patients assessed that afamelanotide treatment provided effective systemic photoprotection and was well tolerated.
“These results are exciting as the findings may be translated to wider populations who are at higher risk of skin cancer due to DNA damage, such as those who are immunosuppressed or with fair skin, blue eyes and fair hair,” Dr Nucci said. “In the immediate term, we have multiple studies of afamelanotide ongoing which may provide greater evidence of the potential of the drug to assist DNA regeneration in both XP patients and disease-free subjects.”
Afamelanotide belongs to the family of melanocortins, hormones and their analogues, which are recognised to activate human pigmentation, reduce oxidative damage, inflammation and swelling, and optimise the response of skin cells to UV-induced damage. CLINUVEL is already marketing a controlled-release formulation of afamelanotide – known as SCENESSE® – as the world’s first photoprotective drug for the rare disorder erythropoietic protoporphyria (EPP). Further results from the Company’s DNA repair program are expected later in 2023.
Media enquiries: Monsoon Communications, Mr Rudi Michelson, +61 411 402 737, [email protected]
Note to media: CLINUVEL has released further investor and technical releases on results from the CUV156 study. For more details, go to www.clinuvel.com.
About CLINUVEL PHARMACEUTICALS LIMITED
CLINUVEL (ASX: CUV; ADR LEVEL 1: CLVLY; XETRA-DAX: UR9) is a global specialty pharmaceutical group focused on developing and commercialising treatments for patients with genetic, metabolic, systemic, and life-threatening, acute disorders, as well as healthcare solutions for specialized populations. As pioneers in photomedicine and the family of melanocortin peptides, CLINUVEL’s research and development has led to innovative treatments for patient populations with a clinical need for systemic photoprotection, assisted DNA repair, repigmentation and acute or life-threatening conditions who lack alternatives.
CLINUVEL’s lead therapy, SCENESSE® (afamelanotide 16mg), is approved for commercial distribution in Europe, the USA, Israel and Australia as the world’s first systemic photoprotective drug for the prevention of phototoxicity (anaphylactoid reactions and burns) in adult patients with erythropoietic protoporphyria (EPP). Headquartered in Melbourne, Australia, CLINUVEL has operations in Europe, Singapore, and the USA. For more information, please go to https://www.clinuvel.com.
SCENESSE®, PRÉNUMBRA®, NEURACTHEL®, and CYACÊLLE® are registered trademarks of CLINUVEL.
Mr Malcolm Bull, CLINUVEL PHARMACEUTICALS LTD
Investor Enquiries
https://www.clinuvel.com/investors/contact-us
This release contains forward-looking statements, which reflect the current beliefs and expectations of CLINUVEL’s management. Please see the full disclaimer on CLINUVEL’s website.
www.clinuvel.com
Level 11, 535 Bourke Street, Melbourne – Victoria, Australia, 3000
T +61 3 9660 4900 F +61 3 9660 4909
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124: Sleep++ and Permission Prompts
00:00:10 ◼ ► So this week, something momentous happened.
00:00:13 ◼ ► In the _DavidSmithEmpire.
00:00:16 ◼ ► Yay!
00:00:17 ◼ ► You released Sleep++ 3.0.
00:00:20 ◼ ► And in my opinion, now you didn't tell me to say any of this, in my opinion,
00:00:23 ◼ ► this is so different and so much better than what you had before,
00:00:27 ◼ ► that it's almost like a 1.0, it's almost like a brand new app, you know,
00:00:31 ◼ ► or like a sequel. I guess maybe that's what 3.0 means.
00:00:34 ◼ ► But it's so much better because in the previous versions of Sleep++,
00:00:40 ◼ ► this is an app that lets you track and get reports on and data on
00:00:45 ◼ ► your sleeping patterns and the duration of your sleep by wearing an Apple Watch all night.
00:00:51 ◼ ► Is that a safe summary?
00:00:53 ◼ ► Yes. That is the essential. Use your Apple Watch to track your sleep.
00:00:58 ◼ ► Which is totally a thing, that if this sounds ridiculous or impossible to you,
00:01:02 ◼ ► or if it seems like the battery won't make it through,
00:01:05 ◼ ► this is totally a thing that is possible and that a lot of people do.
00:01:08 ◼ ► It's not incredibly straightforward to do, but with a couple of modifications
00:01:13 ◼ ► to how and when you charge the watch, it's very possible.
00:01:17 ◼ ► Or if you just have an old watch that, if you've upgraded to one of the more recent ones,
00:01:21 ◼ ► and you have an old model still sitting around, you can do the double watch thing,
00:01:25 ◼ ► day watch, night watch.
00:01:27 ◼ ► Anyway, so the previous version of Sleep++ would rely on you telling it
00:01:33 ◼ ► when you were sleeping and when you woke up.
00:01:36 ◼ ► And the new 3.0 version automatically detects when you're asleep
00:01:41 ◼ ► and you don't have to enter that data in because it's reading it in,
00:01:46 ◼ ► I guess, is it reading health and heart patterns and stuff?
00:01:49 ◼ ► How is it actually doing this? Or is that a trade secret?
00:01:52 ◼ ► There's only a couple ways you could do it, so that's not a big secret in that regard.
00:01:57 ◼ ► I take the heart rate data, active calorie data, and step data
00:02:03 ◼ ► that is always being collected by an Apple Watch,
00:02:06 ◼ ► and I take those three data points and then I can use those to infer information about your sleep.
00:02:14 ◼ ► So it's not as precise in terms of working out exactly when you fell asleep.
00:02:19 ◼ ► The previous version, you hit a button that said, "I'm about to go to sleep,"
00:02:22 ◼ ► so that gave me a lot of clues as to when you went to sleep.
00:02:25 ◼ ► Whereas for this version, I'm just looking at this data
00:02:28 ◼ ► and I have a whole bunch of algorithms to analyze it and partition it
00:02:32 ◼ ► so that I can say, "It looks like right here is when you went to bed,
00:02:37 ◼ ► and here is when you fell asleep."
00:02:39 ◼ ► And then conversely, it's like, "This seems to be the period where you woke up on the other end."
00:02:43 ◼ ► And I can use that to get you close.
00:02:46 ◼ ► Based on my testing, I've been able to get it so that it's usually right to within maybe 10 minutes on either end,
00:02:52 ◼ ► which for all practical purposes is good enough for something like this,
00:02:56 ◼ ► certainly for the gain of convenience of it just magically happening with you doing nothing.
00:03:03 ◼ ► All you have to do is wear your watch while you're sleeping,
00:03:06 ◼ ► and it's able to do the rest, which is much more convenient.
00:03:11 ◼ ► I don't think the previous way was necessarily more accurate,
00:03:14 ◼ ► because not only would you occasionally forget to tell it, "I'm going to sleep now,"
00:03:18 ◼ ► but you might hit "I'm going to sleep now" and then unexpectedly not really fall asleep for a while.
00:03:23 ◼ ► I don't think this is less precise.
00:03:25 ◼ ► In fact, this might be more precise, because this is measuring what your heart rate and movements and everything
00:03:30 ◼ ► are actually doing as opposed to relying on the fragile, forgetful human to tell it what it's doing.
00:03:38 ◼ ► The only advantage of the old version is that, and the reason why I initially made it so that you had to say "start" and "stop"
00:03:46 ◼ ► is because of a limitation in core motion.
00:03:49 ◼ ► It's certainly in watchOS 2, I think it was, or 2 or 3 when I first was able to do this.
00:03:56 ◼ ► They added the APIs for background motion tracking.
00:03:59 ◼ ► You could only set it to record for a 12-hour period at a time.
00:04:04 ◼ ► So you would tell core motion, "Hey, I want you to record the user's motion for the next so many hours."
00:04:09 ◼ ► And the max you could do was 12 hours, which meant that I had to renew their request for data, essentially every night,
00:04:19 ◼ ► because otherwise I wouldn't have access to it.
00:04:22 ◼ ► The advantage of that is I got 50 hertz motion data back about the user,
00:04:27 ◼ ► so I was very precisely able to analyze what you were doing and your movement,
00:04:33 ◼ ► whereas with the health stuff, it's all derived from the same thing.
00:04:37 ◼ ► There's an accelerometer on the Apple Watch that is taking all these measurements,
00:04:43 ◼ ► and the health data is the second-order effect of that, whereas before I was able to just analyze the raw data.
00:04:50 ◼ ► The reality is the automatic version is just so much better once you get used to it
00:04:56 ◼ ► that in some ways it's slightly immaterial as to which one's more precise or which one's better,
00:05:01 ◼ ► because even for myself, as someone who has manually tracked every night of my sleep for the most part for the last three years,
00:05:10 ◼ ► it's night and day now. It just happens, and every morning I wake up, I unlock my phone,
00:05:16 ◼ ► and the first time you unlock your phone, when it unlocks the health database, it does the analysis in the background,
00:05:21 ◼ ► and then it pops up a sleep summary. So it's a totally better way to do it, and it's just one of these,
00:05:26 ◼ ► "Yep, this is the right way to do it. In some ways I probably should have been doing this for a long time,
00:05:31 ◼ ► but either way, now it's finally gotten there, and it's really cool."
00:05:35 ◼ ► So I have only one question. In your screenshot, in your blog post, you claim to have gone to bed at 8.37 pm.
00:05:44 ◼ ► Now, I know you're a very disciplined person, way more than me, but do you actually go to bed at 8.30 pm?
00:05:50 ◼ ► I do, sometimes. Not all the time.
00:05:52 ◼ ► Really? That's kind of impressive.
00:05:54 ◼ ► I think it speaks more to how early I wake up than to anything else. I typically wake up at about 5 o'clock in the morning,
00:06:02 ◼ ► and so I am often tired at that point, and so it works out that way to just sort of be able to...
00:06:10 ◼ ► I think I usually go to bed after 9, between 9 and 9.30, but there are definitely days where I'm just like,
00:06:16 ◼ ► "Okay, well, I'm tired now, so I'm going to go to sleep." That can be as early as...
00:06:20 ◼ ► If I look at my testing data, which is kind of funny that I have, exactly when I went to bed every night for years now,
00:06:27 ◼ ► there are definitely some 7.45, 8 o'clock in there too, so I'm just kind of like an old man, I guess.
00:06:34 ◼ ► Do you think when you actually become an old man, you're going to go to bed maybe before noon, even?
00:06:40 ◼ ► How far back do you think it will shift?
00:06:42 ◼ ► Just... I'm just perpetually sleeping, basically.
00:06:45 ◼ ► I'll just spend my whole time sleeping.
00:06:49 ◼ ► Every day from 3.30 in the morning until 11 in the morning.
