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Damiecki, 200 Free Relay Team Collect NEWMAC Weekly Honors WESTWOOD, Mass.—The Babson College men's swimming & diving program collected a pair of honors when the New England Women's and Men's Athletic Conference (NEWMAC) announced its weekly award winners on Monday afternoon. Senior Alex Damiecki (Centerville, Mass.) was selected as the league's swimmer of the week, while the quartet of senior Jack Lucero (Huntington Beach, Calif.), juniors Lachlan Dibbayawan (Bangkok, Thailand) and Kevin Luu (Malden, Mass.), and sophomore Aiden Asuncion-Duong (Ladera Ranch, Calif.) were tabbed as the conference's relay team of the week. Damiecki won a pair of individual events and was a part of three victories in all in Saturday's 117-83 dual meet triumph over Clark on Saturday. He won the 200-yard freestyle with a season-best time of 1:47.13, and then posted a career-best time of 4:59.40 to finish first in the 500-yard freestyle. Damiecki wrapped up the meet by helping Babson to a triumph in the 200-yard medley relay. Lucero, Dibbayawan, Luu and Asuncion-Duong clocked in with a time of 1:31.25 to take first place by more than a second in the 200 free relay on Saturday against Clark. Babson, which is 7-0 in dual meet competition, wraps up the semester with the three-day Gompei Invitational at WPI beginning on December 6.

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The Statistical Design of EWMA Control Charts with Estimated Parameters - ASQ The Statistical Design of EWMA Control Charts with Estimated Parameters The existing procedures for designing exponentially weighted moving average (EWMA) control charts are based on the assumption of known process parameters. In practice, these parameters are usually unknown and replaced with estimates from an in-control reference sample. Using parameter estimates with design procedures intended for known parameters can lead to significantly deteriorated chart performance. In this paper, the assumption of known parameters is relaxed and design procedures for the EWMA chart are developed accordingly. Key Words: Average Run Length, Exponentially Weighted Moving Average, Integral Equation. By L. ALLISON JONES, University of Miami, Coral Gables, FL 33124-8237 IN most industrial and service applications, the mean and standard deviation of the process to be monitored are unknown. A common practice is to estimate the parameters of the process from an in-control (IC) reference sample and to establish the control chart using these estimates. Most statistical procedures for designing control charts are based on the sampling distribution of the plotted statistics, and are developed assuming known parameters. When estimates are used in place of known parameters, the appropriate sampling distribution of the chart statistics should account for the variability in the estimators; otherwise, the IC and out-of-control (OC) performance of the charts can be strongly affected. Failing to account for parameter estimates when designing exponentially weighted moving average (EWMA) charts can lead to an increase in the number of false alarms and a reduction in the ability of the charts to detect process changes. Small reference sample sizes magnify the adverse effects of estimation. For example, when parameter estimates from m = 30 IC subgroups of size n = 5 are used in an EWMA monitoring scheme with a smoothing constant of 0.1, the probability of a false alarm within twenty observations is in ated by nearly 110%. This is a rarely mentioned and unacceptable side effect of substituting estimates into the existing EWMA design procedures. One solution to this problem is to simply increase the size of the reference sample in order to reduce the variability in the sampling distributions of the estimates. Although a widely accepted heuristic is that m = 30 subgroups from a process usually produce reasonable estimates, Quesenberry (1993) suggested that at least m = 100 subgroups of size n = 5 are required to adequately estimate the parameters when designing an chart. Jones, Champ, and Rigdon (2001) showed that the sample size necessary to achieve expected statistical performance when designing an EWMA chart can be much larger than m = 100. The sufficient sample size depends on the EWMA smoothing constant, with larger samples required when smaller smoothing constants are used. When smoothing constants of 0.1 or less are used, as many as 400 IC subgroups are necessary to estimate parameters (Jones et al. 2001). In some applications where data are plentiful, it might be feasible to wait until 400 IC subgroups have accumulated in order to begin monitoring the process. In many situations, however, waiting may prove detrimental to the quality of the product or service that is being monitored. If large sample sizes are not available, the practitioner is left with a dilemma. The EWMA chart can be used with estimates based on small samples, but the statistical performance of the chart may be poor; that is, the chart may signal frequently with no assignable causes present. However, if process monitoring is delayed to obtain the necessary data, expensive process problems may go undetected during this time. Another approach is to use a self-starting procedure, such as the Q-chart, which is designed with the assumption that parameters are estimated (Quesenberry 1995). Self-starting charts can be used for monitoring earlier than traditional control charts because the parameter estimates are updated with the addition of each new observation. One limitation of self-starting procedures is the "masking", or parameter adaptation, problem. If an early process change is not quickly detected, then the parameter estimates may be adversely a ected by the change, thus masking the shift from future detection. The objective of this paper is to develop design procedures for the EWMA chart that do not require the assumption of known parameters. The new procedures give wider control limits by reflecting the variability of the parameter estimates used in the sampling distribution of the EWMA chart statistics. Charts developed with the new control limits show improved IC performance since they are designed to achieve a speci ed IC average run length (ARL). The literature regarding the EWMA chart is substantial. The next section gives a very brief review of articles pertaining to EWMA control chart design. Following this, some background information regarding the EWMA model is presented. The new design procedures for the EWMA chart with estimated parameters are given next. An example illustrating the application of the new design procedures follows. A performance comparison between the existing design methods and the new method is given. Finally, some concluding remarks are made. Read Full Article (PDF, 875 KB) Close Dashboard Why ASQ Contact ASQ ASQ is a global community of people passionate about quality, who use the tools, their ideas and expertise to make our world work better. ASQ: The Global Voice of Quality. Select Country / Region U.S./Canada http://asq.org/pub/jqt/past/vol34_issue3/jones.html © American Society for Quality. All rights reserved.

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Editing Central Louisiana State Hospital {{infobox institution | name = Central Louisiana State Hospital | image = LAcsh.png | image_size = 250px | alt = | caption = | established = 1902 | construction_began = | construction_ended = | opened = 1906 | closed = | demolished = | current_status = [[Active Institution|Active]] | building_style = [[Cottage Planned Institutions|Cottage Plan]] | architect(s) = | location = Pineville, LA | architecture_style = | peak_patient_population = 3,128 in 1959 | alternate_names =<br> *Louisiana Hospital for the Insane *Insane Asylum at Alexandria }} ==History== In 1902, the Louisiana Legislature created a facility to house and treat the mentally ill. The facility operated under several names since its opening in January 1906, but was later known as Central Louisiana State Hospital. At its peak in 1959, the hospital housed over 3,000 patients, but in recent years, patient numbers at Central dwindled to 246 in 1995 to 120 being cared for today. The hospital campus is over 400 acres. The hospital grounds also include the Civil War-era Fort Randolph. Today, Central Louisiana State Hospital is a free standing, full service psychiatric hospital licensed by the State of Louisiana, fully accredited by the Joint Commission on the Accreditation of Healthcare Organizations (JCAHO) and certified by the Centers for Medicare/Medicaid Services (CMS). Plans were announced by the state in February, 2012, to relocate the hospital to a new facility on land adjacent to Pinecrest Supports and Services Center in Pineville. The hospital will retain its name, identity and function to maintain accreditation. The new building will cost $6 million and will be funded through State of Louisiana Capital Outlay funds. Construction will take 12 to 18 months. ==Cemetery== One provision of the original legislation required the hospital board to furnish the legislature at each session a detailed report of the annual receipts and expenditures, a statistical breakdown of new and current enrollment, and a list of those deceased during the previous period. The first superintendent, Dr. George A.B. Hays, immediately set up a morgue and selected a site for a hospital cemetery in order to comply with these requirements. Given the social conditions of the times, the stigma of mental illness, plus the difficulty of contacting relatives and arranging transportation of the bodies, it was not surprising that many of the deceased patients were buried on the hospital grounds in the cemetery. Until such time as the hospital could obtain the services of a Chaplin, the superintendent or some of the staff physicians handled the burial services, using the simple and beautiful service of the Methodist Church. These early funeral services were handled entirely by the hospital, with the body being transported to the gravesite in a wheelbarrow until 1933 when a hand-drawn hearse was constructed. This hearse was used until 1950, and was pushed by pallbearers to the gravesite. Deceased female patients were draped in pink or blue shrouds made by the workers in the sewing room, and the carpenter shop probably furnished coffins (although this is not reflected in their individual reports). Hospital records indicate there are approximately 3,000 people buried in this cemetery, and it was last used in June 1985. A large wooden cross, constructed in the hospital's carpenter shop, was placed on the hill in the early 1960's. A large white solid concrete cross has since replaced it. Hospital workers poured a large concrete slab near the street for the placing of grave markers by relatives of the deceased. ==Images== <gallery> File:40024103.jpg File:LAcsh1909.jpg| ''1909'' File:LAcsh1914.jpg| ''1914'' File:LAcsh1921.jpg| ''1921'' File:LAcsh1928-53.jpg| ''1928/1953'' </gallery> [[Category:Active Institution]] [[Category:Cottage Plan]] [[Category:Louisiana]] [[Category:Institution With A Cemetery]] In the navigation menu to the left what is the second word of the fourth link from the top? Retrieved from "http://asylumprojects.org/index.php/Central_Louisiana_State_Hospital"

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British actor Albert Finney dies at 82 Friday, February 8, 2019 10:17 AM EST By GREGORY KATZ LONDON (AP) - British actor Albert Finney, the Academy Award-nominated star of films from "Tom Jones" to "Skyfall," has died at the age of 82. Finney's family said Friday that he "passed away peacefully after a short illness with those closest to him by his side." Finney was a rare star who managed to avoid the Hollywood limelight for more than five decades after bursting to international fame in 1963 in the title role of "Tom Jones." The film gained him the first of five Oscar nominations. Others followed for "Murder on the Orient Express," ''The Dresser," ''Under the Volcano" and "Erin Brockovich." In later years he brought authority to action movies, including the James Bond thriller "Skyfall" and two of the Bourne films. Displaying the versatility of a virtuoso, Finney portrayed Winston Churchill, Pope John Paul II, a southern American lawyer, an Irish gangster and an 18th-century rogue, among dozens of other roles over the years. There was no "Albert Finney"-type character that he returned to again and again. In one of his final roles, as the gruff Scotsman Kincade in "Skyfall," he shared significant screen time with Daniel Craig as Bond and Judi Dench as M, turning the film's final scenes into a master class of character acting. Although Finney rarely discussed his personal life, he told the Manchester Evening News in 2012 that he had been treated for kidney cancer for five years, undergoing surgery and chemotherapy. He also explained why he had not attended the Academy Awards in Los Angeles even when he was nominated for the film world's top prize. "It seems silly to go over there and beg for an award," he told the paper. The son of a bookmaker, Finney was born May 9, 1936, and grew up in northern England on the outskirts of Manchester. He took to the stage at an early age, doing a number of school plays and - despite his lack of connections and his working-class roots - earning a place at London's prestigious Royal Academy of Dramatic Arts. He credited the headmaster of his local school, Eric Simms, for recommending that he attend the renowned drama school. "He's the reason I am an actor," Finney said in 2012. Finney made his first professional turn at 19 and appeared in several TV movies, including "She Stoops to Conquer" in 1956 and "The Claverdon Road Job" the following year. Soon some critics were hailing him as "the next Laurence Olivier" - a commanding presence who would light up the British stage. Britain's pre-eminent theater critic, Kenneth Tynan, called the young Finney a "smoldering young Spencer Tracy" and warned established star Richard Burton about his prowess. In London, Finney excelled both in Shakespeare's plays and in more contemporary offerings. Still, the young man seemed determine not to pursue conventional Hollywood stardom. After an extensive screen test, he turned down the chance to play the title role in director David Lean's epic "Lawrence of Arabia," clearing the way for fellow RADA graduate Peter O'Toole to take what became a career-defining role. But stardom came to Finney anyway in "Tom Jones" where he won over audiences worldwide with his good-natured, funny and sensual portrayal of an 18th-century English rogue. That was the role that introduced Finney to American audiences, and few would forget the lusty, blue-eyed leading man who helped the film win a Best Picture Oscar. Finney also earned his first Best Actor nomination for his efforts and the smash hit turned him into a Hollywood leading man. Director Tony Richardson said his goal for "Tom Jones" was simply to produce an enjoyable romp. "No social significance for once," he said. "No contemporary problems to lay bare. Just a lot of colorful, sexy fun." Finney had the good fortune to receive a healthy percentage of the profits from the surprise hit, giving him financial security while he was still in his 20s. "This is a man from very humble origins who became rich when he was very young," said Quentin Falk, author of an unauthorized biography of Finney. "It brought him a lot of side benefits. He's a man who likes to live as well as to act. He enjoys his fine wine and cigars. He's his own man, I find that rather admirable." The actor maintained a healthy skepticism about the British establishment and even turned down a knighthood when it was offered, declining to become Sir Albert. Finney once said he did not believe in such honors. "Maybe people in America think being a 'Sir' is a big deal," he said. "But I think we should all be misters together. I think the 'Sir' thing slightly perpetuates one of our diseases in England, which is snobbery. And it also helps keep us 'quaint,' which I'm not a great fan of." Instead of cashing in by taking lucrative film roles after "Tom Jones," Finney took a long sabbatical, traveling slowly through the United States, Mexico and the Pacific islands, then returned to the London stage to act in Shakespeare productions and other plays. He won wide acclaim and many awards before returning to film in 1967 to co-star with Audrey Hepburn in "Two for the Road." This was to be a familiar pattern, with Finney alternating between film work and stage productions in London and New York. Finney tackled Charles Dickens in "Scrooge" in 1970, then played Agatha Christie's super-sleuth Hercule Poirot in "Murder on the Orient Express" - earning his second Best Actor nomination- and even played a werewolf hunter in the cult film "Wolfen" in 1981. He earned more Best Actor Oscar nominations for his roles in the searing marital drama "Shoot the Moon" in 1982, co-starring with Diane Keaton, and "The Dresser" in 1983. He was nominated again in 1984 for his role as a self-destructive alcoholic in director John Huston's "Under the Volcano." Even during this extraordinary run of great roles, and his critically acclaimed television portrayal of the pope, Finney's life was not chronicled in People Weekly or other magazines, although the British press was fascinated with his marriage to the sultry French film star Anouk Aimee. He played in a series of smaller, independent films for a number of years before returning to prominence in 2000 as a southern lawyer in the film "Erin Brockovich," which starred Julia Roberts. The film helped introduce Finney to a new generation of moviegoers, and the chemistry between the aging lawyer and his young, aggressive assistant earned him yet another Oscar nomination, this time for Best Supporting Actor. His work also helped propel Roberts to her first Best Actress Oscar. Still, Finney declined to attend the Academy Awards ceremony - possibly damaging his chances at future wins by snubbing Hollywood's elite. He went on to star in director Tim Burton's "Big Fish" and portrayed Britain's wartime leader, Winston Churchill, in "The Gathering Storm." Finney also tried his hand at directing and producing and played a vital role in sustaining British theater. Finney is survived by his third wife, Pene, son Simon and two grandchildren. Funeral arrangements were not immediately known. 2/8/2019 9:50:28 AM (GMT -5:00)

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2005-11-22 Sovereign Bank Arena, Trenton, NJ Scheduled: 19:30 Local Start Time 20:23 / End Time 22:58 Final show of the tour - and with a few big surprises - not least a solo "Zero And Blind Terry", last played in 1974. "Fire" premieres. Patti Scialfa joins Bruce for another tour debut, "Mansion On The Hill" (the last song off Nebraska played on the tour, completing the album just in time). Finally, "Santa Claus Is Comin' To Town" makes an appearance, with 15+ family members on stage, bedecked in Santa hats. Piano songs are "Zero And Blind Terry", "Backstreets", "Drive All Night", "Jesus Was An Only Son", "Thundercrack", and "Santa Claus Is Comin' To Town". "Song For Orphans" has Bruce on guitar and Alan Fitzgerald on piano. "Born In The U.S.A.", "It's Hard To Be A Saint In The City", and "Fire" are with the bullet mic. "My Beautiful Reward" and "Dream Baby Dream" are on pump organ. "All That Heaven Will Allow" is on electric piano. "Growin' Up" is on ukulele. "Devils & Dust", "Reno", "The Rising", "Jesus Was An Only Son", and "The Promised Land" are all played; those five songs have appeared at every show on the Devils & Dust Tour, although "Reno" was not performed at the very first rehearsal show. Alan Fitzgerald (Guest) Patti Scialfa (Guest) Various (~15) Friends and Family (Guests) Evan Springsteen Jessica Springsteen Sam Springsteen BORN IN THE U.S.A. MY BEAUTIFUL REWARD DEVILS & DUST LONG TIME COMIN' ZERO AND BLIND TERRY BACKSTREETS IT'S HARD TO BE A SAINT IN THE CITY ALL THE WAY HOME MANSION ON THE HILL ALL THAT HEAVEN WILL ALLOW DRIVE ALL NIGHT FURTHER ON (UP THE ROAD) JESUS WAS AN ONLY SON SONG FOR ORPHANS MATAMOROS BANKS GROWIN' UP THUNDERCRACK DREAM BABY DREAM 2012-03-00 Sun National Bank Center, Trenton, NJ {"module":"wiki\/image\/FlickrGalleryModule","params":{"userName":"brucebase wiki","sort":"date-posted-desc","tagMode":"all","perPage":"50","tags":"November,22,2005"}} Official concert recording available for purchase in multiple formats, including CD and high definition audio, from Springsteen's official live download site at live.brucespringsteen.net. Running time: 2:34:34 Audience tape and DVD. There is also an IEM and a IEM/AUD matrix 'Kid Called Zero' (Conan/Producer) available for the show. DVD also circulates titled 'You'll Catch Zero And Terry in Trenton' (Blacklab). Concert was professionally filmed. Sorry no Storyteller available. SONGS OF HOPE AND ETERNAL DAMNATION If one were to assign a single attribute to every tour across Bruce Springsteen’s career, audacious would be an apt one for the 2005 Devils & Dust tour. Over the course of 72 shows, Bruce took the stage alone, surrounded by a phalanx of guitars and keyboards, fearlessly revisiting and reinterpreting every corner of his catalog down to the deepest nook and cranny. Be a song rarely or never played, or often played but never like this, night after night the Devils & Dust tour offered fascinating alternate readings of music we thought we knew inside-out. Bruce’s new album of the same name, his third solo record, was the jumping off point, full of character-driven stories that fit squarely into what he declares in Trenton are the two types of songs he knows how to write: songs of hope and songs of eternal damnation. Springsteen had an equally strong body of work in hand for his previous solo tour in support of The Ghost of Tom Joad, but in 1995-97, performing exclusively on guitar and harmonica, he was selective in what complementary tracks were added to the set. In fact, Bruce debuted a number of new original songs in the spirit of Joad over the course of that tour (some, admittedly, more lighthearted than the album, but still akin), while deep cuts were more selective. The addition of piano and keyboards in 2005 unlocked dozens of other songs for inclusion and opened up tour setlists to remarkable levels. Bruce’s approach suggested the new D&D material connected to everything that came before. In hindsight, there’s a sense of Springsteen on a mission to look back at his songwriting accomplishments and take many of them back out for a ride to see what they would reveal, an early hint perhaps of his budding autobiographical mindset. Without a doubt, the self-effacing candor and humor with which Springsteen addressed audiences on the tour are precursors to the voice he would come to refine for Springsteen on Broadway. Trenton 2005, the final show of the tour, captures all these aspects of the Devils & Dust journey wonderfully, with a setlist full of bold surprises and striking moments. It begins with Link Wray’s “Rumble,” a tribute to the electric guitar pioneer who helped shape the sound of rock ’n’ roll. On this night, however, acoustic guitar is the stringed instrument of choice, and we get several exceptional performances. The Rising’s “Empty Sky” gets a strong solo airing, played with thumping purpose and pace. “Saint in the City” is transformed by a radical slide guitar re-arrangement and bullet mic vocals. The song remains one man’s boastful declaration, and there’s still plenty of heat and humidity in the air, but the locale has moved from Shore towns to somewhere along the Mississippi Delta. The result couldn’t feel more different. Bruce is clearly enamored with the approach and walks “Fire” down the same bluesy backporch path, with the bullet microphone giving the song a fitting AM-radio filter. Reimagination is a touchstone all evening, and the next subject is “All the Way Home.” The solo acoustic rendition on the 2005 tour recalls demos for The River, sharing the spirit of Bruce’s 1979 compositions and the Power Station band version that could have been. Material from Devils & Dust holds its own in such company, with well-honed versions of the title track, “Long Time Comin’,” “Matamoros Banks,” and a beautifully sung “Leah.” He even pulls out a ukulele for a sing-along rendition of “Growin’ Up” towards the end of the set. Springsteen’s keyboard playing, always carrying with it a seductive hint of performance anxiety, is one of the most memorable aspects of the 2005 tour. His willingness to take the risk again and again on songs he hadn’t played in decades is why Audacious is such an appropriate descriptor. After a lovely and lilting electric piano version of “All That Heaven Will Allow” (the same instrument on which he so memorably performed “Tunnel of Love” on the previously released Grand Rapids 2005 show), Bruce acknowledges his tentative playing, telling the Trenton faithful that their applause at end of his piano solos was “anxiety clapping” that “he made it through.” In truth, the passion in Springsteen’s piano and organ playing is much more important than the precision. Limited as he might feel it is, his keyboard expression creates intimate moments between the performer and audience heightened by that touch of uncertainty. Trenton offers a treasure trove of piano, organ, and keyboard gems. Bruce resurrects “My Beautiful Reward” from Lucky Town with fitting majesty on pump organ and plays “Backstreets” with touching reverence, in one of but three solo piano performances on the tour. “Drive All Night,” revived for the first time in 24 years just a few shows prior, captures the conviction of an artist rediscovering the magic of a forgotten work. “Jesus Was an Only Son” gets an insightful preamble that is right out of the pages of Born to Run. And who could imagine the three-ring circus that is “Thundercrack” could be tamed into such an entertaining solo-piano rendition and still carry the song’s evocative spirit. For veteran setlist trainspotters, Trenton has a couple of bombshells. One of Springsteen’s most beloved early outtakes, “Zero and Blind Terry,” had not been performed since 1974 and never as a solo piano piece. It’s one of those romantic fairy tales that could have easily slipped onto Wild & Innocent, a Jersey fable that mythologizes young lovers trying to escape to a better life beyond Route 9. All the more fitting for a show in Trenton, but the idea that the song would be played at all, three decades after it wasn’t released, affirms the Devils & Dust tour mantra: I do not play these songs often. I have not played them on this instrument. I may not play them this way again. The other shocker debuted the night before but is no less special. After hearing it himself on E Street Radio and thinking, “Hey, that one was pretty good,” Springsteen reignited “Song for Orphans,” not heard since 1973. Collectors know it from a demo recording that predates Greetings From Asbury Park, N.J., the album for which it was initially considered, though there is evidence to suggest Bruce considered the song for possible release all the way through Born to Run. Here, joined by his otherwise off-stage keyboard accompanist Alan Fitzgerald on piano, Springsteen manages to blend the spirit of ’72 with ’05, rendering “Song for Orphans” and his most recent Devils & Dust material kindred works. After some fun had with members of the extended Springsteen family on “Santa Claus is Comin’ to Town” and the Joad-tour arrangement of “The Promised Land,” Trenton comes to its pump organ epilogue. The meditative “Dream Baby Dream” provided the coda to most shows on the Devils & Dust tour and has no analogue in Springsteen performance history, as it builds wave upon wave of organ, synthesizer, and repeated vocal lines imploring us to “keep on dreaming” and “open up our hearts.” That it wouldn’t sound out of place over the end credits to a David Lynch film speaks to its peculiar and relentless brilliance. Trenton 2005 is both the final show and the perfect summation of the Devils & Dust tour, when Springsteen chose night after night to go “cartwheelin’ up on that tightrope.” By Erik Flannigan via Nugs.net. 2005224athwaatwhaudiobackstreetsbitusabootlegbrucespringsteendaddandbdemptyskyfirefoutrgiggrowinupguesthandwritteniemihtbasitcjwaosleahlivedlltcmatamorosbanksmbrmothnewjersey(nj)newsnovemberpremrenorumblescicttsetlistsfosovereignbankarenatherisingthundercracktickettour_ddtpltrentonusazabt

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« Study: Higher Birth Weight Correlates to Better School Performance | Main | Head Start Grants, Private Commitments to Boost Early-Childhood Programs » Eighteen States Win $250 Million in Preschool Development Grants By Christina Samuels on December 10, 2014 6:28 AM Half of the 36 states that applied for federal money to launch or expand preschool programs have been awarded a total of $250 million in an early-childhood initiative jointly administered by the the U.S. departments of Education and Health and Human Serivces. The announcement comes as part of a series of events Wednesday at the White House designed to drum up support for early learning. That will also include awards of $500 million from HHS to support partnerships between child-care centers and Early Head Start providers; and a commitment of more than $300 million from private groups to increase their philanthropy in the early-learning arena. UPDATE: In a Wednesday press conference, President Barack Obama lauded the philanthropic efforts that have been brought together under the umbrella of the new initiative called "Invest in US." They include a $10 million commitment from foundations, schools, and businesses in Ohio's Cuyahoga County, which includes the city of Cleveland, and a $15 million investment from Susan A. Buffett and Partners to expand services in Omaha, Neb. "I'm calling on all Americans across the country to make their own commitments to children," Obama said. The $250 million comes from the Preschool Development Grant program, which was funded as part of a budget deal agreed to in January. Five states—Alabama, Arizona, Hawaii, Montana and Nevada—are receiving grants worth from $2 million to $20 million under a part of the program designated for state programs just getting off the ground. Those states have 10 percent or fewer of their students enrolled in state-funded preschool. The remaining grant money is going to states that already serve 10 percent or more of their 4-year-olds. Six of those states are previous winners of Race to the Top-Early Learning Challenge grants: Illinois, Maryland, Massachusetts, New Jersey, Rhode Island, and Vermont. Seven winners have not previously received federal funding for preschool: Arkansas, Connecticut, Louisiana, Maine, New York, Tennessee, and Virginia. The grants for those states range from $2 million to nearly $25 million. The Education Department estimates that because of the grant program, more than 33,000 additional children will be served in preschool programs that meet high-quality standards in the first year of the program. In a press call announcing the results, U.S. Secretary of Education Arne Duncan noted the interest in the preschool money from states that have Republican and Democratic leaders, (though the application process did expose testy political divides in some states). "What still haunts me is the huge unmet need in state after state after state," Duncan said. "While we're thrilled with the support from governors, we really need Congress to step up in a bipartisan way." Preschool Development Grants

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Week In Review – November 3, 2019! Because God is faithful to His Word and His people, more soldiers and LEOs died this week, by His power and His might. While speaking about oath-breakers and how God keeps them very busy – In Chicago apparently the hospitals can just turn away ambulances and nobody is overseeing these decisions = people dying!: https://projects.jsonline.com/news/2019/10/25/ambulance-diversion-overnight-illinois-hospitals-after-infants-death-deeply-flawed.html Even as fires are burning all around, in Long Beach, CA, (actually Orinda, near San Francisco) people having an UNAUTHORIZED house party in Airbnb location began shooting, and killing each other: https://twitter.com/i/events/1189431454045851648 leaving a total of FIVE dead: https://www.bbc.com/news/amp/world-us-canada-50276485?__twitter_impression=true Speaking of fires, did you see that a fire broke out at World Heritage site Shuri Castle in Okinawa, Japan?: https://www.nbcnews.com/news/world/fire-burns-down-structures-japan-s-historic-shuri-castle-n1074371 In Australia hazardous smoke from dozens of bushfires across the east coast blanketed Sydney causing much discomfort, and that city is home to more than FIVE MILLION PEOPLE: http://mercury.postlight.com/amp?url=http://news.trust.org/item/20191031002630-wywbj/&__twitter_impression=true Furthermore, (some) people are now certain that Jeffrey Epstein was MURDERED: https://www.nytimes.com/2019/10/30/nyregion/jeffrey-epstein-homicide-autopsy-michael-baden.html This week 12 migrants were found alive in a refrigerated truck in Belgium: https://news.sky.com/story/12-migrants-found-alive-in-refrigerated-truck-in-belgium-11849265 A multistate salmonella outbreak has sickened 10 people, killed one – – connected to ground beef: https://amp.cnn.com/cnn/2019/11/01/health/salmonella-ground-beef-recall/index.html?__twitter_impression=true Hong Kong is now in week #22 of weekend protests: https://www.youtube.com/watch?v=48H_gHWPJVM they burned Xinhua offices! Also it will be one year ago November 17 of the Yellow Vest Protests in France, they are going to hold a national assembly to debate “future of the movement”: https://www.thelocal.fr/20191102/french-yellow-vests-hold-national-assembly-to-debate-future-of-the-movement GodSmack! In Chicago a little 7-year-old was shot as they were out trick-or-treating by another young person engaged in a different form of idolatry known as gang violence: https://www.4029tv.com/article/7-year-old-critically-injured-after-being-shot-while-trick-or-treating-in-chicago/29660016# Jane Fonda, Rosanna Arquette, Catherine Keener were all amongst those arrested this Friday’s climate change protest: https://www.yahoo.com/entertainment/jane-fonda-rosanna-arquette-catherine-keener-arrested-at-climate-change-protest-183247830.html they’re starting to look a little (lot) frayed. O’Rourke ended his bid for POTUS: https://www.theguardian.com/us-news/video/2019/nov/02/orourke-ends-bid-to-be-democratic-presidential-nomination-video?utm_term=Autofeed&CMP=twt_b-gdnnews&utm_medium=Social&utm_source=Twitter#Echobox=1572693696 Praise God! A dyke was elected Bogota’s Mayor: https://amp.cnn.com/cnn/2019/11/02/world/claudia-lopez-bogota-mayor-intl/index.html?__twitter_impression=true That’s Co-l-uuuu-m-bia for ya! New Normal Section Washington Nationals have won the World Series and it only took them 95 years: https://abcnews.go.com/amp/US/washington-nationals-celebrate-world-series-win-dc-parade/story?id=66710600&__twitter_impression=true That just leaves seven other teams to never have won: https://theculturetrip.com/north-america/usa/articles/these-mlb-teams-have-never-won-the-world-series/ assuming you can believe anything anyone says about anything, these days. A new study found the weed-killing chemical glyphosate was found in an array of US-kid-focused products: https://amp.theguardian.com/environment/2018/aug/16/weedkiller-cereal-monsanto-roundup-childrens-food A football player “took a plea” of guilty to killing his pregnant cheerleader girlfriend: https://people.com/crime/indiana-teen-admits-killing-pregnant-cheerleader-girlfriend-17-i-took-her-life/?utm_medium=browser&utm_source=people.com&utm_content=20191031&utm_campaign=457003 Penn State apparently expects us to believe that they are going to thoroughly investigate new allegations against Jerry Sandusky: https://www.cnn.com/2019/10/31/us/sandusky-new-allegation/index.html?no-st=1572800407 We shall see. Ecclesiastes 8:11 Because sentence against an evil work is not executed speedily, therefore the heart of the sons of men is fully set in them to do evil. Week In Review – October 27, 2019! Week In Review – November 10, 2019!

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Results tagged ‘ ace from Japan ’ Fantasy Baseball Preview: Edwin Jackson, Erik Bedard, and Yu Darvish Edwin Jackson is young, durable, and has been a winner with 10-plus wins in each of the last four seasons. The solid track record begs the question why did so many teams pass on him. The 28-year-old hurler is now on his seventh Major League team and he hasn’t played for losers either. He went 5-2 down the stretch for the Cardinals last season, playing a role in the team’s World Series Championship. One of the hardest throwing hurlers in baseball, Jackson has improved his control over the years. His greatest weakness recently is that he is just too hittable. Even in his successful run with the Cardinals the opposition hit .300 against him. The good news is that he keeps the ball in the yards, but for fantasy managers looking for a low WHIP, Jackson is not a solution. The move to Washington means he’ll now don the jersey for his sixth team over the last four years. However, Bloomberg Sports likes his fantasy value. The larger ballpark and National League setting should translate to 170 strikeouts, double-digit wins, and a 4.21 ERA. Jackson is a fine low-risk, high ceiling option in the later rounds of fantasy drafts. After all, it was just a few years back that he threw a no-hitter while pitching for the Arizona Diamondbacks. Let’s see if he can finally sustain such dominance over a full season. Once one of the hurlers in the most demand in the Major Leagues, Erik Bedard hopes to build on his improvement from last season while joining the Pittsburgh Pirates. Bedard was a disaster in Seattle. Because of injuries, he never lived up to the hype and while the Mariners traded away top prospect Adam Jones to the Orioles for him, they ended up letting him go for very little in return last season to the Red Sox. The good news is that Bedard showed that even after all of the injury-ravaged seasons, he still has some potential right now. He offered fine control last season and fanned a batter per inning throughout the year. A move to Pittsburgh should lead to some good results for Bedard’s fantasy managers. Pittsburgh’s ballpark plays neutral and he will no longer have to deal with designated hitters in the majority of his starts. Most importantly, he has sustained his health, which is the key to his performance. BloombergSports.com projects a solid 3.74 ERA and 1 .30 WHIP from the veteran hurler this season, and with some luck he could reach double-digit wins for the first time in five years. The loss of CJ Wilson could be crushing to the Texas Rangers. Just a year removed from a second World Series, the Rangers lost their ace for a second time. First it was Cliff Lee who bolted to rejoin the Phillies. Now it’s Wilson, and while he may not be as dominant as Lee, the fact that he joins the rival LA Angels of Anaheim makes matters worse. The Rangers were desperate to respond and without many proven stars on the market they had to compete with teams including the Toronto Blue Jays to land Yu Darvish, an ace from Japan. With an enormous bid, the Rangers land the hard-throwing hurler who will enjoy the loftiest expectations by a free agent to join the Rangers perhaps since Alex Rodriguez signed his now infamous $252 million deal. As far as realistic projections for Darvish, BloombergSports.com offers a 13-8 record, 185 strikeouts, and a 3.63 ERA for the hard-throwing hurler. That makes him the 16th best starting pitcher, and a top-50 fantasy talent. Despite the lofty projections, there is still a great deal of risk for fantasy managers. After all, Darvish is new to America and will have to adapt culturally to Major League Baseball, plus he calls home to one of the most hitter-friendly parks in the league. He will not get away with many mistakes and the media will be hounding him all season long. For more fantasy baseball insight visit BloombergSports.com. Tags: $252 million deal, ace from Japan, Alex Rodriguez, Arizona Diamondbacks, baseball, Bedard, Bloomberg Sports, Cardinals, CJ Wilson, Cliff Lee, Designated Hitters, Edwin Jackson, Erik Bedard, fantasy baseball insight, fantasy drafts, fantasy managers, fantasy value, hurlers, injuries, LA Angels of Anaheim, Major League Baseball, Major Leagues, Mariners, National League, no-hitter, Orioles, Phillies, pitcher-friendly ballpark, Pittsburgh, Pittsburgh Pirates, Red Sox, Seattle, Texas Rangers, top prospect Adam Jones, Toronto Blue Jays, Washington, WHIP, World Series, Yu Darvish

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Modern Chapel is a community of some 8,000 people but, as one would expect in a town with a history which stretches across seven centuries, a substantial Old Town survives its core. Old stone houses cling to the hillside below the Parish Church, which occupies the sire of the original thirteenth century chapel, and ancient inns are clustered about the Market Place as evident of the town’s historic role as a market centre and staging post. Old Chapel is one of the Peak District's best kept secrets, for it is largely hidden from the view of passing motorists. The oldest part of the town is on rising land behind the main road and even the Market Place is raised above street level. On you next visit to the Peak District, pause in Chapel-en-le-Frith, and discover the fascinating old buildings and picturesque streets and alleyways in the Old Town of Chapel-en-le-Frith. A free copy of the Town Trail can be obtained in the Information Centre at the Town Hall. Alternatively download the trial below. The tour of Chapel-en-le-Frith’s “Old Town” The trail begins at the CAR PARK on Thornbrook Road. Follow Thornbrook Road to its junction with the main road (Market Street). Cross to the north side of the street and walk up the hill towards the Market Place. Town Trail.pdf Thornbrook Road Car Park, Chapel-en-le-Frith, High Peak, Derbyshire SK23, UK

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by Marisol Torres | Oct 31, 2018 | News | 0 comments Today, November 30th, 2011, will be marked as a historic date in the legal and social life of Quintana Roo, as though almost unnoticed and barely mentioned in the media, were held the first two marriages between same sex persons and more interesting is that these marriages were made without making any changes to existing legislation in the State. Here is a brief analysis of this interesting event. The marriage rules and the management of vital records is a local faculty, so that each State’s Office has its own civil code and it’s own vital records. The Federal District (Mexico City), although not a state, by constitutional provision allows it’s legislature to regulate civil matters and operate it’s own vital records office. Based on these ideas is that Mexico City was undertaken in 2010 to reform its civil code language that would speak more of “people” rather than “men” and “women”, were also made some adjustments to the Civil Registry certificates and in general all the ground was prepared to initiate such unions in a harmonious and consistent way, through a process that required time, discussions and a lot of study for implementation. Quintana Roo was in a different situation, for years, there have been voices that rising up to ask to allow same-sex-marriages in this state, not only for the respect and recognition of the civil liberties of people equally, but also must be said, for the economic flow that these unions can bring to the state, considering the natural tourism vocation of Quintana Roo. The Civil Code of Quintana Roo is one of the most recent of the country, dating from 1980. When developed, the local congressmen tried to integrate some new ideas and trends that existed at that time; however, the work was not entirely harmonious, the legislature on the one hand tried to be innovative and on the other, copied literally, a large number of articles of the Federal Civil Code in force in those years, so that this legislative technique favored same gender marriages. Thus, the local code contains requirements that the man must comply with and on the other side, requirements that must meet the woman must comply with for marriage, but nowhere states that the marriage has to be between a man and a woman. So why have there never been same sex marriages before? Perhaps because no one tried before or those who tried were met with refusal by the authorities. Thus a group of people formed by two same-sex couples wishing to marry each other, lawyers, activists and pro gay and lesbian organizations took on the endeavor of enacting the first record of a marriage between two persons of the same sex and held by an authority of Quintana Roo. How did they do it? Apparently the couple completed the application process for their marriage in compliance with all requirements of law, although their application was rejected or not even accepted at least twice. Then they tried again in the municipality of Lázaro Cárdenas, invoking the legal principle that states “the governed can do anything that is not prohibited” in accordance with article 1st of the Mexican Constitution which prohibits discrimination against people because of their gender and their preferences, in addition to the penalties imposed by the local criminal law for those who commit acts of discrimination. Obviously all these rules were already there, just needed someone to put them together, make use of them and find an authority with a legal criterion broad enough to understand, accept and process a request of this type. For the relevance of this theme, the celebration of these marriages was hardly announced and somewhat surprising, we have to remember that Quintana Roo is an entity where legislators recently decided that anyone who commits abortion should be punished and treated like a murderer, making it difficult to believe that legislators and authorities with this type of criterion will so easily accept marriages between same sex persons. The truth is that the first two records are there and a road on this subject has been started to be built, but there is still a long way to go. It will be interesting reactions and statements of authorities, public characters and social groups in the next few days on this topic. For now, congratulations to the new spouses and let’s hope that the discussions to come flow in an environment of respect, tolerance and solid and intelligent arguments. About the author Gustavo Calderón: Gustavo Calderón, is a Lawyer and University Professor in Playa del Carmen, Mexico, with more than 10 years of experience in Corporate Law and Real Estate Law. Mr. Calderón focuses his practice towards serving the expatriate population of the Riviera Maya.