00:06:53 ◼ ► My day just shifts completely. I'm just shifting into a different time zone. I'm gradually going out over the Atlantic.
00:06:59 ◼ ► Watch the Price is Right and slowly drift off to sleep.
00:07:02 ◼ ► Perfect.
00:07:04 ◼ ► That's fantastic.
00:07:05 ◼ ► Alright, so I think one of my big questions about this, and we talked a little bit about this in the past,
00:07:11 ◼ ► is like, this is basically completely changing the app, and I know there were other apps in the store that were competitive with yours
00:07:17 ◼ ► that had an automated approach. Is that one of the main drivers here, or was it just like you figured out how to do it?
00:07:24 ◼ ► So, the awkward thing with this feature is that... So, Sleep++, when I first launched, was a...
00:07:32 ◼ ► And this is probably the more instructive part of the story, is like, it was, I think, the first Apple Watch Sleep Tracker.
00:07:38 ◼ ► Like, when it first came out, in my sort of classic way, where I saw this new API for Core Motion,
00:07:44 ◼ ► I dived into it and started working on it, and when I launched, it was...
00:07:48 ◼ ► Like, there was a bunch of iPhone-based sleep trackers, where the ones where you put it under your pillow,
00:07:52 ◼ ► or there's some that you, like, it listens with the microphone, to hear your breathing patterns.
00:07:58 ◼ ► There's all kinds of... There's that kind of thing, but specifically Apple Watch focused. It was one of the early ones.
00:08:04 ◼ ► And the thing that I always had in the back of my mind, though, is when I was working on this feature,
00:08:08 ◼ ► is that it seems inevitable that Apple is going to add this to the Apple Watch themselves.
00:08:14 ◼ ► And so I always had in the back of my mind, as I've been working on Sleep++, that it's like I'm kind of working to this deadline,
00:08:21 ◼ ► where at some point, the app is just kind of going to become much less appealing.
00:08:26 ◼ ► I mean, certainly there's a market for apps, you know, certainly Overcast is an example of this,
00:08:30 ◼ ► where there can be a free first-party version of something, and third-party apps can still do well.
00:08:36 ◼ ► But I think in this case, it's always in the back of my mind had been this thing that's been kind of this existential threat.
00:08:44 ◼ ► And so I kept sort of putting off and working on other apps, working on other projects, making Sleep++ better.
00:08:52 ◼ ► And certainly once there are other apps that took the automatic approach, they're certainly one of these things that's like,
00:08:58 ◼ ► "Well, clearly this is possible." Like, I kind of always guessed that it was possible, but that certainly confirmed the fact and established that.
00:09:05 ◼ ► And honestly, in a lot of ways, made Sleep++ less appealing.
00:09:09 ◼ ► It still has been able to sustain a reasonable amount of interest, but it's less appealing of an app.
00:09:16 ◼ ► And I just at a certain point was like, "Well, either I need to just accept the fact that one day, maybe this June, who knows,
00:09:24 ◼ ► Apple is going to introduce sleep tracking to the Apple Watch, and maybe at that point, my app will be less appealing or less useful."
00:09:34 ◼ ► Maybe that's the case, maybe not. Maybe when they do that, maybe it'll just change how Sleep++ is useful.
00:09:41 ◼ ► Maybe Apple just stores that sleep data into the health database, so Sleep++ could become a viewer for that.
00:09:49 ◼ ► I have lots of things along those lines, but at a certain point, the app just wasn't competitive, and it wasn't interesting or compelling.
00:09:55 ◼ ► And so I just decided that one way or the other, if either I need to kill this app because I'm not really working on it,
00:10:01 ◼ ► or I need to make it as good as it can be. And in this case, I decided to take the "Well, let's just spend a couple of months,
00:10:07 ◼ ► let's make the app as awesome as I can make it, and we'll see what happens."
00:10:11 ◼ ► And if this fall, this all kind of falls apart, well, at least I've got between now and September for the app to do well,
00:10:20 ◼ ► and hopefully kind of recoup the investment of time that I've put into it.
00:10:24 ◼ ► What's the monetization model here?
00:10:26 ◼ ► So the app is free, there's a little ad, a banner ad on the main screen, and then there's an optional in-app purchase to remove ads and support development.
00:10:33 ◼ ► So it's the same model that I use in Podometer++ and a bunch of my other apps, where it's free up front with some kind of optional in-app purchase and a little bit of ads.
00:10:44 ◼ ► See, one thing I love about this app, and it's not to 100% an effect because of the nature of not most people wear Apple watches all night to track their sleep before they're using an app like this,
00:10:55 ◼ ► but I love that because this is reading from the health database, if for some reason you have been using an Apple watch to track your sleep every night,
00:11:04 ◼ ► this automatically pulls in the latest 30 days of data as soon as you launch it for the very first time.
00:11:10 ◼ ► So many apps that are this kind of personal measurement kind of thing, you start from nothing.
00:11:17 ◼ ► You start with no data, and so you launch the app and there's a very slow build over a very long amount of time before it starts giving you useful insights.
00:11:26 ◼ ► But you can read 30 days worth of data, I assume it's just a health kit feature, right?
00:11:31 ◼ ► Sure, I mean I could go all the way back to forever. I went to 30 days just because I find that so much more practical limit.
00:11:37 ◼ ► But yeah, it is very cool that you launch the app and then there's the last month's worth of data. A) If you've been using a competitor's app, which means you were wearing your Apple watch overnight anyway,
00:11:49 ◼ ► or you just happen to be, a lot of people I know use an Apple watch for the silent alarm so they can wake up at a particular time without waking someone else in bed with them.
00:11:59 ◼ ► And so if you've been doing that anyway, just for the reason of having it tap you on the wrist in the morning, all this data is just sort of there waiting for you.
00:12:07 ◼ ► Oh yeah, because you don't have to have started a sleep workout or whatever. You don't have to have told the watch why you're wearing it at night.
00:12:14 ◼ ► You just have to have been wearing it at night for some reason.
00:12:17 ◼ ► Exactly. That's the whole crux of this. The whole project started, the first thing I did was to sit down and be like, "What does the Apple watch always collect?"
00:12:27 ◼ ► What data types is it collecting? And really it's steps, active calories, and heart rate.
00:12:33 ◼ ► And then to some degree it has that Apple stand hour thing where it tries to work out if you stood for more than a minute in an hour, but for my purposes that wasn't actually useful.
00:12:43 ◼ ► But those three data points are always being collected by every Apple watch forever.
00:12:49 ◼ ► I can always rely on those things being collected no matter what state the watch was in. As long as it was powered up and on your wrist, that data is coming in.
00:13:00 ◼ ► Could you use the stand hours in the future to make sleepwalk++?
00:13:05 ◼ ► There's actually a slightly funny thing there where I have every now and then there was a bug in watchOS 4.1 where the Apple watch was starting to give people stand hours in the middle of the night.
00:13:19 ◼ ► I actually ran into this because of Activity++, which tracks stand hours. One of the things it does is track stand hours.
00:13:25 ◼ ► I got all these bug reports when 4.1 came out that all these people were starting their day with two stand hours. I look at their data and it's like, "Yep, nope, the data's there. It's definitely doing it."
00:13:37 ◼ ► But stand hours, it turns out, are not a great data source. The other ones, they're actually reliable and useful.
00:13:43 ◼ ► Sorry, Blue Ring studs.
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00:14:54 ◼ ► So I know making this app, you run into a lot of challenges with the mechanics of getting health kit access and stuff like that. Can you walk us through that?
00:15:07 ◼ ► Sure. So one of the things about, I mean, a lot of my apps at this point deal with health and fitness data.
00:15:15 ◼ ► And I think this is an interesting topic because it causes a lot of really interesting design decisions that you have to make.
00:15:21 ◼ ► If you interact at all with any kind of privileged data or permission on an iPhone,
00:15:28 ◼ ► because almost all of these follow the pattern now where you have to request the user's permission to access whatever it is.
00:15:36 ◼ ► And then at some point, and typically you only get one opportunity to request it.
00:15:41 ◼ ► And subsequently, if the user doesn't give you permission, then you have to somehow tell them to go to the settings app or somehow get them to do it.
00:15:49 ◼ ► Or in the case of the health kit app, you actually don't know if they gave you permission or not.
00:15:54 ◼ ► Because as best I can understand, they consider that to be a privacy question that if the user declines, then they're not actually going to tell you.
00:16:03 ◼ ► All that will happen is your queries will give you no data, but you don't necessarily know if they're giving you no data because there is no data or because they said you couldn't have access to the data.
00:16:12 ◼ ► But anyway, in Sleepless Plus, I've found that I've had to navigate this a lot because I think there's at least four different types of things that I request access to.
00:16:24 ◼ ► So the legacy version, the motion tracking version, requests access to access your motion data on your phone or watch.
00:16:33 ◼ ► The new version will now also ask, alternatively, you will need to ask for health kit access to read steps, active calories, and heart rate.
00:16:43 ◼ ► There's a feature in the app that lets you write sleep analysis data back into health kit.
00:16:50 ◼ ► So once I take my data and I process it, I can write back into health kit when you went to sleep, when you were awake, that kind of information.
00:16:59 ◼ ► And then also now that you can get a morning sleep notification that says, "Hey, here's what your previous night looked like," I need to request permission to send you notifications.
00:17:12 ◼ ► So one approach you could take to this, sort of like the naive approach, and you often see this, I find this in a lot of games where it just drives me crazy,
00:17:21 ◼ ► but is the first time you ever launch the app you just kind of get this barrage of notifications asking you for stuff?
00:17:29 ◼ ► Yeah, because every tutorial out there of like, "How do you get push notifications working?" they all have you just put the request thing in application to finish launching.
00:17:36 ◼ ► So literally the very first time the app launches, and immediately upon launch, you get all of those dialogues, all from people just copying and pasting from tutorials,
00:17:45 ◼ ► and not really giving it a lot more thought of like, "When should I ask for this?" or "How should I ask for this?" It's all just in "Did finish launching."
00:17:53 ◼ ► Which is awful, from a user experience perspective, because maybe it's the perspective I take, but I want my user to give me access to this stuff because they trust me.
00:18:06 ◼ ► That I've established at least some base level of competence that they're not just trying to bank on the fact that half the time people won't use it, and 50/50 they'll just push the button I want.
00:18:20 ◼ ► That's really not what I want. I want them to make a choice. I want them to think, "I'm going to give you permission to do this because you're going to give me something that is useful for me."
00:18:32 ◼ ► And so, while it's a lot easier to take that approach, to just throw up a whole bunch of privacy requests, it's not great.
00:18:42 ◼ ► It's also really tricky for a situation like this, where there's multiple ones that are possible within the app. Even worse is when one pops up, and then another one pops up, and then another one pops up.
00:18:53 ◼ ► You'll sometimes see this, where you have a request for your notifications, and then it'll do a one for your location, or that kind of thing.
00:19:01 ◼ ► I really don't like that approach. So instead, the approach that I've found to do is I've worked out ways to structure my app such that requesting permission or privacy or any of those things is always the result of the user actively making a choice.
00:19:24 ◼ ► They're always going to push a button or flip a switch in the application, and when they do that, the result of them saying, "I want this feature turned on," is to then ask for privacy or whatever the relevant permission is.
00:19:39 ◼ ► For example, when you first launch the app, there's no request for anything, but there's a message that explains how automatic sleep tracking works.
00:19:49 ◼ ► Below that, there's a little option that just says, "Would you like to enable sleep tracking?" It's a little UI switch.
00:19:56 ◼ ► As soon as you flip that switch, it'll then pump the dialog and ask for access to read your health data.
00:20:04 ◼ ► It will also ask if it can write your sleep analysis data into it.
00:20:09 ◼ ► I figure there, I may as well combine those two together, because they kind of go together, but in general, you said, "I want to turn this on," and it pops up.
00:20:19 ◼ ► Similarly, if you go into the settings area and you want to turn on the morning sleep summary notification, as soon as the first time you flip that switch, it'll pop up and ask for your permission to turn on notifications.
00:20:31 ◼ ► Or if you want to use the manual mode, which requires the core motion data privacy permission, the first time on the watch, when you push the "Start Sleep" button, it'll prompt you there and say, "Would you like to give me permission to access your motion data?"
00:20:47 ◼ ► That approach of making it this two-step thing, I found works pretty well. In general, I rarely have a situation, it certainly does happen, but it's pretty rare where I get the customer support question saying, "It isn't working," and it turns out it's because they turned off permissions.
00:21:07 ◼ ► I think that's largely because, in general, they're in a mind space where they want to give the app permission, and so it works better in that way, rather than doing it in this more blind, amorphous, aggressive way, where I think people are more likely to turn it off.
00:21:22 ◼ ► Honestly, it's probably going to cause more trouble for me down the road, just because people aren't going to have it turned on, and if you don't have health permission turned on, if when that thing popped up and you didn't know what was going on and you just hit "Cancel," then the app won't work.
00:21:36 ◼ ► And then you get support emails and one-star reviews.
00:21:39 ◼ ► Yeah, but I understand, I can sort of see why. I think certain apps just do it anyway, because they want to get the notification permission, for example, for nefarious reasons.
00:21:51 ◼ ► That they want to be able to send you, "Hey, it looks like you haven't used the app in a while. Maybe you want to come back?" They want to send you those kind of notifications, and if they pop it up, it did finish launching, and for 25% of people, they just hit "OK," and that works fine.
00:22:10 ◼ ► That's a different approach, but for me, it's taken a lot of thoughtful design to make that happen and to work out ways to structure things such that there's always a user's intent that is causing the permission to happen.
00:22:28 ◼ ► And so it's a recommendation that I think I can make that even though it's a little bit more complicated and a little bit more thoughtful that you have to be in your design, I think you end up with a much higher level of user trust that I'm never asking you for something unless you ask me for it first.
00:22:43 ◼ ► And then it's also just beneficial because it ultimately reduces your support burden by people actually saying, "Yes, I do want to turn that on," because I'm not asking you for your permission. If anything, you're asking me to turn the thing on for you, so it kind of turns it around in that nice way.
00:23:00 ◼ ► And you can also do smart stuff like if you're showing a screen that's like "Enable this setting," and you tap "Enable" and it pops up the box, if they say "No," then you can also disable that switch in your app, like turn it back off.
00:23:13 ◼ ► So you can always check that status, and there's never a disconnect between "I have this turned on in the app, why is it not working?" and it's because they declined the permission, like you can keep that in sync. You can have the UI respond when they decline permission to show them that, "Okay, well now this setting can't be turned on."
00:23:30 ◼ ► And then they know, "Okay, well maybe I should turn it back on and then allow it this time."
00:23:34 ◼ ► And I think that there's so many of these patterns there where it's nice also to have this sense of gradual expansion of the capability of the app, which is also useful, which is what you're talking about, where it's like teaching the user where things are in the settings, for example.
00:23:57 ◼ ► They went and they turned it on, but it isn't too much too fast. The app doesn't do all of its features all at once. It starts off more straightforward, more sort of simplistically, and then expands out from there, I think is also a nice thing.
00:24:12 ◼ ► And so you have the advantages, like you said, of you're making it, there's this very direct thing, and if you pop it up and they say no, you can immediately update your settings area in a place that they know where to go and find the details about it.
00:24:27 ◼ ► And so that kind of works. It's a pattern that I think just works so much better, and I wish more apps would do it rather than, you know, every time I see a permission prompt, the very first time I launched the app, I always think, "This is just the worst way to do it."
00:24:40 ◼ ► And half the time it's like, "No, I don't," and then I'll just delete the app or I'll go away unless it's something that I really need to use, because it just sort of shows this fundamental lack of concern or consideration about, you know, that they're not taking that privacy request very seriously.
00:24:56 ◼ ► - Yeah, or like, you know, they just aren't necessarily very thoughtful about the user flow of their app. Like, they put it in DID Finish Launching and that's it. And like, so with Overcast, I do something kind of in the middle of that and you.
00:25:10 ◼ ► What you're doing is the best way to do it. I implemented push notifications literally like forever ago, like in version 1.0, and so I do it not in DID Finish Launching, but I do it upon login.
00:25:22 ◼ ► So Overcast requires an account, and so you log in and then it kicks you into the main interface. And after the login is when I prompt for notifications.
00:25:33 ◼ ► Now that's not ideal. The ideal time to do it would be if I had like a little like intro screen that's like, "Okay, you've logged in. Now, do you want notifications on? Yes or no?"
00:25:44 ◼ ► And then if you hit yes, then ask, you know, similar to what you're saying. Like, that would be the ideal way to do it. I have not yet built one of those like intro screens yet, but I keep like every major version, I keep having like a couple more reasons why I should probably build one of those.
00:25:58 ◼ ► And so I probably will start doing that at some point soon because I have a number of like good like customer service reasons why I should probably have one of those intro screens.
00:26:07 ◼ ► And not to like draw the arrows on the interface to show people where buttons are, but just basically like to set common global settings that not everyone agrees what they should be.
00:26:16 ◼ ► So like I think, you know, one of them would be like, "Do you want episodes to download or stream?" Like that's a big one.
00:26:21 ◼ ► And I could explain in like two sentences on that screen like, you know, "Downloading will always be available. Streaming, you'll save space on your device."
00:26:28 ◼ ► Like, you know, there's stuff like that that I could do. And then if you just logged in and you want things to stream in the current setup, it defaults to download.
00:26:37 ◼ ► And so you log in, you don't actually want to start filling up your phone, but as soon as you log in and it syncs that data, it's going to start downloading stuff.
00:26:45 ◼ ► And so it's going to start filling up your phone. And so that's what most people want, but it isn't what all people want.
00:26:50 ◼ ► So like, you know, there's reasons for me to make this, you know, kind of intro screen.
00:26:53 ◼ ► But anyway, so yeah, the way you're doing it is great because like you first explain why they would want this feature.
00:27:02 ◼ ► You explain why you're about to ask for this thing. And then you ask for that thing.
00:27:06 ◼ ► And like if you look around the app store, like major apps, like big, you know, big name apps that have presumably done lots of like A/B testing and metrics and everything else to see like what drives the most X.
00:27:17 ◼ ► They all do that. They all will like explain why they're about to show you a dialogue that asks you for something.
00:27:24 ◼ ► And then they show the dialogue. And usually they'll explain it in a way that's like, you know, for this to work, you're about to see a notification screen.
00:27:30 ◼ ► And you know, and you have to approve that for us to be able to do this for you.
00:27:33 ◼ ► Like it's, if you look at any major app, they all do that. And for very good reason.
00:27:38 ◼ ► Because that, that works better. It's nicer for the users. It gets more people to say yes. It reduces support problems.
00:27:44 ◼ ► It's just better for everybody if you can do it. And not every app can do that easily. But a lot more of them can than currently do.
00:27:53 ◼ ► Yeah, and I think moreover, it's just something to be really thoughtful about.
00:27:57 ◼ ► That it's like, it's an area that I think you can endure yourself to your user by being respectful of them.
00:28:04 ◼ ► And like building that level of trust is, especially for, I mean, honestly, like a lot of apps like ours where it's, in some ways the business model is based on a certain amount of goodwill.
00:28:13 ◼ ► Like finding opportunities to create goodwill is just always a good idea, I think.
00:28:19 ◼ ► And like this is, being respectful is a great way to develop goodwill. As well as just being the right thing to do.
00:28:25 ◼ ► Well, congratulations on the launch of Sleep++ 3.0. You can find us on the App Store, presumably by searching for Sleep++.
00:28:33 ◼ ► Or if the App Store search sucks today, go to david-smith.org and look at the blog post there and that link's right to it.
00:28:39 ◼ ► So yeah, congrats on the launch. This is awesome. This is a huge update.
00:28:44 ◼ ► And if people want, if you can give a 15 second version of how do people sleep all night with their Apple Watch and the battery doesn't go dead?
00:28:51 ◼ ► Sure. I mean, the simple version is get a Series 3 watch and this just won't be an issue for you. They last for a very long time.
00:28:58 ◼ ► If you have an older watch, you can still do it. What you find is you just, anytime you're not wearing your watch for another reason, like taking a shower, getting red dressed, those types of situations.
00:29:08 ◼ ► Just put it immediately, put it on a charger. And I found that even with the Series 0 watch, if you charge it for, say, 30 minutes, 45 minutes in the morning, maybe 30 minutes at night when you're getting ready for bed, you'll be able to get through the day just fine.
00:29:23 ◼ ► Because the Apple Watch is pretty good at using very little battery overnight and so you're not actually incurring that big of a loss.
00:29:30 ◼ ► So that's just, once you kind of get into those habits that if you're not wearing your watch, it's on the charger, you won't have any trouble.
00:29:36 ◼ ► Cool. Thanks for listening everybody and we'll talk to you next week.
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Contemporary Voice-Classic Ideals
By werecatt BRONZE, Junction City, Kansas
werecatt BRONZE, Junction City, Kansas
“It’s pouring again.” I sighed as heavy drops of rain hit the lunchroom’s tin roof. The cafeteria was overflowing with the smell of 9th grade boys mixed with whatever slop the high school was serving as a main dish, not very appetizing. More and more kids filtered in trying to escape the rain, filling up every table because sitting with another clique apparently wasn’t acceptable.