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Three Gorges Dam Back in the Spotlight by David Bandurski | Jul 7, 2019 The Three Gorges Project, the gravity dam and hydroelectric power station on the Yangtze River that is currently the world’s largest power station, is back in the news in China. And state-run media are pushing to reassure the public that the dam is safe. So why is this becoming an issue now? In recent days, posts on social media have suggested satellite imagery of the mega-structure now shows that it is warping, calling into question its structural integrity. Other posts have reported so far unsubstantiated claims that authorities have halted tours to the area. The post to the right-hand side above reads: “Comparing images from 2007 to 2018, it can be confirmed that the Three Gorges Dam has experienced serious warping.” The lower post on the left-hand side reads: “Terrifying! Expert team from the Three Gorges Dam has confirmed that the dam has changed shape!” This second social media post actually refers to efforts by the authorities to counter discussion about possible problems with the project. It shares an image of coverage yesterday from The Beijing News. The apparent point of the article in The Beijing News was to urge calm, citing a team of experts who certify that the project is safe, and that “the warping of the dam’s shape owes to its elasticity” (坝体变形处于弹性状态). The report was based entirely on a public relations release from the state-run China Three Gorges Corporation(中国长江三峡集团有限公司), which explained that the project had undergone regular safety inspections since the formation of its safety inspection team in 1999. The release even included an image of the log books published annually to document the dam’s operation. Clearly, not all have been comforted by the affirmation from experts that the dam warps because of its “elasticity.” And part of the problem may be mixed messaging as the government tries to contain speculation. According to other official statements circulating after the story began trending around July 1, the inaccuracy of satellite imagery from Google, which is blocked in China, is the source of the misunderstanding. On July 2, an official speaking with the Shanghai-based news outlet The Paper said that the satellite imagery circulating online had been generated from Google, and was a product of Google algorithms rather than a reliable and accurate image of the Three Gorges project. According to a report on the website of The Observer (guancha.cn), the official said that “the topography of the Three Gorges region shown on Google Maps often shows inaccuracies, because ‘the coordinates have been processed.'” Naturally, given the fact that the Three Gorges has for some stood as a point of pride and a symbol of China’s technological and engineering prowess, accusations are also surfacing that the whole focus on the Three Gorges Project over the past five days has been a conspiracy cooked up by “anti-China forces.” “Once Again Certain People Cause Trouble Over the Three Gorges Dam,” reads the headline of the following post. It goes on to say that, “[We] must forcefully strike the faces of anti-China forces(反华分子), building a sturdy dam against public opinion in society.” In other words, the discussion itself is the problem that needs fixing. Throughout its history — and we are now at the centennial, we might note, of the first mention of the project by Dr. Sun Yat-sen in 1919 — the Three Gorges Dam has been a source of controversy. And at no point since the project’s construction got underway in the 1980s has discussion of the possible implications in terms of environmental or human cost been truly possible. For a look at the history of that discussion, we can recommend our 2015 piece by author Xiao Shu, and of course also Dai Qing’s groundbreaking work Yangtze! Yangtze!, published in 1989. It is interesting to see this latest surge in interest inside China in a project that deserves a great deal more discussion. But this will almost certainly be a short-lived discussion — a momentary breach of the dam. (Featured image by Michael Gwyther-Jones available at Flickr.com under Creative Commons license.) PreviousXi Jinping, Leader of the G20 NextHong Kong Through China’s Distorted Lens Chang Ping: Does China Need a Special Internet Zone? Zhai Minglei on Google and China

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Church workers fight fear, myths as Ebola worsens in Sierra Leone By Bronwen Dachs • Catholic News Service • Posted August 1, 2014 CAPE TOWN, South Africa (CNS) — It is hard for people in Sierra Leone not to lose hope as the death toll rises and worldwide fear grows over the worst Ebola outbreak on record, said the head of Caritas in the Archdiocese of Freetown, Sierra Leone. “Our situation is desperate,” said Father Peter Konteh, executive director of Caritas. In a July 30 telephone interview from Freetown, Father Konteh said the mood of the West African country was bleak following the July 29 death of the doctor who had been leading the country’s fight against the highly contagious disease. The Ebola death of Dr. Sheik Umar Khan, who worked at the Kenema Government Hospital in eastern Sierra Leone, “has left us feeling defenseless,” Father Konteh said, noting that the hospital center Khan ran “is the only place in the country equipped to deal with Ebola.” Sierra Leone declared a state of emergency July 31 and called in troops to quarantine Ebola patients as the death toll from the outbreak of the virus hit 729 in the West African countries of Guinea, Liberia and Sierra Leone. Symptoms of the disease, which has no known cure, include vomiting, diarrhea and internal and external bleeding. The fatality rate of the current outbreak is around 60 percent. Fear among local people that if they go to the hospital “they won’t come out again” is largely fueled by the fact that the bodies of people who die of Ebola in hospitals “are put into bags and buried, and their loved ones don’t see them again; there is no burial ceremony,” Father Konteh said. Michael Stulman, regional information officer for the U.S. bishops’ Catholic Relief Services, said cultural traditions, including the washing of a body by family members before it is buried, are problematic in fighting the spread of Ebola, because the disease is at its most contagious in its advanced stages. In a July 31 telephone interview from Freetown, Stulman said dispelling myths that are worsening the crisis forms a large part of the work that Catholic Relief Services is doing in Sierra Leone. CRS staffers are training elders and traditional leaders to enable them to spread information on how to avoid contracting the virus and “what to do if they feel sick,” said Stulman, who visited Sierra Leone July 24-Aug. 1. CRS, part of the Caritas network, has been working closely with Sierra Leone’s National Ebola Task Force on awareness-raising campaigns, using radio and other mediums to disseminate critical messages about prevention, transmission and treatment of the disease. Father Konteh represents the Catholic Church on the task force. He said that at the Caritas office in Freetown, “we give people chlorine to wash their hands with” as well as information leaflets. “It’s a case of simple hygiene,” he said, noting that an interreligious forum issued a statement to dispel myths “spread by religious fanatics saying it’s a plague and calling on people to come to prayer centers they’ve set up instead of health care facilities.” CRS also had to clarify the nature of Ebola to people who believe that the hospital deaths are the result of a political plot by anti-government forces, Stulman said. Father Konteh said government, religious leaders and civil society now recognize that Ebola is a “national catastrophe” and are working together to stop its spread. Reacting to fear among doctors and nurses of contracting Ebola while at work, the health department has stepped up provision of protective gear for staff at hospitals, he said. Patients diagnosed with Ebola who are removed from hospitals by their families before they have recovered are cause for great concern, Stulman said, noting that a woman taken home to Freetown from Kenema hospital died in the ambulance on her way back. “The fastest you can get from here to Kenema hospital by road is two days,” Father Konteh said, noting that Freetown’s hospital does not have the necessary equipment to treat Ebola. “Our health system is not strong enough to cope with this,” he said. Sierra Leone’s health system has limited supplies and minimal human resources, Stulman said. He also said that while many international organizations are leaving Sierra Leone for fear of contracting Ebola and the U.S. Peace Corps is evacuating hundreds of its volunteers in affected countries, CRS has no plans to leave. “We’re sticking around,” Stulman said, noting that CRS has been working “on the frontlines” in Sierra Leone for more than 50 years and has built strong partnerships with local organizations. Father Konteh said Ebola has had “ripple effects on all interactions.” Many people’s livelihoods depend on trading at big market places, “but they are staying away now,” he said. In eastern Sierra Leone, some schools closed and postponed examinations indefinitely, he said. PREVIOUS: With focus on Gaza, Islamists can kill at will in Iraq, Anglican cleric says NEXT: Cleric blames surge of rapes in India on pornography, loss of values

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Music in Wales Artists in Wales World Music Artists in Wales Gwyneth Glyn Artists in Wales Welsh Artists Showcase Gwyneth Glyn Gwyneth Glyn is a singer and poet. Drawing on her ancient Welsh folk tradition as well as contemporary influences, her own unique sound is often described as timeless. Her songs are inspired by the ancestral stories she heard as a child, and by the dichotomy of being brought up in the rural north and living in the vibrant capital of Cardiff in the south. She read Philosophy and Theology at Jesus College, Oxford, before returning to her homeland of Wales to write and to sing. Her work includes plays, children's books and TV scripts. Gwyneth was Wales' National Poet Laureate for Children 2006-2007. She won the BBC Radio Cymru Rock and Pop award for best female artist in 2006. Her third album 'Cainc' was released in 2011. Music in Wales Womex Cardiff 2013 © Copyright Cerdd Cymru : Music Wales

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Buried Treasures: the Barbara Jordan Archives A look at the array of materials found in the Barbara Jordan Archives at Texas Southern University's Special Collections. About Barbara Jordan When Jordan was elected to the U.S. House of Representatives in 1972 she became the first African-American woman to represent a previously Confederate state in Congress. In 1976 Barbara Jordan became the first African-American Woman to deliver a keynote address at a political convention, and Jordan addressed the Democratic National Convention again in 1992—to date, Jordan is the only person to have delivered the keynote address at the DNC twice. As a member of the House Judiciary Committee, Jordan was in the national spotlight during the Watergate hearings that would eventually lead to the resignation of President Nixon. Her style of oration and clarity of vision on the issues made her potential as a presidential candidate a topic of conversation among liberals. In 1994 she was awarded the Presidential Medal of Freedom the nation's highest civilian honor. Despite her declining health she continued to teach and serve in public office including a post on the Presidential task force on immigration reform. Jordan died of pneumonia on January 17, 1996 at the Austin Diagnostic Medical Center. Jordan was eulogized by both President Clinton and former Texas Governor Ann Richards. On January 20, 1996, Barbara Jordan was buried at the Texas State Cemetery which is an honor reserved for Texas heroes. She is believed to be the first African-American to have been buried there. Happy birthday, Barbara Jordan National Prayer Breakfast Texas Southern University. Powered by Blogger. February 21, 2013, marks what would have been Jordan's 77th birthday. Though we are past the 76th year mile marker by one year, we thought it would be fun to mark the occasion with some rare images from Jordan's participation in the Constitutional Bicentennial (1776-1976) planning events. Jordan was active in fundraising and promotion for both national events and Texas state events for the Bicentennial. Below are images from Jordan addressing the House of Representatives in 1974 concerning the upcoming Bicentennial (including a rare color image of Jordan at the podium), and a shot of a 1976 commemorative medal given to Jordan and other Congressional members that is housed in the archives museum. Jordan addresses the House, September 24, 1974. The House adjourns, September 24, 1974 Commemorative Bicentennial medal, 1976 Posted by Barbara Jordan Archives at 6:55 AM 1 comment: Today is the 61st annual National Prayer Breakfast. The event, which is actually not just a breakfast but a series of meetings, luncheons, and dinners, was established in 1953 by President Eisenhower. The Breakfast is designed to be a forum for political, social, and business leaders to assemble and build relationships with each other. Every president since Eisenhower has spoken at the National Prayer Breakfast, and over the years the event has inspired many communities (civic, religious, and political) to hold similar events. Jordan attended the 1978 event (presided over by President Carter) and offered the Prayer for National Leaders. For more information on the National Prayer Breakfast, please visit http://www.waleadership.com/national-prayer-breakfast. This years's theme for Black History Month is "At the Crossroads of Freedom and Equality: The Emancipation Proclamation and the March on Washington." 2013 marks the 150th anniversary of both the signing of the Emancipation Proclamation by President Abraham Lincoln, and the 50th anniversary of the historic "March on Washington for Jobs and Freedom." The Association for the Study of African American Life and History (ASALH) developed this year's theme with the idea that these two events, so many years apart, are connected and converge under the common threads of freedom, equality and justice. TSU's Special Collections and the Barbara Jordan Archives have installed a few exhibits at the Robert J. Terry Library to celebrate Black History Month. Our exhibits (featuring books, documents, periodicals, newspaper articles and photographs from Special Collections) will remain on display through the month of February. Our main exhibit on the library's first floor features videos from the National Archives that discuss the role of the National Archives in preserving the history of both the Emancipation Proclamation and the March on Washington; one of the videos is a series of rarely-seen newsreel footage of the March, featuring music by Joan Baez and Marian Anderson, as well as footage of Dr. Martin Luther King's historic speech. We invite you to stop by the library to see the exhibits. For those of you who cannot come in person but would like to see the videos from the National Archives, please visit the links below: Preserving the Emancipation Proclamation The March on Washington in Photographs The March, part one The March, part two The March, part three Posted by Barbara Jordan Archives at 7:10 AM No comments: Association of Centers for the Study of Congress Women of the CBC--AVOICE

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Plein Air Easton, Part III July 29, 2008 | 2 Comments » Scroll down for part I and II or click here and here. Day Three, Saturday, July 26 Started the day with another spectacular gourmet breakfast at our “Buckingham Palace of Inns,” and then headed out to the streets to observe the “Quick Draw” event. Note to self: Next year bring art supplies and sign up for the “Quick Draw.” It looked to be a load of fun! To recap: The Quick Draw is quite a novel event to bring the art of plein air painting directly to the art lover. In Easton more than 130 artists, competition painters, professionals, amateurs, etc. had pre-registered and participated. These artists were then given two hours to complete their works within a three block area of the town. During this short time, all registered Quick Draw participants set up their supplies and paint, draw, or sculpt “en plein air” in downtown Easton, while hundreds of people stroll around and look in and ask questions. There were artists everywhere in this small Maryland jewel of a town! And they were not just painting the streets and beautiful houses and spaces around them! Painter Scott Powers, a young Chicago artist, was mesmerizing the crowd by delivering a portrait of a gentleman reading a paper in the shade of an Easton cafe. The crowd was hypnotized as Powers delivered a remarkable piece that not only captured the subject’s likeness, but also that key ingredient of great portraiture: the subject’s unique sense of individuality and self. How he managed to do that in two hours was a spectacular feat. We walked around for the two hours (I got a mean sunburn) and admired both the multitude of artists of all kinds of artistic skill, and also the multitudes of people admiring them. When the “finish” horn sounded at high noon, artists began filing down to Harrison Street, where they began to set up their easels to display (and sell) their just finished work. The paintings were then judged by Plein Air-Easton! Competition Judge Gay Faulkenberry and awards were presented at 1:30pm. By 2:00pm the exhibit and all of its paintings were gone from the streets of Easton. Once again I witnessed a near feeding frenzy as paintings were bought almost as soon as they were up on their easels. I would say that within the first five minutes about 50% of all the works had been sold, with works ranging in price from $250 to $2,000. By 2pm nearly all pieces were gone and heading to the home of a new collector. Larry Moore from Florida won the top prize at the competition and it was a well-deserved award - he was also my pick for the best piece in the show. I also quite liked Joe Meyer’s light-filled house (it also won an award), and Ken DeWaard’s piece. My wife and I then went biking around Easton (biking with my wife, who used to be a world-class triathlete before she retired from competition a few years ago, is like playing chess with Bobby Fisher) and then back to the Inn to get ready for my talk at the museum at 7PM. My talk had been advertised as a “new signature event that will embody Plein Air-Easton’s slogan ‘Art for Everyone.’ Campello, a respected artist and art critic with a flair for engaging his audiences with humor, will give a short history of art and discuss the knack of art collecting. This event will not be boring. Cocktails will be served and attendees can mingle and view the competition galleries. Seating is limited but Campello’s wit and wisdom can be heard throughout the Academy” and sort of like Richard Pryor once said, I thought to myself as I walked to the museum: “I better be funny.” The room was packed, with maybe 150-200 people, and I had expected to talk for about an hour as I gave them a little background on art history and then discussed collecting art and other associated issues. The audience was really good and I didn’t notice anyone falling asleep or leaving, and so when I glanced at my watch, and noticed that I had been talking for nearly two hours I was dumbfounded by both my ability to just talk and talk about art and by the audience’s resistance! So I ended it (I could have talked another hour, but I took pity on them), and surprisingly quite a few people came over and started asking questions and I spent another 20 minutes or so answering them… so I think that it went OK. My apologies for those who were late for other things because of my Castro-like performance. Next: the last day at Easton, with Winners Paint-Out and Brunch at Rich Neck Manor. Plein Air Easton Part II Scroll down for part I or click here. Day Two, Friday, July 25 After an amazing breakfast at our even more amazing Inn, we walked around town and dropped in at the Pam Foss Gallery, where we admired some of her paper casts before walking over next door to check out the installation effort, started last year by artists Carol Minarick and Mary Ann Schindler — with the help of gallerist Vivian Knapp — to provide a contemporary “shadow” exhibition to the plein air festival. This year they’re presenting an installation about the disappearances at sea of two men who have become mythical art figures. Mounted at Viviann Napp’s small gallery cottage at the corner of South Street and Talbot Lane in Easton, the installation is a seascape from another perspective. Combining contemporary paintings and actual nautical elements, including a naval architect-designed 1939 lapstrake dinghy from the Chesapeake Bay Maritime Museum, the work recalls the voyages of cult Dutch conceptual artist Bas Jan Ader and English inventor and would-be circumnavigator Donald Crowhurst. See a 1970s video by Bas Jan Ader here. It is an elegant and intelligent installation which is the first in what I hope are many new steps to expand the town’s intelligent approach to endorse the fine arts in general; Easton has a good thing going with the arts, kick-started by the hard working folks who put together the Plein Air Art Festival, and I hope that the city council continues to work hard to make this art event the seed for more and more fine arts in Easton. We also visited and chatted with the owner artists of the Sharp-Mayer Gallery, where we admired the works of owner Joe Meyer. Across the street we walked to the South Street Art Gallery where we ran into the familiar works of the talented NancyTankersley and sort of our first exposure to figurative art in her current series on chefs and restaurant workers. We also quite liked the work of old favorites Sara Linda Poly and Bethanne Kinsella Cople, two extraordinary landscape painters. 4th of July Sky by Bethanne Kinsella Cople At 7 PM that night we attended the Collectors Preview Party at the Academy Art Museum, where each of the plein air artists had two pieces for sale, and where the 2008 juror, artist Lynn Gertenbach Gay Faulkenberry (who graciously stepped in at the last minute because Gertenbach could not attend) would later select the 2008 award winners. Considering how I have been reporting the blues that seems to have hot the art market in 2008, let me tell you that this evening was almost like a feeding frenzy of art buying. Artists were able to replace work on the wall as it was sold, and I would estimate that around $100,000 worth of artwork was sold on this opening night, where collectors paid $150 in order to be there and have first choice at the available works. This was quite a refreshing change of pace from what I have been seeing in various art fairs so far this year, and while it is clear that the plein air painting niche is very specific on its genre, it is nonetheless a good shock to see artwork fly off the walls. It was also surprising for me to agree with about 75% of the award selections given out by the judge, although I did have a couple of major disagreements with a couple of her top choices. Nonetheless it is also unusual for me to agree to this extent with any juror, so in that particular vein we seemed to walk a parallel line. My choice for the top prize? Had I been the juror I would have given the top award to Bethanne Kinsella Cople’s beautiful landscape painting; her handling of light, application of paint, and experienced brushwork was the best that I saw that night. I also liked the works that I saw that night by Edward Cooper, Stuart White and Frankie Johnson. Part III will have the “Quick Draw” - More than 130 artists, competition painters, professionals, amateurs and the simply adventurous compete to paint, draw, sculpt and have fun in the sun. These artists have only two hours to complete their works within a three block area, then they are exhibited on easels, prizes are awarded and they’re up for sale! Plein Air Easton - Part I July 26, 2008 | No Comments » Day One, July 24, 2008 Sometimes writers are challenged on how best to begin to describe an event, in this case Plein Air Easton, which at first seems just focused on the re-emerging art of painting outside of the studio, but when examined in depth has grown to become not only very good at that, but also - on a wider scale - very good for art, for artists, for collectors, and for a picturesque little town on Maryland’s Eastern Shore. I had never been to Easton, Maryland before our arrival on a Thursday, July 24, as I had been invited to be a guest speaker as part of the 2008 Plein Air Easton festival. We decided to arrive a couple of days early, to soak in the whole experience of a little town taken over by a bunch of artists painting out in its streets and countryside. Our hosts had put us in at the Inn at 202 Dover, and I must admit that even for an experienced traveler such as I am, I was floored by the beauty, authenticity and elegance of this gorgeous 19th century historical house, recently refurbished and brought to spectacular modern glory by owners Shelby and Ron Mitchell. The place is breath-taking and the love of the Mitchell’s for their inn is apparent in the care and expense that they took to restore it. Restoration began in 2005, not only under the watchful eyes of the owners, but also of Historic Easton, the State of Maryland, the Easton’s Historic Commission, and the Department of Interior. Today the beautiful colonial revval building and gardens boasts four elegant suites and one luxury en suite bedroom, each themed and decorated accordingly. The Mitchells like the Victorian approach to decor, and invoking the Victorian era, the suites have an international flavor in keeping with the Victorian concept of what was exotic to them. Arrivals can expect to choose among France, Asia, England and Africa (Safari) suites or, the Victorian bedroom. We were given the Asian suite, which was larger than most New York apartments — in fact I think it was larger than the Brooklyn apartment in which I was raised. In addition to a beautiful huge bamboo canopy bed and Asian furniture, I loved the antique puppets and the original Ukiyo-e woodblocks on the walls. And the steam shower, and the cool air jet tub with the golden dragon spitting high pressure water, the fireplace, and the high definition flat screen TV with satellite TV - located… ahem… in the sitting room within our room. And free high speed internet access. But enough about this gorgeous place; suffice it to say that if you visit Easton, and want it to be a super special visit, this is the only place in town that will be a memorable stay! It gets a hundred stars and a thousand thumbs up from my wife and I. At 5:30PM on our first day we hung around for happy hour at the inn… and it didn’t disappoint, as Jorge Alvarez, the Inn’s Cuban-born chef popped in with some tasty food, which included what can be best described as my first exposure of the delicious results what happens when Southern cooking (let’s say fritters) meets Cuban food (let’s say WOW!). Afterwards we walked over to a local Easton restaurant called … ah… Restaurant Local, where we had some good happy hour vittles (Shrimp Fajitas and Calamari) on their sidewalk tables, listening to a local dude play the guitar, and you won’t believe this: a $5 pitcher of beer in a fancy restaurant! It was great, although we did have to teach our young Russian waiter what “seltzer water” was. We walked around town and saw several artists painting out on the streets, although it seems most of the 2008 artists were out in the gorgeous countryside. We also scoped out a couple of the town’s art galleries - more on that later, but overall the first afternoon and night was just an opportunity to walk around Easton, see a few galleries and a few artists here and there. Tomorrow the judging begins! On Collecting Art As a man who loves to talk, one of my favorite paid gigs is when I am invited to be a speaker at art functions, or for art groups, etc. Later this week I will be heading out to Plein Air Easton, where I will be one of the guest speakers for that city-wide art event. I am going to digress already from my title subject and give you a little background on Plein Air Easton. Just four years ago this event got started as many artists worldwide have begun to return to painting in the Plein Air style, and once again, as they did in 19th century Europe, are leaving their studios to paint and draw outside… on roadsides, on the beach, on top of mountains, in their gardens and yards, and even in city streets to capture landscapes, still life, figures and architecture in their natural elements. I think that the resurgence of this movement, much like it happened in Europe in the 19th century, may be a reaction by some artists to the overwhelming presence of technology in our daily lives. And I can live with that; there’s plenty of room for plein air painters and digital photographers and technogeeks artists in the art world. The festival started yesterday Monday, July 21 and goes through Sunday, July 27, 7:00am-5pm… but there are tons of associated events in this gorgeous and tiny Eastern Shore Maryland village. All the details are The festival goes from Monday, July 21 - Sunday, July 27, 7:00am-5pm… but there are tons of associated events in the gorgeous and tiny Maryland village. All the details are here. I will be speaking on Saturday, July 26th at 7PM at the Academy Art Museum on the subject of contemporary art, collecting, artists and art in general. In preparing some slides for the presentation, I wanted to address how beginning collectors may want to approach the first initial steps to the process, with the preconceived notion that many people are intimidated by art galleries. This is unfortunate, because perhaps the safest and best way to collect artwork is by establishing a good solid relationship with several reputable art dealers (never anchor all your art collecting efforts on a single art dealer). But there are other ways, complementary methods in some cases, which work as well to beginning to build an art collection. I think that one of the best and safest ways is via art auctions, and not just the major blue chip auction houses such as Sotheby’s, Christie’s and others, but nearly every other auction house on the planet that every once in a while offers art as part of their programs. I say “safe” with the caveat that for some folks, it is not a good idea to get caught in the frenzy of a live auction. So it is always best to set yourself a limit, register it with the auction house or event, and then leave and hope that your bid is a winner. I say “best” because depending on the type of auction, some spectacular deals can often be had. For example, in the Greater Washington, DC region there are a couple of very reputable auction houses which tend to focus generally on antiques and furniture, with a sprinkling of fine art here and there. In my experience, works by Washington Color School stripe painters can sometimes be had for a lot less than they would get in New York or LA. But by far the very best way to accomplish the same thing is via charity auctions. At a charity auction you’re doing a couple of good things; as they say, it’s a “win - win” situation. You are helping a good cause as well as acquiring artwork, and in some cases even helping the artist (some charity auctions give the artists a part of the proceeds). A good one is ARTcetera, which began in 1985 as a grassroots AIDS fundraiser, conceived by Boston-area artists to help in some way against the disease which was so directly affecting the artistic community. A year later the event became the biennial event that it remains today. Today ARTcetera is a “biennial creative black-tie contemporary art auction created and supported by a unique partnership between the visual arts community and AIDS Action Committee. Guests enjoy fine food and beverages and bid on more than three hundred fresh works by acclaimed local, national and international artists. An exciting live auction and two silent auctions present works in a variety of media, sizes, and styles.” There are literally thousands of these type art charity auctions all throughout the nation, and artists are among the most generous of donors to the many calls that we receive to donate artwork for them. In my own case, I can usually be counted to participate in about a dozen such events a year (including this one by the way). Many more tips on collecting art coming down this way later… A Tale of Two Cities: Anish Kapoor in Boston and New York. (Part 2: New York) July 20, 2008 | 1 Comment » In New York City, Anish Kapoor had two concurrent shows at Barbara Gladstone. Reflection, above, predominated in an almost achromatic space at the 24th Street gallery (the show remains up through August 15); red, below, at the new 21st Street location I first saw Anish Kapoor’s work in 1990 at the Venice Biennale. He was representing Britain, and his work filled that country’s “pavilion,” a small building that consists of gallery rooms. (Each represented country has a building of its own design that remains permanently on the ground of the Giardini, the gardens, where the Biennale is set.) There were a number of human-size sculptures, abstract forms all. Looking at my photographs from the exhibition reminds me that there was a room of carved stone blocks, about three feet in any direction, with voids of various sizes in their centers, so that as you peered in, you didn’t know just how deep or shallow the negative space was. There was a disc the diameter of an armspan covered in midnight blue pigment; you couldn’t tell if it was concave or convex and you didn’t want to get too close because of the powdered pigment on its surface. There were piles of that same midnight blue pigment, and I remember thinking, “Yves Klein at a spice market.” I’d never heard of this artist, but I responded to the simplicity and materiality of his work. Since then I’ve encountered his work, as I’m sure you have, with increasing frequency. The surfaces are always interesting; and more than most dimensional work, his forms challenge your spatial perceptions of dimension and direction. These concerns continue in two recent exhibitions at the Barbara Gladstone Galleries in New York City. Red predominated in Gladstone’s 24th Street “flagship” space (the show is now closed); reflection in the 21st Street space, where the show remains on view until August 15. Vertigo, 2008, 85 3/4 x 189 x 40 inches. The horizontal curve of mirror-polished stainless steel is compelling not only in its sleek form but in its distortion of the space and objects around it–big small, right side up, upside down. The only color in the gallery comes from the clothing of the visitors and the Exit sign In the 21st Street show, reflection deepens and alters the forms. There are four large, reflective stainless steel forms: a spindly cone, a tall rectangular block, a “cooling tower,” and a long horizontal curve that’s concave on the inside, convex on the outside. Your first impression is of the way they are placed within the space: the rectangular block is aligned with the spindle and tower to form a reverse arc in conversation with the curved form on the other side of the room. You are thus enclosed within the space of these four forms. It is a neat trick of placement. Their mirror-like surfaces alter your perception because you see not only the their form and the way they hold their part of the room, but the other sculptures that are reflected in them. Those reflections are distorted by the concave and convex surfaces, and they change as your position changes in relation to them. I visited this exhibition several times; the gallery was never crowded, but the degree of engagement was intense. The spindle (”Spire”), the block (”Door”), and the “cooling tower (”Pole”), are arranged in a sort of arc opposite the curved form. You are not only surrounded by the forms, you are distorted. That Giacometti-esque figure reflected in the tower is moi. It is particularly enjoyable to see jaded New Yorkers engaging with the work in such a physical way. Viewers move up close and then back up, watching their reflection change in the process, and they peek and peer into orifices. And, yes, these are New Yorkers, not tourists; they’re all wearing black (unless they’re from Brooklyn, in which case they’re dressed in anti-Manhattan garb, no black, which is to say they look like tourists.) And of course there are tourists, too. I noticed one scuff mark toward the base of one work. Given the way visitors are allowed to navigate freely around the work, I was surprised there weren’t more. I asked young man behind the desk if there had been any scrapes or scratches. “We have this chalky powder we rub on the surface and buff it a little bit,” he replied. Ah, polishing clay. Jewelry makers use it to get their metal surfaces up to a high shine. So even big sculptors and galleries depend on little tricks. At the “red” show in the gallery’s 24th Street location, how you approached the work made a huge difference in what you saw. Above and below, two views of Blood Stick, 2008, resin, 52.76 x 55.12 x 401.57 inches The “red” show at the 24th Street location, now down, had more of a narrative about the body, given the predominant color of the various forms. Blood Stick, the largest and most dramatic, is an accurate title. Creepy and compelling in equal measure, it beckoned and repelled. A fellow gallerygoer likened it to a club. I thought of a used tampon—life coming and going. The “cooling tower,” a form that also appeared in the 21st Street Gallery, is here split to reveal a blood-red interior. The opening is large enough to permit entry. What was pure form on 21st Street now has womb-like associations. Do you dare enter? A bulbous form hangs on the wall, weightier at the bottom. Called Drip, it suggests an enormous drop of blood ready to yield to gravity. Here for Alba, 2008, Fiberglass and paint, 110.38 x 109.06 x 118.11 inches. Below, a view into the center reflects the space outside Drip, 2008, resin and paint, 106 x 76 x 59 inches In a video about his work, Kapoor describes his process: “I’m going in a direction I’m interested in. But what I’m doing precisely, I do not know.” That’s as good a definition of the creative process as I’ve heard. In terms of the breath of ideas and materials, Kapoor is part of a triumvirate that would, for me, include Louise Bourgeois (subject of a just-opened retrospective at the Guggenheim), and Martin Puryear (subject of a recent retrospective at the Museum of Modern Art). Each of these sculptors, using a range of materials—some natural, some not— draws on elements from the collective unconscious (dark voids and spiders, for instance) or elements from our collective culture (domes, baskets, horns) and transforms them into vessels for navigation. Through them we may find our way between the known and the not-known, or the real and the illusory, or even shuttle between one level of thinking and another. Then again, to paraphrase Kapoor, they may simply carry us in a general direction whose destination remains something of a mystery. All photographs by the author. Art Santa Fe… and Art Basel Miami Beach I know that I had promised to report from Santa Fe, where last week I was wearing both my gallerist and artist hats at the Art Santa Fe art fair. However, the best laid plans of mice and art dealers often go awry when you arrive at your pristine white booth and the crates full of artwork await your unpacking, review and hanging. An art fair is a demanding event for an art dealer – there are the long hours on your feet, the science of hanging the work on the limited wall space, arguing with your partners as how and what to hang, and attempting to figure out what will best represent your gallery, dealing with the thousands of people, day after day, and hoping for the best return on the massive investment that participating in an art fair can be. And in spite of nearly flawless delivery by the organizers of Art Santa Fe – and kudos to them and to all art fair organizers; it is a complex and demanding job and I am always in awe of the people who organize it well – the fair was not a commercial success for most of the participants that talked to me. But the talk at the dealers’ break room and at the aisles was the same: low sales. Like any art fair, I am sure that some dealers did very well; however, I spoke with many gallerists who were very disappointed by the low sales and the crowd composition. “This is the worst Saturday that I’ve had in ten years of doing art fairs,” said to me a New York gallerist with a lot of fair experience. The fair started with a vernissage on Thursday evening. “Don’t expect sales to night,” warned a local gallery which had done Art Santa Fe several times. “Tonight is a social gathering and chances of making a sale are less than 1%.” A video of the grand opening, courtesy of Vernissage TV can be seen below: Unfortunately she was right, but for many spaces her prediction eventually applied to the entire four day event. As the last day approached several dealers confided in me that they had not made a sale yet. Sunday brought a few sales from that same sample group, but in low numbers. A British gallery only sold $900 worth of art in the entire fair, while an Asian gallery didn’t sell a single work the entire four days. A New York gallery that had sold a $2500 painting on the opening night (and thus hit that 1%) went through the entire next three days without a sale other than selling a catalog. last year they had sold seven paintings on Sunday alone. But on this Sunday the gallery assistant went to the break group, grabbed a couple of apples, and when he got back to his space, tossed one to his boss. “Thanks,” he said acidly, “that’s a $20,000 apple.” The low sales at Art Santa Fe appear to reflect anecdotal evidence that the art fair market has certainly put the brakes on. The fair organizers seemed to have done everything that was demanded of them to make the fair a success, although one local dealer commented that it was crazy to set the fair on the same weekend as the Fifth Annual International Folk Art Market,” the largest international folk art market in the world, an event which was taking place at the same time as Art Santa Fe. I’m not sure what, if any effect this had on the low sales experienced by most of the gallerists and dealers who confided in me, and in fact it seemed to me that if that other art event attracted (as I am told it does) collectors from all over the world, then perhaps some sort of complimentary ticket factor, where your ticket to the folk market gets you into Art Santa Fe, and viceversa, may have worked out wonders in adding some actual art buyers to both fairs’ visitors. Other than the curious fact that the art storage was closed and not manned during the fair’s hours of operation (so that if one had the rare sale and wanted to replace the sold work, then you had to fill a work order sheet to get someone to open storage in order to get a new piece for your booth), the fair organizers operated the complex chess game of running an art fair pretty well and deserve well-earned kudos for organizing it. One last thing, not just for Art Santa Fe organizers but for nearly all art fair organizers in the world: invest in a dozen community ladders that can be borrowed by the galleries as needed. It will make installation and deinstallation flow much smoother. Thus overall, in my impression the art fair was a commercial failure underscored by lack of significant sales by the majority of participants – the galleries which did well (and I am sure some small number did ) will probably return next year, but I suspect that Art Sata Fe 2009 will see a lot of new faces in a year. Money is not everything in the decision to participate in an art fair, but it is the most important factor. It is expensive to do an art fair, as booth costs are in the thousands and rapidly climb into the tens of thousands. Then there’s shipment costs, hotels, staff salaries, transportation and food. By the time that you add up all those costs, even the smallest booth often means investing more that $10,000, and if expand just a little, you can easily end up with a $20,000 apple… or $30,000 or… But another key factor in fair participation is exposure, and in this aspect our presence there was a successful one. In the crowds, although collectors seemed rare, artists were plentiful and tourists enjoyed the visual show, and we did manage to connect with two separate top notch collectors, and we hope that as we develop a relationship with them, that it will translate into some future sales. And the networking facet of this connection has many ramifications. Collectors with connections are possibly as important as a good sale. In one case of a collecting couple, he is not only a major photography collector about to become a collector of contemporary Cuban art (on the advise of his art advisors), but also he is on the board of a major American museum. He is very interested in acquiring some important pieces by some of the Cuban artists who we represent and we have begun a cyberspace dialogue with images, prices and details. His wife is a major collector of glass, and also on the board of a major school. At Art Santa Fe we exposed her to the groundbreaking work of Tim Tate and this may be the beginning of a long relationship. For a gallerist interested in promoting his artists to other markets and dealers, art fairs are also very good, and we were able to begin cementing a relationship with three separate galleries for one of our key artists, including his first gallery representation in the United Kingdom, as well as representation in Santa Fe and New York. And thus, although we didn’t sell a single piece of his work, we will now be working with him to get his work represented and exposed to Europe, New York and Santa Fe. There is a lesson in there somewhere as to why a good artist-gallery relationship often encompasses a lot more than sales. In this case the artist walks away with three new dealers, while the gallery walks away with a huge bill, but the good feeling of knowing that it helped the artist grow. As the artists grow, hopefully they will help the gallery grow. Networking and information exchange are good for business and gossip, and Art Santa Fe yielded some gems! Not only the overall feeling that American art fairs seem all to be doing fairly bad this year, and that the “brakes are on,” as far as the art fair market is concerned, but also that we may see an associated reduction in the number of fairs in 2009. We also heard some horror stories about some “hotel fairs.” And yet the Miami December art fair weekend, which in December 2008 hosted 22 separate art fairs, and in spite of seeing some of those fairs not return in 2009, will nonetheless have some new fairs in the schedule and I’m told around 25 art fairs will take place in the land of exiles, sun, sand and mojitos. One lovely Santa Fe evening we had dinner with some gallerists from Europe and the US, as well as a few other artsy folks - a fair organizer, a curator, an art magazine editor, and someone who has a business of constructing the booths at the fairs; all of them insiders into the fair scene and name-dropping, connected art nobility. It was lively conversation as arguments erupted about the art centers of the world, and the discussion of LA as future emerging art center for the developing marriage of art and technology. It was here that I dropped a bomb of a rumor that I have been hearing for months from people who do not want to be quoted. “I’ve been hearing a rumor that Art Basel Miami Beach may be pulling out of Miami Beach and relocating to Los Angeles,” I said. “Nonsense!” said a very, very connected curator from Miami. “ABMB and the city have a six year contract - ABMB is not going anywhere!” “I’ve heard the same thing,” said a magazine publisher from Los Angeles. “And,” added the art magazine publisher, “there’s only two years left on that contract anyway.” That info was backed by another person in the group, who also added that he thought that it was pretty much set that ABMB would be moving to LA after its contract with Miami Beach expires. “It will never happen,” said the vigorous defender of the Greater Miami area. “Miami is a magnet for Europeans in the winter, and the crossroads for Latin America, Europe and North America… people and collectors, want to go to Miami in December.” “That’s true,” replied her Californian tormentors, “but LA is the center point of the Latin American Pacific rim as well as Asia… and we have beaches as well.” And thus you heard it here first… several plugged-in insiders seem to verify what I’ve been hearing about for months: that the heart of the Miami art fairs phenomenom - Art Basel Miami Beach - may be, and I repeat, may be, pulling out of Miami Beach once its six year contract ends and ABMB may be moving the American version of the European fair to Los Angeles. The question then becomes: if ABMB does move to LA, will the other 25 satellite mini-art fairs follow ABMB to Los Angeles? Miami is not an easy place for art fair visitors to get around, but it is still a hundred times better to get around Miami than to get around LA trying to visit a dozen separate art fairs – not to even try to visit all 25 of them – in one weekend. ABLA may be able to re-create its ABMB success in Los Angeles, while at the same time shaking off many of the small satellite fairs that slowly but surely sprouted around it over the years. But it will – at least initially – be a lot less satellite fairs than ABMB and thus it may be a cool, calculated move by AB to reduce its competition for the stagnant collectors’ market by bringing them to a new pond with less competition. It is no secret that part of the success of most major art fairs like AB, ABMB, ARCO and others is that on their nickel they fly in and put up a most of the top 200 or so art collectors in the world – much like Vegas does with big gamblers. And because of this, these major collectors attract many other collectors and soon you have the core of the world’s collecting nobility at an event like ABMB. Some portion of those collectors will not only spend their Euros and dollars at ABMB, but also at the satellite fairs. Bring them to LA, shake off a few satellite fairs in the process, and the over saturation of available art is reduced, and more money is spent at ABMB and the few brave satellites that will follow AB to LA. I imagine that the LA city fathers and mothers are doing all they can to make the move to California irresistible for the AB people. Not only great incentives in potential location, city involvement, etc. but plausibly enough even in the creation of city ordinances and regulations which may make it impossible for a hotel fair to be organized. In austere financial times the need for drastic action rises to the top, and so I think that this combination of factors may be the reason that the rumored ABMB move to LA may be true. And if ABMB does become ABLA, what would that mean for the first weekend in December in Miami? If ABLA takes place on that weekend, things look grim for Miami. I believe that there still will be room for a few art fairs – after all the foundation has been set – but we will see a handful of them, not 25 on that December weekend. But I suspect that most of those fairs would follow AB out West. If ABLA takes place on some other timeframe, then perhaps the Miami December art fairs - a reduced number of them anyway – could possibly exist on their own, sans ABMB. We will see. For now we have to check our bank account to see if we can afford to get a booth in Miami this coming December. Art Santa Fe - Day One And so we flew in couple of days ago to beautiful New Mexico where I’m taking part in the Art Santa Fe art fair, and where we’ll be trying to find homes for lots of good artwork at the fair, which is being held this year from July 10-13, 2008 at El Museo Cultural de Santa Fe and right across the street from Site Santa Fe. After spending a day in Albuquerque, on Wednesday we checked into the fair and checked our booth spaces. The whole area around the fair site is a whirlwind of construction as new art sites, art buildings, etc. continue to populate this area of the city. At the fair, it was a beehive of work as shiipers unloaded crate after crate of artwork and gallerists from 19 countries checked in. All of our crates were waiting for us at booth 52, and right away I realized that (as usual) I had shipped too much work. In fact, I probably shipped about twice as much work as I should have. Somehow though, we hired Reed (an art installer) to help us open all the crates and begin hanging the work. Somehow everything was unpacked and then we had the crates removed. Because the storage area at the fair site didn’t open until 5 PM (memo to fair organizers, the storage site should be open and manned at all times), it was an interesting chess game moving around all the extra work while isolating what work to hang for the opening tonight. The press preview is today at 3:30PM, and then the grand private opening for collectors is an hour later. Keep checking in - there will be lots more later as I tell you how the opening gala went! Delia Brown: Precious — at D’Amelio Terras July 9, 2008 | 2 Comments » Delia Brown — Story Time — 2008 — 12 x 16 inches — oil on wood panel — from D’Amelio-Terras’ website As an artist who’s spent a lot of time in galleries, I’ve thought much about the need dealers have to position artists in relation to art collectors, and the effect this has on dealer and artist success. This leads me to consider collectors, their backgrounds, motivations, interests, tastes. They’re not a homogeneous block, obviously, so it only makes sense that an artist who’s seriously intent on commercial success should, like any conscientious marketing professional, consider a specific segment within that block and target their work toward that segment as sharply and specifically as possible, using any and all means. This came to mind, with quite a chuckle, when I visited D’Amelio-Terras late in June and pondered Delia Brown’s show, aptly titled Precious. Viewing these small panels from a distance, I felt as though I’d stepped out of Chelsea and into JC Penney’s home furnishings department, sans furnishings. The literature accompanying this show speaks of “the delicate decadence of the Rococo painters” and “Balthusian tension where innocence teeters on the cusp of naughtiness,” but I’m not buying it. With an MFA from UCLA, I have to believe Ms. Brown knows precisely what she’s doing here. These artworks are, in my opinion quite intentionally, executed in the slick, glowing and vacuous style of the manufactured oil paintings sold in shopping malls to people who neither know nor care about art, the crowd that’s made Thomas Kincade a ridiculously wealthy, powerful and Pooh-defiling man. But whereas Kincade’s work is designed for a decidedly middle-class, even Southern and Christian, crowd — see for example his painting NASCAR Thunder- The 50th Running of the Daytona 500 — Brown has targeted the upper middle-class and wealthy collector, obviously the kind more likely to amble into a Chelsea gallery. Much to my amusement, her marketing is even more refined than that; these are images of mothers and daughters, or images of young girls, but all designed to appeal to wealthy mothers. In every image, girls and their moms luxuriate in a world of satin sheets, high fashion (for the most part), pearls, pricey bathroom fixtures, primpy lapdogs and chi-chi bistros. It’s as if Ms. Brown has tapped into a market of wealthy mothers with absolutely no art sophistication whatsoever, who want mall-quality honey-dripping oil paintings that relate to their self-important, Mabelline lives. For me Brown’s project comes off as a brilliant ploy by a masterful artist with a broad, sophisticated understanding of art and society. Its conceptual component is heavily salted with the smiling sort of contempt that steams from the disenfranchised, and Brown’s feeding of these images to this market sounds more than a little like Tyler Durden’s “Fight Club” formula of selling wealthy women soap made from their own lyposuctioned fat. In the past, artists devised strategies to avoid commodification, often effacing and even removing aesthetic considerations in the process. It fascinates me to find an artist who makes commodification her plaything, and, aided by manifestly manipulative aesthetics, integrates it into a sweet yet caustic body of work. Art Santa Fe July 7, 2008 | No Comments » Early tomorrow morning I’m flying out to Art Santa Fe, where we will be participating as one of 59 galleries from 19 countries showcasing over 1,000 artists. I hope to be able to report from the fair and give you an insider’s view on the business of art from inside the art fair. The fair’s 2008 Keynote Speaker will be Dean Sobel, the Director of the new Clyfford Still Museum in Denver. If you’re in that gorgeous and amazing little sunny city full of art galleries (nearly 300 of them) known as Santa Fe between July 10-13, come by booth 52 and say hola!

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Climbing Mt. Whitney Since I last wrote, I've completed two semesters of school, gotten a job, made lots of friends, and been on a couple of vacations. One of those vacations was a trip last week to California for our Summer 2005 climb of Mt. Whitney, sponsored by BerkleyBar. Mt. Whitney, standing at 14,497 ft., is the tallest mountain in the continental United States. It's about 200 miles north of Los Angeles, on the border of Kings Canyon and Sequoia National Parks. I went to Whitney with my roommate Hyrum. He's a fairly avid hiker, and a few weeks after I moved in, he asked if I wanted to climb Whitney with him in the summer. It sounded like a lot of fun to me, so I agreed and he applied for the permit. Only 150 permits are issued per day, so not everyone who applies gets a permit. However, we were lucky and were assigned 21 July 2005. To prepare for the hike, I bought some new boots, a headlamp, and a few other things. I also trained physically. In the three weeks before the hike, I went up to the Y four times. I started from my apartment (near 800 N 100 W in Provo), biked to the Y trailhead, hiked up to the top left corner of the Y, and then ran down and biked home. It's a fun, but strenuous climb that takes about an hour, round trip. We left Provo at 5 a.m. on Wednesday, 20 July, and arrived in Lone Pine, California at 2 p.m. after an uneventful drive on U.S. Highway 6 across the Nevada desert. We drove through Humboldt National Forest without seeing a single tree except the handful that were planted at a "rest stop" in the middle of nowhere. The rest stop consisted of a gravel lot, a barbed wire fence, a trash can, and a couple of porta-potties. Nice. We spent the rest of Wednesday getting a camp site at Whitney Portal, mailing some post cards, setting up camp, and reading. We were in bed by 8 p.m., but didn't fall asleep for a while because of the heat. It was over 100 degrees Farenheit in Lone Pine, and probably 80 degrees at our camp site. We got up at 3 a.m. and were on the trail by 4 a.m. on Thursday. We wanted to get an early start to avoid being on the ridge line when the afternoon thunder storms hit. We made good time most of the day, passing a few people who had started at 2 a.m. The views were incredible. The trail follows streams for quite a while, so we got to see lots of flowers and plant life. There are a few lakes and meadows at pretty high elevations, which surprised me. It's cool to finish climbing a pretty steep section of the mountain and then find yourself in a beautiful mountain meadow with a gurgling stream flowing through the middle and majestic mountains on both sides. About seven miles into the hike we reached Trail Camp, where many people who do the hike in more than one day stay for the night. Trail Camp is in a large, flat-bottomed bowl, but after that are 99 (or so) switchbacks that lead up to Trail Crest, where you can see over the ridge into the next valley. Trail Camp is at about 12,000 ft., and by that point we could feel the effects of the thinner air. Neither of us got altitude sickness (thankfully!), but we took things a bit slower and rested a bit more. One really cool thing about the switchbacks is that there is a spring that runs straight down them, so we walked through water on each switchback. There were a few places where the water flowed under the rocks and would emerge a few turns higher up. We reached Trail Crest at about 10 a.m. and stopped for lunch (raspberry sweet rolls—yum!). There was a man resting there who must have been in his 60's who has climbed Whitney 107 times! He climbed the mountain for the first time in the 1950's with some friends because they heard that there was going to be a nuclear test and they wanted to see it. Sure enough, they were up there at the right time and saw a mushroom cloud off in the distance. After lunch we hit the trail again. The final two hours were a lot of work. We were at higher elevation, so we weren't quite as quick, and the trail was more up-and-down because we were on the ridge. Every step down was a step that we'd have to take back up again. We kept a close eye on the weather while we were on the ridge. It's very exposed, and there's no where to go if lightning strikes. Luckily, the weather stayed away while we were up there. We summitted at 11:48 a.m., exactly 7 hours and 48 minutes after we had started on the trail. The view from the top is pretty incredible. We saw a number of mountain lakes, valleys, sheer cliffs, and, of course, the surrounding Sierras. The weather at the top was pleasant, probably about 60 degrees, with a light breeze. We rested up there for a while and talked to some of the other hikers while enjoying delicious and nutritious BerkleyBars. The bad thing about hiking 11 miles up to the summit was that we had to hike 11 miles down to the trailhead. Of course, it's easier to go down than up, but it's still a lot of work. We left the summit at 12:30 p.m. We were glad when we finally reached Trail Crest, because that meant no more up-and-down. The last five miles about killed me. My feet hurt, my legs were tired, and we could see the road, but it didn't seem to get any closer. A thunderstorm hit when we were two or three miles from the trailhead. We didn't get too wet, but we were certainly glad that we weren't on the ridge then. We waited under a tree for a few minutes while pelting hail fell from the sky. We reached the trailhead at 6:36 p.m., for a round-trip time of 14:36. We hobbled over to the bear boxes, loaded our stuff into the car, and headed back down to Lone Pine. I had a nice, fatty, chicken bacon swiss burger for dinner. We stayed at a Super 8 in Bishop for the night and then headed home early the next morning. We had planned to wake up at 5 a.m., but we didn't get up until 6:30. We were tired. The trip to Whitney was a lot of fun. The climb itself was one of the more demanding things (physically) that I've done in my life, but it felt great to be on top. If I did it again, I'd probably stay at Trail Camp for the night and do the hike in two or three days. The views were beautiful, from the springs and streams to the snow masses to the ubiquitous little blue flowers to the breathtaking vistas on the summit. All of the images in the post are copyright 2005 Hyrum Wright. My panoramas from the summit Hyrum's hiking page Aerial photos of Mt. Whitney Word of the day: spelunking the practice of exploring caves. I got stuck in a cave the last time I went spelunking. Great post. I used this same page design when I had a blog... Good choice!