There weren’t any ‘cool kids’ really. More like people who had different interests sat at a different table, separate but equal. Ralph chuckled to himself as this occurred to him. “Right. How are we supposed to stand against separation if we’re raised to accept it…” I shook my head disgustedly making my scruffy dark brown hair fall over my even darker brown eyes. There were twice as many kids than normal in here but not one wanted to sit at the remaining empty table. The very table I was sitting at of course.
Not feeling particularly hungry, I slowly stood up and surveyed the crowded room. There was the stereotypical Jock/Cheerleader area in the corner. The letterman jackets hanging over every chair were a dead giveaway. Two or three of the players were trying to get closer to the girls with the shortest skirts, while the other guys were gesturing excitedly like they were telling a story. The other cheerleaders were mostly engaged in what appeared to be a vicious conversation, occasionally shooting dirty looks at another table, others attempting to fix their already perfect hair before next period.
In the other corner were the kids who considered themselves nonconformists I guess you could say. Black baggy pants with chains hanging off them seemed to be the most popular style. All of the girls wore dark makeup-and even some of the guys. They didn’t seem to be too interested in anyone else’s agenda. A couple sitting behind everyone else in the corner were making out, hoping some hall monitor wouldn’t come along and break up the time they have before the next class.
There was another group near the jocks who looked like they were going to a rock concert shortly after the period. Another that all wore matching blue polo shirts, all the shirts read: Trooper High School Choir. The list could go on and on. In fact, the only ‘clique’ that didn’t seem like they really cared who they hung out with was the marching band members. Every couple of tables you see a few scattered here and there mixing with the crowd, which seemed to be somewhat astonishing to me. “Huh. Interesting”
Through out history every movement started with someone who broke the chain of conformity. Wouldn’t that be something if band geeks were the cause of the total desegregation of high schools throughout the nation? Now it’s the 21st century however, and progress is something people will always expect but never contribute to. After 9/11 America launched into war mode, and within the same decade they turned around and decided war was pointless. America’s future is sitting in this very room yet instead of taking the initiative they are simply following the road signs.
I picked up my oversized mesh backpack and headed for the door thinking a little rain never hurt anyone. Just as I got up a group of six or seven kids quickly claimed the table as their own. I growled under my breath and moved under the lunchroom doorway.
Everything was wrong. Life is supposed to be a grand experience, making friends and understanding how you can ‘better’ the world. Society sets us up so that people who are jocks are supposed to become athletes, Band and choir nerds become song writers and singers, Mathletes into Rocket Scientists, Art students into Artists, Good students into Teachers, the list can go on forever. But nothing is a perfect system, and nothing can be in simple black and white anymore. As if it ever was…
I dropped my threadbare sweatshirt and backpack by the door and stepped out into the warm summer rain. My shirt was soaked instantly and shortly after my jeans were sticking to my legs. If society had the perfect plan for everyone, why was I the only one outside in the rain?
On a typical summer day at Trooper High School, a typical teenage boy was standing in the rain outside the lunchroom. No one even knew he was there. Typical.
A Lineman MAG
Powder MAG
Be Like Me MAG
A Job That Does Not Pay? MAG
When Is It Too Early To Go Pro? MAG
Grandpa My Hero MAG
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Beetar, Matthew David (2017) Transcontinental lives: intersections of homophobia and xenophobia in South Africa. Doctoral thesis (PhD), University of Sussex.
Browne, Kath, Munt, Sally R and Yip, Andrew K T (2010) Queer spiritual spaces: sexuality and sacred places. Ashgate Publishing, London and Burlington, VT. ISBN 9780754675273
Danisi, Carmelo, Dustin, Moira and Ferreira, Nuno (2019) Queering Brexit: what’s in Brexit for sexual and gender minorities? In: Dustin, Moira, Ferreira, Nuno and Millns, Susan (eds.) Gender and queer perspectives on Brexit. Gender and Politics . Palgrave, Cham, pp. 239-272. ISBN 9783030031220
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Fotopoulou, Aristea (2012) Intersectionality queer studies and hybridity: methodological frameworks for social research. Journal of International Women's Studies, 13 (2). pp. 19-32. ISSN 1539-8706
Fotopoulou, Aristea (2013) Remediating politics online: brand(ed) new sexualities and real bodies. Journal of Lesbian Studies, 17 (3 - 4). ISSN 1089-4160
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Munt, Sally R (1999) Heroic desire: lesbian identity and practices of space. In: Alterities: Interdisciplinarity and 'Feminine' Practices of Space: International Conference. (Held jointly by Ecole Normale Supèrieure des Beaux-Arts and Ecole d’Architecture Paris-Villemin), 4-5th June, 1999, Paris, France.
Munt, Sally R (2002) Mystery Fiction: Lesbian. In: Summers, Claude J (ed.) The Gay and Lesbian Literary Heritage: A Reader’s Companion to the Writers and their Works from Antiquity to Present (Revised Edition). Routledge, London and New York, pp. 473-476. ISBN 9780415929264
Munt, Sally R (2010) Paranormality. In: Paranormal Cultures, 4th June 2010, University of Sussex, UK.
Munt, Sally R (2002) Schulman, Sarah. In: Summers, Claude J (ed.) The Gay and Lesbian Literary Heritage: A Reader’s Companion to the Writers and their Works from Antiquity to Present (Revised Edition). Routledge, London and New York, pp. 596-597. ISBN 9780415929264
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C4: Critical Perspectives > B: Media and Collective Identity > 1: Collective Identity Essentials >
The Representation of Masculinity in Men’s Magazines
Rob Miller | Friday February 24, 2012
Categories: A Level, AQA A Level, AQA A2, Key Concepts, Representation & Stereotyping, Hot Entries, Magazines, Image Analysis, Masculinity in Men's Magazines
Men’s Magazines, in their printed form developed in terms of publication and circulation in the 1980s. Many reasons were offered for this, particularly in light of the fact that Women’s Magazines have been around for hundreds of years. A manifest, obvious reason could explore changing cultural representations in reference to how masculinity was perceived and that the 1980s was just about the right time for men to finally embrace a magazine genre of their own that was previously, stereotypically associated with feminine culture. The hegemonic cultural stereotype of masculinity was slowly changing; New Romantic bands likeDuran Duran and Spandau Ballet wore make up on Top of the Pops - surely this was now the time to make that gendered leap in the same way that 1990s and 2000 men struggled with idea of grooming products aimed at improving their appearance from hand cream to hair gel.
The contents of Men’s Magazines, however did not reflect this so called evolutionary, cultural change – quite the reverse in fact with advertising copy seeking to reassert traditional, masculine values devoting pages and column space to technology, watches and motorbikes in contrast to anything remotely designed to enhance the appearance. Without doubt, the 1980s ‘new man’ was here and this was reflected in other media at the time but the negotiated reading as to why Men’s Magazines originated in the 1980s is as a complete rejection of this representation of the manufactured construct of the new man circulated in other media, in preference for a text that grounded old fashioned masculine values once again but this time in print. Early Men’s Magazines focussed on stereotypical male pastimes like sport, bar room banter and womanising presenting their audience with a direct, inclusive mode of address that, like Women’s Magazines spoke to their audience and made men (the readers) feel that they were all part of an exclusive club, a collective identity where the ideology of patriarchy is king.
Even in the 1980s though, Men’s Magazines were diverse in content and although similar in terms of codes and conventions differed in terms of the type of images and photography used (framing, dress code) and the narrative content – magazines like Loaded first published in 1994 offered crass, overtly sexualised half naked images of woman underpinned by a restricted language code that had a similar audience to The Sun in terms of white, C2 and D working class mainstreamers while earlier 1980s magazines were less ‘obvious’ in their encoded objectification of women. FHM and Arena, first published in 1985 and 1986 respectively suggested a pretence of sophistication in relation to content, particularly Arena taking a more ‘cultural’ approach suggesting a more upmarket B, C1 demographic who would find obvious nakedness and stories about beer drinking limited in terms of sustaining their interest.
GQ (Gentlemen’s Quarterly) will claim to have started publishing in 1957 but as more of an arts based magazine that catered in part for a male audience – it was only when publishers Conde Nast acquired the magazine in 1980 that they repositioned themselves as a Men’s Magazine with Esquire as their key competition in the mid 1990s. Maxim started in 1995 and positioned itself as competition in terms of style and approach to FHM while Men’s Health, an American magazine first published in 1987 specialised in Men’s fitness, the body beautiful and healthy lifestyle as their USP.
FHM cornered the market in the 1980s and became the market leader in terms of circulation – their mainstream representations (provocative, sexualised images trying their best to be aspirational and not too obvious) worked with their target audience while Arena and GQcatered for a more upmarket audience who wanted to buy into a more sophisticated, branded representation of masculinity with Men’s Health publishing to an audience who were interested in improving their physique, performance and along with this their chances of making them desirable to the opposite sex. The publishing oligopolies and advertisers quickly became interested in this media product that, in terms of FHM was suggesting in the 1980s a circulation pushing one million. The publishing giant EMAP (later to be acquired by Bauer in 1998), responsible for developing a range of successful Women’s Magazines like Closer,Bella, Take A Break and Music Magazines like Q (1986) and Kerrang (1981) took control and branded FHM (previously known as For Him Magazine). Strong circulation within the genre of Men’s Magazines continued for over a decade into the 1990s (hence the mid 1990s launch of Loaded and Front magazine by Piers Hernu) and tapped into, and benefitted from the new cultural representation of the ‘new lad’. Just like the 1980s heralded the ‘new man’, stereotypically in touch with his feminine side along came the new lad – presenter Chris Evans, actor, musician, womaniser and heavy drinker Keith Allen and Brit Pop (Oasis, Pulp etc) epitomised this new representation. The 1990s new lad representation would be (by new lads) espoused as being ironic with middle class audiences adopting stereotypically middle class attributes including a love of football, violence and pub culture. The new lad, as represented in Loaded and Front magazine was anti intellectual, liked breasts, a pint and ‘freedom’.
From the front covers below Loaded and Front took a very specific approach to representing the female form that could neither be describes as tasteful or sophisticated.