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Stagecoach MCSL - Chester & Wirral Depots - Printable Version +- Forum | Merseyside Dennis Dart Website (http://dartslf.com/forum) +-- Forum: Buses (/forumdisplay.php?fid=1) +--- Forum: Local Bus Scene: North West and Wales (/forumdisplay.php?fid=2) +--- Thread: Stagecoach MCSL - Chester & Wirral Depots (/showthread.php?tid=1427) Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 RE: Stagecoach Chester & Wirral - R879 HRF - 09/01/2014 09:57 Enviro 19018 is In for repaint and retrim. The others are to follow. RE: Stagecoach Chester & Wirral - busdude - 09/01/2014 16:34 Anybody know what the route amendments are to routes of 38, 41 & 42? (09/01/2014 16:34)busdude Wrote: Anybody know what the route amendments are to routes of 38, 41 & 42? An alteration of route 41/42 to Croft Retail Park (Bromborough) was mentioned along with the re-introduction of night services on the 41/42 corridor, and an extension of route 38 to Heswall from West Kirby and Croft Retail Park from New Ferry. Whether they actually decided to go ahead with any of it is another question. RE: Stagecoach Chester & Wirral - wirralbus - 09/01/2014 19:58 The 41 and 42 maybe a possibility via the Retail Park , any reintroduction of an evening service would mean that Avon getting another little shove from Stagecoach . ** Stagecoach beware of the monumental traffic gridlock this place suffers at certain times of the year **. 38 to Heswall would effectively seal the fate of the 22 if it had any future whatsoever after the X22 came into being. RE: Stagecoach Chester & Wirral - SNL 824 - 09/01/2014 21:47 (09/01/2014 19:58)wirralbus Wrote: The 41 and 42 maybe a possibility via the Retail Park , any reintroduction of an evening service would mean that Avon getting another little shove from Stagecoach . ** Stagecoach beware of the monumental traffic gridlock this place suffers at certain times of the year **. If it does extend to Heswall, I agree that would not help Avon's cause. But that would make it a monster meandering route. Why not complete the circle back to Bromborough via Clatterbridge and Spital. RE: Stagecoach Chester & Wirral - SF07 - 10/01/2014 23:19 Stagecoach are celebrating their 1st birthday since the takeover of First last year by offering unlimited travel on Sunday on all Stagecoach services in Chester and Wirral for £1. http://www.stagecoachbus.com/serviceupdatedetails.aspx?Id=9268 RE: Stagecoach Chester & Wirral - Penny Return - 11/01/2014 13:59 Believe every other 38 from new ferry will be extended to the croft,this will be good for cross wirral customers RE: Stagecoach Chester & Wirral - R557 ABA - 13/01/2014 11:47 (10/01/2014 23:19)SF07 Wrote: Stagecoach are celebrating their 1st birthday since the takeover of First last year by offering unlimited travel on Sunday on all Stagecoach services in Chester and Wirral for £1. Nice to see they failed to mention their £1 ticket wasn't valid on Merseytravel tendered services though. (13/01/2014 11:47)R557 ABA Wrote: Other than the early 141/142 services what other merseytravel contracts do they do on a Sunday ? (13/01/2014 14:18)wirralbus Wrote: Other than the early 141/142 services what other merseytravel contracts do they do on a Sunday ? They're the services I meant as I had to walk to Woodchurch to get the first bus of the day to Birkenhead to go towards Chester. Upon enquiring with customer services they say I should have been able to buy the day rider on the 141/142, it's not a big deal as I only had to pay £2.20 for a days travel in all.

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Densho Digital Repository Densho Digital Repository By Facility Using Materials in the DDR densho.org Yoichi "Cannon" Kitayama Nisei male. Born November 24, 1928, in Portland, Oregon. Grew up in Portland, where parents ran a hotel. During World War II, removed to the Portland Assembly Center, Oregon, and the Minidoka concentration camp, Idaho. After leaving camp, joined the military and served in Japan. Eventually returned to Portland. Yoichi "Cannon" Kitayama Interview — ddr-one-7-46 April 27, 2013. Portland, Oregon. 02:28:03 — 20 segments. http://ddr.densho.org/ddr-one-7-46/ © Densho, 2020. Terms of Use/Privacy Policy BACK TO TOP The text of this page is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Where indicated, images and other primary source materials may be subject to use restrictions by their respective rights holders. More information This material is based upon work assisted by a grant from the U.S. Department of the Interior, National Park Service. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the U.S. Department of the Interior. Visit Densho.org

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The Butler Scholarly Journal BIASFREE Themed Issues Mental Health and Disability Awareness War Issue Bob Dylan-Voice of his Generation and Late-Modernist Alien Although Bob Dylan is more often discussed as a musician, as the ‘song and dance man’ he once described himself as [1], his 2016 Nobel Prize Award draws attention to the literary qualities of his work. From the first publishing of his complete lyrics in The Lyrics 1961-2012 in 2016 to Christopher Ricks’ colossal book of criticism on Bob Dylan as lyricist, Dylan’s Visions of Sin, growing interest in his songs as forms of literature has brought both fruitful insights and a lot of confusion as to the status due this ambivalent figure. This article is not an attempt to… The problem with the Turner Prize: Deciphering criticism of Britain’s most prestigious art competition Ever since its conception in 1984 the Turner Prize has long been a source of controversy, both within and outside of the artistic sphere. Many specific works have provoked a strong public reaction; Tracey Emin’s bed, Damien’s Hurst’s formaldehyde shark and Anthea Hamilton’s recent sculpture, have all excited and appalled in equal measure. However, it is not the controversial nature of the pieces that will be discussed here, it is the debate surrounding the very nature of the prize itself. The right-wing press, particularly the Daily Mail, has long been critical of the prize. Quentin Letts, Mail correspondent, described this… Interview With An Artist: Alan O’Cain During the 2015-2016 academic year Alan O’Cain has been the artist/writer-in-residence shared between Josephine Butler College and St. Cuthbert’s Society. In this interview with Kiran Kaur he discusses ‘The Bikini Line’, an art installation created in collaboration with students, staff and SCRs from both colleges and situated in Durham Botanic Garden from 16th June to 25th July 2016. KK: What is the nature of the installation and what inspired it? AO: In 1946 a total of 167 inhabitants of Bikini Atoll in the Pacific Marshall Islands were relocated by the US Government in order to carry out nuclear bomb testing in the… The use of portraits as political tools in the courts of early modern Europe The infamous painting of Henry VIII by Hans Holbein is one of the best-known images in English history. Instantly recognisable in the modern era, the portrait successfully exemplifies the authority and power of the Tudor king. It still springs to mind at the mention of his name, five hundred years on from the painting’s completion. However, in the early modern period, portraits had political dimensions beyond that of mere representation. The Florentine humanist Leon Battista Alberti contended in the fifteenth-century that ‘painting possesses a truly divine power which…makes the absent present’. (1) Early modern portraits of sovereigns were employed precisely… The Emergence of Time Within the Spacial System of Comics To define the concept of emergence as ‘a process whereby larger entities, patterns, and regularities arise through interactions among smaller or simpler entities that themselves do not exhibit such properties’ (1) helps us to better understand print as Marshall McLuhan saw it: a fundamentally emergent technology. The new oil base for printing came ‘from the painters rather than the calligraphers’, and ‘the smaller cloth and wine presses embodied most of the features required by the printing press… the primary problems of innovation centered around the arts of engraving and casting…’ The goldsmiths and many others were needed to make up… The story behind ‘Cry for Justice– The Scream’ A large number of you will have seen or heard about Palatinate’s efforts to reveal the threefold budget spent on art in and around the new Palatinate centre on the science site. New additions to the university’s collection are worth £1.4 million, and include, amongst others, original works by the likes of Henry Moore, Pablo Picasso and Andy Warhol. These are largely on the ground floor and thus open to visiting students – in fact I would greatly recommend a stroll though – when else will you have a chance to explore a free art gallery by master artists, and… Art as an investment and other thoughts Attending the Butler Scholarly Journal Discussion Forum on the use of public art in universities was a provocative and invigorating experience which, it seems safe to say, certainly challenged some of the opinions originally held by a good number of those in attendance. I went to the event expecting, perhaps, to listen to a number of somewhat defensive talks intended to justify Durham University’s recent hotly contested £1.4 million spend on purchasing and installing works of art as part of the Gateway Development programme. However, the talks given by Durham University’s Dr Hazel Donkin (Department of Education) and Alan O’Cain… Is science an art? After attending the seminar on ‘art in Universities’ I found several points very interesting. The main topic that I would like to discuss is the question as whether science is an art. As a Natural Science student studying Physics and Earth Sciences I am quite opinionated on this issue. Obviously, this is a very controversial issue with no real right answer; however, I would like to argue the point that the arts and sciences are different topics by their definition. A very good point was made by a mathematician that maths is very linked to the arts. Many mathematical concepts… Art and Mathematics The link between mathematics and art can be divided into two sections: mathematics in art and art in mathematics. It is surprising how linked these two apparently distinct disciplines are. Firstly, let’s examine mathematics in art. This section can be further subdivided into the use of mathematics to create art and the presentation of mathematics in art. We will look at the former first. Mathematics appears in art from all periods. Take the Pyramids of ancient Egypt; by examining the proportions of the pyramids, one can find a golden ratio present. The golden ratio (approximately 1.618) appears in many unexpected… Fenwick Lawson’s ‘Cry for Justice- The Scream’ Emma Crosby Both speakers discussed Fenwick Lawson’s ‘Cry for Justice – The Scream’ sculpture, which sits between the Bill Bryson library and the Geography department. Prior to the speaker’s talks, I was far for the sculptures biggest fan. Although I was vaguely aware of its connections to the Vietnam War I felt that, due to the lack of information provided about the sculpture, it could easily be misinterpreted. I also felt that it was in an odd position in the University, as quite frankly the last thing a student wants to see after a long day in the library is… Twitter: @_BSjournal Butler JCR Design © Rupert Maspero 2020

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Neal v. Sherman United States District Court, C.D. California Julius Neal Present: The Honorable Shashi H. Kewalramani, United States Magistrate Judge CIVIL MINUTES-GENERAL Proceedings: (In Chambers) Order to Show Cause Why This Action Should Not be Dismissed Petitioner Julius Neal (“Petitioner”), proceeding pro se, signed and subsequently filed a Petition for Writ of Habeas Corpus by a Person in State Custody (“Petition” or “Pet.”) pursuant to 28 U.S.C. § 2254. Electronic Case Filing Number (“ECF No.”) 1, Pet. The Petition was filed in this Court on November 22, 2019. As best can be understood, the Petition raises two sentencing error claims. ECF No. 1, Pet. at 5, 7. Based on this Court's review of the Petition, it appears to have several problems. First, although Petitioner frames his claims as federal constitutional claims, at heart he is complaining about the sentences he received pursuant to California state law and apparently, his entitlement to parole. ECF No. 1, Pet. at 5, 7. Such claims are not cognizable under federal habeas law. Second, it does not appear that the current habeas petition was filed in a timely manner. As explained in more detail below, the Petition appears untimely because it was filed well after the one-year deadline under the Anti-Terrorism and Effective Death Penalty Act of 1996 (“AEDPA”). Lastly, Petitioner has neither claimed-nor is there any evidence to support-that he appealed to the highest state court regarding his claims to indicate exhaustion of state court proceedings. However, before this Court makes a final decision whether the matter can go forward, this Court will give Petitioner an opportunity to provide any information he may have regarding the timeliness of this Petition, his exhaustion efforts, and the merits of his claim. Therefore, this Court issues this Order to Show Cause (“OSC”) why this action should not be dismissed as untimely. Petitioner's response is required no later than January 4, 2020. II. BACKGROUND A. State Court Proceedings Petitioner alleges that he was convicted of several counts of attempted murder on May 7, 2008. ECF No. 1, Pet. at 1. The California Courts Case Information docket indicates that Petitioner filed a direct appeal in his case, which was denied by the California Court of Appeal on April 23, 2009. People v. Neal, California Court of Appeal No. B208022, http://appellatecases.courtinfo.ca.gov (last accessed on December 3, 2019)[1] His Petition for Review to the California Supreme Court, filed on May 27, 2009, was denied on July 8, 2009. People v. Neal, California Supreme Court No. S173139. The California Courts Case Information docket also indicates that Petitioner filed a state habeas corpus petition with the California Supreme Court on November 22, 2019, the nature of the claims being unclear at this juncture. In re Neal (Julius) on Habeas Corpus, California Supreme Court No. S259319. That case is currently pending. The Court finds no other entry on the state docket indicating that Petitioner filed any other collateral challenges to his judgment of conviction. B. Federal Court Proceedings On November 4, 2019, Petitioner constructively filed the pending federal Petition and asserted the previously described grounds for habeas relief. See Roberts v. Marshall, 627 F.3d 768, 770 n.1 (9th Cir. 2010) (noting that the “mailbox rule” allows a court to deem a pleading that is handed by a pro se litigant to prison authorities for mailing constructively “filed” on the date it is signed). III. DISCUSSION As discussed in more detail below, the Petition appears deficient because (1) it states claims that, on their face, are not cognizable under federal habeas law; (2) it appears untimely under the one-year statute of limitations; and (3) the claims in the Petition appear unexhausted. If Petitioner wishes to pursue these claims in federal court, ...

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Webb v. Acting Commissioner of Social Security United States District Court, N.D. California STELLA WEBB, Plaintiff, ACTING COMMISSIONER OF SOCIAL SECURITY, Defendant. ORDER ON CROSS-MOTIONS FOR SUMMARY JUDGMENT RE: DKT. NOS. 21, 22 SUSAN VAN KEULEN UNITED STATES MAGISTRATE JUDGE Stella Marie Webb (“Plaintiff”) appeals from the final decision of the Acting Commissioner of Social Security (“Commissioner”) denying her applications for disability insurance benefits under Title II and Title XVI of the Social Security Act. For the reasons discussed below, the Court remands this matter for further administrative proceedings. Plaintiff seeks disability benefits for the period April 10, 2010 through March 31, 2014. See Dkt. 15 (Administrative Record (“AR”)) 15, 17. An Administrative Law Judge (“ALJ”) held a hearing on September 25, 2017, at which Plaintiff and a vocational expert testified. See AR 32-78. On April 3, 2018, the ALJ issued an unfavorable decision. See AR 15-30. The ALJ found that Plaintiff had the following severe impairments: “congestive heart failure; obesity; substance addiction disorder; depressive disorder; and left ankle fracture.” AR 17. The ALJ concluded that Plaintiff did not have an impairment or combination of impairments that met or medically equaled one of the listed impairments. See AR 18. The ALJ then determined that Plaintiff had the residual functional capacity (“RFC”) to perform less than the full range of light work with various limitations. See AR 19. The ALJ concluded that Plaintiff was not disabled because she was capable of performing jobs that exist in the national economy, including those of an office helper, mail clerk, and cafeteria attendant. See AR 29. After the Appeals Council denied review, Plaintiff sought review in this Court. See generally Dkt. 1. In accordance with Civil Local Rule 16-5, the Parties filed cross-motions for summary judgment. See generally Dkts. 21, 22. All Parties have consented to the jurisdiction of a magistrate judge. See Dkts. 9, 10. II. ISSUES FOR REVIEW Plaintiff identifies a single issue for review. See generally Dkt. 21. In addition, Court identifies a preliminary issue. Preliminary issue identified by the Court: 1. The ALJ identifies Plaintiff's left ankle fracture as a severe impairment. However, Plaintiff's left ankle fracture occurred outside of the covered period. Additionally, without addressing the coverage issue, the ALJ discounts the treating physician's opinion on the basis of the physician's reliance on the fracture. Thus, there is an ambiguity as to what the ALJ considered to be Plaintiff's ankle impairment. Issue identified by Plaintiff: 2. Did the ALJ err in assigning greater weight to the opinions of the non-examining state medical consultants and the examining physician than the opinion of Plaintiff's treating physician, Dr. Jenny Cohen?[1] III. STANDARD OF REVIEW This Court has the authority to review the Commissioner's decision to deny disability benefits, but “a federal court's review of Social Security determinations is quite limited.” Brown-Hunter v. Colvin, 806 F.3d 487, 492 (9th Cir. 2015); see also 42 U.S.C. § 405(g). Federal courts “leave it to the ALJ to determine credibility, resolve conflicts in the testimony, and resolve ambiguities in the record.” Brown-Hunter, 806 F.3d at 492 (internal quotation marks and citation omitted). The Commissioner's decision will be disturbed only if it is not supported by substantial evidence or if it is based on the application of improper legal standards. Brown-Hunter, 806 F.3d at 492. “Under the substantial-evidence standard, a court looks to an existing administrative record and asks whether it contains sufficient evidence to support the agency's factual determinations, ” and this threshold is “not high.” Biestek v. Berryhill, -- U.S. --, 139 S.Ct. 1148, 1154 (2019) (internal quotation marks, citation, and alteration omitted); see also Rounds v. Comm'r of Soc. Sec. Admin., 807 F.3d 996, 1002 (9th Cir. 2015) (“Substantial evidence” means more than a mere scintilla but less than a preponderance; it is “such relevant evidence as a reasonable mind might accept as adequate to support a conclusion”) (internal quotation marks and citations omitted). The Court “must consider the evidence as a whole, weighing both the evidence that supports and the evidence that detracts from the Commissioner's conclusion.” Rounds, 807 F.3d at 1002 (internal quotation marks and citation omitted). Where “the evidence is susceptible to more than one rational interpretation, [the Court] must uphold the ALJ's findings if they are supported by inferences reasonably drawn from the record.” Id. (quoting Molina v. Astrue, 674 F.3d 1104, 1111 (9th Cir. 2012)). Even if the ALJ commits legal error, the ALJ's decision will be upheld if the error is harmless. See Brown-Hunter, 806 F.3d at 492. But “[a] reviewing court may not make independent findings based on the evidence before the ALJ to conclude that the ALJ's error was harmless.” Id. The Court is “constrained to review the reasons the ALJ asserts.” Id. (internal quotation marks and citation omitted). Additionally, “the burden of showing that an error is harmful normally falls upon the party attacking the agency's determination.” Molina, 674 F.3d at 1111 (quoting Shinseki v. Sanders, 556 U.S. 396, 409 (2009)). &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;IV. ...

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Deer Park Recovery About Brent Coon & Associates Brent Coon has made a name for himself defending the rights of people and businesses impacted by petrochemical catastrophes. He has been an advocate for industrious workers who have been injured by corporate negligence. Mr. Coon’s experience and knowledge of the legal processes implemented by the petrochemical industry has made him and his firm the “go-to experts” in the media. Brent has been called in by MSNBC, CNN, FOXNews, CBS, and most other news media networks to offer his insight and expertise. Brent Coon, Attorney and Founder of Brent Coon & Associates Brent Coon & Associates (BCA) has successfully brought claims against DuPont, Marathon Petroleum, Kuraray, and CVR Energy. And his landmark case against BP in the Texas City Explosion resulted in a history making settlement which culminated in improvements to safety conditions for future employees, charitable donations to the Southeast Texas community, and an unprecedented decision to keep the court documents public so that BP could be held accountable for future negligence and other petrochemical companies could learn from BP’s mistakes BCA is a public policy firm and has worked with numerous state and federal investigative agencies, including the Department of Justice, multiple state Attorneys General, the United States Chemical and Hazards Investigation Board. BCA serves as institutional or advisory counsel to numerous agencies and organizations, including the United Steelworkers, pilot unions, railroad and other transportation unions. Their work in this arena has led to widespread improvements in the safety and working conditions of industries throughout America and abroad. BCA was founded in 2001, in Beaumont, Texas. Today, with multiple offices around the country and hundreds of associated firms in various practice areas, BCA is one of the most recognized trial law firms in the nation and the epitome of the 21st century law practice. Brent Coon & Associates employs a full complement of aggressive litigators with experience in individual and complex multi-party, occupational/environmental, health and personal injury cases. UPDATE: BCA Files Restraining Order Against KMCO Attorney Brent Coon interviewed by KPRC Channel 2 in Houston after filing a Temporary Restraining Order against KMCO After the fire at the KMCO Petrochemical Plant in Crosby, Texas, Brent Coon & Associates filed a temporary restraining order to prevent KMCO from tampering with any potential evidence. BCA is representing Arturo Martinez, a worker who was injured in the fire.

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Diversity Strengthens Our Country Posted by Mark Gilbert | Jul 18, 2019 | Commentary, Politics | 0 | I know we all have “Trump fatigue”….yet we must try to remain vigilant and call out misguided and hurtful behavior when it occurs. The recent news, of course, was that Trump tweeted that four Democratic congresswomen should leave the country if they don’t like it here…using language that sounded racist in tone. That Trump sounded racist was not really news, afterall he’s been making that type of statement for over 2 years now. No, what was the major news was that the Congress, in a rare move, censured the President’s actions. Meanwhile, Lindsey Graham defended the President while attacking the Democratic women calling them “Communists” and “anti-American”. The fact is….America was built on diversity. We are a country of immigrants who came here to build a better life and along the way contributed to the growth of a better country. We are stronger by nature of our differences….those differences allow us to see things differently, to grow beyond our limits on what is possible. Being open to others who are not like us is a sign of strength. Closing ourselves off to those not like ourselves is a sign of fear. It’s ok to disagree on policies and how best to handle issues we face. What’s not ok is to seek to silence those who disagree with us by using racism and labels that incite fear and divisiveness. What kind of world do you want to live in? Is it one that is built on fear of those who are different from ourselves in appearance and beliefs? Is it one where we seek to intimidate and silence those who express an opinion different from what we believe? Or, is is a world where we openly accept our diversity, seeing it as a strength….a characteristic that calls us to expand beyond our limited beliefs of the world and its possibilities…one where all people are free to express their opinions and we respectfully listen and hear them? We cannot lose our vision for the world that is possible. PreviousWorld Travel Increases Tolerance? NextTranscending Polarization Imagine No Possessions? The Perfect is the Enemy of the Good What Do You Think of the UN? Haiti opens our hearts

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Search Magazine Covers Search From: Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 through Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 March 31, 2008 | Vol. 171 No. 13 Cover Credit: James Nachtwey View Large Cover Buy This Cover Cover Credit: James Nachtwey / VII Europe, Middle East Cover Credit: James Nachtwey / VII for TIME A Monk's Struggle (Cover Story) As China cracks down in Tibet, the Dalai Lama faces his greatest challenge since going into exile 49 years ago. Can his message of peace bring his people freedom? The Dalai Lama at Home TIME photographer James Nachtwey visit the Tibetan leader at his private residence in exile in Dharamsala, India A New Tibet As the modern world and information age crashes down the mountains, the once isolated land struggles to maintain its ancient Buddhist traditions. Tackling Tibet As violent protests spread in China, two TIME veterans offer unparalleled insight into the life and mind of Tibet's holiest leader, the Dalai Lama The Origin of Obama's Pastor Problem (The Well / Campaign '08) The candidate's own critical, questioning road to faith also led him straight to a controversial mentor Obama's Challenge — and Ours (In The Arena) His speech on race was a triumph. Now he has to keep telling hard truths Chainsaw Diplomacy (The Well / Commentary) The Iraq war has spelled the end for muscular moralism in U.S. foreign policy. Here's what should replace it A Voter's Guide to the Economy (The Well / Campaign '08) With a recession looming, it's Issue No. 1 for the candidates. What will they do to turn things around? Why Women Need Better Sleep (Life: Living - Travel - Power Of One - Health / Health) Poor sleep habits make them more vulnerable to heart disease than men Hung Up on Wallpaper (Life: Living - Travel - Power Of One - Health / Living) Cutting-edge styles and techniques are giving a dowdy old standby a hip new look Where the Hospitality Is Priceless (Life: Living - Travel - Power Of One - Health / Travel) Short on cash? Online travel networks are helping tourists find a place to sleep free of charge A Village Woman's Legacy (Power of One) An encounter with the victim of an old scourge gave a former President a new worldview--and a mission Hoop Dreams. (The Moment) Each March, the world's most powerful country roots for its underdogs Washington Memo (Dashboard) Campaign Insider. For Hillary Clinton, an economic adviser who has seen it all before Postcard: Lake Mead (Postcard: Lake Mead) The massive man-made reservoir supplies 90% of Las Vegas' water--and it's drying up. The growing Southwest tries to do more while drinking less Cosmic Flock (The Well / Space) The solar system is filled with NASA's busy ships--and they're having a very good year Wheel of Blame (The Well / Blame-o-Meter) Who should be held accountable for the economic mess we're in? The Bear Trap (Wall Street) A collapsing Wall Street bank has to be sold off by the Fed. Why we are facing the biggest money crisis since the Depression God and Tyler Perry vs. Hollywood (Show Business) The big studios have sneered at his movies, but the rising media mogul is laughing all the way to the altar and the bank Founding Fighters (Arts: Show Business - Television - Books - Downtime / Television) HBO's John Adams looks anew at the start of America--and of the arguments it's still having The Jihadi Next Door (Arts: Show Business - Television - Books - Downtime / Books) What turns a law-abiding young man into a terrorist? A forensic psychiatrist offers answers 5 Things You Should Know About (Arts: Show Business - Television - Books - Downtime / Downtime) Entertainment by way of real estate, diamonds, immigration and autism Comic Stripped (Downtime) The Kitchen Stinks Composting is part of my marital bargain, but I'm not saving the planet--I'm saving the hippies Mud Moguls (Global Business: Small Business - Life At The Top / Small Business) How a tiny Israeli company mined the Dead Sea and turned its natural riches into an international skin-care brand Full Speed Ahead (Global Business: Small Business - Life At The Top / Life At The Top) What recession? Why business has never been better for the world's superyacht industry Building a Better Athlete (Innovators) If the body is a machine, the best ones need pit crews. Meet the technicians behind the champions Isokazu Kubota (Innovators) Inside a block of raw wood, the perfect bat may be hiding. It takes artistry to know how to find it and draw it out Wouter Jager (Innovators / Building a Better Athlete) Science and sport create what may be the world's fastest bicycle Holger Geschwindner (Innovators / Building a Better Athlete) What do physics and jazz have to do with basketball? Plenty, if you really want to win Laszlo Kiss (Innovators / Building a Better Athlete) Hungary's swimmers are becoming global powerhouses, thanks to the talents of one man Deon Venter (Innovators / Building a Better Athlete) An athlete needs the right training--and the right genes. A scientist learns how to spot them

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ELAC brings back women’s swim team after 10 years By Oliver Blanco After a 10-year absence, the East Los Angeles College women’s swim team has returned with Erik Matheson taking charge as head coach. Matheson is grateful for the opportunity to coach the women as he prepares the 35 women for their first competition in January. Matheson is receiving the position in June, a month after high school recruiting took place. With no high school students available to recruit,… Elan wins cross country award By Tadzio Garcia Johana Ceja’s outstanding individual performance placed her on the women’s all-classic team, while the men’s team finished 10th at the Golden West Central Park Classic last Saturday. Both East Los Angeles College’s cross country teams ran short in Huntington Beach due to injuries. “Missing were three of our top five runners from the women’s team and two of the top five from the men’s team. However, we… Poor script kills ‘Killer’ By Thy Lam Regardless of its big names such as Jason Statham, Robert De Niro and Clive Owen, “Killer Elite” disappoints with a poorly written script. Based on a true story, “Killer Elite” is a cat and mouse game between Danny (played by Jason Statham), a former special agent of Britain’s Elite Special Air Service (SAS), and a leader of a secret military society, Spike (played by Clive Owen). While… ‘Brown and Out’ spotlights Latino community By Vivian Ramirez CASA 0101 was greeted with much success during its opening weekend of the Brown and Out Play Festival, representing the Latino lesbian, gay, bisexual and transgender community. The Festival was a series of short plays authored by six people. All 10 plays vary from humorous to serious and touch base with nearly every emotion in between. Brown & Out tells the stories of a wide spectrum of Latinos… Big dishes fill small ‘Cocina’ By Amanda Mayberry Big portions and big flavor are what separates Mama’s Cocina on Mednik Avenue from other Mexican restaurants. They give students that are on a budget more for their money. Students could easily get there by train, car, or even walking, though the latter might take a little longer. The walk is about 15 to 20 minutes. The area is becoming increasingly popular thanks to the Gold Line’s Civic… Student friendly vending machines By Rodolfo Trujillo Vending machines need to dispense more vital supplies than chips and soda, even though reporters, especially certain opinion writers, like chips and soda. Imagine this scenario. It’s 8:45 p.m. and your pen has run out of ink. What could you do if no one has an extra pen to lend to you? The local store is too far to go and come back in a reasonable amount… Don’t take all general education classes first By Yesenia Martinez Waiting to take major course work right before transferring or graduating can be foolish and costly. Most students enter college being undecided on their major. Students want to decide on a major early in their school career so it does not cause money or delays in the long run. It is a good idea for students who know what they want to major in to take introductory courses… School should be safer By Cristina Galvan School should be a safe environment where students should not have to worry about having their belongings stolen. Last week, Yadira Hernandez had her car broken into in the parking structure. Among some of the things that were stolen were her laptop, books and money to pay for her classes. Since Hernandez is an AB 540 student she does not qualify for financial aid and therefore has to… ELAC creates emergency evacuation team By Amanda Mayberry As a result of the new F7 building being opened this semester, a new evacuation plan is now required for East Los Angeles College. And with this new evacuation plan comes a new emergency team. The ELAC Emergency Team is made up of faculty and staff and is divided into two parts, the evacuation team and the emergency team. Faculty members are asked to volunteer and all… Thief steals tuition from Elan By Isaac Tovar Yadira Hernandez was returning to her vehicle on the fourth floor of the parking structure Tuesday morning, between 10a.m.-noon, to pick up her forgotten cell phone charger when she noticed her car door lock had been tampered with. As she entered her vehicle, she made a horrifying discovery. A number of important and expensive items had gone missing. The items taken were three text books, $450, and a…

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Dolven Enterprises Global Provider of Products and Services to the Home Furnishings Industry Does Your Company Have What it Takes to Successfully Undergo Change? December 22, 2015 UncategorizedBy Carly Griffin For a company to continue to succeed, it needs to accept that change is inevitable and innovation is key, and it must possess the necessary aspects to thrive in the face of such. Change in the status quo can sometimes cause discomfort for a company and rarely does it come without growing pains. However, to remain competitive, businesses cannot shy away from change, and if a company fosters a culture that is action oriented, problem solving, decision making, and results oriented, it has nothing to fear. In order to be action oriented, a company must be able to take practical action when necessary to handle a problem or situation. For a better idea, take a look at Nike. The company’s leadership failed to take action against the malpractices occurring in its supply chain and make the necessary changes, and the company’s reputation suffered drastically. Since then, Nike has managed to rehabilitate its brand, but had the company acted sooner, the problem could have been avoided completely. A company’s ability to problem solve, or its capacity to resolve an issue at the root of the problem, also reflects how adaptable it is to change. When a company realizes there is a problem within its supply chain, immediate response is necessary to get ahead of the issue. When Amazon first introduced its version of the smartphone, the Amazon Fire, many thought it was a good idea. However, the retail company ran into a problem when it could not offer a competitive price, compared to other innovative giants, like Apple or Android. To make their phone a viable option for consumers, it needed to find a way for its supply chain to work in a more beneficial way. Just as essential as problem solving to a company successfully undergoing change is its decision making. To make the best decision a company must be able to weigh the pros and cons of a situation analytically. A controversial example of this is when Nokia appointed Stephen Elop as its newest CEO in 2010. Before his appointment, Nokia’s leadership floundered to keep the company on a stable development path because they could not make decisions. Elop’s decisions may have led to Microsoft’s acquisition of the company, but at least he was making decisions when his predecessors could not. Successful decision makers do not fear making decisions, like Elop, but perhaps analyze the pros and cons of their decisions better and know a little more on how to make decisions. Finally, a company wishing to effectively make a change must also be results oriented, or understands which results are most important and focusing the right resources on achieving them. When Alphabet became the parent company of Google, the co-founders, Larry Page and Sergey Brin, who also run the company, obviously knew the results they desired to accomplish with this change. However, that is only one aspect of successful results orientation. The two failed to alert Google employees of this company-altering move, thus taking the world, and its employees by surprise. The change is a complete restructuring of the company, and the transition may have been smoother had they alerted and focused the right resources (in this case, the employees) on the results it wished to achieve before it happened, instead of causing confusion and disruption in the workplace. As the old adage says, the only constant in life is change, which is why companies need to embrace it. Big and small companies alike can learn from the trials of these giant companies, and work towards cultivating the aspects necessary to undergo successful transformations. carly.griffin Born and raised in North Carolina, Carly is a recent public relations graduate of The University of North Carolina at Chapel Hill. Carly currently heads up the social media and public relations efforts at Dolven Enterprises. Supply Chain Benefits: Why we don’t want to break free from this chain Essential Tips for an Efficient Supply Chain Three Keys to a Resilient Supply Chain Lean Manufacturing to Rock Inventory Establishing Transparent Supply Chains Are You Brave Enough to Stay in these Haunted Hotels? © Dolven Enterprises, Inc. Blog | Career Opportunities

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You are here: Home / Music / Orchestra / Festivals / Schools / Performings Arts / ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD; GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD; GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES March 29, 2016 Comment Off 12 Views ACADEMY OF COUNTRY MUSIC® PROUDLY ANNOUNCES THE WINNERS OF THE SPECIAL AWARDS, STUDIO RECORDING AWARDS AND SONGWRITER OF THE YEAR AWARD GLEN CAMPBELL, CRYSTAL GAYLE, EDDIE RABBITT, TANYA TUCKER, CARRIE UNDERWOOD, KEITH URBAN, JEFF WALKER, JIMMY WEBB, LITTLE BIG TOWN & THE STATLER BROTHERS REVEALED AS SPECIAL AWARD HONOREES TWEET: Special Awards, Studio Recording Awards & Songwriter of the Year @ACMawards Winners Announced! #ACMs [insert news link here] ENCINO, CA (March 29, 2016) – The Academy of Country Music® announced today the Special Awards, Studio Recording Awards and Songwriter of the Year Award winners for the 51ST ACADEMY OF COUNTRY MUSIC AWARDS™. Honorees and winners will be celebrated during the 10th ANNUAL ACM HONORS™, an evening dedicated to recognizing the special honorees and off-camera category winners from the 51st Academy of Country Music Awards. The event will take place in the fall at the historic Ryman Auditorium in Nashville, TN. The Academy of Country Music Special Awards are voted on by the ACM Board of Directors for specific achievements. The Studio Recording and Songwriter of the Year Awards are voted on by specific categories of the Academy’s professional membership. ACM Lifting Lives Gary Haber Award – Carrie Underwood has been chosen to receive the ACM Lifting Lives Gary Haber Award. This new award, named in honor of late ACM Lifting Lives Chairman Gary Haber, was created by the ACM Lifting Lives Board of Directors to recognize a country music artist or industry professional who is committed to serving others, has a generosity of spirit and shows a dedication to helping those in need. Carrie Underwood, one of Haber’s longtime clients, was among the first artists to partner with ACM Lifting Lives, bringing much needed musical instruments to the public schools in her hometown, Checotah, OK. This year, Underwood is giving her time as a headliner for the first night of the three-day ACM Party for a Cause Festival on April 1st. In addition, she has been involved with a number of charitable endeavors including the Make-A-Wish Foundation, the Ryan Seacrest Foundation, Operation Homefront and her own C.A.T.S. Foundation, which gives back to her hometown community. Career Achievement Award – Glen Campbell has been chosen to receive the Career Achievement Award, which honors artists who have advanced the popularity and acceptance of country music through their endeavors in the entertainment industry in multiple areas during the preceding calendar year. Glen Campbell, over the course of six decades and 45 million records sold, blazed a trail as one of country music’s most diverse entertainers. His blend of country and pop sounds in the ‘60s and ‘70s resulted in the classics “Gentle on My Mind,” “By the Time I Get to Phoenix,” “Wichita Lineman,” and “Rhinestone Cowboy,” just a few of his 29 Top 10 singles. His lauded career earned 10 Academy of Country Music awards, including the 1998 Cliffie Stone Pioneer Award, and induction into the Country Music Hall of Fame. Campbell also flourished as a first-call session guitarist, performing with the Wrecking Crew, and contributing to iconic songs by the Beach Boys (Pet Sounds album), The Righteous Brothers (“You’ve Lost That Lovin’ Feeling”) and The Monkees (“I’m a Believer”). Born the son of an Arkansas sharecropper, Campbell’s combination of talent and personality made him successful as an actor in True Grit alongside John Wayne, and as host of his popular television show, The Glen Campbell Goodtime Hour. In recent years, Campbell faced his struggle with Alzheimer’s disease head-on, launching a farewell tour and documenting it in the acclaimed 2014 film, Glen Campbell: I’ll Be Me. A song featured in the documentary, “I’m Not Gonna Miss You,” was co-written by Campbell and won the 2015 Grammy Award for Best Country Song and was also nominated for Best Original Song at the 2015 Academy Awards. Past recipients of the Career Achievement Award include John Anderson, Vince Gill, Faith Hill, Toby Keith, Tim McGraw, Ronnie Milsap, Johnny Paycheck, Carl Perkins, Reba, Kenny Rogers, and Alabama. Cliffie Stone Pioneer Award – Crystal Gayle, Tanya Tucker and The Statler Brothers have been chosen to receive the Cliffie Stone Pioneer Award honoring individuals who are pioneers in the country music genre. Crystal Gayle traversed new territory as the first female country artist to achieve platinum album sales with her 1977 project We Must Believe in Magic, containing her crossover smash “Don’t It Make My Brown Eyes Blue.” The Kentucky native and younger sister of Loretta Lynn has been connecting with fans of country-pop for five decades, starting with the release of her debut single in 1970. Often working with hit-making producer Allen Reynolds, Gayle scored 20 No. 1 country hits during the 1970s and ‘80s, including “You Never Miss a Real Good Thing (Till He Says Goodbye),” “I’ll Get Over You,” and “Talking in Your Sleep.” She toured worldwide and starred in several prime-time television specials. In total, Gayle’s career yielded six Gold albums and four prestigious ACM Awards. Since the release of her debut single, “Delta Dawn,” at age 13, Tanya Tucker has been influencing generations of female artists. The 1972 hit, under the guidance of legendary producer Billy Sherrill, was the first in Tucker’s string of 56 Top 40 singles, including 10 No. 1s. Boosting her success was her willingness to address difficult topics, such as adultery and revenge in the song “Blood Red and Goin’ Down.” During the ‘70s and ‘80s, Tucker scored with “Would You Lay with Me (In a Field of Stone),” “Texas (When I Die),” “Can I See You Tonight,” and “One Love at a Time.” The 1990s marked a professional high-point for Tucker, thanks to memorable songs “Two Sparrows in a Hurricane,” “Down to My Last Teardrop,” and “It’s a Little Too Late.” Tucker is the recipient of two ACM Awards. Today, more than fifty years since her first record deal, she is still actively touring and making music. The Statler Brothers was a pioneering quartet comprised of Harold Reid, Don Reid, Phil Balsley, original member Lew DeWitt–and later member Jimmy Fortune. The Virginia natives intertwined gospel-inspired harmonies with country songs, getting their professional break in 1964 as Johnny Cash’s backing vocalists and opening act. This launched a career that would yield numerous hits in the 1960s through 1980s, including “Flowers on the Wall,” “Bed of Rose’s,” “Do You Know You Are My Sunshine?,” “Elizabeth,” “My Only Love” and “Too Much on My Heart.” Many of their signature songs were helmed by producer Jerry Kennedy. The Statlers often used humor in their music and performances, leading to frequent appearances on Cash’s popular television show and their own successful program on The Nashville Network (TNN) in the early to mid-1990s. The Statlers garnered two ACM Awards and 2008 induction to the Country Music Hall of Fame. Past recipients of the Cliffie Stone Pioneer Award include Alabama, Bob Beckham, Garth Brooks, Johnny Cash, Charlie Daniels, Larry Gatlin & The Gatlin Brothers, Merle Haggard, Emmylou Harris, George Jones, The Judds, Brenda Lee, Loretta Lynn, Willie Nelson, The Oak Ridge Boys, Dolly Parton, Charley Pride, Jerry Reed, Tex Ritter, Marty Robbins, Kenny Rogers, Billy Sherrill, Ricky Skaggs, Mel Tillis, Randy Travis, Conway Twitty, Porter Wagoner, Keith Whitley, Hank Williams, Hank Williams Jr., Bob Wills and Dwight Yoakam, among others. Crystal Milestone Award – Little Big Town has been chosen to receive the Crystal Milestone Award, which is given to an artist or industry leader to commemorate a specific, remarkable achievement. Little Big Town, the reigning ACM Vocal Group of the Year, enticed listeners with “Girl Crush,” a double-platinum single they performed on last year’s ACM Awards, the Billboard Music Awards, The Ellen DeGeneres Show, the Grammy Awards, the Grand Ole Opry and Late Night With Jimmy Kimmel. Despite some initial controversy and confusion over the subject matter, the smoldering single told through the eyes of a jilted lover grew to become the most downloaded country song in 2015. “Girl Crush” held the top spot of the Billboard Hot Country Songs chart for 13 consecutive weeks, setting the longest run in the top spot for a group since the Browns’ 10-week run in 1959 with “The Three Bells.” The single’s success helped Little Big Town earn its 10th nomination this year in the ACM Vocal Group of the Year category. Past recipients of the Crystal Milestone Award include Jason Aldean, Garth Brooks, Kenny Chesney, Merle Haggard, Gayle Holcomb, Loretta Lynn, Jennifer Nettles and Taylor Swift. Jim Reeves International Award – Jeff Walker (awarded posthumously) has been chosen to receive the Jim Reeves International Award, which is presented to an artist or industry leader for outstanding contributions to the acceptance of country music throughout the world. Australian native Jeff Walker greatly impacted the international reach of country music, advocating on behalf of foreign-born artists as well as working to expose country artists overseas. He moved to Nashville in 1974 and established his marketing and promotions firm in 1980. Over the next 35 years, the company became known as The AristoMedia Group/Marco Music Group, and grew to encompass divisions offering publicity, web development, radio promotion, video promotion and label/distribution services. An active member of the Music Row community, Walker served on the boards of the Country Radio Broadcasters and the Country Music Association and the Academy of Country Music. Walker passed away on Aug. 24, 2015 at age 65. Past recipients of the Jim Reeves International Award include Garth Brooks, Eric Church, Dick Clark, Roy Clark, Merv Griffin, Alan Jackson, Charlie Nagatani, Buck Owens, Dolly Parton, Taylor Swift, Keith Urban, Lady Antebellum and Rascal Flatts, among others. Mae Boren Axton Award – Keith Urban has been chosen as the recipient of the Mae Boren Axton Award, which is given to an outstanding individual recognizing years of dedication and service to the Academy of Country Music. Keith Urban kept his Fuse burning in 2015, as that gold-certified album sparked a fifth hit single in “Raise ‘Em Up.” The Grammy-nominated anthem—which opened the live 50th ACM Awards—carried Urban and Eric Church straight to the top of the country airplay chart. The good-natured Australian also mentored aspiring talent on American Idol and attended the opening of a spotlight exhibit at the Country Music Hall of Fame and Museum about his career. Urban has given his time, talent and support to both the Academy of Country Music and ACM Lifting Lives, proving to be a great friend and advocate for both organizations for years. Since his first appearance on the ACM Awards in 2001, Urban has performed or presented on every show since then, with the exception of 2007. His remarkable achievements include ACM Awards in the categories of New Male Vocalist (2000), Male Vocalist (2004, 2005) and Album (2004, for Be Here). An extraordinary guitarist and an exceptional team player, Urban also shared wins for Vocal Event in 2008 (“Start a Band” with Brad Paisley) and 2013 (“We Were Us” with Miranda Lambert”), as well as Video (“Highway Don’t Care” with Tim McGraw and Taylor Swift). In recognition of his worldwide appeal, he was the 2009 recipient of the ACM’s Jim Reeves International Award. Following the final season of American Idol, Urban will kick off his latest world tour of arenas and amphitheaters in June. Past recipients of the Mae Boren Axton Award include Barry Adelman, John Dorris, Tim DuBois, Rod Essig, Gayle Holcomb, Jack Lameier, Marge Meoli, Paul Moore, Ray Pilzak, Gaynelle Pitts, Gene Weed, Tommy Wiggins and David Young. Poet’s Award – Eddie Rabbitt (awarded posthumously) and Jimmy Webb have been chosen to receive the Poet’s Award, which honors songwriters for outstanding musical and/or lyrical contributions throughout their careers in the field of country music. Eddie Rabbitt scored country/pop crossover success starting in 1979 with hits “I Love a Rainy Night,” “Drivin’ My Life Away,” “Every Which Way But Loose” and “Suspicions.” His career began in the late 1960s as a professional songwriter who penned Elvis Presley’s “Kentucky Rain” and Ronnie Milsap’s “Pure Love.” While working to build his career as an artist, Rabbitt opened for Dolly Parton and Kenny Rogers. Rabbitt also recorded duets with Juice Newton (“Both to Each Other (Friends and Lovers)”) and fellow 2016 ACM honoree Crystal Gayle (“You and I”). Rabbitt is an ACM Award winner and Nashville Songwriters Hall of Fame inductee. He died May 7, 1998 at age 56. The remarkable career of songwriter Jimmy Webb began in 1965, crossing numerous genres and sales milestones. He is the pen behind platinum-selling classics recorded by multiple artists. “Up, Up and Away” was recorded by The 5th Dimension, Nancy Sinatra and Diana Ross & The Supremes. “MacArthur Park” was recorded by Waylon Jennings, Dionne Warwick, Donna Summer and Glen Campbell. Webb and fellow 2016 ACM Special Award honoree Campbell had a particularly fruitful professional relationship, resulting in the hits “Wichita Lineman,” “Galveston,” “By the Time I Get to Phoenix,” and others. Among the stellar artists who have recorded or performed Webb’s compositions are Frank Sinatra, Elvis Presley, Judy Collins, Isaac Hayes, Art Garfunkel, Linda Ronstadt and Carly Simon. Webb is a member of both the Songwriters Hall of Fame in New York, and the Nashville Songwriters Hall of Fame. More than fifty years into his career, Webb still performs regularly. Previous recipients of the Poet’s Award include Bill Anderson, Bobby Braddock, Felice and Boudleaux Bryant, Guy Clark, Jack Clement, Hank Cochran, Dean Dillon, Merle Haggard, Tom T. Hall, Harlan Howard, Kris Kristofferson, Bob McDill, Roger Miller, Buck Owens, Fred Rose, Don Schlitz, Cindy Walker and Hank Williams. Tex Ritter Award – As previously announced, Dolly Parton’s Coat of Many Colors has been chosen as the recipient of the Tex Ritter Award, which is given to recognize a movie released receiving significant exposure that featured or utilized country music, during the preceding calendar year. This award will be presented to Dolly Parton during the live 51st Academy of Country Music Awards telecast on April 3rd. Dolly Parton’s Coat of Many Colors aired on NBC in 2015, inspiring millions of viewers with its story of faith and family. Set in 1955 in the Great Smoky Mountains, the film showcases a poignant time in Parton’s childhood, as her family struggles with loss, grapples with religion, and ultimately triumphs with the healing power of love. Alyvia Alyn Lind stars as the nine-year-old singer who was given a patchwork coat made by her mother, played by Jennifer Nettles. Ricky Schroder portrays Parton’s father, along with Gerald McRaney as her grandfather. The movie was watched by more than 16 million viewers, making it one of the most-watched TV movies of all time. Past recipients of the Tex Ritter Award include Beer For My Horses, The Best Little Whorehouse in Texas, Country Strong, Crazy Heart, O Brother, Where Art Thou, Sweet Dreams and Walk the Line, among others. STUDIO RECORDING AWARDS BASS PLAYER OF THE YEAR: Michael Rhodes DRUMMER OF THE YEAR: Shannon Forrest GUITAR PLAYER OF THE YEAR: Derek Wells PIANO/KEYBOARDS PLAYER OF THE YEAR: Jim ‘Moose’ Brown SPECIALTY INSTRUMENT(S) PLAYER OF THE YEAR: Danny Rader STEEL GUITAR PLAYER OF THE YEAR: Paul Franklin AUDIO ENGINEER OF THE YEAR: Justin Niebank PRODUCER OF THE YEAR: Dave Cobb SONGWRITER OF THE YEAR SONGWRITER OF THE YEAR: Ross Copperman In : Music, Orchestra / Festivals / Schools, Performings Arts Previous article Artistic powerhouses Stephen Mills and Graham Reynolds reunite in Ballet Austin’s The Graham Reynolds Project Next article THIRD MAN RECORD STORE DAY 2016; Both retail locations open from 10am – 6pm New book by USF Sarasota-Manatee business professor explores the origins of money; Noel Mark Noël, PhD, a business professor at the University of South Florida Sarasota-Manatee, explores these questions and investigates currency’s impact across the spectrum of social development in his book Currencies and Cultures: The Impact of Culture on Economic Policies and the Foundations of Money Tim Tebow Celebrates 32nd Birthday with Goal To Fund 150 Life-Changing Surgeries at The Tebow CURE Hospital BALLET HISPÁNICO in collaboration with THE APOLLO THEATER presents The World Premiere of Annabelle Lopez Ochoa’s Tiburones A Restaging of Nací by Andrea Miller Con Brazos Abiertos by Michelle Manzanales November 22-23, 2019 at 8:00pm Junior League of Sarasota announces new leadership for 2019-2020 & highlights accomplishments of past year New College – New Topics 2019-2020 Lecture Series ABC Radio Announces Special Fourth Of July Programming Bulls Notebook: USF Sarasota-Manatee staff, faculty members volunteer at CMT kids camp Alarm Will Sound​, ​“one of the most vital and original ensembles on the American music scene” (​The New York Times​), tours the concert version of Princeton University Professor ​Donnacha Dennehy​’s modern cantata, ​The Hunger,​ ​to ​Princeton Sound Kitchen​ on ​September 17, 2019 at 8PM in Richardson Auditorium, Alexander Hall