Arena magazine first popularised the notion of the new lad in 1983 as a negative reaction to the new man. Proposed, and represented was a return to hegemonic values of sexism and and acceptability in reference to the objectification of women. The new lad could also be seen as a reaction to the 1990s notion of ‘girl power’ and extended beyond representations within the covers of Loaded, Front (and by now FHM and Maxim) who had repositioned and were riding the wave of the new lad). Films like Lock, Stock, and Two Smoking Barrelsand the British gangster film paralleled well the editorial and advertising copy of Men’s Magazines – Loaded’s masthead declared “For Men Who Should Know Better” foregrounding notions of the naughty boy, of illicit and underhanded behaviour but behaviour all the same that should be forgiven. The 1990s gave Men’s Magazines a raison d’être, justifying their existence though repeated and circulated representations of the new lad in a range of media; magazines defined the concept of hegemony by not only reflecting the concept of the new lad but also by reinforcing and circulating this representation as common sense. Throughout the 1990s Chris Evans (now presenter of The One Show) promoted male excesses of drinking, womanising and inappropriate behaviour as acceptable in television programmes like The Big Breakfast, Don’t Forget Your Toothbrush and TFI Friday while Liam and Noel Gallagher attempted to put back feminism by 100 years. American rap and hip hop also gained in popularity in the 1990s with their misogynist lyrics and overtly sexist representations.
The bubble ultimately had to burst however. Throughout the 1990s Men’s Magazines likeFHM and Maxim still sustained monthly circulations in excess of 400,000 (down from the 1980s but still enough to attract advertising revenue) but ultimately began to suffer as the rise and rise of lad culture began to wane but also because of the inevitable march of technology that has affected the circulation of most print media. The internet and new digital media led to the decline to circulation in Men’s Magazines to just over 200,000 on average. Gaming culture as new media developed offering predominantly men another form of cathartic release, particularly the growing genre of Shoot em’ Up games targeting young males. Video and Computer Games offered everything Men’s Magazines could including collective identity, competition, sexualised representations and physical violence. This time it was moving image and on screen. Semi pornographic representations in Men’s Magazines were also available in new media formats and the whole idea of a magazine for men seemed a bit old fashioned itself in a short period of time. Hegemony however, if commercially supported can continue and many magazines kept publishing but with the odd notable casualty (Arena andMaxim magazine folded in 2009). Most Men’s Magazines were and are published by large publishing houses like IPC, Bauer and Conde Nast who can sustain losses as their commercial success is apparent from other business interests. In the same way that a Hollywood distributor like 20th Century Fox whose parent company is the News Corporation can spend millions advertising a film that flops, Men’s Magazines remain on our shelves as media products, albeit with a reduced, arguably more niche target audience.
The current Men’s Magazine market (February 2012) includes FHM as the ex longstanding market leader (purchased Men’s Magazines) but with only 140,000 hard copies sold monthly still claiming on its website to target a “broad, heterosexual audience”. GQ has 120,000 readers, Loaded who still target more working class audiences with representations that are closer to ‘soft porn’ only attract around 34,000 after suffering a massive 30% drop and Men’s Health as the new market leader from FHM have a 220,000 monthly circulation (see in depth analysis below). National Magazine Company’s (NatMags) Esquire struggles at 56,000 while other Men’s Magazines in the marketplace include weeklies Nuts and Zoo and the niche, heavily ironic, independently funded magazine The Chap targeting an upper middle class demographic who are resplendent in tweed. Technology magazines like Wired andGadget and Car magazines like Top Gear borrow from the conventions of Men’s Magazine but offer their own unique selling point. New Editors come and go but fundamentally the circulation of Men’s Magazines ‘seems’ irreversible taking into consideration cultural as well as technological change.
The future for many newspapers like the Evening Standard and The Metro is to be distributed free to consumers relying exclusively on advertising revenue and not cover prices – one Men’s Magazine, ShortList, published by ShortList media has taken the same approach. Launched in 2007 it has a monthly circulation of over 500,000, the biggest by far of any Men’s Lifestyle Magazine.
At the helm of ShortList is Mike Soutar who as former editorial director of IPC Media, editor of FHM (UK) and Maxim (US) understands what has happened to the market. The magazine claims to target a broad demographic of ‘professional males’. Circulation in this instance means 500,000 copies handed out at train stations and gyms in London and other major cities and not consciously purchased - a similar approach was taken by Sport magazine in 2004.
www.shortlist.com offers a high production value webpage with convergent links to ‘Cool Stuff’, Style, Entertainment, Grooming, Quizzes, Competitions and ‘Women’ (still the mainstay of these publications which it is hoped consumers will divert to before binning their magazine or leaving it with The Metro on a tube seat.
Purchased weekly competition to ShortList and Sport included IPC’s Nuts and Bauer’sZoo. Nuts’ weekly circulation is now 114,000 – a dip of nearly 20% while Zoo also struggles at 55,000, another dip of 20%. The whole sector is in commercial decline in terms of circulation if ABC (Audit Bureau of Circulation) figures are referenced every 6 months over the last ten years and particularly over the last three years. ABC headlines state, “Men’s Magazine Sector Dives” which is why the future may indeed lie with free publications funded by advertising revenue with key focus on convergent, online links as part of the marketing process. Nuts and Zoo were first published in middle of the naughties and offer similar representations to Loaded – as weekly magazines their production values are low and are obviously thinner with less advertising copy. Images are aligned with that of a gossip magazine including ‘upskirt’ pictures of drunken celebrities, topless pictures of celebrities caught by the Paparazzi skulking 400 yards away with high powered telephoto lenses and posed topless and overtly sexualised images. Representations in Nuts and Zoo, as inLoaded leave nothing to the imagination and cater well for blokes that want to look at girls; nothing more, nothing less.
FHM Magazine
As identified earlier many Men’s Magazines follow standard conventions with FHM as typical of the genre. Sexuality provocative, hegemonic covers see always young models, actresses or celebrities framed centrally in medium shot making direct eye contact with a male audience. Challenging cover lines include masculine put downs, “Are you tough enough?” with the rhetorical question frequently utilised as and marketing tool. FHM’s typography is stereotypically male with the masthead FHM itself red, bold, sans serif, upper case block text with clear connotations of masculine culture. The design and layout is simplistic, not particularly sophisticated with plenty of white space and intended to make a direct link with the audience are hand written fonts used to encourage a mythical, personal communication. Production values are still high (choice of model, use of glossy super calendared paper) as you would expect from a magazine that although in decline is still published by one of the major publishing houses, Bauer. The cover includes pull outs, free offers, calendars all intended to seduce the reader both before and after purchase (70% of magazines are impulse buys based on the front cover).
The FHM mode of address is informal, upbeat and speaks to the audience in the first person with other stereotypical male preoccupations referenced including technology and ‘machines’ whether cars, motorbikes or boats. The idea of power, speed and elegance is seen as a key appeal for a target audience who are 16-35, primarily male, C1, C2 and D, mainstreamers and aspirers. The audience of FHM has in terms of age and social class come down over the years and the magazine now appeals more to the younger reader on a much less sophisticated level than it used to. The older target group would very much be the secondary target audience who think FHM still looks good on the coffee table not knowing if they want to go upmarket then GQ would be ‘the way forward’. The FHM target audience does however think they are a cut above Loaded, Nuts and Zoo with some respect for the feminine form and some cultural capital in terms of their knowledge of the Men’s Magazine genre. As with most Men’s Magazines the target audience are fiercely heterosexual and wear this as a badge as it is worn as a badge by the magazine. They tend to be more urban and city living with some disposable income reflected by the cover price (£3-90) and advertising copy. As with Women’s Magazines and male readership there is still estimated (NRS – National Readership Survey) to be a 15% female readership to magazines like FHM.
The audience appeals of FHM are on one level obvious but on another more complex – applying Blumler and Katz’s 1974 Uses and Gratifications Theory diversion (escapism) and personal identity and even personal relationships would apply. Audiences can escape through not just aspirational images of women (who they would want to be with) but also aspirational images of men like Ryan Reynolds, David Beckham and George Clooneywho they would want to be like which is anchored by the advertising images. Personal identity would be from the recognition (hailing) of themselves within the discourse including letters, stories and personal accounts from readers. Personal relationships would stem from the convergent ability to share and comment on these representations in convergent blogs, social networking sites or any form of digital media that offers the opportunity of being involved in an interactive narrative about the magazine. Challenges and put downs also encourage this interactivity. Voyeurism and sexual objectification remain a key appeal mapping Laura Mulvey’s male gaze theory onto how women are framed and as also previously discussed using a bar room banter and restricted language code that is familiar to, and appealing to audiences.
Male representations are normally iconic whether in the field of sport, entertainment or technology. ‘Man of the Year’ reinforces this appeal with a better than average chance that the target audience could not come close to the degree of success represented. The iconic males often appear in advertising images for fragrances like Hugo Bossor Beckham, Watches, (which very much seems to saturate advertising copy in Men’s Magazines) Clothing Ranges and Computer Games. WithFHM the high end branding will be just within the reach of the reader but not as high end as other up market magazines like GQ.
Consumerism and aspiration work hand in hand within Men’s Magazines with the manifest desire to improve and better oneself driven by products and services. Brands will on occasion be ‘downmarket’ e.g. Puma reflecting the change in the demographics of the magazine (age and social class). The ratio of advertising copy to editorial copy in Men’s Magazines like FHM is still significant as is their heightened role in paying for the production costs because of falling circulation but is still less than Women’s Magazines at approximately 50:50. As the demographics of the magazine decline (in terms of so called upmarket and downmarket trends) then so will the advertising with advertisers like Rolex not wanting to waste their time with an audience who can only aspire to their products – watches and advertising images of watches carry with them connotations of upmarket social class which now found more within the covers of GQthan FHM.
The target audience want to look as good as the male representations they are viewing and the whole idea of aspiration is anchored by use of language – words like ‘we’ and ‘our’ encode a shared aspiration and ensure ideological notions of patriarchy are maintained (women are seen as the ‘significant other’). The syntax and choice of vocabulary appeal to the audience to ensure familiarity and the correct message is put across as far as the editorial team is concerned. Having said this, most of the representations are hyper real and deliberately use exaggerated stereotypes to attract audiences. These hegemonic cultural stereotypes would be represented and ideally understood by the target audiences iconic masculine images that are attempting to maintain the arguably mythical construct of lad culture in a changing world where lad culture is a reality but for niche audiences. Jeremy Clarkson, Russell Brand and Jonathan Ross however would lay claim to the suggestion that lad culture is still thriving, supported by the continued high ratings of programmes likeTop Gear and The Jonathon Ross Show which is a view held by media theorist David Gauntlett. An oppositional reading to this, held by theorist David Buckingham is that Men’s Lifestyle Magazines are no longer culturally relevant and that these dinosaur representations are archaic and offer a brand of gender that has become much more pluralistic, fragmented and broken up into a more individual rather than collective identity.
Socio-political change has paved the way for more pluralistic representations in the media but some media texts, like Men’s Health magazine, the current market leader have the potential to by-pass social trends. Like Charlie Sheen, Men’s Health presents audiences with a hyper real representation of gender akin to Duke Nukem or any other extreme male representation including James Bond. Published by American company, Rodale Men’s Health can be categorised as a Men’s Lifestyle magazine but within the sub genre of Fitness and Health e.g. Running Time, Men’s Fitness. Men’s Health has much wider global distribution than FHM and in the United States is the best selling magazine perhaps reflecting hegemonic imperatives.
The target audience of Men’s Health is older than FHM as has much more of a preoccupation with the representation of the male body (male cover models are commonplace which is unusual for the genre). 21-35 is the age demographic, aspirers, obviously male and urban and city living, responding well to the anxieties placed upon men and women by ‘modern day living’ to conform to a cultural stereotype of gender. These images of men with six packs posing in tight shorts litter the pages of the magazine and the website again evidencing synergy and convergence – online images offer similar representations. The culture of the gym is clear with images of bodybuilders, unnatural, hyper real muscle tone and brute strength supported by advertising copy facilitating a possible transition by the target audiences into the this preferred male form e.g. protein shakes and supplements as prerequisites.
The irony however in Men’s Health is that although good health is seen as the ultimate aspiration it is potentially at the expense of what you can do to your body if you try too hard or get too obsessed – you could argue the magazine promotes this obsessive, compulsive culture. Apart from developing the body beautiful, narrative content does also include fitness, weight gain and weight loss, nutrition, and on occasion as secondary articles on sex, relationships, technology and style. The benchmark and standard for Men’s Health is bare chested male models with rippling muscles who are framed not for a female audience but for aspirational male audiences – the obvious criticism of this form of hyper real, hegemonic masculinity is that it has the potential to promote negative health behaviour such as excess protein and meat consumption, a highly regimented regime that your body that may not be ready for, aggressive behaviour associated with this lifestyle and almost an alienation from perceived society ‘norms’ as a result of a dedication to achieve fulfillment. Further criticism suggests that the promotion of body anxiety has been cloned from Women’s Magazines where the representations are equally unacceptable in what they have the potential to create in relation to their target audience.
Covers reflect the country of distribution with more recently scantily clad female models appearing with a ripped male model on the front cover for American audiences with the European classicMen’s Health cover normally a solo male image – changes have been made however to the traditional cover format to broaden the target audience from exclusively health and fitness to become the market leader. The following image is a UK 2011 front cover:
On the front cover, white and red as a colour palette predominate. As withFHM, the masthead is bold and red and also is sans serif with its stereotypical connotations but is in lower case. Cover lines reflect the focus of the magazine and are all about improving your body image – ‘flat belly’, ‘great abs’, ‘more power’ links with the consequences of following a recommended regime – ‘The better sex diet’. Men’s Health is not always so direct in linking improving your physique and performance and rarely references the opposite sex on the front cover until recently choosing instead to reflect nihilistic concerns and body self love. In the same way that a bodybuilder in a gym, in front of a full length mirror will admire his own body Men’s Health can be so hyper real at times that it suggests a dominant brand of masculinity that does not need feminine company. The model is as usual, an aspirational model (Chris Hemsworth is an Australian actor who bulked out to play Thor) who is framed centrally in medium shot. His direct eye contact challenges audiences to look like him and his ‘assets’ are on display. Fitness and health are even seen as the solution to not just sexual matters but issues relating to finances: “Strip away money stress” suggests once you look like this it doesn’t really matter what happens as not only will you have physical power, you will have the problem solving confidence this type of representation brings. The word ‘your’ is used on the front cover twice ensuring audiences buy into the inclusive direct mode of address.
The dominant representation of Men’s Health on the surface is that if suggests a powerful, hegemonic, heroic brand of masculinity capable of transforming you from an insecure, uncertain, insecure ‘normal’ guy into someone who is to be revered and respected brimming full of confidence. Despite changes to Men’s Health over the last two years involving more reference to women as significant others’ and its UK position as market leader oppositional or even aberrant readings using Stuart Hall can apply - the magazine front covers have homoerotic connotations with commonly a well built man posing in a pair of white shorts making direct eye contact with a male audience. Although on one level this reading cold be seen to be tenuous, if compared with the front cover of Gay Times there are obvious similarities – font, colour, choice of model, body shape and pose. This would suggest a secondary target audience of Men’s Health who are attracted to the magazine on this level. Wendy Helsby in Understanding Representation (2005) suggests that “Magazines use images of women for voyeuristic pleasure” – there is no reason why this cannot be subverted to reference the pleasure of male audiences gazing at the male body.
Images in Men’s Magazines have a direct connection with consumer culture, as with Women’s Magazines. John Berger’s stereotype of “Men act, women appear” applies as this old fashioned hegemonic culture tries to convince male audiences that images of femininity are framed through how the women sees herself in the eyes of the man. Representations are largely mythical but did and do now to a lesser extent have the potential to passively affect their audiences. Many young men today still engage with images that promote women as objects of sexual desire to be looked at by men. Men’s Magazines have a place as a product and still make money for advertisers but the heydays are over as circulation sinks rather than falls. Magazines like GQ and Esquire that consciously attract a more ABC1 target audience with more sophisticated representations are ironically more likely to survive because of the higher end brand advertising revenue targeting a more niche audience. Loaded, Nuts andZoo are relics of page 3 culture that has dwindling appeal – not because men don’t look at women anymore but more to do with the way they look at women that is extending beyond the primitive, obvious representations in the above publications. The future again is for free magazines and online versions with the idea of going into WH Smiths and paying for a magazine that is 50% advertising less appealing, even if it is covered in foil because you can’t open it until you get home to look at FHM’s (insert your magazine name here) ‘Top 100 Women of 2011’.
MASCULINITY AS COLLECTIVE IDENTITY
to analyse how masculinity is presented in This Is England
Success Criteria:
- deconstruct the idea of masculinity (AO1)
- consider the identity of males represented in the film (AO2)
One of the key themes in the film is masculinity. Earlier we looked at the oppositional characteristics between Woody and Combo; both these characters offer very different representations of masculinity and we also see other versions presented in the film. Through the character of Shaun we see a number of factors come together that form part of his identity at that particular time, such as his relationship to his father, his relationship to the various members of the gang and how this manifests itself in terms of a sense of confidence and control over his life. www.filmeducation.org/thisisengland www.thisisenglandmovie.co.uk KEY QUESTIONS ✛ How much do you think the ways these issues are represented are gender specific? ✛ Can you imagine this same narrative if the lead character were a girl? Masculinity is a theme that has been returned to by the director Shane Meadows in this film. This theme is important to him on a personal level as a motivating force toward filmmaking, as well as being a theme we can see evidence of in his body of work. 9 ©Film Education 2007. ©Copyright Optimum Releasing 2007. All rights reserved. Shane first hit on the idea for This Is England whilst working on his preceding film, Dead Man’s Shoes, a story of victimisation, abuse of power and revenge in rural England. It was a project that made the director reflect on the nature of bullying and violence. Specifically there was an incident from his own life, when he was about twelve-years-old and had become a skinhead, when as he explains: ‘I thought the be all and end all in life was that kind of hard masculinity in men. I craved to be like a Jimmy Boyle, or a John McVicar, or a Kray. It’s like kids who are into Beckham, I was into Jimmy Boyle in the same way. I wanted to see men fight, and there was an act of violence that I almost prompted, and that was something that became very difficult to live with.’ Ironically it was this experience, alongside the example set by a figure like Jimmy Boyle, a criminal who became an artist, which ultimately became very influential for Shane in a positive way. Of his childhood in Uttoxeter in the eighties, then a small Midlands town with a population of around 10,000, high unemployment, and the epitome of Thatcher’s rural dispossessed, the director reflects: ‘Coming from a town like Uttoxeter, nobody expects you to leave and become a filmmaker. In a way my reaction to that act of violence was the first stepping stone to getting out of that way of life.’ KEY QUESTIONS ✛ Do you think the different aspects of masculinity that are shown through various characters are realistic? ✛ Can you relate to them? ✛ Do you think that the boys and young men we meet in This Is England are under pressure to conform to a ‘hard masculinity’? ✛ Do you think that these pressures are still prevalent? ✛ Does the meaning of the phrase ‘what it means to be a man’ change as individuals get older?
http://media.edusites.co.uk/article/the-representation-of-masculinity-in-mens-magazines/
Men's Health UK http://www.menshealth.co.uk/
Men's Health US http://www.menshealth.com/
GQ UK http://www.gq-magazine.co.uk/
GQ US https://www.gq.com/
Heat http://www.heatworld.com/
Hello http://www.hellomagazine.com/
nuts and zoo http://www.theguardian.com/media/2014/mar/31/nuts-magazine-close
Holly Fairbrother DES 2015
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maandag 06 juli 2015
TRONDHEIM MESTALFEST IN OCTOBER 2015
Trondheim Metal Fest Completes Line Up With Sabaton & Stratovarius!
Trondheim Metal Fest are proud to announce the final line up for 2015’s festival. This year’s headliners will be Swedish power metallers Sabaton and Finnish power metal legends Stratovarius!
Sabaton, formed in Falun, Sweden in 1999, have become popular for their history themed anthemic metal, with their lyrical content being drawn from World War I & World War II, among many other conflicts throughout history. TMF will also be Sabaton’s last Norwegian show of 2015! While Statovarius formed in 1984, and have worked tirelessly; releasing 15 studio albums, 4 DVD and 3 live albums. Along with German bands Helloween, Blind Guardian, and Gamma Ray, Stratovarius is considered one of the leading and most influential groups of the power metal genre.
They’ll be joined by US progressive metal legends Between The Buried And Me, French deathcore mob Betraying The Martyrs, and Norwegian thrashers Hellish Outcast. Between the Buried and Me formed in Raleigh, North Carolina in 2000. They have released a total of six studio albums, as well as an EP, a cover album, and two live DVD/CDs. Hellish Outcast formed in 2001 in Bergen by guitarist Martin Legreid, bassist Mads Mowinckel (BREED) and drummer Mads Lilletvedt (SOLSTORM, x-BYFROST). The band’s latest effort “Your God Will Bleed” cemented the bands status as the Norwegian underground’s raging pit bull. While French deathcore outfit Betraying The Martyrs have been causing mayhem across the planet with their razor sharp extremity. Their stunning debut offering, “Breathe In Life”, saw them make a huge impact throughout North America touring relentlessly on such high profile tours as RockStar Mayhem Fest and AllStars, amongst a slew of other club treks.