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A Primer from the Virginia Supreme Court on the Invocation of Counsel Every so often the Supreme Court of Virginia seems to adopt a theme across a couple of cases. An example of this was in 2007 when the Court took a couple cases on Obstruction of Justice and significantly altered what the crime of Obstruction is. This time the Court, in two decisions authored by Justice Lemons, has outlined the parameters of the assertion of the right to counsel under Miranda. I've not had a recent argument which involved assertion of the right to counsel, so I can't claim to be up on the nuances of this area. However, my general impression has been that up to a couple years ago Virginia appellate courts were very hostile to Miranda and required a very clear, unequivocal invocation of the right to have counsel present during questioning. Then things seem to have begun to get mixed up and I recall reading a case or two that seemed to start backing away from the courts' prior position. This month's decisions seem to be the Supreme Court's attempt to remove as much ambiguity as possible. The question in Zektaw v. Commonwealth (No. 081738), the Court was to decide whether "Right, and I’d really like to talk to a lawyer because this – oh my God, oh, my Jesus, why?" during a custodial interrogation is a clear, unambiguous and unequivocal invocation of the right to counsel recognizable as such to a reasonable police officer. The crux of the matter is whether "I'd really like to" expresses a preference or is an attempt to assert the right. Both the trial court and the court of appeals ruled that it was not an assertion. The Virginia Supreme Court disagreed. The decision deals quickly with the preliminary matter of whether the defense counsel waived the objection to the introduction of the statement by asking questions about the statement on cross. The Court states that questioning during cross or introducing a rebuttal witness does not waive the objection. Only introducing new evidence of the same character waives the objection. Then the decision gets to the meat of the matter. The Court goes through an exhaustive list of Virginia cases in which it has ruled upon possible assertions of the right to counsel; it bolsters this discussion with cases from the federal supreme court. Following this, it characterizes the statements which do not assert the right to counsel as follows: 1) An attempt to clarify the right - "Can I have an attorney here?" 2) Asking for someone else to be present, but not specifically asking for an attorney. 3) The defendant stating he might want an attorney. 4) The defendant questioning the wisdom of going forward without an attorney - "Maybe I shouldn't talk to you without my attorney." After having gone through all of these, the Court decides that "I'd really like to talk to an attorney" doesn't fit under any of these and is an unambiguous assertion of the right. While the statement may look somewhat ambiguous - after all, it's not an assertion such as "I'm taking the 5th" or "I will not talk to you without my lawyer" - the US supreme court had already set precedent in this when it found "Uh, yeah. I’d like to do that" (in reference to the right to counsel just explained) not to be ambiguous. Smith v. Illinois, (No. 84-5332).In fact, the Virginia Supreme Court could have made this an extremely short opinion: Per Smith v. Illinois this matter is reversed. In the second case, Commonwealth v. Ferguson (No. 081645), the defendant was more savvy and put his assertion of the right to counsel a little more clearly: "Nah, I want a lawyer, you know what I’m saying?" Despite the clear invocation of the right to counsel, Officer One continues to interrogate him without getting a response. Eventually, Officer One "concludes the interview", turns off the tape recorder, and leaves the defendant in the room with Officer Two. Officer Two sits in silence with the defendant and, after a few minutes, the defendant begins to talk to Officer Two and eventually, after Officer Two reads the defendant his Miranda rights again, the defendant makes incriminatory statements. The Commonwealth asserts that these were two separate interviews and that the second one was initiated by the defendant. Thus, while the first interview was unconstitutional, the second was cleared of any tint because it was a conversation by choice of the defendant. The Supreme Court rejects this interpretation of the situation: Whatever the significance of Ferguson’s comments that broke the silence, they were the product of the coercive interrogation and environment created by police. Surely, police may not use the product of such techniques as proof of a voluntary reinitiation of communication and subsequent waiver of the right to counsel. Under the totality of the circumstances, we hold that this encounter was one continuous custodial interrogation conducted in such a manner as to deliberately disregard a clear, unambiguous and unequivocal invocation of the right to counsel and coerce Ferguson to incriminate himself. No bright line here; all of these cases are to be decided on totality of their facts. Cases should always be decided based on the totality of their facts. I think the fact that their is no bright line test is a good thing. Far too often this country's justice system has shown what injustices can occur when such facts aren't taken into account, especially in deportation issues: http://lawblog.legalmatch.com/2009/05/14/most-removed-immigrants-not-criminals-data-shows/ After 20 years of primarily doing civil defense in mid-sized firms, I went solo in 2005, and found myself doing a lot of criminal defense to pay the bills. But I found I enjoy it, too. This post is interesting to me. When I was an FBI agent (1979-85), the Bureau rule was when a suspect or target in custody mentioned the word, "lawyer," after being Mirandized, the interview did not commence until it was clear that the person was not invoking his/her right to have counsel present. If the agent was still unclear whether the right to counsel was freely waived, the interview was not begun. It amazes me that this issue keeps reappearing. The the police should realize that its too risky to take a chance on suppression unless the right is clearly waived. And the Beat Goes on . . .Magruder (Now Briscoe) G... Melendez-Diaz, Magruder, & Virginia Does the Virginia Notice - Demand Scheme Impermiss... Melendez-Diaz and Virginia Law CrimLaw Live A Primer from the Virginia Supreme Court on the In... New CrimLaw Live! Tonite Whitehead v. Commonwealth, No. 080775The Virginia ... What Would Be the Ideal Way to Choose a Judge? Reviewing My CrimLaw Live Broadcast Last Night CrimLaw Live Tonight 8 p.m.

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Royal Ascot a Tonic for U.S. Woes 22 June, 2008 7:39 PM What a joy to watch the Royal Ascot meeting on TV last week, especially hearing the rousing ovation for the champion stayer Yeats after his record-equaling third straight Ascot Gold Cup (Eng-I) victory at 2 1/2 miles. In case you’re unfamiliar with the term, a stayer is a creature unknown to American racing fans that actually relishes distances well beyond 1 1/2 miles (pssst, Breeders’ Cup officials, 1 1/2 miles is not a marathon). In speed-crazy America, horses like Yeats are considered a notch above plow horses and cast aside, while being treated like lepers by the breeders. The last horse to win three Ascot Gold Cups was Sagaro in 1975-77, and, believe it or not, I was at Ascot when he completed his triple in 1977 and can remember very well the enthusiastic reception he received. By the way, if you want tradition, next year the Ascot Gold Cup will have its 200th running. Not many people realize that an American Triple Crown winner ran in the Gold Cup. Omaha was the 6-5 favorite in 1936 and was beaten a nose by the filly Quashed. At the same time Yeats was being saluted for his remarkable achievement, Americans were listening to its leaders testify at a congressional hearing how drugs are ruining the sport and need to be abolished, how fragile the breed has become, and how racing desperately needs to be regulated by a governing body. Most witnesses painted a bleak picture of the sport and virtually pleaded with the subcommittee to do the work for them instead of offering a positive alternative and expounding on racing’s virtues. Talk about hostile witnesses. Yes, the sport in America needs a kick in the ass, but that was painful to listen to, and it was necessary to rush back to the Ascot races. Royal Ascot was a startling reminder how racing was meant to be -- horses without drugs, jockeys restricted in their use of the whip; no track surface controversies, grooms (lads) wearing suits and ties; entertaining and insightful analysis, candid comments, first class TV coverage and camera work, and a genuine love and respect for the sport and the horse. All this in a kaleidoscope of glorious colors and images set against a lush green backdrop and one of the most magnificent grandstands in the world. And, of course, there was the Queen’s procession each day. Getting back to Yeats, in America, he would be an outcast, floundering at distances 12 furlongs short of his best. In England, he is a hero worthy of the adulation he receives. Yeats’ victory capped a remarkable opening three days for trainer Aidan O’Brien, during which he also captured the group I St. James’s Palace Stakes with dual Guineas winner Henrythenavigator; the group I Prince of Wales’s Stakes with the former bridesmaid Duke of Marmalade, who has been born again as a 4-year-old, winning three straight group I stakes; and the group I Queen Anne Stakes with the Australian import Haradasun. Then on closing day, Saturday, O’Brien won the group II Hardwicke Stakes, a traditional prep for the King George VI and Queen Elizabeth Stakes (Eng-I), with Macarthur before bidding aloha to Royal Ascot by capturing the finale, the Queen Alexandra Stakes at two miles and five and a half furlongs, with Honolulu. The races were exciting, with numerous tight finishes and the occasional bravura performance. Even the TV commentary was exciting. Not to knock American TV commentators and analysts, but how refreshing and entertaining to listen to the unconventional and outspoken John McCririck and analyst Matt Chapman going at each other on the air. Here is an exchange between the two on opening day after McCririck was severely critical of the whipping rules in England (imagine what he’d have to say about our non-rules) and expressed his displeasure with Johnny Murtagh for abusing the whip on Haradasun. McCririck: “Murtagh would not have ridden like that if he knew he’d be disqualified. He could not come back and say, ‘I apologize, Aidan. I hit the horse too often, too hard, and I lost the race because of it’. The only way they’re going to stamp out excessive use of the whip, especially in big races, is to disqualify the horse. The jockeys wouldn’t do it. I’m right, but no one ever listens to me. It was a great training performance by Aidan O’Brien, but it’s slightly besmirched because of the way the horse was ridden. It’s unnecessary to hit a horse like that.” (By the way, Murtagh’s whipping of Haradasun was mild compared to the way many of our jockeys abuse the whip -- more on that in the future). Chapman (to the audience): “If you were listening to McCririck about the whip, please don’t get sucked in by his total buffoonery over the issue. The rules may be wrong, that’s a different issue, but Johnny Murtagh, to any normal horse racing fan, did absolutely nothing wrong. The horse was responding to a very light whip. The rules may be wrong, Big Mac, but that doesn’t mean the horse should be disqualified.” McCririck: “If you listen to Chapman we shouldn’t have any rules at all. You should go and slash the horses and beat them in the name of the sport. There are certain guidelines and all the jockeys know them. Murtagh deliberately broke them because it was group I and he keeps the race. He would not have done it, Matt Chapman…listen! He would not have broken the rules if he knew Haradasun would have been disqualified. He wouldn’t do it! Get THAT through your thick skull.” Chapman: “Of course, McCririck once again failing to grasp any of the point. No one wants any horse slashed. No jockey would slash a horse. It is absolutely not even the issue that he’s talking about. Jockeys, of course, wouldn’t break the rules if they got disqualified. However, that is not the point either. You’ve really got to get a grip about this, Big Mac, because you’ve got no idea what you’re talking about.” Now that’s good TV. Having been a huge fan of European racing for 40 years, Royal Ascot was a much-needed respite from all the craziness that has afflicted American racing lately, including one of the most tumultuous Triple Crowns ever. Now refreshed by Ascot’s week-long splash in the face, it is time once again to get back to the rush hour-like bustle of American racing. That is until July 23 when it will be time once again for our own catharsis known as Saratoga. It cannot come too soon. Filed under: steve haskin, John McCririck, Aidan O’Brien, sagaro, royal ascot, omaha, yeats Memories of Derby Trails Past Is Vox and Bricks a Good Mix? Getting Ready For Yet Another Early Goodbye A Case of Vino Thoroughbred Legend: Dr. Fager Thoroughbred Legend: John Henry Thoroughbred Legend: Kelso Horse Racing's Top 100 Moments Thoroughbred Champions: Top 100 Racehorses of the 20th Century 2013 Triple Crown Preview Become a Friend on Facebook! Breeders' Cup Classic hangin with haskin

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Review: Twice Dead (1988) Submitted by Kevin Nickelson on Sun, 2010-11-21 22:16 With the boom of the Beta/VHS industry in the early 80's, there was a need for lots of film product to fill video rental store shelves. Video distributors filled the quota with cinema that either had a limited theatrical release or were made straight-to-video. While this meant a lot of titles for consumers to choose from, it was often a dice roll as to level of quality. For every gem, there were ten films that were such mis-fires they were best left collecting dust bunnies on the shelf. One such dirt magnet is Twice Dead, a film replete with a two dollar budget, amateurish direction and even worse acting. (read more...) Cold Reads: Vampire Junction by S. P. Somtow Submitted by Jose Cruz on Thu, 2010-11-18 09:44 By all appearances, Vampire Junction looks to be just another addition in a tirelessly long line of mediocre paperback fare that was spewed forth by both talented and hack writers alike during the 1980s. It's hard to go into a tale detailing the trials and tribulations of immortality with a straight face when the cover to the book shows the powdered face of a young boy (looking somewhat similar to Justin Bieber) singing his undead heart out while wearing a velvet cape and baring his fangs. But somehow author S. P. Somtow manages to downplay the ridiculous notion of a vampiric teeny-bopper singer and delve into some fertile ground that explores the deeper psychological themes surrounding the vampire myth. (read more...) Review: Altered States (1980) Submitted by Bradley Richter on Sun, 2010-11-14 23:07 What does it mean to be human? The question turns out to be far more interesting than the answer in Altered States, written by Paddy Chayefsky (Network) and directed by Ken Russell (Tommy). On a technical level, Altered States is a well-made "body horror" film, replete with some of Ken Russell's finest psychedelic sequences, but ultimately the movie fails to deliver satisfying answers to its own tantalizing questions and a lapse into Hollywood-drenched heteronormativity in the final act reduces an intellectually engrossing setup into a mundane resolution.(read more...) The Fruit Cellar: "All My Power… All My Beauty… All My Life" Submitted by Missy Yearian on Tue, 2010-11-09 23:56 It's a traditional criticism of the modern horror film that the world represented is sexist in nature. It's a simplistic argument, but one that a surface-level analysis of most horror films would confirm. After all, don't most depict women in peril -- from Halloween to The Texas Chain Saw Massacre to Suspiria? While it might seem like the most obvious of possible assessments, what this criticism fails to recognize are the areas in which the horror genre upends conventional depictions of women as victims.(read more...) Review: Silent Night, Bloody Night (1974) Submitted by Nathan Sturm on Mon, 2010-11-08 12:50 Silent Night, Bloody Night is an eerie and disturbing little proto-slasher. Filmed in 1972 and arriving in 1974, it predates even Black Christmas, yet features several elements that have become familiar today: the holiday setting, the menacing phone calls, the nebulous identity of the killer, the "final girl". At the same time, its Gothic-style focus on the tragic history of a big, creepy house places it at the intersection of classic and modern approaches to the horror genre. At worst, it's a curiosity; at best, it's a forgotten minor classic. (read more...) The Disused Fane: Night and Day of the Dead Submitted by Nathan Sturm on Wed, 2010-11-03 00:01 One Halloween night when I was a teenager a friend and I decided to walk to the cemetery a quarter mile from my mom's apartment and wander around. It was pretty spooky. The cemetery in question was huge, with a dead gnarled tree near the entrance, and odd little stone steps - we imagined that they were perhaps gateways to Hell - leading from the pathways to the fields where hundreds of gravestones sprawled. One almost expected to see Colin Clive and Dwight Frye skulking about with shovel and lantern. Another friend of ours had declined to come. He was quite religious, and what we were doing he found both offensive and frightening, regarding it disrespectful of the dead and vaguely "evil" as well. As the two of us got increasingly creeped out I suggested that we should have forced the third guy to come with us - if we were attacked by angry specters, I said, we could have ritualistically sacrificed him to placate them.(read more...) Review: Zontar: The Thing from Venus (1966) Submitted by Bill Dan Courtney on Mon, 2010-11-01 10:50 We're still a bit tired from our long month of covering all things Texas Chainsaw Massacre, so enjoy this guest review from The Uranium Cafe's Bill Dan Courtney. By the mid-1960s, American-International Pictures, once a struggling outfit that churned out low-budget but profitable movies for drive-in movie theaters, had become perhaps the most successful and powerful of the independent film companies in Hollywood. A logical step it seemed was to move into the now lucrative syndicated television market and so AIP-TV was formed. One of the projects AIP-TV took on was to remake a handful of AIP's earlier film and release them in color to a new generation of movie viewers. They hired legendary Z-movie shlockmeister Larry Buchanan, who made movies with a bare minimum of money and talent, yet still managed to at least break even if not turn a small profit. Buchanan produced eight films for AIP-TV with his Azalea Pictures company based out of Dallas, Texas. Zontar: The Thing from Venus, a remake of Roger Corman's It Conquered the World, is considered by many to be the best of his AIP-TV productions and even has B-movie icon John Agar in the role played by Peter Graves in the original film. Of course one can hardly say that the best Larry Buchanan film is anything that is going to excite the masses; they are films for the cognoscenti of camp and cheese only and rise to the quality of an Al Adamson movie at best.(read more...) Review: The Texas Chain Saw Massacre (1974) Submitted by Robert Ring on Sat, 2010-10-30 22:44 Texas Chainsaw Massacre Month. I was a late bloomer in my appreciation of horror cinema. Aside from sporadic outings to see mass-market horror films, I did not discover the true joys of the genre until I was in college. As I journeyed through classics like Alien, Halloween, and Rosemary's Baby, I was occasionally frightened or unsettled in various ways, but it was all enjoyable horror, the kind that can be intense but that ultimately leaves the psyche unscarred. Then I saw The Texas Chain Saw Massacre. As I watched this film, a deep-seated, almost unidentifiable anxiety began to build within me from the opening scenes - scenes which contain very little horror. Then, as I watched the characters experience physical and psychological torment later in the film, that building anxiety exploded into outright dismay. I was so disturbed by this movie that it would be six years before I watched it again, and even then it retained a potent effect. The Texas Chain Saw Massacre is not so much creative in its approach to instilling horror as it is merciless, breaking down viewers' defenses before hitting them on all sides with unimaginable terror. This is one of the most horrifying films ever made.(read more...) Texas Chainsaw Video Jukebox Submitted by Nate Yapp on Sat, 2010-10-30 13:21 Texas Chainsaw Massacre Month. When you're thinking about something all the time, as we have been thinking about The Texas Chainsaw Massacre series this month, you start seeing it everywhere. I started noticing a lot more Texas Chainsaw related videos on Youtube lately. They've always been there, I guess, but they were just waiting for me to notice them. Most of them were, frankly, awful, but I picked a smattering that amused me, along with trailers for all six Texas Chainsaw films. You can view what I came up with after the cut. (read more...) Marilyn Burns ("Texas Chain Saw Massacre") Interview Texas Chainsaw Massacre Month. Last year at the International Horror and Sci-Fi Film Festival in Phoenix, I had the great opportunity to chat with Marilyn Burns, who played final girl Sally Hardesty in The Texas Chain Saw Massacre. Our talk focused exclusively on her career in the 1970s and resulted in some great stories about the Texas film industry, the dangers of making a Charles Manson biopic, and why Eaten Alive may not be the film to take home to mother and father.(read more...)

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The Missing Open Standard: How can we unlock the drone's social potential? Adam Rothstein | Mon Feb 23rd, 2015 12:10 p.m. Chris Anderson has famously compared the nascent drone market to the early days of PCs, comparing it with the Homebrew Computer Club, the Bay Area hobbyist meetup where the Apple I was first unveiled. It may seem an odd comparison—the drone is thought of as military technology and (more recently) luxury plaything, while the Homebrew Computer Club is remembered for its utopian beliefs about putting technology into the hands of the people. But while Apple's forays into personal computers were groundbreaking, the "PC" abbreviation historically referred to its greatest threat, the IBM PC standard, a revolutionary form of computer architecture that was easily licensed and copied, and which shaped the personal computer market for over a decade. Drones do not yet have a "PC standard," but if they did, it might be the tipping point that could catapult drones into the mainstream and unlock their social utility. We have yet to see what this social utility will be. Militarized drone technology has a well-established place among the many tools of the surveillance state. Looking at the history of the computer's shift from an awkward, heavy, military and commercial engineering project to something we carry in our pockets, one wonders how drones might make a similar transition. Some of the first ideas for non-military drones, such as catching poachers, have some way to go in development before they will actually be useful. So far, one of the best uses for drone technology is in the field of cartography. Drones like senseFly's eBee can map a large area very quickly, and rectify imagery to GPS maps. But drones like these cost thousands of dollars and run proprietary software in order to work so seamlessly. What if drone technology were to be transformed in a similar manner to computers, so that standard architecture and operating systems allowed cheaper, more universal hardware and software? In the late 1970s, desk-sized computers were typically terminals linked to mainframes where the real processing was done. But with the miniaturization of transistor functions into integrated circuits, desktop computers became possible.These early personal computers were sold as kits, and required a hefty investment as well as technical know-how to assemble and operate. When the Apple II was introduced in 1977, it was one of the first "out of the box" personal computers; BYTE magazine called it the first "appliance computer". But the Apple II was still expensive, and with an operating system and architecture limited to this machine only, all compatible software had to be designed specifically for this system. In 1980, less than 10% of 14 million small businesses in the US had personal computers, and of large corporations, less than 3% used personal computers on a regular basis.1 Investing in a limited hobby system was not a priority for most companies. Tags: Chris Anderson drone IBM PC mapping open source surveillance UAV

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Cuban Duo Gente de Zona Excluded from Concert Program in Miami The news follows the cancellation last month of a concert by Cuban singer Haila Maria Mompie The performance of the duo was cancelled at the request of local politicians, including Mayor Francis Suarez. The exclusion of the Gente de Zona duo from a concert in Miami today marks the end of a year of escalation of US hostility towards Cuba, during which there were numerous attacks on cultural exchanges. Media from the southern state of Florida reported earlier this week that the Cuban duo were removed from the program of an end-of-year event in that city at the request of local politicians, including Mayor Francis Suarez. The news follows the cancellation last month of a concert by another Cuban artist, singer Haila Maria Mompie, whom Suarez himself named ‘persona non grata’. Such steps, in the midst of an increase in the measures adopted by the Trump administration against the island, are not a surprise, especially if one considers that in June, the Miami City Commission passed a resolution to ask the US Congress to veto the hiring of Cuban artists. That measure, sponsored by the mayor and Commissioner Manolo Reyes, urged the federal legislature to enact a law that allows states and local governments to prohibit the hiring of performers and artists who do business with Cuba or are financed by the Caribbean country. The resolution questions the importance of the existing cultural exchange between both nations, which is defended by numerous figures on both sides, and appeals to the pretext of alleged human rights violations to reject such relations. Tags: CUBA-USA RELATIONS Cuba Rejects New US Flight Restrictions on the Island New Charter Flights from the United States to Cuba Americans Can Still Travel to Cuba, New York Times Says

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marinaimpresario@mail.ru Home Clubs bosses About me Countries SingaporeChinaTurkey SloveniaLebanonSwitzerland ItalyMacauMalta Caribbean, Saint-Martin islandUSA The clubs CLUB IN THE SOUTH OF SPAINCLUBS IN ZURICH CLUBS IN HONG KONG club in BaliCLUBS IN SOUTH KOREA (REPUBLIC OF KOREA)CLUB IN LISBON, PORTUGAL CLUB IN BUSAN, SOUTH KOREACLUB IN PRAGUE, CZECH REPUBLIC CLUB IN VIENNA, AUSTRIACLUB IN FINLAND THE CLUB IN KUALA-LUMPUR, MALAYSIA Clubs in Lugano, Switzerland CLUB IN MALTACLUB IN LUXEMBOURGCLUB IN GRANADA, SPAINCLUB IN SINGAPOREClub in LebanonCLUB IN BAVARIA, GERMANY Club in Maribor, SloveniaClub in Zalec, SloveniaClub on the Caribbean (Saint-Martin island)CLUBS IN ITALYClub in MacauTHE CLUB IN SASSARI, SARDINIA, ITALY CLUB IN HAINAN ISLAND, CHINA Contact The application MAIN PAGE > Города > CLUB ON THE CARIBBEAN WORK PERMIT, VISA, THE TERM OF THE CONTRACT CLUB ON THE CARIBBEAN WORK PERMIT, VISA, THE TERM OF THE CONTRACT The list of the countries whose passport holders don't need a non-Schengen visa for staying for up to 90 days in St. Maarten island Hong Kong s.a.r. (If you have British National Overseas passport) Hong Kong s.a.r. (if you have a ‘Hong Kong Special Administrative Region’ passport) Macao s.a.r. (if you have a ‘Região Administrativa Especial de Macau’ passport only) CLUB IN LUXEMBOURG Prestigious and upscale nightclub in Luxembourg - one of the richest cities in Europe, felicitously located in the center of the capital of the duchy, with its regular guests very wealthy local businessmen, bankers, offsprings of aristocratic families, invites to work strip dancers who are ready to work on consumation.The club is open 7 days a week.The work schedule of dancers: Sunday - Thursday: from 22:00 to 06:00 or from 23:00 to 07:00; Friday-Saturday: from 23:00 to 08:00; once a week - from 20:00 to 23:00 with a break until 01:00, and from 01:00 to 06:00.From 10 to 18 girls from different countries of the world are usually run at the club. Clubs in Lugano, Switzerland Well known for many years the prestigious Nightclubs in the city of Lugano - which is the center of political and cultural life, trade and industry of the Swiss Italian-speaking Canton Ticino, situated on the banks of lake Lugano.The city is famous for its beautiful surroundings and steady climate, which attracts not only many tourists, but in recent years more and more international celebrities, stars of show business from all over the world, world-class athletes, because of what Lugano is called now as the Swiss Monte Carlo.Learn more about Switzerland, Lugano here. CLUB IN THE SOUTH OF SPAIN The Nightclub in the South of Spain, near the Mediterranean coast, known for years, popular not only among not the needy tourists and very respectable gentlemen which are coming to play on adjacent located world-known Golf course, but also among the respectable local landowners (not boys), whose estates and endless lands are located nearby. Another one nightclub recently opened on the wonderful seaside resort has managed already to garner glory among the crowds of relaxing here Brits and Germans of a must visit venue! CLUB IN HAINAN ISLAND, CHINA A new modern night club in the heart of the Chinese tropical paradise - Hainan Island, a short drive from the island's capital city of Haikou, opened its doors to female dancers who want to work on consumation. Hainan is an island and a province in southern China, on the same latitude as Hawaii, in the tropical waters of the South China Sea, with a population of 9 million people, a dynamic resort, visited annually by more than 76 million tourists spending almost $ 14 billion on the island ! It is famous for its snow-white beaches washed by azure waters, with comfortable temperatures all year round (average annual air temperature is +23 ... + 25 ° С), magnificent natural parks, thermal springs, and first-class tourist infrastructure. The club for 500 guests and 50 working girls from around the world, during its pilot mode operating, has already proven itself to be a great holiday destination for wealthy tourists and rich locals, spending here many tens of thousands nightly, is opened seven days a week, from 8.00 PM to 02.00 AM. HomeClubs bossesAbout meCountriesThe clubsContactThe application © Marina Impresario, 2010-2019. Копирование и опубликование без разрешения размещенных здесь текстов, любых их фрагментов, фото и видео материалов запрещено

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HomeFeatures Community Development / Sustainability / • Waste pickers unite Waste pickers the world over are turning trash into a new green economy By Susan Down Photos: iStock Throw it away, we say. Toss it in the garbage. As a rule, most people like their waste to be invisible. Until recently, the people gleaning value from garbage were socially invisible, too. But out of sight, landfills in developing municipalities swarm with people, scrounging for anything recyclable. In western cities, they can be seen filling carts with Dumpster finds. Whatever the name — catadores, waste pickers, binners, canners or Dumpster divers — these individuals are often poor, unskilled and struggling. Yet organized collectively, the waste pickers are the front line against the tyranny of trash threatening most metropolitan areas. A 2012 World Bank study estimated that by 2025 urban solid waste will increase 70 per cent to 2.2 billion tonnes annually. A recent University of California study estimated we dump an average of eight million tonnes of what it called “mismanaged plastic” into the ocean every year. Most of the so-called solutions to waste management (WM) add problems of their own: dump sites can leach chemicals and pollute water systems and incinerators and methane-spewing landfills contribute to climate change. On the other hand, worker cooperatives and micro-enterprises are ideally suited to manage waste collection, says a United Nations sustainability report. The values that govern all co-ops – commitment to community, self-help and an eye on the triple bottom line that considers social and environmental needs as well as financial health – are the same ones that make up a truly sustainable entity. The co-op solution If co-ops are integrated into the waste handling system, workers can provide a vastly superior service by sorting material before it ever hits the landfill. Waste picker groups hand le 50 to 100 per cent of urban waste collection and recycling in developing countries, says a UN report. “They do it in the most socially just way possible,” says Monica Wilson, North American program director for the Global Alliance for Incineration Alternatives (GAIA). “Success comes when waste pickers have banded together, built some political power and leveraged that power. They are paid for what they are doing – not just for the quantities they are selling.” Waste pickers cooperatives need three things to really achieve success: a government partner, a vocal champion and support from the public and industry. Progressive legislation can inspire new co-ops and protect existing ones. For example, many regions in the developed world are imposing bans on food waste and other recyclables at their overflowing landfills. The Philippines was the first country to ban incinerators – a victory for waste pickers and for the environment. The Boston model In late 2014, when Massachusetts implemented its ban on foodwaste disposal, a Boston co-op saw an opportunity. Suddenly, restaurants, schools and hospitals – any enterprise that throws away one ton or more of food waste per week – would not be allowed to send it to the landfill. They had to find another alternative. That’s where Cooperative Energy, Recycling and Organics (CERO) came in. Its Latino and African-American founders all had informal participation experience in recycling waste oil, bottles and cans. “Before they even had a business plan, they wanted to be a cooperative. They were coming at this as a social venture from the beginning. They wanted to create jobs for themselves but also create jobs for the community,” says CERO’s Lor Holmes, who was hired as a start-up manager but stayed on to invest as one of the five worker-owners. Still, it took them two years to raise the money. Crowdfunding, a direct public offering and other measures brought in $200,000, allowing CERO’s operations to begin in October 2014. It’s already diverting four to five tons of food waste a week and delivering it to a composting service. “We see ourselves as the final step in closing the food loop,” says Holmes. It’s a winning proposition for everyone. The co-op creates jobs and services while it helps restaurants comply and save money, since heavy food waste constituted most of the garbage. Already, CERO has big plans for an eco-energy park to form a base for other new worker cooperatives. They say politics is a dirty game and nowhere is it dirtier than in the awarding of waste management contracts in urban centres. A job no one wanted to do that was left to impoverished waste pickers is now a lucrative opportunity for multinational corporations. For example, the leftist mayor of Bogota, Colombia was ousted last year after he cancelled private waste collection contracts in favour of a city-run system that included a new payment scheme for waste pickers. In Cairo, Egypt, household garbage was traditionally handled by the zabaleen (“garbage people” in Arabic), a Coptic Christian group that billed residents individually for the service, raised pigs on the organic waste and recycled the rest. Although this system was cheap and convenient, in 2004 Egypt’s government awarded garbage contracts to large companies and billed homeowners automatically. Then, five years later( the zabaleen weathered another blow when Egypt culled all pigs (considered unclean in the Muslim country) and closed the slaughterhouses, citing fear of swine flu. Most felt the move was another indication of wholesale discrimination. In the meantime, the contractors’ trucks were too large for the lane ways of Cairo neighbourhoods so they hired the zabaleen as subcontractors – at half the price. Finally last year, with the help of the Spirit of Youth Association, the zabaleen formed co-ops and micro enterprises that were officially recognized and reintegrated into the system. A “pro-poor” partnership India’s first wholly owned cooperative of self-employed waste pickers has inspired other groups throughout the country. Located in Pune, near Mumbai, Solid Waste Collection and Handling (SWaCH) was created by trade union Kagad Kach Patra Kashtakari Panchayat (KKPKP). In 2008 it signed a five-year “pro-poor public private partnership” deal with the municipality to handle door-to-door waste collection. SWaCH – an apt acronym since the word means “clean” in the local language – collected user fees and managed composting and recycling activities on behalf of the city for about 400,000 households. SWaCH is a prime example of the result of strong community action. “The integration of waste pickers in the city’s formal waste management system has given them a human face and credibility. Such a decentralized waste management model is a win-win for all,” says Pratibha Sharma, a former SWaCH program organizer who is now India coordinator for GAIA . Waste pickers can make $3 to $4 US a day, she says, lower than comparable jobs such as rickshaw drivers or street vendors, but an opportunity for unskilled migrants and women from marginalized castes. Champions needed Finding a vocal champion is vital for cooperatives. Nohra Padilla and her family came to Bogota to escape violence in rural Colombia and began waste picking as a way to survive in the teeming city of eight million people. Padilla, one of 12 children, joined in this activity as a young girl, later struggling to improve the welfare of these workers by organizing cooperatives. Recognized as the leader of the Association of Recyclers of Bogota, she won the 2013 Goldman Environmental Prize, known as the “green Nobel.” Quebec’s valoristes Marica Vasquez Tagliero saw the waste pickers combing the beaches when she was growing up in Sao Paulo, Brazil. She came to Montreal 20 years ago for university and stayed to work for the city as a recycling program manager. She quit to co-found Coop Les Valoristes (people who add value) to work for better deposit-return regulations in Quebec, one of only two provinces without deposit-return fees on wine and liquor bottles (Manitoba is the other). She set up a temporary recycling depot last summer to draw attention to the lack of facilities for the valoristes. “It’s been a fight here. Supermarkets and other groups have been pushing to get [deposit laws] abolished,” says Tagliero, adding that the group is a solidarity co-op, meaning it has both industry and individual members. “We thought, everybody produces garbage and everybody might have an interest for making Quebec a better place. It’s recycling for sure but most of all it’s a social enterprise helping people.” Recognition by business, government and the public is the third measure of success. In South America and Asia, waste picker cooperatives have rad ically improved the living standards. Workers now have uniforms, identity cards, benefits such as social security and education for their children and protection from the police. Through global networks such as GAIA and the Global Alliance of Waste Pickers, cooperative members proudly gather for annual conferences while supporting each other. Brazil has some of the most notoriously polluted dump sites in the world. Yet the country, which has more than 500 worker co-ops in the form of daycare centres, medical clinics and training programs, has produced some of the strongest waste picker groups. Brazil’s solid waste laws recognize the rights of the catadores and waste picking is listed as a profession in the official labour statistics. When Brazil hosted FIFA World Cup 2014, waste picker co-ops were contracted to handle the recycling at the 12 stadiums used for the soccer tournament. As the ultimate recognition, waste pickers were acknowledged on a 2014 Brazil postage stamp. In many North American cities where municipal recycling and garbage pick-up exists, cooperatives must compete with wellequipped private companies. Rather than acting as general waste collectors, they often specialize. For example, Sure We Can set up its own collection centre in 2009 as the only licensed, non-profit redemption centre in New York City. While forming a co-op is a valuable way to empower a group and recognize previously powerless individuals, not all social enterprises need to incorporate using that business model. United We Can (UWC) , a non-profit Vancouver group created in 1995 that recycles beverage containers, recently signed a 10-year lease with City of Vancouver for an expanded depot – the Green Recycling Hub – sharing the space with the for-profit company, Recycling Alternative. UWC founder and former executive director Ken Lyotier started the Binners’ Project and then handed over leadership to current director, Anna Godefroy, in 2014 as a grassroots group of binners or urban recyclers coming together across the country to increase income opportunities and combat stigma surrounding waste-picking. The Binners’ Project runs a one-day awareness campaign each year called the Coffee Cup Revolution, drawing attention to the amount of disposable paper coffee cups that are thrown into the waste stream and not recycled. Creating healthy communities is the goal of United We Can’s credit union, Vancity (509,000 members, $22 billion in assets), says Maureen Cureton, green business manager for the credit union. Cureton points out that non-profits and regular businesses can operate using these co-op principles as well. For example, Vancity provided a start-up grant to United We Can . Now it provides credit and business banking services to the viable operation. “I don’t want to work to exclude those businesses but bring them into the fold and embrace those values,” says Cureton. Cooperative principles are having a lasting influence on the way workers and businesses set goals in the waste sector. No longer are the workers invisible and the bottom line is colourful – green as well as black. ◊ Human Interest / Risk Management / • November 16, 2017 British Columbia credit unions' contingency plans were sorely tested this past summer as forest fires consumed 11,500 square kilometres of land by September. British Columbia credit unions’ contingency plans were tested by a raft of forest fires this year. Human Resources / Marketing / • May 2014 A rich culture of communication can help every credit union up its game Running a credit union is serious business and internal communications can’t always be fun and games. Sustainability / • April 13, 2018 Greener branches Credit unions that have undertaken initiatives to reduce the environmental impact of their branches are finding that small changes can have a big impact. Buildings are a source of greenhouse gas emissions. Some credit unions are taking steps to rectify this.

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Re-examining associated bone groups from southern England and Yorkshire, c4000BC to AD1550. Morris, J. T., 2008. Re-examining associated bone groups from southern England and Yorkshire, c4000BC to AD1550. Doctorate Thesis (Doctorate). Bournemouth University. PDF (Vol. 1 - pdf supplied by EThOS.) Morris,James_Ph.D._2008-_vol_1.pdf In recent years, zooarchaeology has started to move beyond purely economic interpretations towards a social zooarchaeology. In particular, these `social' interpretations have often concentrated upon Associated Bone Groups (ABGs), also referred to as `special animal deposits' or `animal burials', rather than upon the disarticulated and fragmented faunal remains more commonly recovered from archaeological sites. Previous studies of these ABG deposits have largely been limited to a single period and a small sample of sites. The majority of studies have also been concentrated on the Wessex region and have not examined in detail the osteological composition of these deposits. The purpose of this thesis is to move beyond these limitations. Therefore, it investigates the nature of ABGs from the Neolithic to the Medieval period for the contrasting regions of southern England and Yorkshire. This has been achieved by collecting detailed information for ABGB from publicly available sourcesa nd analysing it utilising modern database technology. Overall, data from 2,062 ABGs have been collected, 1,863 from the southern England region and 199 from Yorkshire. Although the majority of previous literature concerns Iron Age deposits, in fact the largest proportion of ABGB from both regions comes from Romano-British sites. Furthermore, their nature is highly variable within and between periods and regions. The previous interpretation of these deposits is also an important factor. Currently, ABG deposits from prehistoric and Romano-British contexts are commonly viewed as the results of ritual activities. I iowever, deposits of more recent date are more often considered to be the result of mundane actions. The review of previous literature shows that the interpretation of these deposits is changeable and linked to development in archaeological paradigms. This study collected data on ABGs published from the 1940's onwards, allowing these changes in interpretation to be tracked and, importantly, to review the links between the nature of the deposit and its interpretation. Results show that the interpretation of these deposits is influenced by key publications and current periodbased assumptions, with ritual interpretations often only given at a meta-level.F or example, Iron Age deposits are seen as `ritual', yet this does not provide information on the actions and the associated meaning and agenda which created them. This thesis shows that each ABG is unique, and to apply a meta-level interpretation to all ABGs, even from the same period, would be inaccurate and inappropriate. A biographical approach to the investigation of these deposits is developed, which leads to a more considered and informed view and can help us move away from a generalized interpretation. A biographical approach shows there is no standard type of ABG, which means there can be no standard interpretation. There are trends in the creation of ABGs, but each bone group is created by specific actions and it is the investigation of these individual events that moves us closer to the societies we wish to understand. This study has shown the value of not only utilising specialist data, but integrating such knowledge with other archaeological evidence. Use of this methodology will enable us to move beyond the perceived economic straightjacket towards a social zooarchacology. A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy. If you feel that this work infringes your copyright please contact the BURO Manager.