Final additions to this year’s line-up include Icelandic viking metallers Skálmöld, Faroese doomsters Hamferð, Norwegian stoner doom heroes Sahg, Norwegian black metallers Iskald, Norwegian doom merchants Tombstones, progressive metallers Tellus Requiem, Nordic mentalists Attan, Trondheim thrashers The Hate Colony, extremists Scornful, Iranian black metallers From The Vastland and a selection of Norwegian tribute bands, Maiden Norway (Iron Maiden), Anthem – DIO Tribute (DIO), Battery (Metallica) and Baghera (Pantera).
Further to this, TMF’s sixth outing will be held at the glamourous Scandic Lerkendal Congress Hotel, both the newest hotel in Trondheim, and also the biggest conference hotel in Norway. Complete with three stages; sporting a total capacity of 2200, a metal market area, Q&A’s, clinics, cinema, meet & greets, quizs, tattoo stands, restaurants, bars, snack shop, gym, sauna, lounge areas and exciting travel excursions around Trondheim. In short, TMF in 2015 is not to be missed.
At 75 meters, the hotel is also Norway’s third tallest building; with a skybar/conference room on the top floor, which has an exclusive panoramic view of the city. This will be used for a series of activities during the daytime, and will be turned into a skybar with metal karaoke once darkness falls.
The festival’s current line-up includes British black metallers Anaal Nathrakh, Finnish folk metallers Korpiklaani, Irish black metallers Primordial, Norwegian black metallers Aura Noir, British thrashers Evile, German thrashers Tankard, Norwegian black metallers Khold, Greek black metal legends Rotting Christ, Norwegian avant garde mob Dodheimsgard, Norwegian metallers Circus Maximus & legendary Swedish rockers Crucified Barbara!
Previous headliners of the festival have included Behemoth, Devin Townsend Project, Gojira, At The Gates, Napalm Death, Electric Wizard and more.
Ticket prices for the event are as follows:
Two-day Festival Pass
NOK 1190,- + ticket fee
One-day Festival Pass
NOK 690,- + ticket fee
Club-day Tickets (Oct. 1st.)
Festival tickets: https://tmf.hoopla.no/sales/tmf2015/
Hotel Only (festival ticket not included)
Single Room Incl. Breakfast (per day)
NOK 695, -
Double Room Incl. Breakfast (per day)
Book room here: http://www.scandichotels.com/Hotels/Norway/Trondheim/Lerkendal/
Use online booking code for festival rates: BTRO011015
Festival hotel: Scandic Lerkendal
Mail: lerkendal©scandichotels.com
Geplaatst door Vera op maandag 06 juli 2015 - 16:07:26
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I Stole You by Kristen Ringman
By: Julian K. Jarboe
Issue: 29 October 2018
“We steal people like you. Humans who don’t just feel alone but are isolated. In a group of people, you go unseen like a fae creature, like a spirit.” (“The Meaning, Not The Words”)
The first piece in Kristen Ringman’s collection, I Stole You: stories from the fae is titled “The Meaning, Not the Words,” and it serves as a directional signpost for reading the rest of the book. I Stole You is both fourteen different narratives and one narrative, each part begun with the same three titular words. Though the author guides us on almost a global culture tour of times and places in which folklore tells of otherworldly beings that take people away, the narrative voice is steady, even artfully repetitive, across each vignette. Motifs and emotional arcs recur, especially around language that defies or extends past the verbal: sign language and D/deafness, but also body language more generally, and what it means to “steal” another person—in terms of violence against them, rescue and salvation of them, and the expanse of complex desires for and about them that run between these sets of intentions or outcomes.
Lesbian and bisexual desire and relationships feature prominently (the collection was a LAMBDA finalist this year), as do relationships beyond or outside of gender and sexuality (at least insofar as they evade specific pronouns or fixed statuses), and the more simple yet profound love of animal companionship. I Stole You is a speculative book, and a queer one, and specifically a D/deaf one (the publisher is a dedicated Deaf press).
It is also very much a dog book, featuring several tear-jerking canine stories; but, additionally, it is also dedicated to a dog: the author’s deceased friend-who-was-also-a-dog, Willow. I hesitate just to say “the author’s dog” because animals in this book are not possessions, though people often are. “Shining Orange,” my favorite story in the collection, uses the sometimes-disgusting reality of animal and human bodies alike to heighten how deeply loving it is to simply care for other creatures.
In some collections of linked pieces, the works echo or parallel or reverse and respond to each other, but “I Stole You” does not reference itself so much as it circles a shared center, producing almost a choral effect, which is part of why I call it both prose and poetry. Within this chorus, the morality of rescue, abduction, admiration, and predation blur together into a meditation on how a simple gesture can mean so many different things and how communication and intimacy may or may not form and rupture within and without one another.
“I grabbed you from behind. I wanted to be kind. I only wanted to hug you.” (“Nang Tani”)
“I kissed the back of your neck under your hairline. Then I opened my mouth.” (“The Art Lover”)
“I needed more sustenance. I needed you.” (“Love Within Tangled Branches”)
The churning first person does what I love best about first person in speculative fiction: it extends psychological point of view and treats unreal elements matter-of-factly or suggestively. The narrator/s are not to be fully trusted, yet they must also be taken at their word. A lament becomes an alibi, a confession becomes a memorial ode, and questions tell the reader more than their answers could. It’s an unusual book, maybe niche, but a rhythmic and moody experience that rewards a single-sitting reading and lends itself to being read aloud or signed along with the flow of the printed words.
© Copyright 2018 By: Julian K. Jarboe
About Julian K. Jarboe
Julian K. Jarboe is a writer and sound designer living in Salem, Massachusetts. In 2016 they and their partner were artists-in-residence for a “Science Fiction and the Human Condition” themed residency at the Bemis Center for Contemporary Art in Omaha, Nebraska. Their work can be found on their website, toomanyfeelings.com, and they tweet @JulianKJarboe.
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NDAA May Terminate Coronavirus Shots Mandate for Military Members
Written by Adam Dick
Mike Brest reported Tuesday at the Washington Examiner that the “House of Representatives has come to an agreement to put language in the annual defense funding bill that would end the Pentagon’s coronavirus vaccine mandate for service members against President Joe Biden and Secretary of Defense Lloyd Austin’s stances.”
While inclusion of this mandate repeal in the National Defense Authorization Act (NDAA) would be a big step against the Biden administration’s effort to pressure people to take the experimental coronavirus “vaccine” shots that have turned out to be neither safe nor effective despite endless repetition from politicians and in the media otherwise, it would not guarantee any relief for the many individuals who have lost their jobs due to their refusal to take the shots. But, there is indication that that may also be addressed, to some extent, in the NDAA. Brest wrote:
While the bill will remove the mandate, it will not reinstate the thousands of service members who have already been separated from the military for their refusal to get the vaccine without an approved exemption, Fox News reported. Lawmakers on both the House and Senate Armed Services Committees are also looking to include language that would permit the department to look into the status of the service members affected by the mandate.
The NDAA is considered must-pass legislation by politicians in Washington, DC intent on maintaining and expanding US military power. While the bill is just about sure to pass, there is reason for concern that this provision added to the House version may not survive in the final bill presented to the president for signing into law. This comment in Brest’s article, though, provides some indication that the provision may have rather smooth sailing through the legislative process: “White House deputy press secretary Olivia Dalton said the president told House House Minority Leader Kevin McCarthy (R-CA), the favorite to be next House speaker, that he ‘would consider’ lifting the mandate.”
Thomas Massie, a Republican House member from Kentucky as well as a Ron Paul Institute Advisory Board member, introduced a bill (HR 3860) in June of last year to terminate the shots mandate for military members. His bill has garnered 92 cosponsors — all Republicans, but no House committee hearings or House floor consideration. But for Massie’s bill, cosponsored by many members who will be in the new congressional majority in January and likely the topic of many queries to House members from constituents, would the elimination of the mandate have made it into the House’s NDAA? This may be an example of a bill that went nowhere in the normal legislative process ending up making a big difference.
Bipartisanship: US House Races MASSIVE Ukraine Weapons Transfer to the Floor! - 26 January 2022
Congress's 1/6 Committee Claims Absolute Power as it Investigates Citizens With No Judicial Limits - 21 January 2022
In Kyiv, US Senators Promise More Weapons for Ukraine If Russia Invades - 18 January 2022
Sen. Rand Paul Dumps YouTube, Says His Goal is to ‘Quit Big Tech Entirely’ - 4 January 2022
Conscription for Women Removed from Military Bill - 9 December 2021
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Titans' saving grace after 2-game skid? Playing in AFC South
NFL Headlines
Panthers hiring Reich as head coach
Jets hire ex-Broncos coach Hackett as OC
McCaffrey vows to play despite hurt calf
DC Quinn returning to Cowboys
Bills fire safeties coach Salgado
Bengals OL Cappa, Williams miss practice
Former Lions LB Lemonier dies at 25
NFL boosts Players Coalition partnership
Steelers opt for continuity on offense
Mahomes able to practice on tender ankle
(AP Photo/Matt Slocum)
By TERESA M. WALKER
AP Pro Football Writer
NASHVILLE, Tenn. (AP) The Tennessee Titans have to improve across the board if they want to do more than simply win a bad division for a third straight year.
Coach Mike Vrabel made crystal clear after a 35-10 loss in Philadelphia that his Titans are at a crossroads with five games remaining. He went further Monday, saying they have to start playing their best football now that the NFL season has reached December with teams jockeying for playoff position.
"We've always gone in the direction of playing our best football and improving, and we have to find ways to do that," Vrabel said. "And so there is no one answer. It's not about one particular player, it's not about one particular side of the football, all three phases. And obviously coaching, we all have to be better."
It's not an answer that any Tennessee fan wants to hear with the Titans (7-5) matching their number of losses from all of last season when they used an NFL-record 91 different players and had 26 players on injured reserve.
The Titans now have 16 on injured reserve after adding wide receiver Cody Hollister on Monday, a list that includes two other receivers this offense desperately needs. They also signed outside linebacker Tarell Basham.
WHAT'S WORKING
Being in the AFC South. The Titans at least have a big lead in the AFC's worst division, already having swept the Colts (4-8-1) so they are assured of a home playoff game. That allows them to try and heal up as much as possible before the wild-card weekend.
They still have a pair of games remaining against Jacksonville (4-8) and Houston (1-10), giving Tennessee a chance to reach double-digit wins.
This franchise hasn't won three straight division titles since its start in the original AFL.
WHAT NEEDS HELP
The offense. It's been among the NFL's worst in a few categories much of the season, and Tannehill wound up sacked a season-high six times in Philadelphia. Tannehill also was the Titans' leading rusher, which isn't a good thing with two-time NFL rushing champ Derrick Henry around.
With a passing attack that ranks 30th, averaging a mere 171.4 yards per game, Tannehill and the Titans can't take the pressure off defenses focusing only on stopping Henry. He still ranks third in rushing in the NFL, but has been held to 38 and 30 yards rushing in Tennessee's two-game skid.