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ERFA Newsline: Report from February 10th Town Hall By Team ERFA, 21st February 2017 Dear ERFA friends, For those of you who were unable to attend the East River Fifties Alliance’s Town Hall meeting on February 10th I’m pleased to share a summary of the meeting. Our coalition is showing endurance, strength, support and keen interest in this cause — evidenced by a standing-room-only crowd, civic support, and our roster of speakers. More than 150 constituents from all over the city and residents of our community were joined by representatives of Community Board 6 and ERFA’s allied civic groups – Friends of Upper East Side Historic Districts, CIVITAS, and the Municipal Art Society and Turtle Bay – who attended the meeting in support of ERFA’s goal. The event was covered by both TV and print media. There were six speakers: Two representatives of ERFA’s board spoke, and all four of the elected officials who are co-applicants on ERFA’s rezoning proposal – State Senator Liz Krueger, Manhattan Borough President, Gale Brewer, and City Councilmembers Dan Garodnick and Ben Kallos – also spoke. The speakers reported on the progress of ERFA’s proposal to rezone our neighborhood to include contextual zoning and affordable housing. ERFA’s application has reached the stage where it is ready for “certification” by the Department of City Planning (DCP). Certification is an official acknowledgment by DCP that the application is complete, and thus commences the formal review process that can take several months and, if successful, will culminate in approval of the proposed zoning change by the City Planning Commission and City Council. The new owner of the 58th Street site, Gamma Real Estate, headed by N. Richard Kalikow, has filed an application with the City to build an 850-foot tower rising to 67 stories. BUT, the City rejected Gamma’s application because it is incomplete. Gamma’s rush to file – accompanied by a press release announcing their plans – was clearly intended to discourage ERFA’s rezoning effort. As Gamma works to complete what, in reality, is a very complex application, ERFA remains undeterred and fully committed to advancing its rezoning effort. The most immediate necessary next step is for the Department of City Planning to certify ERFA’s rezoning application, so that it can move through the remaining steps of the City’s review process. To view portions of the Town Hall meeting, click here. Manhattan Borough President Gale Brewer praised ERFA for blazing a trail not just for this community, but for other parts of the city. And, along with City Council Members Dan Garodnick and Ben Kallos and State Senator Liz Krueger, she stressed that “letters really count.” They emphasized the importance of continuing the public letter writing campaign as a powerful way to convince government officials of how seriously the community takes this issue and that we want ERFA’s rezoning application to be certified by the DCP without delay. I am pleased to report that ERFA’s supporters have already written more than 1,000 letters to the Mayor and the Chair of the City Planning Commission urging them to approve ERFA’s rezoning proposal. To do your part to advance our shared goal: Please follow the Borough President’s advice and send letters of support to the Mayor and the Chair of the City Planning Commission. (Marisa Lago will become CPC Chair beginning March 1st, replacing Carl Weisbrod, but letters can be sent to her now.) You can send letters to the Mayor and Ms. Lago by going to ERFA’s website, www.ERFA.nyc and, via the website, sending the form letters which are provided there. Another way to help is to coordinate the signing and collection of letters in your building. We will drop off an appropriate supply, collect them when they’re ready, and then mail them for you to City Planning and the Mayor. Write to info@erfa.nyc for more information. Every letter counts. And, last but not least – ERFA is in a race against time and needs continuing financial support for its rezoning effort, which still involves work by lobbying and other professionals as well as letter-writing by the community. If you have already donated to ERFA, I thank you and hope you’ll consider another contribution. If you haven’t, now is your time to join your neighbors and friends to help win this campaign. Donations of any amount are helpful — $50, $100, $250 or more – to support the next stage of work. Donations can be made by clicking on the red Donate button below, via ERFA’s website, or by writing a check payable to the East River Fifties Alliance and mailing it to ERFA, Attn: Donna Chin, 205 East 42nd Street, 6th floor, New York, NY 10017. Alan Kersh, President Photo Credit: Ed Lederman Category: Blog Post, News, Uncategorized East River Alliance Rezoning Co-Applicants Write the Department of Buildings By Team ERFA, 8th February 2017 ERFA and co-applicants to its zoning proposal to the Department of City Planning — State Senator Liz Krueger, Manhattan Borough President Gale A. Brewer and City Councilmembers Dan Garodnick and Ben Kallos — have written the City’s Department of Buildings to encourage the City to disapprove any new or emended applications for the Project at 430 East 58th Street. An excerpt from that letter, sent on January 19th, 2017: “We ask that you and the department continue to disapprove any new or amended applications for the Project and decline to issue any interim permits for foundation, excavation or other work prior to (1) the applicant’s submission of a complete application and (2) DOB’s completion of review of the full set of new building plans for zoning compliance. The parties are deeply concerned about the zoning compliance of the Project, which has been subject to extensive litigation and public controversy over the past year. We have submitted an application for a zoning text amendment to the Department of City Planning for this community. In light of these events, it appears that the applicant is seeking partial approvals (based on an incomplete application) in an effort to rush the approval process. And regardless of that zoning change, we have serious questions about the zoning compliance of this Project. Moreover, neighbors have also expressed concern about the integrity of residential buildings bordering the Project. It is imperative that you and your department exercise your discretion and decline to issue any permits until the new building application is complete, DOB zoning analysis is complete and zoning diagrams are made publicly available.” The full text of the letter can be seen here. ERFA will continue to update the community on the status of building permits and our request as we have news. ERFA urges you to make your voice heard and encourage the Department of Buildings to carefully review all applications for the proposed structure at 430 East 58th Street and decline to issue any interim permits for foundation, excavation or other work until the agency has received and reviewed the full set of new building plans by clicking here.

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By Ernie Ball on July 30, 2019 in Artists The Salt Lake City band, Chelsea Grin, has had a wide impact on the genre of deathcore. Their name has become a staple in the genre, and their guitarist, Stephen Rutishauser, is their longest-standing guitarist in the lineup. Though on the stage, Chelsea Grin provides their audience with the absolute chaos that has can only be expected of deathcore, Rutishauser’s guitar collection is quite the contrary: a neat collection of sparkly Ernie Ball Music Man JP’s. In between tours, we had the opportunity to catch Rutishauser and ask him a couple of questions about his JP collection, his inspirations, and the Chelsea Grin pre-show routine: “hype time.” EB: You’re just getting back from your latest tour with Chelsea Grin. How was it? SR: This most recent one was in Austrailia and that was just a cool tour altogether because we haven’t been there many times. We went and there was such crazy positive energy; people were just so accepting and loving of us out there. We got to meet a lot of really cool people, and the shows were just chaos. I can’t recall any specific memories. I feel like — as lame as it sounds — it’s always good. Just being out there is a good time for me. EB: Can you run us through your full roster of MM guitars? SR: I’ve got four right now. They’re all JP13’s, except my most recent, which is a JP13 body with a JP15 neck — that roasted maple one. Since we play in three separate tunings, I use my EBMM guitars for drop A and drop G, and I have a main and backup guitar for both of those tunings. In drop A, I main with my gold sparkle JP13 and my backup is a pink sparkle. In drop G, lately, I’ve been maining on the baby blue silver JP13 I’ve got. My backup for that is the rootbeer with the maple neck. The reason I have all JP13’s is for that consistency in tone and feel, and it’s the JP model caters best to my hands. It sounds and feels the best in my hands. EB: You definitely gravitate towards the JP13. What features on this guitar make it your go-to? SR: For me, it’s a multitude of reasons. The neck profile is really the biggest thing about MM guitars in general. They’re all pretty astounding in what they get away with and the shapes they pull off — they’re just so comfortable. They feel so incredible; for a 7-string, I can’t believe what I’m playing every time I play it. Over the years, being that these are the only guitars I’ve used, I’ve really found my comfort zone with them. The pickups — the Dimarzio Illuminators — are really just a badass pickup to come with the guitar out of the factory. It’s wild how good they sound. They’re extremely articulate, bright when I want them to be, but they’re controlled in the sense that I can color them however I want. They responsive to whatever I’m doing and they get just the right tone for me. I’ve tried other pickups, but I think the Illuminators in the JP13’s is just the best sounding combo I’ve ever heard. Also, just the look of it! The body style has some variations on the JP12 style, and it’s just so sleek and comfortable. The weighting of it, the way it sits on me — it just stays exactly where I want it. I just feel like it is a guitar perfectly built for my needs. There’s a lot of reasons why I stick with it. EB: Chelsea Grin can get pretty rowdy on stage. What’s going through your head when you perform? SR: As far as the show goes, it’s always a blast. We obviously play some pretty extreme music, but we’re not a super “metal” band on a personal level. I love metal, I listen to death metal all of the time, but we’re just out there smiling and having a blast, looking at each other and laughing even if we mess up. It’s all fun up there. So, we’re constantly enjoying ourselves — every minute of it. If I have a stressful part, I’m for sure focusing, but other than that — oh, man. I just watched the mailman fall outside my window. He’s up. He’s good. As far as gear goes, though, I don’t ever worry about my guitars. I set them up myself, and we have guitar techs for the road, but on stage, I never have and issues. Sometimes I worry about strings if I get lazy and “forget” to change them for a little too long, then I start thinking about it. But, I play the Ernie Ball 7-String Cobalts, and they’re very durable, so that helps. EB: What is the sound you’re going for as a part of Chelsea Grin? SR: There’s a bite that I’m going for that no other guitar has had. It’s a supreme clarity across every note. I’ll play a chord over all seven strings and each note will sting individually. But, then, when I’m palm muting or even riffing in whatever sense, it has just such a sweet bite that cuts through anything. It’s so easy to work with for mixing at live shows. It has this remarkable, pissed off, throaty chomp to it. So, that’s the most unique sound to me. EB: What was the first moment you knew you wanted to pursue music for a living? SR: My dad is a classic musician, and he’s played for my whole life, so together we tried a bunch of instruments and none of them really stuck. But, I remember when I was younger, stumbling across a couple of DVDs — System of a Down being most noteworthy — and I got into some metal music. I thought to myself, “well, damn. This is a huge crowd, this is aggressive music, they’re going wild. I’m a pissed off little kid and so this just speaks to me.” It’s not an easy thing to make happen; it’s a lot of hard work and persistence, but I knew if I stuck with it I would eventually make it. I was probably 12 when I encountered my first metal festival videos and I knew that was, for sure, what I wanted to do. EB: What other inspirations do you have — other than System of a Down — that you’re bringing to Chelsea Grin? SR: For me, personally, my favorite bands are Dimmu Borgir, Behemoth — I’m really into the extreme side of metal. I love black metal and I’m a huge Black Dahlia Murder fan. Messugah is a huge influence. These are all bands that are well known for these genres, so it’s not like it’s anything too obscure, but those bands are probably my biggest influences. As far as writing breakdowns or rhythmic patterns, those are my core four. EB: What are your pre-show rituals? SR: I don’t have any weird quirky things, but our band always has “hype time” before shows. Maybe a half hour before we have to get into the venue, we’ll just listen to music pretty loud. It changes every day; sometimes it’s metal, some days it’s hip-hop, some days it’s techno just to dance around and get crazy. Whatever we can do to loosen up our bodies a little bit. Maybe take a shot, I don’t know. I usually don’t drink before I play, but if hype time hits just right, I’ll take one shot. Hype time is good, man. We get our whole crew together and have a good old time. I love it. Pablo, our drummer, started that one day and then one day it started to feel weird without it. My main thing, though, is stretching. At this point in our live career, we’ve played the songs so damn much that I don’t feel the need to run through them before a show. I’ll warm up scalar knowledge, but that is more just to loosen up. Stretching out my arms, my hands, my forearms and massaging them, making sure my fingers are nimble. Even stretching my body — the way we play on stage is super physical, so stretching my legs, hips, and back, too. That’s the most important part of my routine. EB: What’s coming up for you and Chelsea Grin? What do you want people to know about? SR: Chelsea Grin is a band. We’ve got a lot of fun coming up. This summer, we’re doing some festivals, and then we’ve got a European tour with As I Lay Dying. We’re working up some other plans besides that; I’m working on writing for our new record. Our last record, Eternal Nightmare, came out almost exactly a year ago now. We’re still having a blast playing that, so if you haven’t heard it, check it out! Also, I am a humongous Ernie Ball Music Man fan, so anyone who doesn’t have their hands on one, but is interested, I will tell you ten times out of ten — a million times out of a million — to get your hands on one, give it a shot, and never look back. Other than that, there’s always new stuff on the horizon, so keep your eyes open. We really appreciate all of the support. It’s been kind of a crazy couple of years for us, so we appreciate everybody sticking with us and helping us feel better than ever. For guitars, Rutishauser has four Ernie Ball Music Man JP’s, including a custom JP13 body with a JP15 neck. uses Ernie Ball Regular Slinky 7-String Cobalt Strings and Skinny Top Heavy Bottom 7-String Cobalt Strings. Listen to Chelsea Grin Chelsea Grin Ernie Ball 7-String Cobalt John Petrucci JP13 JP15 Stephen Rutishauser No Ordinary Joe: Why it’s time you get to know Vulfpeck’s Joe Dart and his Ernie Ball Music Man Artist Series bass

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Joe Biden Confronts Fox News Reporter at Iowa Event ‘SINGLED OUT’ Matt Wilstein Updated Aug. 20, 2019 9:06PM ET / Published Aug. 20, 2019 7:15PM ET Former Vice President Joe Biden confronted Fox News reporter Peter Doocy during a campaign event in Iowa on Tuesday. According to Washington Post national political reporter Matt Viser, Biden answered a question from Doocy by saying, “I know you're going to go after me no matter what... And it's OK, it’s good. I’m a big boy. I can handle it. But... I notice you didn’t ask me why I’m ahead in all the polls still. I notice you didn't ask me how I feel about the new CNN poll.” Doocy, who asked Biden what it’s like to see a progressive candidate like Bernie Sanders drawing bigger crowds than him in that early caucus state, confirmed the combative nature of the interaction during a live hit with Bret Baier on Fox later in the afternoon. “He singled me out to say that he thought I was going to be unfair to him no matter what,” Doocy reported, “but that he can handle it because he’s a ‘big boy.’”

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The concluding issue of The Economist is remarkable indeed. Not only does it give us a summary of the past year in verse, as mentioned earlier. It also contains a critical review of modern day (perhaps) Shangri-La in its reïncarnation as Bhutan (subscription required) - a country which apparently is not looking to maximise its GNP, but rather its Gross National Happiness! Which would be nice, of course, if it were not to run some serious risk of Orwellian doublespeak. But that's not all: in a fit of self-referentialism, it surveys - firmly tongue-in-cheek - the post-modernist academic literature deconstructing The Economist and comes to a surprising conclusion. Read it here if you can... Equally surprising is the paper's finding that George Bush is not too religious, although it is not made that explicit. Personally, I am not so much worried about his religiousness, or asserted lack thereof, rather than the administration's increasing inability to listen to outside positions. Finally, the wisest fool: "He was deeply learned, without possessing useful knowledge; sagacious in many individual cases, without having real wisdom...He was fond of his dignity, while he was perpetually degrading it by undue familiarity; capable of much public labour, yet often neglecting it for the meanest amusement; a wit, though a pedant; and a scholar, though fond of the conversation of the ignorant and uneducated...He was laborious in trifles, and a trifler where serious labour was required; devout in his sentiments, and yet too often profane in his language..." Even though some may think that this is a profile of yours truly, it's a description of King James I.. The Economist is running a competition for the Honourable Title of The Wisest Fool. The criteria are as follows: He or she must be fundamentally an idiot, but a shrewd or cunning one. Candidates need not inhabit Christendom, but they must be alive, or have been in the past 50 years. Submissions to reach competition@economist.com by January 17th! P.S. My heartfelt congratulations to the Ukrainians! According to the exit polls and - more importantly - the Central Electoral Committee, the liberal candidate has ended up winning by a large majority, which is a major slap in the face of the Russian president. I don't think he qualifies for the competition ...

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the museum experiment so i'm in philadelphia for the american association of museums annual conference, and i spent my first day walking around overwhelmed by the sheer number of museum opportunities (both arts and heritage related) available to me here. i visited the institute of contemporary art and the philadelphia museum of art, and will be visiting a few more institutions over the next 4 days. these are some things i realized today: 1. i'm really starting to love ceramics - i saw a great exhibition of contemporary ceramics with pieces that were both rough & tumble and elegant & refined. 2. there was bill viola video piece - silent mountain - that brought tears to my eyes. it a diptych comprised of a male and female actor depicting loss and grief over some unknown revelation which has been slowed down so that all the subtle intensity of those emotions are fully and torturously presented. it's excrutiating. and sublime. 3. i had no idea how LARGE cy twombly's paintings really were -- there was an entire gallery devoted to a single piece - 50 days at illium (a reference to classical greek myth and antiquity) - and it was glorious. 4. for some reason duchamp always makes me laugh - i think his work is very witty - but his Étant donnés: 1. La chute d’eau, 2. Le gaz d’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas), which he worked on in secret for 20 years, is as unsettling and complex a piece as i've encountered in a number of years. i am quite ambivalent about it. it is a secret(ive) piece about a secret (hidden) act, and yet it places me squarely as voyeur - and these ideas apply to both the piece itself and the artist (as an artist, perhaps even - in today's pantheon - the artist), as duchamp's project was as much about the role of the artist as about the function of art. 5. i never realized how integral and crucial the plinths/ platforms/ supports were for brancusi's sculptures (and pairing them in the same space as mondrian's paintings was a brilliant choice). 6. i saw an amazing collection of mughal miniatures and medieval prayer-books/ book of hours. breath-taking. inspiring. actually, i walked through that section of the museum with tears in my eyes. the loving devotion and intensity of labour were very moving. that's all... huh. "moving pictures". on may 6, 1895, auguste and louis lumiere demonstrated the first movie projector, the cinematographe, in paris, france. it projected its images out onto a screen, unlike thomas edison's kinetograph, which was a peep show that the viewer looked into, and it weighed only 20 pounds compared to edison's half-ton invention. the first film they showed was workers leaving the lumiere factory. the movie opened with a concierge unlocking the gates, showed people walking through, and ended with the concierge closing the gates again. they made more than 2,000 films like this, without plots or characters, and thought of them just as moving pictures, and despite the thousands of people who lined up at their viewings every night, the lumieres thought that movies would be a passing fad and auguste went off to school to become a medical scientist, and louis went back to working on still photographs. o, covetous rapture! this easter weekend i acquired, through the sleuthing of my good friend daniel, 2 books i have been coveting for more than a decade. the first, which is the fourth iteration of the book, is tom phillips' a humument. for those of you unfamiliar with the project (this edition of the book simply captures the project at a certain point in time - here's more information) it began in the mid-60s when mr. phillips, inspired by william burroughs' "cut-up" writing technique, bought an obscure victorian novel (w. h. mallock's a human document, from 1892) and began to alter it by drawing, painting and collaging the pages of the book and pulling out new narratives (even poetry). the first edition appeared in 1980 (the second edition was published in 1987 and the third in 1998). the fourth edition (the one i just received) was published in 2005 - almost half of the 1980 edition has been replaced/ revamped. it is generally considered one of the prime exemplars of artists books, particularly the stream that involves altering and editing a text without altering a book's physical structure. and 40 years later, it seems that the project remains inexhaustible. the other item is the 1971 compact edition of the oxford english dictionary. reproduced micrographically, it contains the entire 13-volume edition of the 1933 OED. it comes with a magnifying glass so you can read the text (it is reproduced micrographically, you know). at one time (i believe it was in the mid-90s), a newer edition had been made available to new members if you joined the book-of-the-month club, which i didn't do, and thereby missed my opportunity for a truly literary steal since the compact OED will usually run over $300. ouch. according to the encyclopaedia brittanica online: The dictionary is a corrected and updated revision of A New English Dictionary on Historical Principles (NED), which was published in 10 volumes from February 1, 1884, to April 19, 1928, and which was designed to provide an inventory of words in use in English since the mid-12th century (and in some cases even earlier). In 1933 the New English Dictionary was reissued in 12 volumes (together with a 1-volume supplement) as The Oxford English Dictionary. Both the NED and OED were published by the Clarendon Press of Oxford. Arranged mostly in order of historical occurrence, the definitions in the OED are illustrated with about 2,400,000 dated quotations from English-language literature and records. The aim of the dictionary (as stated in the 1933 edition) is “to present in alphabetical series the words that have formed the English vocabulary from the time of the earliest records down to the present day, with all the relevant facts concerning their form, sense-history, and etymology.” The publication of the dictionary was first suggested to the Philological Society (London) in 1857, and the collection of materials began soon thereafter. Editorial work began in 1879 with the appointment of James Murray, who was at that time president of the Philological Society, as editor in chief. Murray, during his term as editor, was responsible for approximately half of the dictionary, including the letters a through d, h through k, o, p, and t. Succeeding editors included Henry Bradley, William Alexander Craigie, and C.T. Onions.

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Spotify CEO Daniel Ek Talks Royalties, Social and The Future The following interview with Spotify CEO Daniel Ek originally appeared on GRAMMY.com. Ek will give the keynote address at the GRAMMY Foundation’s Entertainment Law Initiative Luncheon & Scholarship Presentation on Feb. 10 in Beverly Hills, Calif. For more information on the GRAMMY Foundation, visit www.grammyfoundation.org. The 54th Annual GRAMMY Awards airs live on Sunday, Feb. 12 on CBS. Eliot Van Buskirk, Evolver.fm: It’s been about a year since we last met. How are things going with you lately? Daniel Ek, CEO, Spotify: I’ve got a bit of a sore throat right now, if you’re asking about me personally, but Spotify is doing fantastic. That’s always great. Evolver.fm: Can you give us a preview of what you intend to discuss at the GRAMMY Foundation’s Entertainment Law Initiative Luncheon? Ek: There’s a lot of interesting debate going on now about streaming, and I like that it’s become more about streaming, and not what’s free or not. But what I really want to talk about is the future. We have this debate about where it is right now, but I still think streaming is really in its infancy, and I want to outline the future of what that looks like — what it will actually mean for the music industry. What would it mean for how to promote an act? Or for revenues? We’re at a time now when more and more people are saying, “Hey, actually, this is working,” and we’ve got two-and-a-half million paying customers and that number is growing very, very quickly, and it keeps accelerating. Personally speaking, I am more bullish on the future of the music industry than ever before, and I think we’re kind of entering a golden age in music. Evolver.fm: What will that golden age look like? Spotify gets political, as Barack Obama's reelection campaigners posted a Spotify playlist featuring their favorite songs, including some of the president's. Ek: First, I think we’re talking about a world where, I believe, most of it will be access. There will be ownership as well. I think the total amount of revenues back to the industry is going to grow. We’ve paid over $200 million to rightsholders already, and it’s still in the early days. So for me, part of it is talking about the growth story of how we get the music industry back to where it used to be, and probably even past that. The second part is, in a world where music is really about you listening to music and your friends discovering it from you, what does that mean about how we break acts and promote acts? Spotify, up until now, hasn’t really done a great job of helping that, but you’re going to see us doing more and more to break acts and try to really promote them as well. Looking at Spotify today and fast-forwarding three years to 2015: Where’s the music industry? Where’s Spotify, and what does this mean to a band, manager or label? I think it’s exciting times. Creating a record is really about three core components. The first thing is creating the actual record. It used to be really expensive to do that and now, really, anyone can record a record, even [in] their own homes. The second piece is that it used to be really expensive distributing the record, and now with iTunes, Spotify and other services, distributing another digital copy basically doesn’t cost anything. But the funny thing is, marketing used to be kind of simple in the old days. You used to be able to just put it on the radio or MTV, and it just worked. If it was a good song, the record started selling based on that. Today, the media landscape is much more fragmented. MTV’s not about music anymore, and radio is even hard[er] to break through. There are tons of radio channels, and most of them play stuff people already know. So, marketing an act today is really, really, really expensive. If it went from being a broadcast medium of just getting it out there to everyone, to a social medium, where music is discovered through friends, what does that mean for the marketing of music? I think that’s [another] core component of getting this to work. Evolver.fm: That’s a really good point. I guess we’re also seeing that with some of the audio ads within Spotify, which are clips of songs. Ek: Hopefully, I’ll also be able to go into some interesting things we’ve seen [during my address], especially with Facebook, where there are acts like Foster The People who kind of blew up on the service, really, because friends started discovering [them] from other people. That’s a great story for us, to show, “Look, this works. People discovered it not just through radio, where they didn’t have much promotion, but because friends kept recommending and listening to it, so their friends, in turn, discovered it.” Evolver.fm: Is that part of the decision to require a Facebook login on Spotify, because you see the social sharing as so important? Ek: We look at the sharing of music as really, really important for our business. We’ve found that the more social our users are — i.e., they’re sharing music — the faster they grow their own music library. [And] the faster they grow their music library, the faster they become paying customers. That’s really the rationale for us — not really the marketing side, but we feel that the combination of [Facebook and Spotify] is a positive thing. Evolver.fm: I remember when we first met in New York, years ago, and you said that you wanted to create a legal version of the sort of experience that people have in the P2P version. My favorite thing about Napster was searching for one rare band that I loved. If someone had that, then I trusted them, and knew that I was going to like anything else they had. Ek: Yep. Evolver.fm: It seems like you have succeeded in translating that to a legal music service, so congratulations on that. Ek: Yes, we’ve done that. Right now, it’s skewed more toward your friends. What we want to make it skew toward is you discovering other people with great music taste as well. Evolver.fm: Are there any misunderstandings about Spotify that you’d like to clear up? Ek: I feel, to an extent, that we’re a victim of our own success. What I mean by that is, especially if you look at the media, Spotify is seen as this gigantic company, the size of [Apple's] iTunes, which is not really true. We’re really starting up here, and that’s how we feel about it. If you look at a country like the U.S., there’s sub-1 percent of the population that’s even using any legal streaming service. I think that sometimes people perceive us as being a lot larger than we are, and that’s an important point to make. Spotify CEO Daniel Ek unveils the company's app strategy at a New York event (photo: Eliot Van Buskirk). [Another] point I want to make is that this is a very, very different model than just selling a record. Everyone talks about volume, and what this means in terms of numbers, and I don’t think it’s comparable. In the world today, there are 500 million people listening to music online. Out of them, there’s only a very small portion who are avid iTunes customers, which we look at today as being the majority of the digital music ecosystem. So the way we’re approaching this is, we want to reach the 500 million people, of whom the vast majority aren’t really using iTunes. I’d also like to address people who think they’ll gain sales by not being on Spotify. There’s not a shred of data to suggest that. In fact, all the information available points to streaming services helping to drive sales. Album unit sales [were] up in the U.S. in 2011, the year Spotify launched, for the first time since 2004. More than a dozen albums which debuted at number one have been available on Spotify at launch. Spotify users are the exact same people [who] used to listen to music every day on YouTube, whose entire music collection was pulled off BitTorrent sites. By offering them a compelling music service that allows them to discover hundreds of new artists, not just their favorites pulled from YouTube or [pirated], we’re seeing millions move back to listening to music legally after years of being left out in the cold. They’re helping pay a ton of money back to the industry. You’re talking 10 million active users, 2.5 million subscribers — most of them paying $120 a year, which is double the amount of your average iTunes user. Do you really want to hold back your album from people who are finally paying for music again? If you think that by doing so you’re getting them to buy your album on a CD, or as an album download, again, there’s absolutely no evidence to back that theory up. Your album’s getting shared en masse over BitTorrent, over YouTube. It’s there, right now — but you decide that it’s the paying, loyal music fans that should lose out. It makes no sense. Another thing I want to mention: When someone creates a Spotify playlist, and they put an album or songs in there, they don’t just play them once. What actually happens is they keep repeatedly playing them. What I think is interesting, and what we do here, [is that] the sales cycle of that record is anywhere from four to 12 weeks in most typical cases. With Spotify, we keep seeing the effect up to 25, 35 [weeks], or even a year. So when looking at the effect a certain record release has, one in the world of Spotify has to look not just at the first 12 weeks, but actually look at six months, and probably even a year after, because it keeps playing. And every time someone plays a song, we pay the music industry. I think that is probably the biggest misunderstanding — everyone keeps comparing an apple to what’s actually not an apple, but hopefully a tastier fruit. Evolver.fm: It seems like that would give musicians an incentive to make music that people want to listen to over and over again, which could be good culturally. It’s not just about making a splash. Ek: Yeah! At Spotify, we really want you to democratically win as a musician. We want you to win because your music is the best music. And the only way you can win in the Spotify ecosystem, unless you buy advertising, is by friends recommending [you] to other friends. And they do so by listening to your music. They vote with their hands and feet. I think that’s a pretty great thing for an artist that’s creating great music. What’s interesting to me, looking at the greatest acts of last year, is that many of those acts are acts that, five or 10 years ago, may not have even had a record deal, but they’ve grown — [like] one of my favorite bands, Mumford & Sons. I don’t know how much [they've] been growing on social [networks], but I can tell you, the reason why I discovered them was someone actually sent me a YouTube clip, and then I started searching for them on Spotify, and I discovered this fantastic band. I guess the point is that in the future, we’re getting more and more connected, all over the world, and hopefully that will mean that great music will prevail, because your friends will listen to it and share it with other friends. Spotify can send music via Apple AirPlay to home stereos and other devices. Evolver.fm: The two big areas for growth in digital music seem to be the car and the television. What can you tell us about Spotify’s strategy there? Ek: Much like we believe a strength of the CD [was] being ubiquitous — that you can take a CD and put it in any player and just press play — that’s how easy we want it to be to play music with Spotify. As more and more devices are getting connected, the base of people who will want to listen to music with those devices will increase, and that’s something we’re hugely excited [about]. Evolver.fm: To switch gears for a second, I was very interested to cover what Spotify is doing with apps. You can build desktop apps on Spotify’s catalog, iOS apps and now you can build apps within the Spotify desktop client. How significant do you see that ecosystem? Is it going to be a major part of Spotify’s growth in the future? Ek: Yeah, we definitely do believe that. There are multiple ways one can look at this, but what we’re trying to primarily address is that when it comes to music, we’ve got 15 or 16 million tracks. I don’t even know what the exact number is, but there’s an endless amount of music. You could listen your whole life to the Spotify catalog and you probably wouldn’t get through a third of it. What’s needed on top of that is curated experiences. Part of that curated experience is people building playlists and sharing those playlists with their friends. But another part is trusted sources — people who tend to be really, really good at music. There are things you can [offer] with music that aren’t Spotify’s core [competencies], like lyrics, ticketing and other things. We felt that the Internet really was silent, and that music was missing. We wanted to create a platform to allow people to interact with music, whether that’s providing curation, or providing more interesting experiences, or even using that to give you other venues, such as ticketing and merchandising. We think all of those things are super exciting, but they’re not our core competency. We might have 100 or 150 engineers, and that’s great, but already now, with the Spotify platform, we’ve got thousands of engineers working on creating more interesting music experiences. And that’s ultimately really good for the music industry, because there are more avenues now to listen to music and interact with music. Ultimately, that’s going to make more people care about music and pay for it again. Spotify runs on the iPad and many other devices (photo courtesy of Flickr/Andreas Blixt). Evolver.fm: We’ve talked a little bit about the royalty payouts. Some people have said from time to time that the payouts are too low, and others point out that with hundreds of millions of dollars changing hands, how can that be low? A few artists are deciding not to have releases on Spotify, so I guess one conclusion to draw would be that it’s too difficult to do freemium streaming — to pay what seem like very high royalties in one sense, but, on a per-artist level, some people say it’s not very much. How do you see this playing out? Ek: As I said, a lot of people try to compare an apple to another fruit, and as I started out saying, we look at it as us being in our infancy. We haven’t even started, really. We’re still a really young company. So, ultimately, our view is that the royalty checks we’re paying out now — of course we’re happy that there’s progress being made, but it’s still only in its early days, and it will keep growing. Last year was a great testament to that, [when], in May, we hit a million paying customers and at the end of that year, we were at two-and-a-half million. That’s a significant increase in customers who are paying 100 bucks a year. And Spotify keeps growing at that pace, if not faster. So I think the royalty checks, as they’re combined, will definitely grow. But I also want to kind of caution people. We get a lot of media attention. People think we’re actively seeking that media attention, and in most instances, we’re not. People just like the product so much that they like to write about it. I find this when I meet artists. They actually think we’re a lot larger than we are. I say, “Look, we’re not, really. We’re roughly 10 million users in countries where, in total, there are 600 million people. And out of them, at least 250 million are listening to music online, so we’re actually a very small part of this right now.” I want to add that my home country, Sweden, where Spotify has grown to scale — if you look at the artists now, the vast majority of the artists are getting between 50 and 60 percent of all their income from Spotify. And I think that’s what’s going to happen when this model gets to scale. And the music industry [in Sweden] is growing. Evolver.fm: The latest thing with Spotify and Facebook is this ability to listen to the same thing at the same time, which I think is a fantastic feature. It makes music not only something between a person, an MP3 player and a pair of headphones. Over the long term, is this going to become a mainstream activity, or is it just for people like me who use the latest stuff and get a kick out of it? Ek: Our approach is that we don’t know. With that said, we think music is the most social thing there is, and we think people want to interact with music. The background on that feature is that it was actually built by Facebook, which we think is cool. One of the engineers there showed it to me one time when I came to visit, and he was like, “What do you think about this?” I said, “This is awesome, you should just release it.” The coolest thing is that he could build that feature because Spotify is a platform, so he could interact with our APIs, create it, and put it on the [Facebook] service. We didn’t actually interact that much to get this done, but it was one of the things that the Facebook folks were really passionate about, and I think — I hope, and I believe — that there will be 10 other projects similar to this around the Web right now, where people build cool, interesting experiences. Two weeks ago, someone [who] created the Spotify app Soundrop released their own iOS app. So now, all of a sudden, I have a room where I’m walking around and people talk about music, where they vote for which track will come next. It’s kind of a social radio. And that was built by two guys in Oslo. I guess the answer is that we don’t know what will work or not, but we’re thrilled that people want to innovate around it. Evolver.fm: So, do you still find time to play guitar? Ek: (Laughs) I do! I actually bought a travel guitar, and that guitar is really cool. You can actually fold the guitar, and you can plug headphones into it, but it’s acoustic, or semi-acoustic. So I do — more, actually, than I did last year. access, apps, daniel ek, eliot van buskirk, Entertainment Law Initiative, future, grammies, grammy, interview, music subscription, spotify, spotify apps, streaming, subscription SteveinSoCal Spotify… nice UI, but still suffers fro the same fundamental problem as (for example) last.fm or pandora i that it doesn’t let me find and listen to music I like (or want), but merely the music that the biz will license… which here in the States is a huge f***ing problem (thanks!). Until it is a truly universal service I can’t justify paying to subscribe to a flawed service. I’d also rather purchase music from artists I like, on the basis that they’d at least see some financial reward rather than the pittance in royalties that Spotify pays – for all Daniel’s protestations Spotify is only a small rung up the ladder from piracy. But the biggest problem with Spotify is the whole Facebook thing. Music may well be social – it certainly is when I attend a gig – but Facebook? No body I knows used Farcebook and I sure as hell wouldn’t want to share my music library with a farmville bejeweled wordscraper junkie… “The first thing is creating the actual record. It used to be really expensive to do that” lol, you lost me there buddy. Let’s see, last time I checked 1176′s/La2a’s/Les Pauls/Strats/Motifs/Virus’ were more expensive than ever; it still takes at least 8 hours a day for at least a month for a team to write, arrange, record, mix and master a hit, and to top it off Spotify insists on not paying rightholders, geez… Johneppstein When Spotify is willing to pay a fair rate then more artists will license their material. Right now you need to get more than FOUR MILLION PLAYS to make a monthly minimum wage for ONE PERSON. Diovide that by 5 people in the average band and it’s not even beer and pizza money – you can do better playing on a street corner in most cities. I get your point Steve, but I still wouldn’t describe Spotify as a step — however small — up the ladder from piracy. Spotify are worse than ordinary pirates because a lot of new musicians actually expect to receive at least some half decent kind of income from the service. So they stick around and waste precious weeks and months in the process. It all stops, of course, when they get their fat check. But then it’s too late. You can’t sell a song on iTunes after a month of Spotify abuse. And you know, there’s one really nice thing about ordinary pirates: You can sue them! http://twitter.com/fsNxDynamite Billy M. Don’t a lot of musicians now a days make a majority of their money going on tour? I don’t personally pirate music, but I don’t think its as bad for indie bands as people make it out to be. Any indie musician that wants to make it big knows exposure is the most important thing. If you can get more people to just listen to your music (and like it) not even having them pay for it the more people you get coming to your concerts. aka more fans. The more people you have coming to your concerts the bigger venues you will be able to perform in. The bigger venues mean more demand. At least with spotify you get that exposure and a little bit of money. I know I’ve already discovered at least 10 -15 bands/musicians with soundrop on spotify. When I found them I told my friends about them. When they come to my area that is about 5 more people buying tickets to see them. The dudes who write most of the music we all love are not touring, Billy. What do you expect them to do? Sell t-shirts? I’m not critizing fans who steal music on TPB and/or use Spotify. They want to save money, cool, we can all appreciate that. But you’re naive if you think that anybody in the future will invest the $100K + it takes to produce a hit when everybody can dl or stream the song for free without consequences. So let’s just hope that future kids — for the first time in history — will love the same music as their parents cause that’s all they’re are going to get. Dozzzer - Music To Drift Off Ultimate Guitar Tabs BandPage Sunrizer Synth Piano Diary Jazz Scale Gimme Music Open Ear SmartPlayer EasyBeats Pro Drum Machine SoundTracking Su-Preme MPA Beta Shake Music Violin Mastery iBone - the Pocket Trombone Remoteless for Spotify Pixies Official Uke Pal Free - Ukulele Tuner Music Dictionary Bloomberg Radio+

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The Jungle Book (Illustrated by John L. Kipling, William H. Drake, and Paul Frenzeny) First published serially between 1893 and 1894, “The Jungle Book” is Rudyard Kipling’s classic collection of jungle tales in which we first meet Mowgli, a child lost in the jungles of India and raised by a pack of wolves. To survive in the jungle Mowgli most learn from the animals to abide by the laws of the jungle. A cast of interesting creatures surround Mowgli, including Baloo the bear and Bagheera the black panther, who help the young man to survive, and… (more) First published serially between 1893 and 1894, “The Jungle Book” is Rudyard Kipling’s classic collection of jungle tales in which we first meet Mowgli, a child lost in the jungles of India and raised by a pack of wolves. To survive in the jungle Mowgli most learn from the animals to abide by the laws of the jungle. A cast of interesting creatures surround Mowgli, including Baloo the bear and Bagheera the black panther, who help the young man to survive, and the tiger Shere Khan, who is envious of Mowgli and wishes his demise. Also contained in this collection are the stories of Kotick, a white seal in search of a new home for his tribe were they will not be hunted, and Rikki-Tikki-Tavi, a mongoose who defends an Indian family against a pair of cobras. Several other tales of the jungle grace this collection which is interspersed with beautiful poetry relating to the stories. One of the most popular collections of short stories for children ever written, “The Jungle Book” was inspired by Kipling’s own experiences as a youth in India, where he would spend many of his formative years. This edition includes illustrations by John L. Kipling, William H. Drake, and Paul Frenzeny. Publisher: Digireads.com Publishing (January 01, 2017)

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MUSIC, news, Video “The Truth Is In There” Global Campaign song for Oprah’s WW https://i2.wp.com/flictcity.com/wp-content/uploads/2018/12/Screen-Shot-2018-12-24-at-12.03.27-PM.png?fit=1218%2C898 898 1218 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2018-12-24 12:02:542018-12-24 12:05:55“The Truth Is In There” Global Campaign song for Oprah’s WW MUSIC, Video Ally Brooke performing “LAST CHRISTMAS” on Macy’s parade! https://i2.wp.com/flictcity.com/wp-content/uploads/2018/11/ally-brooke.jpg?fit=1346%2C1148 1148 1346 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2018-11-28 15:22:312018-11-28 15:30:34Ally Brooke performing “LAST CHRISTMAS” on Macy’s parade! “LAST CHRISTMAS” - Ally Brooke produced by Chris “Flict” Aparri OUT NOW! https://i2.wp.com/flictcity.com/wp-content/uploads/2018/11/image1.jpeg?fit=1125%2C1128 1128 1125 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2018-11-28 15:19:122018-11-28 15:20:31“LAST CHRISTMAS” - Ally Brooke produced by Chris “Flict” Aparri OUT NOW! MUSIC, news, Personal Chris “Flict” Aparri becomes Grammy nominated with the Common Kings. Best Reggae Album! https://i1.wp.com/flictcity.com/wp-content/uploads/2017/12/grammy-flict.jpg?fit=1292%2C588 588 1292 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2017-12-09 20:45:552017-12-09 20:47:00Chris “Flict” Aparri becomes Grammy nominated with the Common Kings. Best Reggae Album! Wyclef Jean “Turn Me Good” produced by Chris “Flict” Aparri. https://i1.wp.com/flictcity.com/wp-content/uploads/2017/12/Untitled-2.jpeg?fit=1706%2C956 956 1706 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2017-12-09 20:28:552017-12-09 20:30:14Wyclef Jean “Turn Me Good” produced by Chris “Flict” Aparri. Wiz Khalifa “Speech” produced by Chris “Flict” Aparri https://i1.wp.com/flictcity.com/wp-content/uploads/2017/12/image2.jpg?fit=1125%2C936 936 1125 admin http://flictcity.com/wp-content/uploads/2017/01/flict-black.png admin2017-12-09 20:09:532017-12-09 20:13:48Wiz Khalifa “Speech” produced by Chris “Flict” Aparri Chris “Flict” Aparri is an LA based Grammy Nominated/Platium Producer, Songwriter, Musical Director, and DJ. He is published at BMG by Zach Katz and is currently managed by Charles Chavez (CEO of Latium ENT.). A lover of all music genres, Flict’s versatility has allowed him to work with everyone from Meghan Trainor and Diane Warren to Wiz Khalifa and Fifth Harmony. It is his youthful “Hit” sound and humble nature that attracts various artists, songwriters, and record labels around the world. Born in the Philippines, Flict began playing music at the age of 5. Learning any instrument he could get his hands on, he became a true and lifelong student to music. In college, he was a music performance brass major and eventually earned a degree in Recording Arts/Production. His professional career began as a DJ where he developed his distinctive style and love for hip hop that remains a major influence in his sound today. Flict’s “big break” came when he was asked to be the musical director and producer for the legendary Lauryn Hill. He considers this as his first musical boot camp, giving him the confidence to tackle any project thrown his way. He has represented the Fre$h Good$ crew of songwriters and producers founded by one of his best friends, Rome Ramirez. They have been long time collaborators and co-produced/wrote on several of the Sublime with Rome albums together. Another great friend and long time collaborator of Flict’s is Grammy award winning artist, Meghan Trainor. They have written and produced numerous records together that have been placed with several artists including Fifth Harmony and Common Kings. Flict has had numerous records reach #1 on iTunes overall charts. He produced 3 records on Fifth Harmony’s “Reflection” album which was #1 on iTunes in 25 countries and went platium. As well as have peaked at #5 on the Top 200 Billboard overall charts. He is also Grammy Nominated for his work on the album: Lost In Paradise by the Common Kings. As of recent, he landed the Global Campaign song for Weight Watchers along side Oprah, Diane Warren, and Ally Brooke. Flict currently works out of Venice Beach CA and is now producing his own music that’s spiking the world. And as his reputation and accomplishments continue to grow, Flict never ceases to amaze! Camila Cabello 2 Rome Ramirez Tamar Braxton & VinceHerbert Meghan Trainor & Common Kings FLICT WIZ Zach Katz Klevar & Craze Red Carpet Caro Diane Warren Latium Ent. Charles Chavez Contact: Nick@latium.com

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Home > Laws > 2017 Florida Statutes > Title XXXIV > Chapter 563 > Section 09 Title XXXIV ALCOHOLIC BEVERAGES AND TOBACCO Chapter 563 BEER AND MALT BEVERAGES Entire Chapter Malt beverage tastings by distributors and manufacturers. F.S. 563.09 563.09 Malt beverage tastings by distributors and manufacturers.— (1) A manufacturer, distributor, or importer of malt beverages, or any contracted third-party agent thereof, may conduct sampling activities that include the tasting of malt beverage products on: (a) The licensed premises of a vendor authorized to sell alcoholic beverages by the drink for consumption on premises; or (b) The licensed premises of a vendor authorized to sell alcoholic beverages only in sealed containers for consumption off premises if: 1. The licensed premises is at an establishment with at least 10,000 square feet of interior floor space exclusive of storage space not open to the general public; or 2. The licensed premises is a package store licensed under s. 565.02(1)(a). (2) A malt beverage tasting conducted under this section must be limited to and directed toward the general public of the age of legal consumption. (3) For a malt beverage tasting conducted under this section on the licensed premises of a vendor authorized to sell alcoholic beverages for consumption on premises, each serving of a malt beverage to be tasted must be provided to the consumer by the drink in a tasting cup, glass, or other open container and may not be provided by the package in an unopened can or bottle or in any other sealed container. (4) For a malt beverage tasting conducted under this section on the licensed premises of a vendor authorized to sell alcoholic beverages only in sealed containers for consumption off premises, the tasting must be conducted in the interior of the building constituting the vendor’s licensed premises and each serving of a malt beverage to be tasted must be provided to the consumer in a tasting cup having a capacity of 3.5 ounces or less. (5) A manufacturer, distributor, or importer, or any contracted third-party agent thereof, may not pay a vendor, and a vendor may not accept, a fee or compensation of any kind, including the provision of a malt beverage at no cost or at a reduced cost, to authorize the conduct of a malt beverage tasting under this section. (6)(a) A manufacturer, distributor, or importer, or any contracted third-party agent thereof, conducting a malt beverage tasting under this section, must provide all of the beverages to be tasted; must have paid all excise taxes on those beverages which are required of the manufacturer or distributor; and must return to the manufacturer’s or distributor’s inventory all of the malt beverages provided for the tasting that remain unconsumed after the tasting. More than one tasting may be held on the licensed premises each day, but only one manufacturer, distributor, importer, or contracted third-party agent thereof, may conduct a tasting on the premises at any one time. (b) This subsection does not preclude a manufacturer, distributor, or importer, or any contracted third-party agent thereof, from buying the malt beverages that it provides for the tasting from a vendor at no more than the retail price, but all of the malt beverages so purchased and provided for the tasting which remain unconsumed after the tasting must be removed from the premises of the tasting and properly disposed of. (7) A manufacturer, distributor, or importer of malt beverages that contracts with a third-party agent to conduct a malt beverage tasting under this section on its behalf is responsible for any violation of this section by such agent. (8) This section does not preclude a vendor from conducting a malt beverage tasting on its licensed premises using malt beverages from its own inventory. (9) This section is supplemental to and does not supersede any special act or ordinance. (10) The division may, pursuant to ss. 561.08 and 561.11, adopt rules to implement, administer, and enforce this section. History.—s. 9, ch. 2015-12.

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Home / “WHY MOST PUBLISHED RESEARCH FINDINGS ARE FALSE” The best scientists know that they must practice a sort of mortification of the ego and cultivate a dispassion that allows them to report their findings, even when those findings might mean the dashing of hopes, the drying up of financial resources, and the loss of professional prestige. “It’s built into the structure of the modern scientific enterprise that senior researchers are jealous guardians of orthodoxy, to whom younger colleagues bow and scrape. Funerals, as the aged pass on with the advance of time, don’t solve the problem — as some have hopefully suggested…” Original ⇓ “WHY MOST PUBLISHED RESEARCH FINDINGS ARE FALSE” by William A. Wilson William A. Wilson is a software engineer in the San Francisco Bay Area. “The Problem With Science Is That So Much Of It Simply Isn’t.” Last summer, the Open Science Collaboration announced that it had tried to replicate one hundred published psychology experiments sampled from three of the most prestigious journals in the field. Scientific claims rest on the idea that experiments repeated under nearly identical conditions ought to yield approximately the same results, but until very recently, very few had bothered to check in a systematic way whether this was actually the case. The OSC was the biggest attempt yet to check a field’s results, and the most shocking. In many cases, they had used original experimental materials, and sometimes even performed the experiments under the guidance of the original researchers. Of the studies that had originally reported positive results, an astonishing 65 percent failed to show statistical significance on replication, and many of the remainder showed greatly reduced effect sizes. Their findings made the news, and quickly became a club with which to bash the social sciences. But the problem isn’t just with psychology. There’s an unspoken rule in the pharmaceutical industry that half of all academic biomedical research will ultimately prove false, and in 2011 a group of researchers at Bayer decided to test it. Looking at sixty-seven recent drug discovery projects based on preclinical cancer biology research, they found that in more than 75 percent of cases the published data did not match up with their in-house attempts to replicate. These were not studies published in fly-by-night oncology journals, but blockbuster research featured in Science, Nature, Cell, and the like. The Bayer researchers were drowning in bad studies, and it was to this, in part, that they attributed the mysteriously declining yields of drug pipelines. Perhaps so many of these new drugs fail to have an effect because the basic research on which their development was based isn’t valid. When a study fails to replicate, there are two possible interpretations. The first is that, unbeknownst to the investigators, there was a real difference in experimental setup between the original investigation and the failed replication. These are colloquially referred to as “wallpaper effects,” the joke being that the experiment was affected by the color of the wallpaper in the room. This is the happiest possible explanation for failure to reproduce: It means that both experiments have revealed facts about the universe, and we now have the opportunity to learn what the difference was between them and to incorporate a new and subtler distinction into our theories. The other interpretation is that the original finding was false. Unfortunately, an ingenious statistical argument shows that this second interpretation is far more likely. First articulated by John Ioannidis, a professor at Stanford University’s School of Medicine, this argument proceeds by a simple application of Bayesian statistics. Suppose that there are a hundred and one stones in a certain field. One of them has a diamond inside it, and, luckily, you have a diamond-detecting device that advertises 99 percent accuracy. After an hour or so of moving the device around, examining each stone in turn, suddenly alarms flash and sirens wail while the device is pointed at a promising-looking stone. What is the probability that the stone contains a diamond? Most would say that if the device advertises 99 percent accuracy, then there is a 99 percent chance that the device is correctly discerning a diamond, and a 1 percent chance that it has given a false positive reading. But consider: Of the one hundred and one stones in the field, only one is truly a diamond. Granted, our machine has a very high probability of correctly declaring it to be a diamond. But there are many more diamond-free stones, and while the machine only has a 1 percent chance of falsely declaring each of them to be a diamond, there are a hundred of them. So if we were to wave the detector over every stone in the field, it would, on average, sound twice—once for the real diamond, and once when a false reading was triggered by a stone. If we know only that the alarm has sounded, these two possibilities are roughly equally probable, giving us an approximately 50 percent chance that the stone really contains a diamond. This is a simplified version of the argument that Ioannidis applies to the process of science itself. The stones in the field are the set of all possible testable hypotheses, the diamond is a hypothesized connection or effect that happens to be true, and the diamond-detecting device is the scientific method. A tremendous amount depends on the proportion of possible hypotheses which turn out to be true, and on the accuracy with which an experiment can discern truth from falsehood. Ioannidis shows that for a wide variety of scientific settings and fields, the values of these two parameters are not at all favorable. For instance, consider a team of molecular biologists investigating whether a mutation in one of the countless thousands of human genes is linked to an increased risk of Alzheimer’s. The probability of a randomly selected mutation in a randomly selected gene having precisely that effect is quite low, so just as with the stones in the field, a positive finding is more likely than not to be spurious—unless the experiment is unbelievably successful at sorting the wheat from the chaff. Indeed, Ioannidis finds that in many cases, approaching even 50 percent true positives requires unimaginable accuracy. Hence the eye-catching title of his paper: …………....“Why Most Published Research Findings Are False.” What about accuracy? Here, too, the news is not good. First, it is a de facto standard in many fields to use one in twenty as an acceptable cutoff for the rate of false positives. To the naive ear, that may sound promising: Surely it means that just 5 percent of scientific studies report a false positive? But this is precisely the same mistake as thinking that a stone has a 99 percent chance of containing a diamond just because the detector has sounded. What it really means is that for each of the countless false hypo­theses that are contemplated by researchers, we accept a 5 percent chance that it will be falsely counted as true—a decision with a considerably more deleterious effect on the proportion of correct studies. Paradoxically, the situation is actually made worse by the fact that a promising connection is often studied by several independent teams. To see why, suppose that three groups of researchers are studying a phenomenon, and when all the data are analyzed, one group announces that it has discovered a connection, but the other two find nothing of note. Assuming that all the tests involved have a high statistical power, the lone positive finding is almost certainly the spurious one. However, when it comes time to report these findings, what happens? The teams that found a negative result may not even bother to write up their non-discovery. After all, a report that a fanciful connection probably isn’t true is not the stuff of which scientific prizes, grant money, and tenure decisions are made. And even if they did write it up, it probably wouldn’t be accepted for publication. Journals are in competition with one another for attention and “impact factor,” and are always more eager to report a new, exciting finding than a killjoy failure to find an association. In fact, both of these effects can be quantified. Since the majority of all investigated hypotheses are false, if positive and negative evidence were written up and accepted for publication in equal proportions, then the majority of articles in scientific journals should report no findings. When tallies are actually made, though, the precise opposite turns out to be true: Nearly every published scientific article reports the presence of an association. There must be massive bias at work. Ioannidis’s argument would be potent even if all scientists were angels motivated by the best of intentions, but when the human element is considered, the picture becomes truly dismal. Scientists have long been aware of something euphemistically called the “experimenter effect”: the curious fact that when a phenomenon is investigated by a researcher who happens to believe in the phenomenon, it is far more likely to be detected. Much of the effect can likely be explained by researchers unconsciously giving hints or suggestions to their human or animal subjects, perhaps in something as subtle as body language or tone of voice. Even those with the best of intentions have been caught fudging measurements, or making small errors in rounding or in statistical analysis that happen to give a more favorable result. Very often, this is just the result of an honest statistical error that leads to a desirable outcome, and therefore it isn’t checked as deliberately as it might have been had it pointed in the opposite direction. But, and there is no putting it nicely, deliberate fraud is far more widespread than the scientific establishment is generally willing to admit. One way we know that there’s a great deal of fraud occurring is that if you phrase your question the right way, scientists will confess to it. In a survey of two thousand research psychologists conducted in 2011, over half of those surveyed admitted outright to selectively reporting those experiments which gave the result they were after. Then the investigators asked respondents anonymously to estimate how many of their fellow scientists had engaged in fraudulent behavior, and promised them that the more accurate their guesses, the larger a contribution would be made to the charity of their choice. Through several rounds of anonymous guessing, refined using the number of scientists who would admit their own fraud and other indirect measurements, the investigators concluded that around 10 percent of research psychologists have engaged in outright falsification of data, and more than half have engaged in less brazen but still fraudulent behavior such as reporting that a result was statistically significant when it was not, or deciding between two different data analysis techniques after looking at the results of each and choosing the more favorable. Many forms of statistical falsification are devilishly difficult to catch, or close enough to a genuine judgment call to provide plausible deniability. Data analysis is very much an art, and one that affords even its most scrupulous practitioners a wide degree of latitude. Which of these two statistical tests, both applicable to this situation, should be used? Should a subpopulation of the research sample with some common criterion be picked out and reanalyzed as if it were the totality? Which of the hundreds of coincident factors measured should be controlled for, and how? The same freedom that empowers a statistician to pick a true signal out of the noise also enables a dishonest scientist to manufacture nearly any result he or she wishes. Cajoling statistical significance where in reality there is none, a practice commonly known as “p-hacking,” is particularly easy to accomplish and difficult to detect on a case-by-case basis. And since the vast majority of studies still do not report their raw data along with their findings, there is often nothing to re-analyze and check even if there were volunteers with the time and inclination to do so. One creative attempt to estimate how widespread such dishonesty really is involves comparisons between fields of varying “hardness.” The author, Daniele Fanelli, theorized that the farther from physics one gets, the more freedom creeps into one’s experimental methodology, and the fewer constraints there are on a scientist’s conscious and unconscious biases. If all scientists were constantly attempting to influence the results of their analyses, but had more opportunities to do so the “softer” the science, then we might expect that the social sciences have more papers that confirm a sought-after hypothesis than do the physical sciences, with medicine and biology somewhere in the middle. This is exactly what the study discovered: A paper in psychology or psychiatry is about five times as likely to report a positive result as one in astrophysics. This is not necessarily evidence that psychologists are all consciously or unconsciously manipulating their data—it could also be evidence of massive publication bias—but either way, the result is disturbing. Speaking of physics, how do things go with this hardest of all hard sciences? Better than elsewhere, it would appear, and it’s unsurprising that those who claim all is well in the world of science reach so reliably and so insistently for examples from physics, preferably of the most theoretical sort. Folk histories of physics combine borrowed mathematical luster and Whiggish triumphalism in a way that journalists seem powerless to resist. The outcomes of physics experiments and astronomical observations seem so matter-of-fact, so concretely and immediately connected to underlying reality, that they might let us gingerly sidestep all of these issues concerning motivated or sloppy analysis and interpretation. “E pur si muove,” Galileo is said to have remarked, and one can almost hear in his sigh the hopes of a hundred science journalists for whom it would be all too convenient if Nature were always willing to tell us whose theory is more correct. And yet the flight to physics rather gives the game away, since measured any way you like—volume of papers, number of working researchers, total amount of funding—deductive, theory-building physics in the mold of Newton and Lagrange, Maxwell and Einstein, is a tiny fraction of modern science as a whole. In fact, it also makes up a tiny fraction of modern physics. Far more common is the delicate and subtle art of scouring inconceivably vast volumes of noise with advanced software and mathematical tools in search of the faintest signal of some hypothesized but never before observed phenomenon, whether an astrophysical event or the decay of a subatomic particle. This sort of work is difficult and beautiful in its own way, but it is not at all self-evident in the manner of a falling apple or an elliptical planetary orbit, and it is very sensitive to the same sorts of accidental contamination, deliberate fraud, and unconscious bias as the medical and social-scientific studies we have discussed. Two of the most vaunted physics results of the past few years—the announced discovery of both cosmic inflation and gravitational waves at the BICEP2 experiment in Antarctica, and the supposed discovery of superluminal neutrinos at the Swiss-Italian border—have now been retracted, with far less fanfare than when they were first published. Many defenders of the scientific establishment will admit to this problem, then offer hymns to the self-correcting nature of the scientific method. Yes, the path is rocky, they say, but peer review, competition between researchers, and the comforting fact that there is an objective reality out there whose test every theory must withstand or fail, all conspire to mean that sloppiness, bad luck, and even fraud are exposed and swept away by the advances of the field. So the dogma goes. But these claims are rarely treated like hypotheses to be tested. Partisans of the new scientism are fond of recounting the “Sokal hoax”—physicist Alan Sokal submitted a paper heavy on jargon but full of false and meaningless statements to the postmodern cultural studies journal Social Text, which accepted and published it without quibble—but are unlikely to mention a similar experiment conducted on reviewers of the prestigious British Medical Journal. The experimenters deliberately modified a paper to include eight different major errors in study design, methodology, data analysis, and interpretation of results, and not a single one of the 221 reviewers who participated caught all of the errors. On average, they caught fewer than two—and, unbelievably, these results held up even in the subset of reviewers who had been specifically warned that they were participating in a study and that there might be something a little odd in the paper that they were reviewing. In all, only 30 percent of reviewers recommended that the intentionally flawed paper be rejected. If peer review is good at anything, it appears to be keeping unpopular ideas from being published. Consider the finding of another (yes, another) of these replicability studies, this time from a group of cancer researchers. In addition to reaching the now unsurprising conclusion that only a dismal 11 percent of the preclinical cancer research they examined could be validated after the fact, the authors identified another horrifying pattern: The “bad” papers that failed to replicate were, on average, cited far more often than the papers that did! As the authors put it, “some non-reproducible preclinical papers had spawned an entire field, with hundreds of secondary publications that expanded on elements of the original observation, but did not actually seek to confirm or falsify its fundamental basis.” What they do not mention is that once an entire field has been created—with careers, funding, appointments, and prestige all premised upon an experimental result which was utterly false due either to fraud or to plain bad luck—pointing this fact out is not likely to be very popular. Peer review switches from merely useless to actively harmful. It may be ineffective at keeping papers with analytic or methodological flaws from being published, but it can be deadly effective at suppressing criticism of a dominant research paradigm. Even if a critic is able to get his work published, pointing out that the house you’ve built together is situated over a chasm will not endear him to his colleagues or, more importantly, to his mentors and patrons. Older scientists contribute to the propagation of scientific fields in ways that go beyond educating and mentoring a new generation. In many fields, it’s common for an established and respected researcher to serve as “senior author” on a bright young star’s first few publications, lending his prestige and credibility to the result, and signaling to reviewers that he stands behind it. In the natural sciences and medicine, senior scientists are frequently the controllers of laboratory resources—which these days include not just scientific instruments, but dedicated staffs of grant proposal writers and regulatory compliance experts—without which a young scientist has no hope of accomplishing significant research. Older scientists control access to scientific prestige by serving on the editorial boards of major journals and on university tenure-review committees. Finally, the government bodies that award the vast majority of scientific funding are either staffed or advised by distinguished practitioners in the field. All of which makes it rather more bothersome that older scientists are the most likely to be invested in the regnant research paradigm, whatever it is, even if it’s based on an old experiment that has never successfully been replicated. The quantum physicist Max Planck famously quipped: “A new scientific truth does not triumph by convincing its opponents and making them see the light, but rather because its opponents eventually die, and a new generation grows up that is familiar with it.” Planck may have been too optimistic. A recent paper from the National Bureau of Economic Research studied what happens to scientific subfields when star researchers die suddenly and at the peak of their abilities, and finds that while there is considerable evidence that young researchers are reluctant to challenge scientific superstars, a sudden and unexpected death does not significantly improve the situation, particularly when “key collaborators of the star are in a position to channel resources (such as editorial goodwill or funding) to insiders.” In the idealized Popperian view of scientific progress, new theories are proposed to explain new evidence that contradicts the predictions of old theories. The heretical philosopher of science Paul Feyerabend, on the other hand, claimed that new theories frequently contradict the best available evidence—at least at first. Often, the old observations were inaccurate or irrelevant, and it was the invention of a new theory that stimulated experimentalists to go hunting for new observational techniques to test it. But the success of this “unofficial” process depends on a blithe disregard for evidence while the vulnerable young theory weathers an initial storm of skepticism. Yet if Feyerabend is correct, and an unpopular new theory can ignore or reject experimental data long enough to get its footing, how much longer can an old and creaky theory, buttressed by the reputations and influence and political power of hundreds of established practitioners, continue to hang in the air even when the results upon which it is premised are exposed as false? The hagiographies of science are full of paeans to the self-correcting, self-healing nature of the enterprise. But if raw results are so often false, the filtering mechanisms so ineffective, and the self-correcting mechanisms so compromised and slow, then science’s approach to truth may not even be monotonic. That is, past theories, now “refuted” by evidence and replaced with new approaches, may be closer to the truth than what we think now. Such regress has happened before: In the nineteenth century, the (correct) vitamin C deficiency theory of scurvy was replaced by the false belief that scurvy was caused by proximity to spoiled foods. Many ancient astronomers believed the heliocentric model of the solar system before it was supplanted by the geocentric theory of Ptolemy. The Whiggish view of scientific history is so dominant today that this possibility is spoken of only in hushed whispers, but ours is a world in which things once known can be lost and buried. And even if self-correction does occur and theories move strictly along a lifecycle from less to more accurate, what if the unremitting flood of new, mostly false, results pours in faster? Too fast for the sclerotic, compromised truth-discerning mechanisms of science to operate? The result could be a growing body of true theories completely overwhelmed by an ever-larger thicket of baseless theories, such that the proportion of true scientific beliefs shrinks even while the absolute number of them continues to rise. Borges’s Library of Babel contained every true book that could ever be written, but it was useless because it also contained every false book, and both true and false were lost within an ocean of nonsense. Which brings us to the odd moment in which we live. At the same time as an ever more bloated scientific bureaucracy churns out masses of research results, the majority of which are likely outright false, scientists themselves are lauded as heroes and science is upheld as the only legitimate basis for policy-making. There’s reason to believe that these phenomena are linked. When a formerly ascetic discipline suddenly attains a measure of influence, it is bound to be flooded by opportunists and charlatans, whether it’s the National Academy of Science or the monastery of Cluny. This comparison is not as outrageous as it seems: Like monasticism, science is an enterprise with a superhuman aim whose achievement is forever beyond the capacities of the flawed humans who aspire toward it. The best scientists know that they must practice a sort of mortification of the ego and cultivate a dispassion that allows them to report their findings, even when those findings might mean the dashing of hopes, the drying up of financial resources, and the loss of professional prestige. It should be no surprise that even after outgrowing the monasteries, the practice of science has attracted souls driven to seek the truth regardless of personal cost and despite, for most of its history, a distinct lack of financial or status reward. Now, however, science and especially science bureaucracy is a career, and one amenable to social climbing. Careers attract careerists, in Feyerabend’s words: “devoid of ideas, full of fear, intent on producing some paltry result so that they can add to the flood of inane papers that now constitutes ‘scientific progress’ in many areas.” If science was unprepared for the influx of careerists, it was even less prepared for the blossoming of the Cult of Science. The Cult is related to the phenomenon described as “scientism”; both have a tendency to treat the body of scientific knowledge as a holy book or an a-religious revelation that offers simple and decisive resolutions to deep questions. But it adds to this a pinch of glib frivolity and a dash of unembarrassed ignorance. Its rhetorical tics include a forced enthusiasm (a search on Twitter for the hashtag “#sciencedancing” speaks volumes) and a penchant for profanity. Here in Silicon Valley, one can scarcely go a day without seeing a t-shirt reading “Science: It works, b—es!” The hero of the recent popular movie The Martian boasts that he will “science the sh— out of” a situation. One of the largest groups on Facebook is titled “I f—ing love Science!” (a name which, combined with the group’s penchant for posting scarcely any actual scientific material but a lot of pictures of natural phenomena, has prompted more than one actual scientist of my acquaintance to mutter under her breath, “What you truly love is pictures”). Some of the Cult’s leaders like to play dress-up as scientists—Bill Nye and Neil deGrasse Tyson are two particularly prominent examples— but hardly any of them have contributed any research results of note. Rather, Cult leadership trends heavily in the direction of educators, popularizers, and journalists. At its best, science is a human enterprise with a superhuman aim: the discovery of regularities in the order of nature, and the discerning of the consequences of those regularities. We’ve seen example after example of how the human element of this enterprise harms and damages its progress, through incompetence, fraud, selfishness, prejudice, or the simple combination of an honest oversight or slip with plain bad luck. These failings need not hobble the scientific enterprise broadly conceived, but only if scientists are hyper-aware of and endlessly vigilant about the errors of their colleagues . . . and of themselves. When cultural trends attempt to render science a sort of religion-less clericalism, scientists are apt to forget that they are made of the same crooked timber as the rest of humanity and will necessarily imperil the work that they do. The greatest friends of the Cult of Science are the worst enemies of science’s actual practice. William A. Wilson We thank you for this work – it explains a great deal! … We have made our own copy of this just in case the original is ever lost.

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Eveleigh, Edward Edward played and scored in St Sidwells first ever game in Exeter and District Junior League in 1901. He continued to play in almost every match for the next three seasons, he was a prolific goalscorer, scoring 17 goals in 13 friendlies in 1901/02. He continued in a similar vein the following season scoring 9 goals in St Sidwells first 3 friendlies in 1902/03. He continued playing and scoring the following season. An amateur with Exeter City who played in the club’s first ever game at home to the 110th Battery Royal Artillery in an East Devon Senior League fixture in September 1904. He was the club's first Goalscorer after they had been renamed. According to a match report on the 11th February 1905, a friendly against Torquay United "Exeter City's team was weaker than usual, on account of the removal of Eveleigh, the captain, to Portsmouth. Nicknamed ‘Ginger’ he didn’t feature in the 1905-06 season, but was back in the side the following season. He was top scorer with 15 Plymouth and District League goals in 1907-08. Edward Eveleigh, Forwards

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Arrest Logs Paul Gullixson Pete Golis PD Preps Kerry Benefield 49ers Blog Bob Padecky Lowell Cohn Grant Cohn Biteclub Celebrate Community TV Blog + Listings Cinema Toast Gil Mansergh reviews new movies and videos Petaluma Argus-Courier Sonoma Index-Tribune To Honor Banned Books Week, Here's Banned Films for Family Viewing Banned Movies for Family Viewing By Gil Mansergh At a recent book launch, a fellow writer tried to convince me that as a film critic I had a duty to warn people about movies that should be banned. “What was your favorite movie when you were growing up?” I asked him. “One that you made sure your children and grandchildren got to see.” He thought for a moment before answering. “The Wizard of Oz. I always liked that movie.” I asked others around the table the same question. “Willy Wonka and the Chocolate Factory—the one with Gene Wilder,” said the children’s book illustrator. “Bambi, “ said the biographer. “I still remember how I cried when Bambi’s mother got killed.” “I remember how upset I was when the hero got killed in The Princess Bride, laughed the travel writer. The romance novelist chimed in. “For me, the scariest moment in a movie was when the little girl got attacked in To Kill a Mockingbird.” Reasoned to be banned—Cinderella's Fairy Godmother Uses Magic THE WIZARD OF OZ (1939) —Lauded by CBS as “the most watched movie of all time,” it is still banned in some libraries and schools because it portrays both a good witch and a bad witch, and thereby promotes “the religion of Wicca or witchcraft.” During the McCarthy anti-Communist era, the L. Frank Baum’s OZ books were removed from thousands of libraries because the Land of OZ was said to have a “Marxist government.” WILLY WONKA AND THE CHOCOLATE FACTORY (1971)—Is based on the book by Roald Dahl, which a Boulder, Colorado librarian placed in a locked case with other books available only by “special request.” The librarian said the book “espouses a poor philosophy of life.” BAMBI (1942)—Felix Salten’s seemingly simple story of animals in a forest was banned by the Nazis, who claimed the Jewish author had written an allegorical tale of the Third Reich. Walt Disney chose to make the film during WWII partly because he was offered financing by investors who liked the movie’s anti-Nazi message. THE PRINCESS BRIDE (1987)—Celebrating it’s 25th anniversary, this delightful tongue-in-cheek fable written by William Goldman and directed by Rob nbso online casino reviews Reiner was never shown in theaters that followed the recommendations of the Italian Anti-Defamation League. The group was upset by Wallace Shawns’s portrayal of a super-intelligent kidnapper who challenges the hero to a battle of wits over which poisoned wine goblet to drink. When he makes his choice, Shawn says, “Never go up against a Sicilian when death is on the line.” Anyone who skipped the movie because of that scene missed two hours of great storytelling. TO KILL A MOCKINGBIRD *(1962)—The Academy-Award winning screenplay by Horton Foote from Harper Lee’s novel, and the Best Actor Oscar for Gregory Peck help make this story of courage in a small southern town an outstanding film. The book and movie were banned in some communities because they use the word “nigger”—even though the word is used in the context of a father teaching his young daughter what a hateful term it is. THE ADVENTURES OF SHERLOCK HOLMES (1939) SHERLOCK HOLMES* (2009)—It doesn’t matter if you prefer Arthur Conan Doyle’s detective as portrayed in classic black and white with Basil Rathbone as Holmes and Nigel Bruce as Watson, or in action-filled color with Robert Downey Jr. as the detective and Jude Law as the doctor, books about the famous duo have been removed from high school reading lists because Holmes injects cocaine to “sharpen his powers of intellect. The USSR banned all of Conan Doyles works for over fifty years because of his repeated references to occultism and spiritualism. CINDERELLA (1950)—How can Disney’s cute little mice and “Bibbidy-Bobbidy-Boo” be banned? In 1983, a district judge ruled that parents had the right to ask school districts to excuse their children from seeing the film based on religious grounds. The parents claimed the film could “indoctrinate the children with secular humanist beliefs.” THE GRAPES OF WRATH* (1940) Director John Ford and actors Henry Fonda and Jane Darwell made a poem of a film from John Steinbeck’s novel. With its unforgettable characterizations of dust bowl migrant farmers, the story was banned from movie houses after a call for a boycott of all 20th Century Fox film. s The Association of Farmers of California objected to migrant famer workers being portrayed as human beings worthy of respect. Stalin banned the move in the USSR because it showed even the poorest Americans could afford a car. GOLDFINGER* (1964) Sean Connery is superb in the best of the James Bond films, but you can’t watch it in Israel. Gert Frobe, the actor who plays the villainous title character who robs Fort Knox, was a Nazi during WWII, and all his films are banned in the Jewish state. THE HARRY POTTER MOVIES (2002-2011) It doesn’t matter which of the eight films in this series you choose (although my favorite is 2004’s Harry Potter and the Prisoner of Azkaban because I like Alfonso Cuaron’s direction), in September, the American Library Association declared that J.K Rowling’s Harry Potter novels are “the most banned books in America” because of their positive portrayal of magic and witchcraft. FARENHEIT 451* (1966) Based upon Ray Bradbury’s futuristic novel where a fireman’s primary job is to find and burn books, this film isn’t as good as the others listed above, but the subject matter is right on target. When the novel was distributed at one Southern California junior high, the students received copies with numerous “inappropriate” words blacked out with markers. * best for junior high and older By Cinema.Toast| 2016-01-01T02:39:05-08:00 October 3rd, 2012|0 Comments Absent lovers makes THE TWILIGHT SAGA: NEW MOON slow. Actors make PRECIOUS as precious as an Oscar. BE A MOVIE STAR Nuanced Summer Hours and Perceptive Goodbye Solo are best bets. 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Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of The Long Goodbye (Houghton-Mifflin, 1953). I've said on several occasions that I enjoy reading stories where events spiral out of control. Raymond Chandler's sixth novel, The Long Goodbye, belongs to a school where the events get out of hand, but very slowly and deliberately, and the actions of desperate people are telegraphed with a tone of menace and foreboding. Not very many authors could pull this off. Watching people make the wrong decision is rarely pleasing; as readers, we have the choice to close the book and walk away. Chandler's prose is so beautiful that it remains captivating even when it's relating the stories of foolish people doing dangerous things. The Long Goodbye is the story of Philip Marlowe's friendship with an alcoholic named Terry Lennox, and how that friendship has consequences beyond the grave. Lennox married into money, but gets along better with his father-in-law than his wife Sylvia does. After several months of camaraderie over gimlets in one LA bar after another, Marlowe tactlessly offends Lennox and they don't see anything of each other anymore, until Lennox shows up looking for a ride to a Mexican airport. That drive is the last Marlowe ever sees of his friend. Marlowe is one of fiction's greatest creations, a stubborn, judgmental loner who never seems to maintain a friendship, but who values the bond of trust that comes with it above everything else. When Chandler mixes that trait with the character's established belief in always pursuing the truth, no matter what ugliness is exposed, it results in an explosive book. Marlowe's reputation and notoreity for being mixed up with the Lennoxes gets him an unusual job offer from a publisher representing a drunk writer named Roger Wade. The intersecting, disintegrating relationships of the Wades and Sylvia Lennox's sister puts Marlowe in an enthralling web of complex, emotional histories, one that's slowly making its way to an unavoidable conclusion. This is absolutely one of my favorite novels. The way Chandler slowly brings things to the surface, letting readers catch glimpses of what is soon to be revealed, is one of the most consistently satisfying experiences in fiction, and he does it better here than anywhere else. It's a book which is informed by loneliness, trust and faith in equal measures, and is a novel that everybody should read. It was later adapted into an utterly baffling feature film by Robert Altman, starring Elliot Gould, of all people, as Marlowe. It bears as much relationship to its source as an orange peel to a grizzly bear, but even it has its charms, somehow, because the story is just that captivating. Very highly recommended. Labels: raymond chandler What I try to do with reviews at this Bookshelf blog is keep it simple and spoiler-free, and let you know whether I'd recommend you pick up a copy of what I just read. Seems to work okay. This time, a brief review of Afrodisiac (AdHouse, 2010) I don't know that any review of Jim Rugg and Brian Maruca's Afrodisiac could possibly do it justice; it's a book you really need to see to understand. It's less a collection than a scrapbook of faked found objects, a love letter to the 1970s designed as some strange mash-up of blaxploitation cinema and trashy Marvel Comics from that long, headachy period after Stan Lee moved to California. Even if you don't know the names, you probably recall the work of Steve Englehart, Don MacGregor and Steve Gerber, and you certainly recall the visuals of Super Friends and Big Jim dolls and those dingbat-designed Gold Key funny animal comic covers where some cutout from a model sheet was haphazardly thrown onto a randomly-selected solid color. Now populate these childhood memories with some bad muthafucka out to heist fifty gees of whitey ice or some fool shit, and put that dude in conflict with such villains as Richard Nixon, the Devil and Dracula. That's this book. I'm completely captivated by what Rugg and Maruca accomplished. It's a 96-page "greatest hits" of a comic book that never existed, one that would have horrified parents in my suburban neighborhood. Stories are represented by a few scattered pages, or a lone cover, or some found "original art," or advertisements for tie-in toys. The jokes linger just long enough to scratch the surface of nostalgia, hit a punch line and move on to the next thing. The pages, yellowed, zip-a-toned and with the color deliberately printed off-register, evoke their time every bit as well as the content of the panels. It's an excellent work that never overstays its welcome or reaches beyond its creators' considerable talents. Highly recommended for older readers. Labels: jim rugg Death in Holy Orders Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of Death in Holy Orders (Faber & Faber, 2001). P.D. James definitely outfoxed me with this, her eleventh Dalgliesh novel. At first, I started to despair that once again, a murder was committed while Commander Dalgliesh was on leave, but the author, perhaps knowing that she'd done that three times already, subverted expectations by having a local policeman present as a potential suspect, meaning Dalgliesh's team is assigned by the Met to take charge of things. As usual, James doesn't make her murders small. This time around, it's an archdeacon, visiting the remote Anglican theological college of St. Anselm's in Suffolk, who's found beaten to death in the college chapel. Dalgliesh was already visiting on an informal follow-up to an earlier accidental death at the request of the boy's father. Naturally, there's a lot more going on than anybody suspects, and James's usual tropes of very, very old crimes finally coming to light. It's written magnificently well, with passages invoking feelings of shock and revulsion and intensity. It's a taut page-turner, and certainly one of the best in the series. Interestingly, this novel is one of the few to give readers a clue into the overall continuity. I have often been puzzled as to how to reconcile the ongoing fiction with the publication dates. The fourteen books were published over a 46-year span, but surely they can't all be set in the year they were written, not with Dalgliesh already described, rudely, as "the old man" in 1962. Here, it's stated that the events of the previous novel, A Certain Justice, published four years before, were the team's "last case." Since it's unlikely that the Metropolitan Police only finds work for their top detectives once every four years, there must be an internal clock that James works to. I wonder what it is, and over how many years the series is actually set. Highly recommended. Posted by G.G. at 12:27 PM No comments: Labels: p.d. james The Silent Speaker Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of The Silent Speaker (Viking, 1946). I always enjoy reading books written in the 1940s for the way they depict contemporary life, and routines interrupted by the war. There's a slight, but nevertheless jarring impact when the story suddenly includes, say, armed guards atop a dam in Chandler's Lady in the Lake. Then there's Rex Stout's The Silent Speaker, the first Nero Wolfe novel to be published after the war, when US industry was still "hampered," I suppose they'd say, by the government's strict price controls. It's actually a neat little mirror of what's going on in Wolfe's brownstone. With the war over and Archie returned to civilian life, there's nothing our heroes would rather do than get back to work and make a little money. So would the captains of American industry, who don't appreciate the government dragging its feet in getting price restrictions lifted. So when a representative of the Bureau of Price Regulation ends up beaten to death with a monkey wrench just before he was to give a major speech to those captains of industry, Wolfe and Archie have dozens of potential killers to consider. Naturally, the narrative quickly reduces the number of suspects to only about nine or ten really interesting characters, particularly Phoebe Gunther, who immediately makes a case for herself in Archie's heart. After finishing the book, I read that the producers of A&E's A Nero Wolfe Mystery adapted it in two parts. I was already thinking what a terrific two-part teleplay this would make, as right about halfway through the book, Wolfe has made one of his usual assemblages of relevant parties, with Archie diligently taking notes, when Fritz interrupts to get Archie's attention. One invited guest never made it to the brownstone; Fritz has found her body out front, beneath the street level and the entry stairs. It's just a deliciously mean twist to the story, which is never less than enthralling. Certainly, this is a novel which I will delight in rereading once I make it through the canon in a year or so's time. Recommended. Labels: rex stout Starman # 81 Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of Starman # 81 (DC, 2010). Well, here's a comic which completely filled my expectations, and how often can you say that these days? I figured I'd enjoy the book a little bit and still grumble about how unnecessary it was, and darned if that's not exactly what's happened. For the last six and a half years or so, DC has been publishing this line-wide crossover called "Blackest Night," where all the superheroes in all their comic books have been fighting zombie versions of all their deceased teammates, magically given new costumes and technology. Look, don't ask me to explain further; it's an idea so bankrupt and dumb that I get the giggles whenever I see people taking it too seriously on the internet. Anyway, as part of the crossover, DC decided to publish new issues of six or seven older, canceled titles, as though the comics themselves have been magically brought back from the grave. For about twelve seconds, I thought that was a terrific idea. Unfortunately, I pulled the first new issue of Weird Western Tales since 1980 off the shelf and it was just another part of the crossover, with the Challengers of the Unknown or somebody fighting Jonah Hex and Bat Lash's zombies. It's almost like DC doesn't want to sell comic books anymore or something. Anyway, as I've said many a time, Starman was one of the two or three best American comics of the 90s, and writer James Robinson came back to script one more zombie comic featuring his old supporting cast. It seems to be set a couple of years since Jack Knight retired and left town, and the Shade has hooked up with the O'Dare sister, and Mason's going to be a dad soon, and the first casualty of the comic series, originally published back in '94, has been resurrected to cause mayhem and lots of luridly-depicted bloodshed. The writing is as sharp as ever, and it's always nice to see the Shade again. He was a character from the 1940s, given new, vibrant life as an immortal dandy by Robinson. The artwork is by Fernando Dagnino, who contributes some excellent layouts, but veteran Bill Sienkiewicz's latest inking style is unbelievably ugly, a fluid, expressive line which is just far too busy for my liking. The pages somehow look both over-fussed and sloppy. Apart from a very nice splash page when the Shade enters the violent action with the zombie, I simply didn't like looking at this book. In all, it's mildly entertaining, much in the same way the Beatles' "Free as a Bird" was. Much like that song, whatever enjoyment you might have found is kind of eclipsed by the question of whether it was really necessary. Honestly, it's not. I'd recommend reading it if DC remembers to publish it in the sixth Starman Omnibus towards the end of the year, anyway. Labels: dc universe, james robinson, starman The Left-Handed Hummingbird Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of The Left-Handed Hummingbird (Virgin, 1994). Doctor Who's longest-serving TV producer, the late John Nathan-Turner, used to disparage his predecessors' work with a blanket warning that "the memory cheats," and the past wasn't as good as you remember it. Not the New Adventures, though, surely? Those were really good, right? I've mentioned in my LiveJournal several times that I remain fascinated by the original TV series' final three years, because it's one of those rare times where everybody involved had far more enthusiasm and excitement than actual experience. It's the reverse of the previous Colin Baker era, where the show was a competent production of bored and lazy scriptwriting; instead, the 1987-89 seasons featured some of the most original and wonderful stories of the program's history, but only an apologist can defend the amateur-hour production that presented them. A 1978 Doctor Who episode was as lavish as anything else made for British television in 1978; a 1988 Doctor Who episode was not. This is also mostly true of the New Adventures, a series of novels published by Virgin during the property's TV hiatus from 1991-96. Much is notable about them; apart from giving future TV wunderkind and Who savior Russell T. Davies his first professional sale, many of the concepts and continuity established in the New Adventures informed the show's 2005 resurrection. In all honesty, David Tennant's "lonely god" portrayal is just a continuation of how the seventh Doctor was depicted in these books. They were written, mostly, by novices and amateurs, fans with little more than fanfic credits behind them given the opportunity to leave a lasting mark on the Doctor Who canon. Sadly, the writers' enthusiasm often outstripped their talents, and the books really were informed too much by the tropes of SF / Fantasy novels of the period. There is, tragically, more than one virtual reality prison in this series, and a fascination with "cyberspace" in a half-dozen different iterations that already seems hopelessly naive. Every third book seemed to feature the Doctor and some timelost figure like William Blake landing in what seems to be a Victorian country manor, and those that didn't seemed to pit the Doctor against some nebulous Lovecraftian god/monster/entity with a stupid name from before the dawn of time or something. The Left-Handed Hummingbird, Kate Orman's debut novel, features a villain called the Blue, for pity's sake, which is actually the psychic shockwave left behind when an Aztec warrior with low-level psychic abilities ran afoul of some space alien's radioactive detritus, destroying his body and leaving him adrift as an undying memory that has encouraged mass violence over the last 500 years. Yeah, make an action figure of that, won't you? I'm actually breaking one of my rules by reading this book at all. I started with the New Adventures pretty late, missing this book by about six months. As I plugged in the gaps in my collection, I encountered this author's later books in the series, which I did not enjoy, and decided this one must be skippable. Some years later, after the BBC reclaimed the publication rights, I read one of hers that was so terrible that I vowed I was done with her fiction for good. The problem seems to stem from Orman's fanfic background. Around 1999, I read Carol Bacon-Smith's Enterprising Women and learned about this subgenre of "hurt / comfort" fiction, terrible amateur fandom novels by daddy-issue-wracked authors wherein Captain Kirk gets impaled by something and Mister Spock comforts him, possibly, though not necessarily, just before they start smooching. Orman's books are awash with this garbage. Her later novels in the series feature alien ganglions growing out of the Doctor's shoulder, and that's before he gets impaled with an arrow, gets hypothermia, has a heart(s) attack and is confined to a wheelchair, and so on, always finding loving comfort from his companions who nurse him. It's not as though she was unaware of the trope; once, looking up a reference to make a point, I realized that the most offensive chapter in her novel Set Piece was, in fact, entitled "Hurt / Comfort." Well, so long as she's okay with it. Her fiction depicts an endless, utterly repulsive series of sadistic, brutal, meaninglessly cruel acts, and I grew tired of wondering what the hell Doctor Who ever did to Orman to make her hate him so much. Better off not wondering, I drew a veil over her fiction. But this one hole in my New Adventures collection was bothering the heck out of me. In her considerable defense, Orman brought a lot more to the canon than this loathsome, over-the-top brutality. When I landed a copy of this book from paperbackswap.com last month, I knew I would get some really interesting material apart from the violence. Orman is actually responsible for one of Doctor Who's very best concepts. In Return of the Living Dad, she established that Benny's father has lived for many years on 20th century Earth helping refugee aliens left behind after the Doctor and UNIT kicked their invading asses, which is just a lovely notion. One of these appears to be an invisible man holding a plastic spatula, but it turns out to actually just be the spatula, floating. It's an Auton spatula, left behind in 1971. That is the greatest idea ever. Her books are peppered with lovably clever bits like this. There was only one thing I disliked about Steven Moffat's 2008 TV episode "Silence in the Library," and that's the way the Doctor could not seem to wrap his brain around the notion of meeting people, like River Song, out of sequence. Surely this happens to a time traveler with centuries of mileage all the time, right? It certainly happened in the novels far more than once, but I think that Orman did it first in her debut. It starts off wonderfully, with Cristián Alvarez, a troubled man in his fifties, meeting the Doctor, Benny and Ace for the third time, although they have not met him yet. This forces them to confront the Blue at several points throughout history, crossing Alvarez's path twice more. However, all of the promise in Orman's concepts is overshadowed by the problems that I knew I'd find. The enemy is just a vague, ill-defined threat without any character or understandable motivation, and the gruesome violence is even worse than I feared. At various points, the Doctor bleeds from his eyeballs, bleeds from his nose and bleeds from his ears as the Blue explodes psychic bombs in his head, and he later spends three weeks being captured and tortured by some rogue lieutenant somewhere in some paranormal division of UNIT. None of this cruelty serves the plot in any way. The story would be the same with simple blackouts, and the three weeks of torture literally do not advance the plot at all, and the events are written in the most repulsively lurid manner, as though for an audience of gore fetishists. Orman once wrote a review of the TV serial "Ghost Light," a 1989 example of a tremendously good story ruined by a sloppy, barely coherent production, which suggested that she understood Doctor Who better than most, but the psychological and physical trauma that she delights in ladling out in this novel makes me question whether she ever really did. Perhaps just as disappointing as the violence and the antagonist, there's the issue of her prose. Dan Brown has written better. You can tell it's the work of a novice, for there are characters introduced some forty pages before their first physical description. In other places, characters enter scenes by way of pronouns, three pages before we're given a name and see that it's a character that both we as readers and the other character in the scene already know. There's that fantasy-fic trope of passages that turn out to be a dream, and sequences more interested in establishing a mood of foreboding and menace without coherently defining what physically occurred. A sequence where the Doctor's old friend Professor Fitzgerald, possessed by the Blue, attacks Benny is the worst offender here, a lengthy passage that simply does not make any sense until characters explain it later, but it happens repeatedly throughout the book. Orman certainly has her fans, and she was always rightly praised for the insightful, believable depiction of the bond between the Doctor and his companions. It's just a shame that all the good that Orman did for Doctor Who's canon had to be wrapped in these unlovable, hateful, hate-filled books. I should have left that hole in my New Adventures collection alone. Not recommended at all. Avoid. Labels: doctor who Black Jack volume 8 What I try to do with reviews at this Bookshelf blog is keep it simple and spoiler-free, and let you know whether I'd recommend you pick up a copy of what I just read. Seems to work okay. This time, a brief review of Black Jack volume 8 (Vertical, 2009) They're coming thick and fast now, aren't they? It really does seem like just a few months ago that I was idly hoping, in the pages of Reprint This!, to one day see Osamu Tezuka's Black Jack collected in English, and here we are almost halfway through the series. Vertical's eighth volume (of a planned seventeen) was released a couple of months ago. The ninth is said to be out there already, but Diamond does not appear to have shipped it to comic stores yet. Then again, well, it is Diamond. It's wrong to expect miracles. By this point, there is probably no particular reason to include regular reviews of Black Jack here at the Bookshelf beyond the fact that it's my darn blog and I'll write about what I want to. We're almost two years into the run; you've either bought in to one of comics' best treasures, a wonderfully clever mix of inventive stories and eye-poppingly good art, or you're totally out of the loop. But just in case you're still on the fence or haven't quite got around to trying out Black Jack, the series is told with minimal continuity in a collection of 20-odd page stories, so any book is a good starting place. In the eighth volume, there's a terrific story about a desperate woman who switched babies in the maternity ward, and, years later, is blackmailed by a nurse who caught her in the act. Tezuka does a magnificent job in just a few panels capturing the dismissive cruelty of the blackmailer, leading up to a great courtroom scene that sees Black Jack appearing as a surprise witness to the proceedings and a fabulous twist ending. There's another good tale which puts Black Jack in the background and uses Pinocho, disobeying his orders and following him, as the central character. There are mobsters and yokels and utterly bizarre ailments and illnesses, and a masterfully-told story about a comic artist who, forced by illness to suspend his wildly popular story on a cliffhanger, hopes for just a few more hours to resume the series and satisfy his audience. It's a wonderful collection, and one your bookshelf should have, just like the rest of the series. Highly recommended. Labels: black jack, osamu tezuka Gahan Wilson: Fifty Years of Playboy Cartoons What I try to do with reviews at this Bookshelf blog is keep it simple and spoiler-free, and let you know whether I'd recommend you pick up a copy of what I just read. Seems to work okay. This time, a brief review of Gahan Wilson: Fifty Years of Playboy Cartoons (Fantagraphics, 2009) Be careful what you wish for department: I've loved Gahan Wilson's work for many years. He's an amazing talent, and while you may never find a consensus as to precisely when Playboy was no longer really worth the effort, it's clear that the cartoons have been the best thing about the magazine for many years, and Wilson's the best of those. Fantagraphics has pleased me greatly by releasing this fantastic collection of all of Wilson's gleefully surreal and macabre work for Playboy. It is one hell of a presentation. It's three hardback collections in a slipcase with a plexiglass backing. The back cover of each volume features a different hilarious photo of the 79 year-old artist's face and hands pressed up against glass; boxed in the slipcase, it looks like he's been crammed into the box and is praying for release. Each book has a die-cut cover and, while arranged chronologically, is divided into sections by inserted pages repeating the die-cut of the cover. This can't have been a cheap book to produce, and the price tag confirms it: $125 is a lot to pay at retail. It's worth every penny, as, apart from the bells-n-whistles of the presentation, it does contain every single drawing that Wilson did for Playboy, along with short stories, appreciations by Hugh Hefner and Neil Gaiman, and an interview with the artist by Gary Groth. It's nearly 1000 pages long, the cartoons are printed at their original publication size (that is, mostly one to a page), and it's all done on just about the nicest paper available. It's a book that just oozes quality. And yet... there's a part of me that wishes there was a little less to it. Don't misunderstand me; Fantagraphics has created an amazing tribute, and I'll treasure my copy, but $125 is a really tall order. The presentation and the supplements are wonderful, but I can't help but wish that Fanta made this material available in a series of inexpensive softcover volumes as well. I feel at least a little strongly that great comics should be available to as wide a range of buyers as possible. Then again, I thought that about the thematically similar complete hardcover editions of Calvin & Hobbes, The Far Side and Don Martin's work for Mad and nobody's put out anything resembling mass market editions of those, so I'm not holding my breath. Thanks for realizing one Reprint This! request, Fantagraphics, but could you make sure the next one you fill is just a little more affordable? (Excerpted from today's Reprint This!) Labels: fantagraphics, gahan wilson, playboy How the Beatles Destroyed Rock 'n' Roll Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of How the Beatles Destroyed Rock 'n' Roll (Oxford University Press, 2009). Isn't that a great name for a book? I love the iconoclastic cheek of such a thing. That would be a terrific story, but this book isn't it. Instead, Elijah Wald tells the history of American popular music prior to 1964, arguing that rock 'n' roll was some... nebulous thing or other that no longer existed after Vee-Jay Records licensed the first Beatles LP after Parlophone. I found the book interesting, but I also found it unbelievably dense and very easy to get lost. He makes a good point, starting chapter seven, that "old records bear the same relationship to vanished bands that fossils and skeletons bear to extinct animals," and I can get behind that conceptually, but what this means to readers is an impenetrable fortress of text, detailing everything from player pianos through Scott Joplin, the Original Dixieland Jazz Band, country, Nat King Cole, Harry Belafonte, Frank Sinatra and Bobby Darin, and how the fashion of the music business evolved over sixty years. Paul Whiteman is a major figure in this accounting, as are dozens of artists not readily given their due by what Wald argues is revisionist history, written by rock critics uninterested in pre-1960 music. If I understand correctly, Wald is arguing that the backbone of music over this time was sheet music, and that songs, as performed by dozens of artists, became hits by virtue of readily-available sheet music making its way to all the regional labels that once thrived. By the time Lennon and McCartney show up, about thirty pages from the end of the text, there's a new desire for what we might term "authenticity" from performers, and a "definitive" recording from one artist. Apparently, that no longer counts as rock 'n' roll. Albums of covers, such as A Bit of Liverpool by the Supremes, were throwbacks to this era. It's never clear whether Wald views the evolution towards "definitive" recorded performances as a bad thing, despite the book's ostentatious title. He talks a good deal about the importance of live music being played at dances, and the interplay of white and black performers, but the suggestion of an "alternative" history of popular music never rings true. It's just a history of what was popular, even if it was not necessarily cool or praiseworthy. I think I was just fine knowing what little I knew of Lawrence Welk and player pianos before I bothered with this book. Not recommended. Joe the Barbarian # 1 What I try to do with reviews at this Bookshelf blog is keep it simple and spoiler-free, and let you know whether I'd recommend you pick up a copy of what I just read. Seems to work okay. This time, a brief review of Joe the Barbarian #1 (Vertigo, 2010) The release of a new Grant Morrison comic should always be cause for curiosity. The release of a new Grant Morrison comic with competent artwork should be cause for celebration. After a few years of mainstream superhero features that look like the end of the world, Morrison has teamed with Sean Murphy for a new eight-issue series from Vertigo, Joe the Barbarian, and it looks completely terrific. I'm not familiar with Murphy, who apparently has drawn very few comics prior to this, but if somebody could get him to go back and redraw all those godawful issues of Batman and Final Crisis and the last Seven Soldiers that I couldn't follow and made my eyeballs bleed, I will gladly buy them again. This guy's great. The story's nothing too spectacular yet, and that's probably for the best. The most disagreeable element of Morrison's recent comics is that there's far too much happening in far too short a time. We're never given an opportunity to get to know characters, and his artists never have a chance to establish a mood. Happily, the first issue of Joe the Barbarian is nothing but the establishment of the mood, a relaxed, slow burn about a kid living with his mom, dealing with bullies in graveyards, missing his late father and retreating to the sort of attic super-room that you wish you had when you were a kid. What happens next seems to have elements of Kingdom of the Wicked, a very good book by Ian Edginton and D'Israeli from a few years back in which childhood fantasies, acted out with toys, seem to be reflected in a parallel reality. It looks promising if derivative, as Joe looks to be the savior of a kingdom made up of his action figures and dolls, but there's a last-page cliffhanger twist to that setup which had me grinning from ear to ear. Absolutely nobody in comics writes cliffhangers as well as Morrison. I can't wait to see what will happen next. Recommended. Labels: grant morrison, vertigo The Tummy Trilogy Here's how this works. I read a book or two and tell you about them and try not to get too long-winded, and maybe you'd like to think about reading them as well. This time, a review of The Tummy Trilogy (Farrar, Straus and Giroux, 1994). In the 1970s, Calvin Trillin had my dream job. He wrote a column for The New Yorker called "U.S. Journal," in which he talked about people and food around the country. Actually, that's not strictly accurate. He wrote about eating around the country, about the joy of driving anywhere and everywhere and finding something to eat. Just this past Saturday night, Marie and the girlchild and I were having supper with our friend David at a little Southern place called Sweet Tea's, sort of between Austell and Powder Springs. Their specialties include pork tamales and fried turkey. I said then that the true value of the development of time travel will be the ability to go back and have one more meal or two at beloved restaurants no longer with us. When the technology arrives, I think I'll take The Tummy Trilogy with me on my trip back in time. It was a birthday gift from my friend Neal, who knew intuitively that I would love it. It's an omnibus edition of three books that Trillin released between 1974 and 1983, collecting and expanding his New Yorker essays. In fact, most of the beloved restaurants mentioned in this book are no longer with us, although I recognize a few, such as Arthur Bryant's in Kansas City, long regarded the best barbecue restaurant in the nation, and the Skyline Chili chain of Cincinnati. The Anchor Bar's still around, but when we were briefly in Buffalo last summer, it was too early on a Sunday for lunch. Indeed, many of the cast of supporting players are no longer with us either. Fats Goldberg, Trillin's friend who was a legend among New York City pizzerias, has gone, as has Trillin's devoted wife Alice. For a moment, I thought about describing her as "long-suffering," because I couldn't think of a better adjective to describe somebody who was looking forward to some architectural treasure on a family vacation, only to have her husband see whether they could incorporate a sidetrip investigation into a decades-long feud over local fried chicken recipes. Then I remembered I'm that husband. I'm the guy who plotted a trip to visit my wife's Aunt Bertie in Philadelphia around a local sandwich shop of many years' standing, recommended to us by our friend Chris in Florida as making the best cheesesteaks in Ridley Park. And I certainly wouldn't call my wife "long-suffering." That was, after all, a remarkably good cheesesteak. Nobody who stops by the Little Hut can in any way be described as suffering. Just as lovely as all the stories of crawfish festivals in New Orleans and crabcakes in Baltimore is the way that Trillin's cast and storylines intersect and weave through his narratives. I actually found it difficult to read favorite passages to Marie, because the little character pieces that shine so brightly keep leaving lingering shadows on future stories. There's a beautiful little sequence about his daydream assignment to show Chairman Mao around the dozen best restaurants in New York which must be carefully plotted around his daughter's insistence on eating nothing but bagels. Even the daydream job rang true; practically every new dining experience I have is accompanied by my wish that I could get my father to come try it, even if my mother, who also eats nothing but bagels, would make some embarrassing crack. Eleven years ago, I took them to Paul's in Lexington, Georgia, which serves up either the best or the second-best barbecue in the state, depending on what mood I'm in, and she asked whether their cole slaw was like Chic-Fil-A's. It's a magnificent book. I laughed all the way through it. I was left so ravenously hungry on occasion that I had to put it down. I am also left so envious that I could weep. I want this job. I only sort of know restaurants in North Georgia and around Nashville. I want to travel the country and learn everything and spread the word about how imperative it is that we avoid those La Maison de la Casa House places that exist only for dimwitted adult children to take their parents on their twenty-fifth wedding anniversary, and how we should instead eat only at those places we wanted to go after fourteen months in the army. Somebody give me this job. I'll write every single day, I won't call in sick, I'll eat enormous amounts of chili, and I don't require an exorbitant salary. Marie, let's eat! Labels: calvin trillin Parker: The Hunter What I try to do with reviews at this Bookshelf blog is keep it simple and spoiler-free, and let you know whether I'd recommend you pick up a copy of what I just read. Seems to work okay. This time, a brief review of Parker: The Hunter (IDW, 2009) Here's a book that fulfills its promise just perfectly. It's 144 pages of beautifully-drawn, evocative artwork - detailed linework shaded with a blue wash - illustrating a seminal crime story about a career thug out for revenge. The original novel, written by Donald E. Westlake in 1962 under the pseudonym Richard Stark, has been filmed twice, starring Lee Marvin and Mel Gibson in the lead role, and influenced authors as disparate as Robert B. Parker and Don Pendleton, but Darwyn Cooke makes it seem very fresh and vibrant. As an adaptation, it's so good that readers will probably forget that the tone and the plot have been such an influence on the genre for so long and appreciate it on its own merits. If this makes sense, it feels like Cooke has captured 1962 so well that readers can become immersed in a period long before the storyline of a vengeful criminal became cliched through overuse. It's a very cold and cruel book, and certainly not for everyone. There's no character development to speak of - there almost never is in the genre - and the joy comes from watching the plot unfold. But much in the same way that readers will return again to the genre's best writers for the joy of reading their prose, this is definitely a book I'll enjoy coming back to, just looking over how masterfully Cooke stages certain scenes. The most memorable of these will be a climactic sequence at a subway station, and the thunderous scene of Parker tracking down his wife and, finding no sympathy for her tale of pity and woe, telling her to do him the favor of killing herself. It's an excellent start to the series - Cooke plans three further adaptations - and one I recommend gladly. Posted by G.G. at 11:05 AM 1 comment: Labels: darwyn cooke