Treylon Burks. The rookie showed why he was the 18th pick overall when he went up and caught his first career TD pass with a defender on him.
Unfortunately, a second defender hit him in the face mask, knocking Burks out of the loss to the Eagles on the Titans' second offensive series.
STOCK DOWN
LT Dennis Daley. The Titans traded for him to help their depth, and the season-ending injury to three-time Pro Bowler Taylor Lewan pushed him into the lineup. He struggles to pass block no matter the move used by defenders and needs too much help.
Vrabel said Daley is going to work hard and Le'Raven Clark will get a chance to compete, but the coach added: "That's who we've got on the roster right now."
Burks, ILB David Long Jr. (hamstring) and CB Kristian Fulton (groin) all left the loss in Philadelphia with injuries. Burks has to clear the concussion protocol, though Vrabel said the rookie looked good when he talked with him Monday. Vrabel said WR Racey McMath, who has been on injured reserve since Aug. 31 with an injured hip, and DB Josh Thompson might have a chance to start practicing this week.
KEY NUMBER
3 - The number of games the Titans have remaining both at home and against teams with losing records. They leave only to visit the Chargers (6-6) and the regular-season finale in Jacksonville. The only team left on the schedule with a winning record is the Dallas Cowboys (9-3), who visit Dec. 29.
Get DL Denico Autry back soon from the knee injury that has sidelined the team sack leader two straight games. His value to the pass rush has been even more obvious in his absence. Also hope McMath is healthy enough to get back on the field with his speed giving Tennessee a chance to stretch opposing defenses.
Follow Teresa M. Walker at www.twitter.com/teresamwalker
AP NFL coverage: https://apnews.com/hub/NFL and https://twitter.com/AP-NFL
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CDS Public Wiki
Eric J. Johnson
Elke U. Weber
Bernd Figner
David J. Hardisty
Newsletter 186: Sep 25, 2017
The Center for Decision Sciences at Columbia Business School
Welcome to the Center for Decision Sciences' Weekly Newsletter. Below you can find a list of events of interest.
We welcome constructive feedback and suggestions to improve this newsletter. You may unsubscribe from this newsletter (but remain on our mailing list for other information) by clicking here and unchecking "Receive Newsletter."
Seminars at Columbia
Monday September 25th
12:10pm to 1:10pm - Schermerhorn Hall 200B
Monday Seminar - Cheryl Carmichael (CUNY-Brooklyn College)
Title Not Available
2:30pm to 3:45pm - IAB 1101
Economic Theory Workshop: Nate Neligh
Tuesday September 26th
12:30pm to 2:00pm - Warren 209
Management Seminars - Batia Mishan Wiesenfeld (NYU-Stern)
Construal Level in Organizations
12:30pm to 1:45pm - Uris 307
Columbia Macro Lunch Group - Jesse Schreger
2:15pm to 3:45pm - 1101 IAB
Industrial Organization and Strategy - Chris Stanton (Harvard Business School)
Experience Markets: An Application to Outsourcing and Hiring
Money-Macro Workshop - Luigi Bocola (Northwestern)
Financial Crises and Lending of Last Resort in Open Economies (with Guido Lorenzoni)
Wednesday September 27th
International Economics Workshop - David Nagy (CREI)
4:10pm to 5:30pm - Schermerhorn Hall 614
Psychology Department Colloquium - Mariam Aly (Columbia)
Marketing Seminars - Jared Watson (University of Maryland)
Finance Free Lunch (Faculty Only) - Tania Babina
Seminars at NYU
12:30pm to 2:00pm - Psychology Room 551
Social Psychology Brown Bags - Nira Liberman (Tel Aviv University)
Cognition and Perception Colloquia - Gadi Goelman (Hebrew University Medical Center)
Functional directed pathways of information flow in the visual system of healthy and PD patients
Why don't we better prepare for disasters?
Howard Kunreuther and Robert Meyer, both of the Wharton School at the University of Pennsylvania, discuss aspects of their 2017 book against the backdrop of the recent hurricanes that have caused billions of dollars in damage in the United States and across the Caribbean. Their book, "The Ostrich Paradox: Why We Underprepare for Disasters," examines the cognitive biases that impact disaster-prevention and mitigation decisions, such as flood insurance. The authors also recommend policy solutions that combine short-term incentives and long-term strategy.
Copyright © 2018 The Center for Decision Sciences at Columbia Business School, All rights reserved.
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Liz and Dick were Red-hot Lovers
By Wendy Brown September 23, 2015 Advice No Comments
Think of the scandal caused by Liz and Dick. It focused on Liz who had been married four times before the age of 30; she was currently married to Eddie Fisher who she stole from Debbie Reynolds. Not that long prior, the tabloids were putting out statements like this: ‘Liz Blood Thirsty Widow Vampires Eddy.’ Eddie was right there working with Liz during the filming of Cleopatra. Dick was married to Sybil Williams who was accustomed to his cheating. He had another woman, a Copacabana dancer, who would show up on the set of Cleopatra. And in the middle of all of that, Liz and Dick fell in love and started up an affair.
Remember that Cleopatra was filmed in the early 1960’s in Rome. The affair between Liz and Dick was not only public it was also a top story. Because they were situated in Rome, the Vatican got involved. Vatican Radio labelled their behavior as the ‘caprices of adult children’ and ‘this insult to the nobility of the hearth.’ Il Tempo called Liz an ‘intemperate tramp who destroys families and devours husbands.’ The Vatican City Weekly L’Osservatore della Domenica said she was guilty of ‘erotic vagrancy’ and questioned the agency that allowed her to adopt her daughter Maria.
In the U.S. House of Representatives, they debated whether or not to allow the lovers back into the country. They actually considered revoking the passports of Liz and Dick on the grounds of undesirability. Congresswoman Iris Blitch said Liz ‘lowered the prestige of American women abroad and damaged good will in foreign countries.’ Ed Sullivan, who had a very popular television show in the U.S., said ‘You can only trust that youngsters will not be persuaded that the sanctity of marriage has been invalidated by the appalling example of Ms. Taylor-Fisher and married man Burton.’
Once filming was over, Liz and Dick tried to chill everything out. She said:
For four months we tried to stay away from each other. We were too aware of the pain we were causing others to stay together. But it’s a hard thing to do, to run away from your fate. When you are in love and lust like that, you just grab it with both hands and ride out the storm.
Liz and Dick felt like they were betraying a sacred force in the universe when they tried to let their love go.
Some of this information is from the book ‘Furious Love’ and some is from a Vanity Fair article: ‘When Liz Met Dick The Making of Cleopatra.’
Tagged on: Red-hot Love
← I know this guy is a player…
Red-hot Lovers are often into living fairy-tale lives →
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Home Technology Video Interview: DOD CIO John Sherman Talks Cloud, Zero Trust & Tech...
Video Interview: DOD CIO John Sherman Talks Cloud, Zero Trust & Tech Innovation in Global Competition Era
John Sherman / Department of Defense
As the Department of Defense shifts its focus away from counterterrorism and toward the peer and near-peer competition, modernization and rapid technological innovation have become crucial to national security missions.
Executive Mosaic spoke with DOD Chief Information Officer John Sherman in a new video interview to learn more about his thoughts on the global defense landscape, which technologies are contributing most meaningfully to our power as a nation and what’s next for the $9 billion Joint Warfighting Cloud Capability contract in the coming years.
According to Sherman, a Wash100 Award winner, cloud computing is one of the top technologies the U.S. can “bring to the fight” as competition intensifies. The highly anticipated JWCC contract — which was awarded to Microsoft, Oracle, Google and Amazon Web Services in December 2022 — represents a meaningful step in the DOD’s cloud adoption journey and acts as a catalyst for new capabilities.
The program will build the DOD’s first ever enterprise-wide cloud that spans from the continental U.S. to the tactical edge and across all three security classifications. “We’ve had other cloud capabilities on which we built our knowledge and expertise, but none have provided that entire panoply of unclass, secret and top secret,” Sherman said in conversation with Executive Mosaic’s Summer Myatt.
Importantly, cloud is also a key enabler for software development — a growing priority for the DOD. Software is “an evolving area we should never be satisfied on, and we’re going to keep pushing,” explained Sherman.
Ultimately, the overarching benefit cloud will bring to the department is what Sherman called “decision advantage.” Cloud will enable the department to “run workloads, to do things like artificial intelligence, to do software development at speed of mission across the entire enterprise,” highlighted Sherman.
The Pentagon CIO also discussed how JADC2 responds to the growing need for multi-domain integration, what zero trust success will look like, where his C3 priorities stand and which technologies will be most impactful on the public sector in the next few years.
Watch the Honorable John Sherman’s full video interview hereand be sure to subscribe to Executive Mosaic’s YouTube channel to keep up with the latest news from the leaders of GovCon.
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Mortality and breeding failure of little penguins, Eudyptula minor, in Victoria, 1995-96, following a widespread mortality of pilchard, Sardinops sagax
Dann, P and Norman, FI and Cullen, JM and Neira, FJ and Chiaradia, A, Mortality and breeding failure of little penguins, Eudyptula minor, in Victoria, 1995-96, following a widespread mortality of pilchard, Sardinops sagax, Marine and Freshwater Research, 51, (4) pp. 355-62. ISSN 1323-1650 (2000) [Refereed Article]
DOI: doi:10.1071/MF99114
In May 1995, numbers of little penguins, Eudyptula minor, coming ashore declined at Phillip Island and St Kilda concurrently with deaths of many penguins in western Victoria and a massive mortality of one of their food species (pilchard) throughout southern Australia. Among 1926 dead penguins reported were 131 banded birds recovered from Phillip Island (86% adults and 14% first-year birds), 26 from Rabbit Island and six from St Kilda. The number of banded penguins found dead per number of adult Phillip Island birds at risk was 2.3% in 1995 compared with an annual mean of 0.7% for 1970-93. Of 29 corpses autopsied, at least 26 died of starvation associated with mild-severe gastro-intestinal parasitism. Following the pilchard mortality, egg-laying by penguins in the subsequent breeding season (1995-96) was ~2 weeks later than the long-term mean and 0.3 chicks were fledged per pair compared with the long-term mean of 1.0. Unlike previous years, few penguins were recorded in Port Phillip Bay in September-October 1995, a period when pilchard schools were infrequently seen. It is concluded that the increase in penguin mortality in northern Bass Strait and the significant reduction in breeding success were associated with the widespread pilchard mortality.
Population ecology
Marine systems and management
Neira, FJ (Dr Francisco Neira)
Chiaradia, A (Dr Andre Chiaradia)
IASOS
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