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When modern humans first started to leave Africa, about 50,000 years ago by present reckoning, they probably consisted of small groups of hunter-gatherers a few hundred strong. Although their lineage trees are based on genetic differences, most of these differences lie in the regions of DNA that do not code for genes and have no effect on the body "We are all Africans at the Y chromosome level and we are really all brothers," Dr. Underhill said. Whether or not genetic prehistory is suitable material for a modern origin myth, it is about to be made available to a wider public. (109) Last month a company called Oxford Ancestors set up business with the offer to tell customers which of the seven daughters of Eve they are descended from. (Almost all Europeans belong to only seven of the nine mitochondrial lineages found in Europe). The test (see www.oxfordancestors.com) requires sending in a sample of cells brushed from the inside of the cheek. For a mere $180, anyone of European ancestry can establish the start of a genealogy far senior to Charlemagne's. He is now working on tests to identify other lineages around the world, including 14 in Africa, and 16 in Eurasia and the Americas. "I don't think this stuff should be confined to academics," he said. (109) Klein suggests that what amounts to a rewiring of the human brain occurred sometime between 40,000 and 50,000 years ago, allowing for a great leap to modern intelligence. (The Past in Perspective) Recent scientific detective work has revealed rather precisely when the progenitors of the N and M lineages, and thus the direct ancestors of all non-African people alive in the world today, began their epic migration: Dating the most recent common ancestor of each of the modern non-African mtDNA clades reveals their single, late, and rapid dispersal less than 55,000 years ago. (Magicians of the Gods) 10,000 – 50,000 years ago A significant number of Asians returned to Africa. The reasons for this are unknown, but we’ve tracked their movements through their DNA. (Humans are Not from Earth) 40,000 – 50,000 years ago The first evidence of modern human behavior and cognition: abstract thinking, deep planning, art, ornamentation, music, and blade technology. (Humans are Not from Earth) 43,000 – 45,000 years ago European early modern humans (the Cro-Magnons) appeared. They were genetically identical to modern humans, but were physically more robust with slightly larger craniums. They are thought to have split off from the Asian group. They appear to be the first group of modern humans to develop blue eyes. (Humans are Not from Earth) When modern humans first started to leave Africa, about 50,000 years ago by present reckoning, they probably consisted of small groups of hunter-gatherers a few hundred strong. Researchers from the Massachusetts Institute of Technology (MIT) have found that the majority of Y chromosomes in African people seem to have come from Asia. They suggest that after the initial migrations out of Africa there must have been a significant reverse migration back to Africa between 10,000 and 50,000 years ago. (Humans are Not from Earth) …geneticists, by tracing the DNA patterns found in people throughout the world, have now identified lineages descended from 10 sons of a genetic Adam and 18 daughters of Eve. This ancestral human population lived somewhere in Africa, geneticists believe, and started to split up some time after 144,000 years ago, give or take 10,000 years, the inferred time at which both the mitochondrial and Y chromosome trees make their first branches. The tree is rooted in a single Y chromosomal Adam, and has 10 principal branches, Dr. Cavalli-Sforza reports. Of these sons of Adam, the first three (designated I, II and III) are found almost exclusively in Africa. Son III's lineage migrated to Asia and begat sons IV-X, who spread through the rest of the world--to the Sea of Japan (son IV), northern India (son V) and the South Caspian (sons VI and IX). (109) Shanidar Cave in the Kurdish mountains of what is now northern Iraq: occupied by Neanderthal man c.50,000 years ago to 46,000 years ago; occupied by anatomically modern Upper Palaeolithic humans around 34,000 years ago; occupied by Mesolithic peoples around 11,000 years ago. (Underworld) …geneticists, by tracing the DNA patterns found in people throughout the world, have now identified lineages descended from 10 sons of a genetic Adam and 18 daughters of Eve. The split between the two main branches in the European tree suggests that modern humans reached Europe 39,000 to 51,000 years ago, Dr. Wallace calculates, a time that corresponds with the archaeological date of at least 35,000 years ago. (109) ...regression studies (using mtDNA) show all modern humans appear to be genetically related possibly as far back as 230,000 years. Africans (the oldest) are considered to have been clearly well established between 130,000 and 80,000 BC. The next oldest seems to be Caucasoid, Middle-Eastern types, dating from about 100,000 years ago. The next oldest are believed to have been Central Asians dating between 73,000 and 56,000 BC. Next, such estimates suggest, came the Europeans between 50,000 and 40,000 BC. (Gods, Genes, and Consciousness) It is certain,... that Denisova Cave has been used and occupied by various species of human for at least 280,000 years, making it an unrivaled archive—a sort of “hall of records”—of our largely unremembered ancestral story. At certain times during the past 280,000 years, not continuously but at intervals, it had been occupied by Neanderthals. Neanderthals were probably still using the cave 50,000 years ago. (America Before) ...some teeth, some additional bone fragments, and even some dust from the cave floor allow us to be quite sure that Denisovans were in occupation here at least as early as 170,000 years ago and that they came back 110,000 years ago and again around 50,000 years ago. Just like the Neanderthals who overlapped with our ancestors and interbred with them, so, too, the Denisovans overlapped the Neanderthals and interbred with them while also, again like the Neanderthals, interbreeding with anatomically modern humans. Viable offspring capable of reproduction resulted from all these liaisons and in August 2018, Denisova Cave obliged yet again by yielding up a bone fragment, more than 50,000 years old and in sufficiently good condition for genome sequencing. It turned out to have belonged to a female, about 13 years of age, who had a Neanderthal mother and a Denisovan father. (America Before) …geneticists, by tracing the DNA patterns found in people throughout the world, have now identified lineages descended from 10 sons of a genetic Adam and 18 daughters of Eve. Of the A through D lineages found in American Indians, A, C and D also occur in Siberian peoples, suggesting that their ancestors were the principal source of the Amerind-speakers' migration. But the B lineage, though it is found elsewhere in Asia, has not turned up in Siberia, a hint that the B people may have taken a sea route to the Americas and then merged there with their A- , C- and D-carrying cousins. (109) In South America, Pedra Furada in Brazil, Monte Verde in Chile, Taima-taima in Venezuela, and Tibito in Colombia are likewise singled out as convincing pre-Clovis sites of special interest. (America Before) ...a paper in Nature boldly titled “Carbon-14 Dates Point to Man in the Americas 32,000 Years Ago.” It was a report on her work at a particularly large and richly decorated rock shelter called Pedra Furada where she had excavated “a sequence containing abundant lithic industry and well-structured hearths at all levels” documenting continuous human occupation over the entire period from 6,160 years ago to 32,160 years ago. In addition, she found conclusive evidence that at least one of the spectacular rock paintings was 17,000 years old...in 2003 Guidon and other researchers completed a further study. The results pushed back the date of the human presence at Pedra Furada to 48,500 years ago, and of the paintings themselves, to at least 36,000 years ago. (America Before) Topper is the only Clovis site to be excavated on the coastal plains of Georgia and the Carolinas. For the next half meter or so there was just sand and small gravels, devoid of any evidence of human presence, and then suddenly the excavators found themselves among artifacts again. ...the date that came back was 50,000—ancient beyond all imagining and right at the limits of radiocarbon. (America Before) ...archaeologists who are open to the notion of greater antiquity (these days the majority apart from a few die-hards) consider the most important pre-Clovis sites in North America in addition to Cerutti and Topper to include: Hueyatlaco, Mexico; Old Crow and Bluefish Caves, Canada; Calico Mountain, California; Pendejo Cave, New Mexico; Tula Springs, Nevada; Meadowcroft Rockshelter, Pennsylvania; Cactus Hill, Virginia; Paisley Five Mile Point Caves, Oregon; Schaefer and Hebior Mammoth site, Wisconsin; Buttermilk Creek, Texas; and Saltville, Virginia. (America Before)

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ALBIE’S FIRST WORD Part of Society of Illustrators’ Annual Children’s Book Art Exhibit Congratulations, Wynne Evans! I was thrilled to learn last week that original art from ALBIE’S FIRST WORD was chosen to be part of the Museum of American Illustration’s annual exhibit, The Original Art, highlighting the best picture book art of 2014, as chosen by a panel of children’s book illustration experts. (Somebody pinch me. Seriously!) As the Society of Illustrators’ website describes: The Original Art is an annual exhibit created to showcase illustrations from the year’s best children’s books published in the U.S. For editors and art directors, it’s an inspiration and a treasure trove of talent to draw upon. For art students, it’s a marvelous opportunity to examine—up close—the work of the best in the field. And for the public, it’s a chance to appreciate the enormous range of creativity in children’s books and to see the printed pages alongside the original paintings, drawings, prints, and collages they represent. Founded by painter, art director, and artists’ representative Dilys Evans, The Original Art was first exhibited in 1979 at the Master Eagle Gallery in New York City. On display was the work of a wide variety of artists, some well-known and well-loved, some newcomers to the field. The show was an instant success, even receiving a proclamation of appreciation from the mayor’s office, and it has been popular ever since. In 1989, The Original Art found a permanent home at the Museum of American Illustration at the Society of Illustrators in New York City. It also became a juried event, with a committee of art directors, editors,publishers and illustrators selecting the best books from among hundreds of submissions and awarding Gold and Silver medals to the top pieces. After the exhibit closes in New York, select pieces travel to galleries, museums, and exhibit halls across the country for a year. At the end of that time, the art is returned to its creators, and the books are donated by the Society to children’s charities. The exhibit is on display from October 22 through December 20, 2014. I am not sure if we’ll be in NYC before December 20. I hope so, but just in case, I was fortunate that friendly author/illustrator Matt Tavares (with whom I will be appearing with at an author event on November 15) attended the exhibit opening and was kind enough to snap a picture of ALBIE art. The Society of Illustrators chose one of my favorite panels. What a coincidence! I love how Wynne gets across Albie’s talent and mystery in the house of cards scene. I think it really works to drive home the line, “How did you do that, Albie?” (Can I just add here that I had nothing at all to do with this? Albie’s art is pure Wynne under the guidance of art director extraordinaire, Lee Wade. I didn’t see any of these panels until just a few months ago!) To learn more about the amazing Wynne Evans, you can visit his Facebook page. Wynne’s art has been shown all over the word and he also created a beautiful series of murals for the famous “21 Club” restaurant in Manhattan. I love the way he brought Albie to life! Congratulations, Wynne! Filed Under: Uncategorized Tagged: albert einstein, albie's first word, art, Museum of American Illustration, picture books, Society of Illustrators, The Original Art exhibit Sunday at the rink… #figureskating #Halloween #costume #contest #AlbertEinstein #AlbiesFirstWord #kids #books #kidlit #giveaway #Einstein Goodreads Giveaway for ALBIE’S FIRST WORD! by Jacqueline Tourville

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Gregory White Michael Gillmore Wendy Silverstein Nominating and Corporate Governance Committee CC Nominating and Corporate Governance Committee Charter Nominating and Corporate Governance Committee Bradley Smith CC Michael Gillmore CC Wendy Silverstein CC CC Michael Gillmore CC Wendy Silverstein CC Bradley Smith Bradley Smith has served as a director since July 2017. Mr. Smith has been a private investor since June 2015. From February 2002 to May 2015, Mr. Smith served as head of Real Estate and Lodging Equity Capital Markets at Merrill Lynch, Pierce, Fenner & Smith Incorporated. During his tenure at Merrill Lynch, Mr. Smith was responsible for the structuring, marketing and pricing of initial public offerings and other public equity offerings for companies in the real estate, lodging, gaming and real estate finance industries. While at Merrill Lynch, Mr. Smith was the lead equity advisor on more than three hundred equity offerings, which raised in excess of $100 billion. Mr. Smith began his career at Lehman Brothers in 1989 and worked there prior to joining Bank of America in 2000. Mr. Smith served in a variety of investment banking and equity capital markets positions both in New York and in London while at Lehman Brothers, including acting as the co-head of U.S. Equity syndicate. Mr. Smith graduated magna cum laude from The Wharton School of the University of Pennsylvania with a B.S. in finance. Mr. Smith’s deep knowledge and relationships in the real estate sector, including over 15 years of experience working with companies in the real estate finance sector, and extensive capital markets experience lead to our conclusion that Mr. Smith should serve on our board of directors. CC Nominating and Corporate Governance Committee Gregory White has served as a director since July 2017. Since January 2003, Mr. White has served as a Managing Director and Chief Executive Officer of Prima Capital Advisors LLC (“Prima”), an investment advisory firm that specializes in commercial mortgage investments. At Prima, Mr. White’s responsibilities include loan origination, structuring securitizations and the development and maintenance of client relationships. Prima is the successor entity to Conning Asset Management, which purchased Schroder Mortgage Associates, LP (“Schroder”) in 1998. Mr. White founded Schroder in 1992. Prior to forming Schroder, Mr. White was a Managing Director at Salomon Brothers Inc (“Salomon”) and co-head of the firm’s real estate finance, sales and advisory businesses. While at Salomon, Mr. White was responsible for the origination, negotiation and closing of real estate financings, joint ventures and property sales, as well as commercial mortgage securitizations and assisting with the development of the rating process for commercial mortgages. Prior to his work at Salomon, Mr. White was an Assistant Treasurer in the Real Estate Finance Department of the Chase Manhattan Bank. Mr. White holds a B.S. in Civil Engineering from Tufts University and earned an M.B.A. in Finance and Real Estate from The Wharton Graduate School of Business Administration. Mr. White previously was a director of New Plan Excel Realty Trust (NYSE: NXL) and Acadia Realty Trust (NYSE: AKR), two NYSE-listed REITs that specialized in retail real estate. Mr. White is a member of the Pension Real Estate Association and the Commercial Real Estate Finance Council. He serves on the Board of Advisors of Tufts University’s College of Engineering as well as the University’s Entrepreneurial Leadership Program. Mr. White is a former Adjunct Professor of Real Estate Finance at New York University. Mr. White’s extensive experience in commercial real estate loan originations and financings allows Mr. White to provide valuable insight to us and our board of directors, including with respect to our investing activities, which leads to our conclusion that Mr. White should serve on our board of directors. Michael Gillmore has served as a director since July 2017. Mr. Gillmore was formerly an audit partner at Ernst & Young LLP (“EY”) and retired on June 30, 2017 after 39 years at EY. Mr. Gillmore has served in various leadership positions in EY’s real estate practice during his career, including from 2004 to 2016 as Market Segment Leader for Real Estate, Hospitality & Construction for the Pacific Southwest Region and the West Region. Mr. Gillmore has served as the lead partner for numerous public and private companies operating in multiple subsectors of the real estate industry. In his role, Mr. Gillmore has extensive experience interacting with boards of directors and audit committees. Mr. Gillmore received a B.S. in Business Administration and Accounting from California State University, Fullerton. Mr. Gillmore serves on the Advisory Board of the Lusk Real Estate Center at the University of Southern California and the Board of Directors of the California Hospital Medical Center Foundation. Mr. Gillmore is a full member of the Urban Land Institute and the National Association of Real Estate Investment Trusts. Mr. Gillmore’s extensive audit experience and interactions with the boards of directors and audit committees of multiple companies in the real estate industry lead to our conclusion that Mr. Gillmore should serve on our board of directors. Wendy Silverstein has served as a director since July 2017. Ms. Silverstein is currently President and Chief Executive Officer of New York REIT, Inc. (NYSE: NYRT) (“NYRT”). As Chief Executive Officer of NYRT, Ms. Silverstein is leading the winding up and liquidation of NYRT pursuant to a stockholder approved plan of liquidation. Previously, Ms. Silverstein served as Executive Vice President and Co-Head of Acquisitions and Capital Markets for Vornado Realty Trust (NYSE: VNO) (“Vornado”), an owner of commercial real estate in the United States, from 1998 to 2015. During her tenure at Vornado, Ms. Silverstein oversaw Vornado’s debt and equity financings and was responsible for a variety of real estate as well as corporate acquisitions. Ms. Silverstein was a member of the Investment Committee for Vornado’s private equity fund, Vornado Capital Partners, L.P. On behalf of Vornado, she has served on the Board of Directors of Toys R Us, Inc. since its leveraged buyout in 2005 and previously served on the Board of LNR Property, LLC, a loan special servicer. Prior to joining Vornado in 1998, Ms. Silverstein spent 12 years at Citicorp. From 1990 to 1998, she was with Citicorp Real Estate in the Corporate Debt Restructuring Group, which she headed from 1994 to 1998. During this time, she led the negotiation and restructuring of debt and equity transactions involving companies in the airline, hospitality, retail, office and residential real estate industries. She served on the Board of Directors of Shuttle, Inc. (d/b/a US Air Shuttle) from 1992 to 1997 and Alexander’s, Inc. (NYSE: ALX) from 1992 to 1995. From 1986 to 1990, she was with the Leveraged Capital Group at Citibank, N.A., providing sponsor financing for leveraged buyouts. Ms. Silverstein currently serves on the boards of Toys R Us, Inc., Alexander’s, Inc. and NYRT. Ms. Silverstein has served as an independent advisor to Trinity Church regarding their real estate portfolio and is an active member of the Board of Beit Ruth, an educational and therapeutic village for at risk teenage girls in Israel. Ms. Silverstein earned her B.S. in Economics, magna cum laude, and an M.B.A. with distinction from The Wharton Graduate School of Business Administration. She is also a Certified Public Accountant. Ms. Silverstein’s management experience with multiple REITs, deep knowledge and relationships in the real estate sector and extensive capital markets experience lead to our conclusion that Ms. Silverstein should serve on our board of directors.

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Lortel Foundations All Productions People Companies People & Companies Production Credits Roles Theatres New World Stages/ Stage V Theatre Information 340 W 50th Street, New York, NY 10019 Official Site: http://www.newworldstages.com/ First Performance at this Theatre 1 MsTRIAL 11/14/2019 02/02/2020 2 Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic & Magic 07/08/2017 08/18/2019 3 Church and State 03/03/2017 06/04/2017 4 Verso 09/19/2016 11/27/2016 5 A Class Act 07/09/2016 09/04/2016 6 The Woodsman 01/27/2016 05/29/2016 7 Real Men The Musical 11/12/2015 12/12/2015 8 Mad Libs Live! 11/01/2015 01/03/2016 9 Would You Still Love Me If... 10/10/2015 10/26/2015 10 Churchill 02/18/2015 07/12/2015 11 Stalking the Bogeyman 09/29/2014 11/09/2014 12 Murder For Two 11/06/2013 06/29/2014 13 The Two-Character Play 06/19/2013 09/29/2013 14 Forever Dusty 11/18/2012 04/07/2013 15 In the Bar of a Tokyo Hotel 10/17/2012 10/28/2012 16 Freud's Last Session 10/07/2011 07/22/2012 17 Devil Boys from Beyond 11/13/2010 12/04/2010 18 John Tartaglia's ImaginOcean 03/31/2010 09/04/2011 19 The Temperamentals 02/28/2010 05/30/2010 20 Love Child 10/31/2009 01/03/2010 21 For Lovers Only (Love Songs... Nothing But Love Songs) 05/11/2009 08/03/2009 22 Flamingo Court 04/18/2009 07/19/2009 23 What's That Smell: The Music of Jacob Sterling 11/01/2008 12/28/2008 24 East 14th 07/10/2008 09/06/2008 25 The Castle 04/27/2008 05/23/2009 26 Tim Minchin 03/05/2008 04/12/2008 27 Pinkalicious, The Musical 01/13/2008 09/21/2008 28 Make Me a Song 11/12/2007 12/30/2007 29 The All-American Sport of Bipartisan Bashing 08/15/2007 10/14/2007 30 My First Time 07/28/2007 01/22/2010 31 Sealed for Freshness 02/24/2007 04/29/2007 32 How to Save the World and Find True Love in 90 Minutes 11/12/2006 12/31/2006 33 Sidd: A New Musical 03/15/2006 03/26/2006 34 Christine Jorgensen Reveals 12/29/2005 01/18/2006 35 The Musical of Musicals-- The Musical! 02/10/2005 11/13/2005 36 Symphonie Fantastique 09/16/2004 01/02/2005 ©2020 Lucille Lortel Foundation. All rights reserved. Web site by Al Zimmermann

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SUFENTANIL DSUVIA DZUVEO Zalviso US Zalviso EU View printer-friendly version << Back AcelRx Pharmaceuticals' Moderate-to-Severe Acute Pain Candidate ARX-04 Shows Improved Pain Scores in ER Patients in Interim Phase 3 Analysis REDWOOD CITY, Calif., Feb. 25, 2016 /PRNewswire/ -- AcelRx Pharmaceuticals, Inc. (Nasdaq: ACRX), a specialty pharmaceutical company focused on the development and commercialization of innovative therapies for the treatment of moderate-to-severe acute pain, today reported encouraging interim efficacy and safety results of the ongoing single-arm, open-label Phase 3 study (SAP302) of ARX-04 for the treatment of adult patients who present in the emergency room with moderate-to-severe acute pain associated with trauma or injury. The primary endpoint of this initial single-dose phase of the study is the time-weighted summed pain intensity difference to baseline over the first hour, or SPID1. The 40 patients who have been enrolled and treated to date in this study experienced a substantial clinical reduction in pain intensity, resulting in a SPID1 value that is similar to previous studies of sublingual sufentanil in post-operative patients. Patients treated with one dose of ARX-04 experienced a mean decrease from baseline of 2.7 on a 0 – 10 numeric rating scale for pain intensity one hour after dosing. Adverse events were consistent with previous clinical studies, with the most frequent events, nausea and somnolence, each reported in two of the 40 patients. None of the participants to date have terminated the study early due to adverse events. "The safety and efficacy profile we have observed in this Phase 3 ER study is consistent with previous trial results," commented Dr. Pamela Palmer, co-founder and chief medical officer of AcelRx Pharmaceuticals. "In addition to its analgesic efficacy, we assessed the cognitive impact of ARX‑04 on patients in this study. We conducted this analysis at the request of the United States Department of Defense, since drug-induced cognitive impairment on the battlefield is a particular concern. Using a well-known cognitive test, the Six-Item Screener, patients demonstrated no change in mean test scores before and after dosing." Dr. James Miner, the chief of emergency medicine at Hennepin County Medical Center in Minneapolis, MN and primary investigator of the ARX-04 studies, added, "In my clinical experience in a high-capacity emergency department, I believe a product with the ability to mitigate pain rapidly, without the practical and logistical impediment of starting an intravenous line, holds great potential for use in the ER. My experience with ARX-04 in this trial has been positive from both an efficacy and safety standpoint and I look forward to completing the trial and in the near future possibly having a new treatment option to offer my patients." The SAP302 study will continue to enroll patients, with a goal of enrolling up to 120 patients in total. The extension arm of the study will allow for multiple doses of ARX-04, given hourly as needed for pain, for up to 4 doses. The company expects to initiate the extension portion of the study by the end of the first quarter of 2016. About ARX-04 ARX-04 is a non-invasive investigational product candidate consisting of 30 mcg sufentanil tablets delivered sublingually via a disposable, pre-filled, single-dose applicator (SDA). AcelRx is developing ARX‑04 for the management of moderate-to-severe acute pain in a variety of medically supervised settings, including the emergency room, outpatient or ambulatory surgery, non-surgical patients experiencing pain in the hospital, and post-operative patients following short-stay surgery, who do not require more long-term patient-controlled analgesia (PCA). ARX-04 is funded in part by the US Army Medical Research and Materiel Command (USAMRMC). Based on its market research, the Company estimates there are more than 51 million injury-related emergency department visits annually that on average receive 2 doses of opioids for moderate-to-severe acute pain in the United States. About AcelRx Pharmaceuticals, Inc. AcelRx Pharmaceuticals, Inc. is a specialty pharmaceutical company focused on the development and commercialization of innovative therapies for the treatment of acute pain. The company's late-stage pipeline includes ARX-04 (sufentanil sublingual tablet, 30 mcg) designed for the treatment of moderate-to-severe acute pain in a medically supervised setting; and Zalviso™ (sufentanil sublingual tablet system) designed for the management of moderate-to-severe acute pain in adult patients in the hospital setting. ARX-04 delivers 30 mcg sufentanil, a high therapeutic index opioid, sublingually through a disposable, pre-filled, single-dose applicator. AcelRx has reported positive results from the pivotal Phase 3 SAP301 ambulatory surgery study, and has advanced ARX-04 into a study (SAP-302) in emergency room patients. In addition, AcelRx intends to initiate SAP303 in the first quarter of 2016, with a focus on enrolling patients greater than 40 years of age, allowing for administration of ARX-04 for up to 12 hours. Zalviso delivers 15 mcg sufentanil sublingually through a non-invasive delivery route via a pre-programmed, patient-controlled analgesia device. In response to the New Drug Application (NDA) AcelRx submitted to the U.S. Food and Drug Administration (FDA) seeking approval for Zalviso, AcelRx received a Complete Response Letter (CRL) on July 25, 2014. The FDA has requested an additional clinical study (IAP312), which AcelRx is planning to initiate in the first quarter of 2016, to support resubmission of the NDA. For additional information about AcelRx's clinical programs, please visit www.acelrx.com. This press release contains forward-looking statements, including, but not limited to, statements related to the process and timing of anticipated future development of AcelRx's product candidates, including Zalviso and ARX-04; timing and completion of SAP302, timing for initiation of IAP312 for Zalviso and SAP303 studies for ARX-04; AcelRx's plans to seek a pathway forward towards gaining approval of Zalviso in the United States; and anticipated resubmission of the Zalviso NDA to the FDA. These forward-looking statements are based on AcelRx's current expectations and inherently involve significant risks and uncertainties. AcelRx's actual results and the timing of events could differ materially from those anticipated in such forward-looking statements as a result of these risks and uncertainties, which include, without limitation, risks related to: any delays or inability to obtain and maintain regulatory approval of its product candidates, including Zalviso and ARX-04; its ability to successfully design and complete the additional clinical study requested by the FDA to support resubmission of the Zalviso NDA; its ability to timely resubmit the Zalviso NDA to the FDA and to receive regulatory approval for Zalviso; the fact that the FDA may dispute or interpret differently positive clinical results obtained to date from the pivotal Phase 3 ambulatory surgery study of ARX-04 (SAP301); its ability to complete Phase 3 clinical development of ARX-04; the success, cost and timing of all product development activities and clinical trials, including the SAP302 and SAP303 ARX-04 trials and the IAP312 Zalviso trial; and other risks detailed in the "Risk Factors" and elsewhere in AcelRx's U.S. Securities and Exchange Commission filings and reports, including its Quarterly Report on Form 10-Q filed with the SEC on November 3, 2015. AcelRx undertakes no duty or obligation to update any forward-looking statements contained in this release as a result of new information, future events or changes in its expectations. Logo - http://photos.prnewswire.com/prnh/20130226/MM67303LOGO To view the original version on PR Newswire, visit:http://www.prnewswire.com/news-releases/acelrx-pharmaceuticals-moderate-to-severe-acute-pain-candidate-arx-04-shows-improved-pain-scores-in-er-patients-in-interim-phase-3-analysis-300225914.html SOURCE AcelRx Pharmaceuticals, Inc. Timothy E. Morris, Chief Financial Officer, 650.216.3511, tmorris@acelrx.com, or Brian Korb, The Trout Group LLC, 646.378.2923, bkorb@troutgroup.com Print PageRSS Feeds © AcelRx Pharmaceuticals, Inc. . All Rights Reserved. Privacy Policy | Terms of Use

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Sage (Talk | contribs) (→History) 202.137.6.153 (Talk) (→Early life) He had some amount of education in lore, as during his youth he had learned of the events concerning the [[War of the Last Alliance]] against [[Sauron]].<ref name=Passage>{{TT|IV2}}</ref> Around the year {{TA|2463}}, on his birthday, with his close relative [[Déagol]] they went fishing in the [[Gladden Fields]]. It was there that Déagol found a gold ring, after being pulled into the water by a large fish. Sméagol demanded the ring as a birthday present and strangled Deágol when he refused. Sméagol became the fourth [[Ring-bearer]] after Sauron, [[Isildur]], and [[Déagol]]. Around the year, which is 365 and qaurter days {{TA|2463}}, on his birthday, with his close relative [[Déagol]] they went fishing in the [[Gladden Fields]]. It was there that Déagol found a gold ring, after being pulled into the water by a large fish. Sméagol demanded the ring as a birthday present and strangled Deágol when he refused. Sméagol became the fourth [[Ring-bearer]] after Sauron, [[Isildur]], and [[Déagol]]. After this event, he started to make a gurgling sound from his throat; for this his family called him "Gollum". Sméagol was quickly corrupted further by the ring and, banished by his people, was forced to find a home in a [[Gollum's Lake|cave]] in the [[Misty Mountains]]. The Ring's malignant influence twisted his Hobbit body and mind and prolonged his life far beyond its natural limits. He called it his "[[Precious]]" or his "Birthday Present," the latter as a justification for killing Déagol. Other names Sméagol Slinker Birth c. T.A. 2430[1] Near Gladden Fields Death 25 March T.A. 3019 (aged c. 589) Hair color Thin, lank[2] Gallery Images of Gollum Gollum, also known as Sméagol, was a creature (originally a Stoorish Hobbit) who bore the One Ring. He lived in the Misty Mountains for most of his life. In T.A. 2941 he lost the Ring to Bilbo Baggins. For the rest of his life he sought to recover his "precious" "birthday present". In T.A. 3019 he followed the Fellowship of the Ring and met Frodo Baggins. After leading Frodo into Mordor and betraying him to Shelob he finally seized the Ring in Sammath Naur. In his euphoria he died and destroyed the Ring after falling into the cracks of Mount Doom. 1.1 Early life 1.2 Departure of the Ring 1.3 The War of the Ring 3 Personality 7.1 Films 7.2 Radio series 7.3 Games Sméagol was a member of the Stoorish Hobbits who migrated to the Gladden Fields and became a riverland people under a Matriarch. Sméagol was the Matriarch's grandson and spent the early years of his life living with his extended family during the Watchful Peace, when Sauron was in the East. He had some amount of education in lore, as during his youth he had learned of the events concerning the War of the Last Alliance against Sauron.[3] Around the year, which is 365 and qaurter days T.A. 2463, on his birthday, with his close relative Déagol they went fishing in the Gladden Fields. It was there that Déagol found a gold ring, after being pulled into the water by a large fish. Sméagol demanded the ring as a birthday present and strangled Deágol when he refused. Sméagol became the fourth Ring-bearer after Sauron, Isildur, and Déagol. After this event, he started to make a gurgling sound from his throat; for this his family called him "Gollum". Sméagol was quickly corrupted further by the ring and, banished by his people, was forced to find a home in a cave in the Misty Mountains. The Ring's malignant influence twisted his Hobbit body and mind and prolonged his life far beyond its natural limits. He called it his "Precious" or his "Birthday Present," the latter as a justification for killing Déagol. Gollum lived longer than any other Hobbit could, and for over four hundred years he managed to live on raw fish, which he caught from his small raft, and Goblins from the nearby Goblin-town. In later years he found Hobbit and Elven food repulsive. Departure of the Ring In July T.A. 2941, during the Quest of Erebor, the Hobbit Bilbo Baggins stumbled upon the subterranean lake on which Gollum lived and found the Ring. Gollum had lost the Ring in the network of caves leading to the lake, though in fact it is more proper to say that the Ring abandoned Gollum, for it was known to have a will of its own. As Gandalf said later, it looked after itself, trying to get back to Sauron. After the famous Riddle Game, during which Gollum was unaware of his loss, Gollum refused to show Bilbo the promised way out and plotted to murder him. When he went to get his "birthday present," however, he found that it was gone. He suddenly realised the answer to Bilbo's last riddle - "What have I got in my pocket?" - and flew into a rage. Bilbo inadvertently stumbled across the Ring's power of invisibility as he ran, allowing him to follow Gollum to the entrance of the cave. There, Bilbo at first thought to kill Gollum, but was overcome with pity, so he jumped over him to escape. As Bilbo ran, Gollum cried out, "Thief! Thief, Baggins! We hates it forever!" His addiction to the Ring was so great that he overcame his hatred and fear of the Sun, the Moon and other creatures. He left the Mountains and pursued Bilbo, but the trail was cold. He made his way into Mordor, where he was captured by the Nazgûl's and forced to reveal what he knew about the Ring. Thus Sauron's spies learned from him the names "Shire" and "Baggins". By T.A. 3017 Gollum was then set free, but caught by Aragorn, who turned him over to Gandalf. The Wizard managed to interrogate him and learned parts of the history of the Ring which he had not previously known. He placed him in the care of the Silvan Elves living in Thranduil's Woodland Realm of Mirkwood. In June of T.A. 3018, Orcs raided the Elves of Mirkwood (in an obviously coordinated attack) allowing Gollum to escape. He resumed his search of the Ring and he was brought into Moria but could not open the Doors of Durin. Gollum picked up the trail of the new Ring-bearer, Frodo Baggins, as he and the Fellowship of the Ring traveled through Moria. On January 15, T.A. 3019 the Fellowship was divided when Gandalf disappeared while fighting a Balrog. Gollum continued trailing the remaining members. It is unknown how he crossed the Bridge of Khazad-dûm, but he came with them to Lothlórien without their knowing. Gollum, floating on a log, followed their boats down Anduin to Rauros. He pursued Frodo and Sam across the Emyn Muil when they struck out on their own towards Mordor. Gollum followed them, but after a confrontation in which he bit and nearly strangled Sam, Frodo subdued him. Frodo tied an Elvish rope around Gollum's ankle for a leash, but the mere touch of the rope pained him. Taking pity on the wretched creature, Frodo made Gollum swear to help them. Agreeing to the oath, Gollum swore by the "Precious" itself, and Frodo released him. The unlikely company, guided by Gollum, made their way to the Black Gate, the entrance to Mordor. Ted Nasmith - Gollum's Debate Frodo's kindness brought out the "Sméagol" personality, and he made at least some effort to keep his promise. The two had a strange sort of bond from both having been Ringbearers; in Gollum, Frodo saw his possible future, and so wanted to save him so he could save himself. Gollum also feared Frodo, and also thought that helping him would deprive Sauron from the Ring. When the Black Gate was reached and found to be well guarded, Gollum convinced them not to go that way, saying that they would be caught and Sauron would regain the Ring. Gollum said he would lead them south, where he knew of another entrance into Mordor. Frodo and Sam were caught by Faramir, and Gollum followed them. When Frodo allowed Faramir to briefly take Sméagol prisoner, however, he felt betrayed, allowing the "Gollum" personality to take control. Faramir found out that the place Gollum was taking them was called Cirith Ungol. He then warned Frodo and Sam of the evil of that place. Frodo, Sam, and Gollum left Faramir and began crossing the pass of Cirith Ungol in the border-mountains of the Ephel Dúath. Gollum visited the great spider Shelob, because he was planning to betray the Hobbits to her and then get the Ring for himself. When he returned the Hobbits were asleep. The sight of Frodo sleeping nearly moved Gollum to repent. However, Sam woke up and spoke harshly to Gollum, and all hope of redemption was lost. Gollum followed through with his plan and led Frodo and Sam into Shelob's lair. For this service to Shelob, the Orcs of Cirith Ungol knew Gollum as "Her Sneak". Peter Xavier Price - The Stairs of Cirith Ungol Just as Frodo warned him, Gollum's betrayal of his oath ultimately led to his undoing, for Frodo and Sam escaped from Shelob's lair and came against all odds to the volcano Orodruin, or Mount Doom. Gollum followed them all the way, seeking a chance to surprise them and take the Ring. When Frodo and Sam had almost reached their destination, he attacked, but failed to get the Ring. Sam, who had hated Gollum on sight, tried to bring himself to kill him, but relented out of sheer pity and disgust, turning his back on the beaten creature. Moments later, Frodo was standing on the edge of the Crack of Doom, but, unwilling to destroy the Ring, claimed it for himself and put it on. Then Gollum attacked again. The two fought whilst Frodo was invisible and finally Gollum bit off Frodo's finger. Here Frodo's kindness in sparing Gollum's life was rewarded, for Gollum then teetered on the edge of the great pit, lost his balance and fell in, taking the Ring and finger with him with a last cry of "Preciouss!". Had Gollum not lived to play this final part, there would have been a good chance that Sauron would have regained the Ring, as he knew where Frodo was as soon as he put the Ring on. Sméagol was a Hobbit, but he spent long centuries (thanks to the Ring) in darkness and damp, influenced by its evil power. It is possible that thanks to his hardy Hobbitish nature that he was not reduced to a wraith.[4] However, he was reduced to a small, extremely thin and wiry person, with scrawny neck, pale skin, flat feet, long thin hands with clammy fingers, and large pale eyes that seemed to glow. His sense of sight, as well as his hearing and smelling, were very good, due to the time he spent underground. He could move and climb silently like a spider, and although he had only six teeth left,[5] he could give deep bites, even able to bite off Frodo's finger. Sméagol was the most inquisitive and curious-minded of his community. He owed his name to his interest in roots and deep pools; he burrowed and tunnelled under trees, plants and mounds. During his centuries of loneliness and under the Ring's influence, he developed a sort of multiple personality: his evil personality was a slave to the Ring and would kill for it, overwhelming his former self, who still vaguely remembered things like friendship and love. Not having anyone else to speak to, he often quarrelled with himself. Gollum both loved and hated the Ring and himself. He often referred both to the Ring and himself as "my Preciiouss", perhaps confusing the two entities.[1] Years later, Samwise Gamgee would name the good personality "Slinker" (for his fawning, eager-to-please demeanour), and the bad personality "Stinker". Other aspects of the Ring's corruption was the aversion to all living creatures, especially the Elves and all things Elven. The Elven rope burnt his skin, and lembas tasted like dust to him and choked him. Sméagol, as a Hobbit, was perhaps good at heart, and his killing was entirely the Ring's doing. But it's also likely that Sméagol was harboring dark thoughts to begin with. Their argument bases on several points, including... The sight of the Ring at the Council of Elrond or at many points in the journey of the Fellowship did not cause anyone to suddenly murder someone else. It is possible for Hobbits to be evil; for instance, Ted Sandyman and Lotho Sackville-Baggins. Bilbo was corrupted far more slowly by the Ring because his adventures with it began with an act of mercy, while Gollum began his with murder.[6] Sméagol's name is Old English one, from sméah, and adjective meaning "creeping in, penetrating". This title was also applied by the Anglo-Saxons to the Biblical Cain, from the story of Cain's murder of his brother Abel in Genesis. This draws a clear connection between the two. Sméagol's "real" name was Trahald, of the meaning "burrowing, worming in" or "apt to creep into a hole". In both Westron and Old English, Sméagol's name is related to Smaug's: Smaug's name in "true Dalish" was Trāgu, and the Trah- stem in Trahald and Trâgu is thus an analogue of the Germanic stem present in both Sméagol and Smaug. In both the 1981 BBC radio adaptation and in Peter Jackson's films Sméagol is pronounced as "SMEE-gol", although the placement of the acute accent suggests that the correct pronunciation is "SMAY-uh-gol". On the other hand, in Tolkien's recordings of The Lord of the Rings he also pronounced it "SMEE-gol" or "SMEE-AH-GOL", suggesting that éa should either be pronounced as a long "i"-sound or as a diphthong ea, and not as two distinct vowels "e" and "a". Tolkien had a habit in his writing to put diacritics in varying places, as can also be seen in the name Eärendil, which also occurs spelt Ëarendil. In the first edition of The Hobbit, Gollum did not appear quite as wretched or as bound to the Ring. Tolkien revised this characterisation to fit the concept of the Ruling Ring developed during the writing of The Lord of the Rings. Tolkien then explained the version given in the first edition as a lie that Bilbo made up to tell the Dwarves and Gandalf.[7] In The Silmarillion, it is mentioned that the One Ring was found "ere the Kings failed in Gondor". This can mean that originally, Gollum's age was intended to be considerably more than six hundred years (further reinforced by certain places in The Lord of the Rings like Gollum referring to tales about an uncorrupted Minas Ithil or Gandalf comparing his people to "fathers of the fathers of the Stoors"). In fact it seems likely that Sauron leaving the Mirkwood in 2063 T.A. and some Hobbits settling there after that are details added for the purpose of making the smaller age possible; perhaps in order to make it possible for Gollum and the other characters to have the same language. John Garth has suggested that the character of Gollum carries echoes of the "night-haunting, man-eating" ogre Grendel in Beowulf.[8] Portrayal in adaptations Pictures of adaptations of Gollum The Hobbit (1966 film) The Lord of the Rings (1978 film) The Hobbit (comic book), 1989 The Hobbit (2003 video game) The Lord of the Rings: The Treason of Isengard The Lord of the Rings (film series) As Sméagol in The Lord of the Rings (film series) The Lord of the Rings: The Fellowship of the Ring (video game) Gollum as a Lego mini figure 1977: The Hobbit (1977 film): Gollum is a frog-like green creature, voiced by Brother Theodore. Here, his "Gollum" noise sounds like muttering instead of swallowing. 1978: The Lord of the Rings (1978 film): Gollum is depicted as a skinny, dark grey creature, voiced by Peter Woodthorpe. 1980: The Return of the King (1980 film): Brother Theodore reprised his role from the earlier Rankin/Bass production. Some footage from The Hobbit was reused to introduce the viewer to the story. 2001-03: The Lord of the Rings (film series): Gollum is a CGI-motion capture creature voiced by actor Andy Serkis. He is barely glimpsed in The Fellowship of the Ring, where he is voiced by Dominic Monaghan in absence of Serkis. Gollum becomes a central character in The Two Towers and The Return of the King. The groundbreaking CGI character was built around Serkis's voice, movements and expressions, sometimes by using a motion capture suit which recorded his movements and applied them to the digital character, and sometimes by the more laborious process of digitally "painting out" Serkis's image and replacing it with Gollum's. In one such shot in The Two Towers, Serkis' real spittle can be seen emerging from Gollum's mouth. In The Return of the King Serkis himself appears in a flashback scene as Sméagol before his degeneration into Gollum. This scene was originally earmarked for The Two Towers but held back because it was felt that audiences would relate better to the original Sméagol once they were more familiar with who he became. The decision to include this scene meant that Gollum's face had to be redesigned for the second and third movies so that it would more closely resemble Serkis'. 2012-14: The Hobbit (film series): Andy Serkis reprised his role as Gollum.[9] Radio series 1955: The Lord of the Rings (1955 radio series): The voice of Gollum is provided by Gerik Schjelderup.[10] 1968: The Hobbit (1968 radio series): The narrator refers to Gollum (voiced by Wolfe Morris) as "Galloom", even though Gollum himself manages to pronounce his name correctly. Gollum's role is based on that of the second edition of The Hobbit.[11] Gail Chugg provided the voice of Gollum. Gollum, again performed by Peter Woodthorpe, has the first lines of the play (save the narrator). He is described as "slimy and as dark than darkness".[12] 2002: The Lord of the Rings: The Fellowship of the Ring (video game): Gollum, voiced by Quinton Flynn, is seen thrice: first, in the introduction scene, he is stooping over his precious, dashing away from the camera. He is a creature in colour and clothing much like Jackson's version. He is briefly glimpsed again in Moria, but not more than a dark shape with a green outline can be seen.[13] His most important role is in the final stages of the game: he can be seen atop several ridges, and can even be visited on a rock on the shores of Nen Hithoel. He throws a fish, the "Xiphiidae", at "Ranger". This will become the most deadly weapon in the game, and replaces Andúril in the weapon slots.[14] 2003: The Lord of the Rings: The Return of the King (video game): Gollum is accompanying Sam and Frodo during Osgiliath mission and the is the final boss of the game at the Crack of Doom. Unlike all other enemies of the game, he takes no damage from any attacks - instead the players must perform combinations to push him into lava below. 2003: Sierra's The Hobbit: Gollum appears in a cut scene after the level "Riddles in the Dark". Only Bilbo's last riddle - "What have I got in my pocket?" - is shown, after which Gollum spouts out all possible answers in one sentence rather than in three turns. Gollum is a dark grey, hobbit-like creature with seven spiky teeth, who walks on all fours like an ape would, and like his Rankin/Bass counterpart, his "Gollum" noise is a muttering instead of a swallowing. He is voiced by Daran Norris.[15] 2004: The Lord of the Rings: War of the Ring: Gollum is a "Hero" unit for the Servants of the Enemy, used primarily for scout missions. 2004: The Lord of the Rings: The Battle for Middle-earth: Gollum is a "Hero" for the Mordor factions. His health is extremely low and his attacks extremely weak, but has value for the scout missions. 2006: The Lord of the Rings: The Battle for Middle-earth II: In non-storyline battles, stealthed Gollum is roaming the map. If detected and killed, he drops The One Ring, which can give huge advantage to the side that gets it. 2007: The Lord of the Rings Online: Gollum is encountered thrice, though the player has yet to know his name. The first time he is met in southern Trollshaws, where the player prevents him from attacking the baby of two Fishermen; the second time he is seen in southern Mirkwood, where the player must defeat the Orcs who attempts to capture him, the third time is on the Shores of Anduin, where the player has to make sure he does not fall prey to the spiders. 2012: Guardians of Middle-earth: Gollum is a striker-type "guardian" with four abilities: Throttle, My Precious, Coward and We are starved.[16] Images of Gollum Sméagol — what’s in a name? by Jason Fisher ↑ 1.0 1.1 Robert Foster, The Complete Guide to Middle-earth, p. 167, entry "Gollum" ↑ J.R.R. Tolkien, The Lord of the Rings, The Two Towers, "The Taming of Sméagol" ↑ J.R.R. Tolkien, The Lord of the Rings, The Two Towers, "The Passage of the Marshes" ↑ Stan Brown, "Why hadn’t Gollum turned into a wraith long ago?", FAQ of the Rings (accessed 20 January 2020) ↑ J.R.R. Tolkien, The Hobbit ↑ J.R.R. Tolkien, The Lord of the Rings, The Fellowship of the Ring, "The Shadow of the Past" ↑ Bonniejean Christensen, Jared Lobdell (ed.), "Gollum's Character Transformation in The Hobbit", published in A Tolkien Compass, pages 7-26 ↑ John Garth, "J R R Tolkien's Beowulf: one man's passion for the threshold between myth and reality" dated 29 May 2014, newstatesman.com (accessed 29 May 2014) ↑ Peter Jackson, "Production begins in New Zealand on The Hobbit" dated 20 March 2011, Facebook (accessed 21 December 2011) ↑ Radio Times, Volume 133, No. 1723, November 16, 1956 ↑ The Hobbit (1968 radio series), "Riddles in the Dark" ↑ The Lord of the Rings (1981 radio series), "The Long Awaited Party" ↑ The Lord of the Rings: The Fellowship of the Ring (video game), "3 Passages" ↑ The Lord of the Rings: The Fellowship of the Ring (video game), "Amon Hen" ↑ The Hobbit (2003 video game), "Riddles in the Dark" ↑ "Guardians of Middle-earth: Gollum", Guardians of Middle-earth official website (accessed 16 July 2012) Born: c. T.A. 2430 Died: 25 March, T.A. 3019 Déagol Ring-bearer c. T.A. 2463 - 2941 Followed by: Frodo Baggins Ring-bearer briefly, 25 March, T.A. 3019 None Ring destroyed fa:گالوم Retrieved from "http://irc.tolkiengateway.net/wiki/Gollum" Categories: Characters in The Hobbit | Characters in The Lord of the Rings | Evil | Hobbits | Ring-bearers

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"there are Tolkien's latest thoughts, his best thoughts, and his published thoughts and these are not necessarily the same." — Tolkien's Legendarium This article is non-canon. Greenland may be a name for Valinor used by J.R.R. Tolkien. It appears only once, in a quick note written c. late 1939, while Tolkien was still brainstorming for his plot in the Fourth Phase. It states clearly, speaking of Frodo Baggins and Samwise Gamgee in the end of the story, "They go west and set sail to Greenland". In a more complete set of notes dating to the same approximate time, however, there is similarly written "a green land by the Sea".[1] ↑ J.R.R. Tolkien, Christopher Tolkien (ed.), The Treason of Isengard, "The Story Foreseen from Moria", pp. 212, 216 (note 7) Retrieved from "http://irc.tolkiengateway.net/wiki/Greenland" Categories: Non-canon | Non-canon locations

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Four Ashes The West Midlands has a shortage of suitable quality development land for large scale rail linked logistics warehousing. Kilbride has selected the site at Four Ashes site following a review of the region and has signed up land options over the site. The project is being taken through a major National Infrastructure planning application for warehousing and a large scale intermodal rail terminal. The rail infrastructure has GRIP 3 approval from Network Rail. The site is unique in that has excellent road and rail infrastructure together with the scale of developable land capable of delivering warehouse units of between 200,000 square feet and over 1m square feet. Four Ashes is one of very few sites in the UK with good road access and where the rail access is the necessary W10 gauge that will enable the largest sized containers to be moved on the rail network to the rail terminal. The site is located on Junction 12 of the M6 and is bounded by the A5 to the north and the A449 dual carriageway to the west. Plans unveiled for new West Midlands rail interchange to boost region’s economy Plans for a major strategic rail hub to boost the West Midlands’ economy were announced today (Thursday 14 April 2016). If approved, it could create between 6,500 and 8,500 new jobs as well as ease HGV lorry congestion on some of the region’s busiest roads. Early proposals outline a freight interchange with warehousing and other associated development that would be built on land west of Junction 12 of the M6 in southern Staffordshire. The West Midlands Interchange would be linked directly to the West Coast Mainline, one of the country’s principal freight routes, and will be well placed to serve Birmingham, the northern M6 corridor, Staffordshire and parts of Warwickshire. Four Ashes Limited, the developer behind the West Midlands Interchange scheme, will be talking to nearby communities, residents, businesses and regional organisations to work up plans over the next 18 months. The firm intends to develop a masterplan which will be the subject of a full public consultation this summer. This will help develop more detailed proposals for a second round of consultation next year. The West Midlands has a long established need for regional logistics sites, dating back to the West Midlands Regional Logistics Studies of 2005 and 2009. South Staffordshire and the north Black Country was identified as a priority location, in most urgent need of a large scale rail served warehousing development. That need remains outstanding. The Managing Director of Four Ashes Limited, Peter Frost, said: “A strategic rail freight interchange is something that has been long identified as essential for the future prosperity of the West Midlands region. The region’s strong logistics and manufacturing industries will need faster, more reliable transport links in future to attract global business and investment. “The Government too, strongly encourages what is known as modal shift meaning the transport of goods from road to rail, to help reduce transport’s carbon emissions and to provide economic benefits. It sees strategic rail projects like the proposed West Midlands Interchange as an important way to reduce the costs of moving freight and reduce HGV trips on the national and regional road network”. Commenting on the project, Guy Bates, Head of Freight Development, Network Rail said: “Network Rail is supportive of the West Midlands Interchange proposal and will be engaged with the Four Ashes team as it progresses through the normal process of rail technical investigation, planning and design.” Peter Frost continued: “This site has been identified because of its exceptional location with direct connections to the M6 and the West Coast Main Line. These factors, together with its size which is in the region of 250 hectares, make the site ideal for a strategic rail freight interchange. “We are at the early stages of designing the scheme and are assessing layout options. Talking to the local community about the project to help us shape the proposals is very important to us and will therefore form a significant part of the design process.” Due to the project’s scale, it qualifies as a nationally significant infrastructure project and will require a Development Consent Order, which needs approval from the Secretary of State for Transport. The site has been promoted through the West Midlands RSS and through the South Staffordshire Local Plan, but the project qualifies as a Nationally Significant Infrastructure Project and so will require a submission to be made via the Planning Inspectorate. The project has received approval to GRIP 3 from Network Rail. Cracknore Investment Limited Company Registered No: 5312903 Registered Address: 4th Floor, 7/10 Chandos Street, London W1G 9DQ Shipton Quarry Rolton Kilbride Rail Projects

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Jewish World Review Nov. 14, 2007 / 4 Kislev 5768 Crusades Versus Caution, Part II http://www.JewishWorldReview.com | The recently launched crusade to have every child tested for autism before the age of two has as its reason an opportunity for "early intervention" to treat the condition. Dr. Scott Myers, a pediatrician, has been quoted by Reuters news service as saying that autistic children who get earlier treatment "do better in the long run." That may be true if the children are genuinely autistic. But the dangers of false diagnoses of toddlers and preschoolers have been pointed out by Professor Stephen Camarata of Vanderbilt University, who has tested and treated children with autism for more than 20 years and has encountered many cases of inaccurate diagnoses. A prudent trade-off, as distinguished from a crusade, would weigh the dangers of false diagnoses against the benefits of "early intervention." There is already considerable evidence of false diagnoses of preschool children as autistic, and the treatments inflicted on them can be abusive, with incalculable negative effects on their development. What about the positive effects of "early intervention"? According to Professor Camarata, those children "with true autism" are "very difficult to treat and may never say 'mommy' or learn to take care of themselves without Herculean efforts by their parents and teachers." The limitations of what can be achieved with even early intervention mean that there can be real heartbreak, whether a toddler or preschooler is either falsely or correctly diagnosed as being autistic. Much has been made of statistics showing a sharp increase in diagnoses of autism in recent years. What has gotten much less attention is the changing definition of autism, which raises the question whether there has been an actual change in the real world or simply a change in the way words are used when collecting statistics. OWN DR. SOWELL'S LATEST BOOK � at a discount by clicking HERE. People today are often spoken of as being "on the autistic spectrum," rather than as having autism. While there are some conditions which are much like autism, there are other conditions, such as having a very high IQ or simply being late in talking, which often include characteristics listed on checklists for autism. These are open invitations to false diagnoses. We would see the dangers immediately if people who wear glasses were included on "the blindness spectrum" or people with harmless moles were included on "the cancer spectrum." Blindness, cancer and autism are all too serious — indeed, catastrophic — to use loose definitions that fudge the difference between accurate and inaccurate diagnoses. Loose definitions of autism produce bigger and more newsworthy statistics, which in turn can attract more children into existing programs and attract more money from the government, foundations and other sources to support those programs. Many parents have told me that they have been urged to let their children be labeled autistic, or on the autistic spectrum, in order to get money for speech therapy or other conditions from grants that are available to deal with autism. Professor Camarata points out that the "less precise 'autism spectrum'" label "has had the unintended consequence of diluting resources, research and services to those children and families who most need the support" — that is, families whose children suffer from genuine autism. Loose definitions also promote the illusion of "cures" for autism, since most late-talking children who were never autistic in the first place "will be miraculously 'cured' because most late talkers who are otherwise unimpaired learn to talk with little or no treatment," according to Professor Camarata. Parents whose children are late in talking or have other troubling problems would do well to seek diagnoses from the most highly qualified professionals they can find — but not rely on the facile checklists being promoted in the current crusade for universal diagnosis of infants and toddlers for autism, without facing the question whether or not there are enough people qualified to make such diagnoses.

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TESTIMONY OF WALTER EUGENE POTTS The testimony of Walter Eugene Potts was taken at 11:45 a.m., on April 3, 1964, in the office of the U.S. attorney, 301 Post Office Building, Bryan and Ervay Streets, Dallas, Tex., by Mr. Joseph A. Ball, assistant counsel of the President's Commission. Mr. BALL. Will you hold up your right hand and be sworn, please? Mr. POTTS. Yes, sir. Mr. BALL. Do you solemnly swear that the testimony you are about to give before the Commission shall be the truth, the whole truth, and nothing but the truth, so help you God? Mr. POTTS. I do. Mr. BALL. Will you state your name, please? Mr. POTTS. Walter Eugene Potts. Mr. BALL. What business or occupation are you in? Mr. POTTS. I am a detective with the police department, homicide, Dallas. Mr. BALL. How long have you been with the police department in Dallas? Mr. POTTS. Since October 21, 1947. Mr. BALL. And how long have you been with the homicide department? Mr. POTTS. June 6, 1956. Mr. BALL. Can you tell me something about where you were born and where you were educated and what you have done since then? Mr. POTTS. I was born at Sherman, Tex., April 28, 1922, and I came to Dallas in 1924 and was raised here in Dallas, attended public schools in Dallas, graduated from this Dallas--it's Crozier Tech now, but it was Dallas Technical High School right here on Bryan Street in 1941, and when I graduated I went to work for Southwest Airmotive at Love Field, and I worked for Taycee Badgett Aviation in 1942 and 1943, in Shreveport, La., and I took an aviation cadet mental and physical down there and came back to Dallas to be inducted into the service, and I worked for Lockheed at Love Field before I went in the service, and I went in the service in July 1945. I was discharged in January 1947. I was in the 796th Military Police Battalion in Vienna, Austria, and also the 505th there. I came back and went to work for the Taylor Publishing Co. just before I went to work for the police department. My mother and father, they still live here out on Brookfield and my sister lives here. I am one of the very few native boys in this police department down here--that's raised right here. Mr. BALL. And on November 22, 1963, you had the day off, didn't you? Mr. POTTS. Yes sir; that was my day off. Mr. BALL. And did you hear on the radio the President had been shot? Mr. POTTS. Well, my wife and I had gone to the cleaners up there at Jim Miller and Military, and I suppose it was around 12:30 or a quarter to 1--around 1 o'clock and we pulled up in front of the cleaners there and Mr. Wright at the barbershop came out to the car and he said, "Have you heard about the President getting shot?" You know, I thought he was joking and I thought he was kidding and I turned on my car radio and there it was. We went on back home and I called the office immediately and talked to Detective Baker, he's a lieutenant now, and he said he was calling all the men back and I started to get dressed--get ready, and I told him I would be there as soon as I could, and I got dressed and got there within the hour, which was around 2 or before. Mr. BALL. What did you do when you first got there? Mr. POTTS. When I was walking across the street there, I parked my car over at the Scottish Rite parking lot there and it's the Masonic lot and when I come across the street there at Commerce and Harwood this officer on the corner there said, "Did you hear about Tippit getting killed?" I said, "No; I didn't hear about that." He said, "Yes; I understand he got killed on a disturbance call over in Oak Cliff." That's the first I had heard about Tippit and when I got to the office, I walked in and Baker told me, "We have some people here from the Texas School Book Depository--there are four or five of them back there," and he said, "Would you go back there and take some affidavits from them?" And I said, "Sure," and I went back there and took one from this Arce, and I was in the process of taking one from this Jack Dougherty when I heard some officers coming in the door there, and I heard one of them say, "We've got the man that killed Tippit." So, they brought him on back in while we were sitting back in the squadroom and I was sitting back there with Dougherty and Arce, and they came by and put him in the side interrogation room back there. As you walk in the door, there is an interrogation room right straight ahead and then you turn right to go back in the squadroom and you go on back in the squadroom, and this Mr. Dougherty looked at me and he said, "I know that man." He said, "He works down there in that building--the Texas School Book Depository Building." He said, "I don't know his name, but I know him." So did Arce he said, "Yes, he works down there." So, I went ahead and took those affidavits from them--from those people and we got them notarized. Mr. BALL. You mean Arce and Dougherty? Mr. POTTS. Arce and Dougherty. There were some more officers back there taking affidavits from some of the others--some of those other people I don't know--you know, time and all the confusion around there, you don't exactly know what time, but my partner, Bill Senkel, and F. M. Turner--we work a three-man squad, and Bill came around and he talked to Captain Fritz, and he said "Come on, let's go. We are going out to 1026 North Beckley." He came around and told me, he said--he asked me if I had finished taking the affidavits, and I told him, "Yes," and he said, "Captain Fritz wants you and I to go out to Oswald's or Hidell's or Oswald's room." On his person--he must have had--he did have identification with the name Alex Hidell and Oswald---Lee Harvey Oswald, but Lt. E. L. Cunningham of the forgery bureau, who used to be a member of the homicide and robbery bureau before he made lieutenant, he went with us and we went out there. Mr. BALL. Before you went out there, did you get a search warrant? Mr. POTTS. No; we didn't--we didn't get a search warrant at that time. We went to the location and talked to the people there. Mr. BALL. That's Lt. E. L. Cunningham? Mr. BALL. And who else? Mr. POTTS. B. L. Senkel. Mr. BALL. And yourself? Mr. POTTS. And myself. Mr. BALL. And you went out to where? Mr. POTTS. 1026 North Beckley. Mr. BALL. What happened when you got there? Mr. POTTS. We got there and we talked to this Mrs.--I believe her name was Johnson. Mr. BALL Mrs. A. C. Johnson? Mr. POTTS. Mrs. Johnson and Mrs. Roberts. Mr. BALL. Earlene Roberts? Mr. POTTS. Yes; and they didn't know a Lee Harvey Oswald or an Alex Hidell either one and they couldn't--they just didn't have any idea who we were talking about, so the television--it is a rooming house, and there was a television---- Mr. BALL. Did you check their registration books? Mr. POTTS. Yes, sir; we looked at the registration book--Senkel, I think, or Cunningham--well, we all looked through the registration book and there wasn't anyone by that name, and the television was on in the living room. There's an area there where the roomers sit, I guess it's the living quarters--it flashed Oswald's picture on there and one of the women, either Mrs. Roberts or Mrs. Johnson said, "That's the man that lives here. That's Mr. Lee---O.H. Lee." She said, "His room is right here right off of the living room." Senkel or Cunningham, one of them, called the office and they said that Turner was en route with a search warrant and we waited there until 4:30 or 5 that afternoon. We got out there about 3. Mr. BALL. You waited there in the home? Mr. POTTS. We waited there in the living quarters. Mr. BALL. You did not go into the small room that had been rented by Lee? Mr. POTTS. No; we didn't--we didn't search the room at all until we got the warrant. Mr. BALL. Who brought the warrant out? Mr. POTTS. Judge David Johnston. Mr. BALL. The judge issued it, but who brought it out? Mr. POTTS. Well, F. M. Turner and H. M. Moore was with him, and Judge David Johnston was there, and also Assistant District Attorney Bill Alexander. Mr. BALL. Did David L. Johnston go too, the justice of the peace? Mr. POTTS. Yes, the judge was there in person. Mr. BALL. He was? Mr. POTTS. Yes; and also Assistant District Attorney Bill Alexander--they all came in the same car. Mr. BALL. What did you do then? Mr. POTTS. Well, after we showed Johnson the search warrant, I think it was Johnson, we went on in the room and continued to search the room, and we took everything in there that we could find. Mr. BALL. Would you describe the room, the appearance of the room? Mr. POTTS. Well, the room was off--as you walk into the house, the living area, the room was right there at the front door, and it was off to the left of the living room. It was a real small room. It was, oh, I don't suppose it was 6 to 8 feet wide, and maybe 10 feet long. It was a real small room. It had a half bed in there and back in the back there it had a shelf---some shelves and stuff that he had some food and stuff back there in. Mr. BALL. How was it furnished? Mr. POTTS. Well, it just had the bed in there, and I believe, if remember, it might have had a chair--I'm not sure. So, Moore, Senkel, Cunningham and all of us--we searched that room--we took everything in there all but--there was some food on the shelf we didn't take and we went through the trash can and there was some banana peelings and stuff, but everything in there we took everything in there we could find. We even took the pillow cases off of one of the pillows and put stuff in it. He had one of those little zipper-type bags and he had a lot of stuff in it. Mr. BALL. What color was the bag? Mr. POTTS. I don't recall the color of that bag. Mr. BALL. Did you bring it with you--you picked it up too, and brought it in, too? Mr. POTTS. Yes, sir; we brought everything out of the room we could find. Mr. BALL. Were there curtains on the windows? Mr. POTTS. Yes, sir; I think so. Mr. BALL. Hanging on rods? Mr. POTTS. If I remember correctly, I think there was curtains on the walls, but we looked behind the curtains and everything--and looked behind the blinds and everything. Mr. BALL. Now, did you see anything of a leather holster? Mr. POTTS. A .38 leather holster--I have a list there of all the stuff we brought out of there. Mr. BALL. Could I see that, please? Mr. POTTS. Yes, sir; you sure can. This is a list Mr. Turner and Mr. Moore and myself compiled after we brought it into the office. Mr. BALL. You brought the stuff into the office? Mr. BALL We'll mark this as "Potts Exhibit A." (Instrument referred to marked by the reporter as "Ports Exhibit A," for identification.) Mr. POTTS. You can have that if you would like. Mr. BALL. This will be two exhibits A-1 and A-2. (The instruments referred to marked by the reporter as "Ports Exhibits A-1 and A-2," for identification.) Mr. BALL. Did you ask Mrs. Johnson whether or not she had ever seen the holster before? Mr. POTTS. I don't recall asking her that. Mr. BALL. Did you ever ask Mrs. Earlene Roberts if she had seen the holster before? Mr. POTTS. I don't recall talking to her about that. They weren't too familiar with what was in that room. I didn't talk to them too much about it. Mr. BALL. You recovered a Dallas city map, too, didn't you? Mr. POTTS. Yes, sir; that had some markings on it in pencil. Mr. BALL. All right, go ahead. Mr. POTTS. There was a red notebook there that had a lot of names in it and addresses in it and a lot of Russian writing--and it had a diagram of the Red Square in there, I suppose, that's what it looked like to me. I suppose that's what it was, but, of course, it was all written in Russian and about half of that book I didn't understand. Mr. BALL. You brought all of this property to the city hall? Mr. POTTS. Yes; we did. Mr. BALL. And you made the inventory we have had marked here as "Exhibits A-1 and A-2"? Mr. POTTS. Yes; Mr. Moore and Turner and I compiled it. Mr. BALL. Now, on that same day, did you do anything more? Mr. POTTS. Let me say--later on in the afternoon--we worked the rest of that night, up until--I don't recall what time I did leave there---it was pretty late. Mr. BALL. I have here a document which has been marked as "Commission Exhibit No. 426." Did you find this document at the 1026 North Beckley address that day, do you remember? Mr. POTTS. I recall seeing this; yes, I do. I don't know which one of the officers picked it up. Mr. BALL. Do you remember where it was? Mr. POTTS. No; I don't. Mr. BALL. Do--you don't know where it was kept? Mr. POTTS. No, sir. Mr. BALL. But was it brought from the room? Mr. POTTS. Yes; it was--here's my initial in the right hand corner, and here is Mr. Moore's. Mr. BALL. What does that initial mean? Mr. POTTS. That's my initial, "W. E. P." Mr. BALL. And there is "11-22-63"--what does that mean? Mr. POTTS. That means--we initial all of the evidence we bring out of there. At the time---this was going to court, and if this was brought out in court that would be my initials right there---I recovered this. Mr. BALL. Did you initial it right there in the room? Mr. POTTS. We initialed it after we brought it to the station. Mr. BALL These are the initials of the men who were there with you? Mr. POTTS. That's H. M. Moore and I guess it's F. M. Turner--"F. M. T."-that's my partner. Yes, sir; for the purpose of identification in court, we initialed everything we could possibly write on. Mr. BALL. Now, did you, on the 23d of November, take part in the investigation of either the death of Oswald or the shooting of the President? Mr. POTTS. Well, I reported to work at 10 o'clock in the morning and we worked until midnight that night it was mostly telephone conversations--they had to put extra phones in our office. We were swamped--I talked to people from England, Canada, Peru--all over was just calling in there just a continual call---call--call--and it kept most of us real busy answering telephone calls that day. Mr. BALL. Did you take part in any showup of Oswald? Mr. POTTS. I believe I did--was that the 23d--at 2:15 that afternoon on the 23d, I was in on one. Mr. BALL. Who was with you? Mr. POTTS. Mr. Senkel and I went to the jail and stood by the jail elevator and waited until the showup came down, and I was thinking there was M. G. Hall and Charlie Brown and a jailer or two that brought that showup down. They were all handcuffed together, as I recall. Mr. BALL. Who is M. G. Hall? Mr. POTTS. He is a detective in our bureau. Mr. BALL. And who is Charlie Brown? Mr. POTTS. Charlie Brown is also an officer assigned to the bureau. Now, I might be wrong about that, but it seems to me like they were the two that showed up then, but they might not have been. Mr. BALL. Now, did you have anything to do with the selection of the men who were to be in the showup? Mr. POTTS. No, sir; all I did was just to go down to the jail door and walk with the showup out to the stage, and I stood out on the stage while the showup was conducted. Mr. BALL. How was it conducted? Describe it. Mr. POTTS. Well, there is an anteroom before you get to the showup stage. Now, the witnesses were out front behind this transparent black nylon screen. There's a light set at an angle on the stage where the person on the stage can't see the people out in the audience. They brought them out handcuffed together and this John Thurman Horne went in first--no, that's wrong--Lujan went on first, because he would be No. 4. You see, they've got numbers above the--above them higher up there. Mr. BALL. What is his full name? Mr. POTTS. Daniel Lujan, and then Oswald was No. 3, Knapp No. 2. Mr. BALL. What is Knapp's full name? Mr. POTTS. David Knapp and John Thurman Horne was No. 1. Mr. BALL. And what happened then, after they went out on the stage? Mr. POTTS. Well, Detective Leavelle now, I don't know who the witness was that they were showing them to--the showup to. Mr. BALL. Did you hear Leavelle? Mr. POTTS. I heard Leavelle question each one of the men. There is a black square on the floor and he tells each one of them to take one step forward and they have a microphone above, and I don't recall exactly what he asked them--It was just to get them to talk and identify themselves. We conduct them different--sometimes we ask them their names and their address and their occupation. Mr. BALL. Did you ask the questions? Mr. BALL. Did Leavelle ask the questions? Mr. POTTS. Yes; he was up there. Mr. BALL. And, did he direct his questions to the men on the stage? Mr. POTTS. Yes; to the men on the stage. Mr. BALL. Did you hear them? Mr. POTTS. Yes; I heard them answer. Mr. BALL. Did Oswald speak up or not? Mr. POTTS. Well, he was complaining all during the showup. He had on a T-shirt and the rest of them didn't have on T- shirts, and he was complaining, "Well, everybody's got on a shirt and everything, and I've got a T-shirt on"--he was very belligerent about the showup. He wouldn't cooperate in any way. He was just making all kinds of commotion out there and he was doing more of the talking than anybody. Mr. BALL. What kind of commotion was he making? Mr. POTTS. Well, he was doing a lot of talking about him being in a T-shirt, and "nobody else has got on a T-shirt and I've got on a T-shirt, this is unfair," and all that--just generally talking and after the showup was over, we just accompanied them back from the stage out to the anteroom door and just walked along with them and the elevator--took them on the elevator, and that's all we had to do with the show. Mr. BALL. That's all you had to do with it? Mr. POTTS. Yes. Mr. BALL. What were the appearances of the four men who came out? Mr. POTTS. They were similar in size---I didn't pick them--I don't know who did, but they were generally the same size, and, of course, the ages are a little different here. Mr. BALL. What ages were they, do you know? Mr. POTTS. Well, Horne was 17--he was born November 6, 1945, I believe that's right. Mr. BALL. John Thurman Home? Mr. POTTS. Yes; and this David Edmond Knapp, he was 18. He was born October 22, 1945, and this Daniel Lujan, he was 26, and he was born February 15, 1937. Mr. BALL. And do you have the addresses of these three men? Mr. POTTS. Yes; I do--now, I got the addresses off of---out of our records bureau--off of their arrest cards. I don't know whether they gave a fictitious address or not. Mr. BALL. Yes. Mr. POTTS. Now, Horne is 2942 Ann Arbor. Mr. BALL. 2942 Ann Arbor? Mr. BALL. And that's Dallas? Mr. POTTS. Yes; that's in Oak Cliff. Mr. BALL. And what was he charged with--why was he in jail? Mr. POTTS. Traffic tickets--he had a number of traffic tickets. Mr. BALL. Traffic tickets? Mr. POTTS. Yes; he had a stack of them--all on the same arrest date. Mr. BALL He did? Mr. POTTS. Yes---red lights and so on. Mr. BALL. And what about David Knapp, what was he in for? Mr. POTTS. He was in for investigation of theft and he lived at 2922 Alabama. That's in Oak Cliff. Mr. BALL. And he was in for investigation? Mr. POTTS. Investigation of burglary and theft. Mr. BALL. Was he convicted? Mr. POTTS. Well, I don't know anything about that. Mr. BALL. You don't know where he is now? Mr. POTTS. No, sir; I have never seen those men since. Mr. BALL. You don't know whether he was convicted or not? Mr. POTTS. No, sir; I don't. Mr. BALL. What about Lujan? Mr. POTTS. Daniel Lujan--[spelling] L-u-j-a-n, I guess that's the way you pronounce it. He was born February 15, 1937, and gave the address of 1804 Lear [spelling] L-e-a-r Street, and he was in for investigation of violation of State narcotic laws. Mr. BALL. And was he convicted, or do you know? Mr. POTTS. I don't know. Mr. BALL Do you know if any one of these men has ever been convicted of a felony? Mr. BALL. You know nothing about that? Mr. POTTS. I know nothing about them at all. In fact, that's the first time I have ever seen them and I suppose the last time. Mr. BALL. Now, did you take any further part in the investigation? Mr. POTTS. That Presidential assassination--I think that's about all I done on that. Mr. BALL. I think that one day you went out and talked to Mr. Fischer? Mr. POTTS. Yes; I talked to a boy named Fischer--on the 25th of November. Of course, you know I was off duty on the Ruby thing. Mr. BALL. Yes; I know that. Mr. POTTS. I was at home then and I was sitting there and my wife said, "They are going to televise this transfer of Oswald." I said, "I've seen enough of that and I don't want to look at it." And she said, "We need milk and bread for lunch," and so I got up and got in the car and went to Safeway and was standing in line to check out there and a woman--well, it looked like a woman--came out and said, "Oswald has just been shot." Well, I thought that was a big joke, too, and went back out there and turned on the car radio and there that was. I came on back on duty that day. Mr. BALL. When you went out to see Mr. Fischer---- Mr. POTTS. Now, Mr. Turner had this information about this Fischer man. He and Mr. Senkel--they were in the motorcade that day. In fact, they were in the lead car. Mr. BALL. Senkel was? Mr. POTTS. Senkel, Turner, and Chief Lumpkin were in the lead car in the motorcade, and I think Turner had gotten this information about this Fischer fellow. I had never heard about him until Turner asked me, he said, "Let's go out and talk to this Mr. Fischer." He said, "He is supposed to have been standing down there watching the parade go by and he saw this man in this window," and he wanted to know--we took a picture of Lee Harvey Oswald out there to see if he could identify him as being the man he saw in the window, and we went out there on the 25th of November with Lee Harvey Oswald's picture to 4007 Flamingo Street in Mesquite. That's where this Ronald Fischer lives, and he works for the county auditor's office down there. He was working that day and most of the county employees stood out on the street to watch the parade, and we took his picture out there and he said, "I can't say for sure that's the man that I saw in that window up there, but it looks like him." He said he saw him up there just a few minutes before he heard the shots fired. Mr. BALL. Now, you made written reports of these investigations you are testifying about? Mr. BALL. And you have refreshed your memory from them--from your own handwritten notes? Mr. POTTS. That's right--I have. Mr. BALL. I would like to have marked your report on your officer's duty on Friday, November 22, and also on the 23d and 25th of November, being two sheets, numbered 230 and 231, as the next exhibit, and page 3 of your report, being No. 232, being a report of your participation in the showup on November 23, 1963, at 2:15--as the next exhibit, (Instrument referred to marked by the reporter as "Potts Exhibits B and C," respectively, for identification.) Mr. BALL. I think that's all and I do want to thank you very much. Mr. POTTS. You are certainly welcome. Mr. BALL. This will be written up and you can come down and read it and sign it or you can waive your signature and we will send it on to the Commission. You can tell me what you want to do. Mr. POTTS. Oh, I will sign it. Mr. BALL. All right, then you will be notified when it is ready for you to sign.

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In Memoriam Dr. Eugen Gabowitsch-sein Vortrag in London Hauptkategorie: Geschichte der Geschichtsanalytik Kategorie: Deutsche Geschichtsanalytiker Geschrieben von admin AD Ages in Chaos: A Russian Point of View Dr Eugen Gabowitsch (Karlsruhe, Potsdam; Germany) It is impossible to give a full survey of Russian historical and critical research done over the last hundred years, so I shall just give you some general ideas of this Russian way of thinking and about some events. In Karlsruhe in Germany, where I live, we have regular ‘Historical Salon’ meetings discussing chronology and historical research. There have been 33 such meetings (now 40 plus 5 in Potsdam) and you can read about them in the internet magazine History and Chronology, Criticism, Shortening, Reconstruction and the website (www.jesus1053.com). The book I am going to speak about here is about civilisation [Igor Davidenko, Yaroslav Kesler, Book of Civilisation, Moscow, 2001, with a preface of Garry Kasparov. Order from Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!.] This is the first time since the books of Fomenko were translated that you can read in English something about the critical research in Russia. What is this talk about? First of all I would like to ask the question ‘what is History?’ - and to explain why History starts today. History creation is all-important in the past and even today. I shall talk about how history was created in Sakha in the 19th and in Europe in the 16th century, about the role of Gary Kasparov in our movement and about the Book of Civilization. At the end, I would like to speak about Fomenko 1 and Fomenko 2 and about Velikovsky, Morosov and Russian historical criticism. My initial and not very good manuscript of the talk was corrected by Janek Pietron and I thank him for his assistance. First of all, some general statements: the traditional model of the past as presented in thousands and thousands of historical books is wrong. The question is how wrong it is and when the main phase of the creation of history stopped (if it ever stopped). The first question, ‘What is History?’ is new in the programme of SIS and is a result of some discussions during the conference. Even here, some people cannot distinguish between ‘history’ and ‘past’. It is important to understand that we are speaking about and giving critical analysis not of the past but of history, the written records of the past. Many people think that if they speak about history, they are speaking about a real past. This is not correct: they speak only about what they can read in books, not about the real past of mankind. If you do not separate these two positions or questions, in many cases you forget what you are saying. Are you speaking about some virtual world in which many pharaohs and kings are living, or are we speaking about a past in which we have no real information about much of this? Let us remember at any time: the history is only our model of the (mostly unknown) past. History Starts Today A very important point of the Russian way of thinking is ‘History starts today’. If you open a historical book, you first read that in (say) 7000 BC it was such a situation, 5000 years BC was the following situation, 2800 BC was the beginning of Sumerian civilisation. No explanation is given why it should be 2800 BC, just some numbers are given and after you have seen some five to ten numbers, there come some more exact numbers, 6 at the end, or something else - and you think, ‘oh, it’s very correct dating now!’. In reality, it is also a fantastical date, as all named dates with a lot of zeros. This is the traditional and false point of view about the begin of history in a very, very early past … Therefore we are trying not to begin our historical description somewhere BC; we are trying to start today and move back slowly and explain each step of dating. For us, history begins today, rather than being based on the model of the past that you have. It is not a real past - it is only a model. We are forgetting that, so our imagination of the past in a lot of cases is not quite adequate. For us, history begins today also in the sense that we are only beginning to apply the interdisciplinary way of thinking, as you are trying to do here and the Russian critical writers are trying to do the same. Even the nomenclature of people who are working in this field of history analysis demonstrate that it is a very interdisciplinary community: we have mathematicians, computer science experts, history and sociology professors, chemists, geologists and a lot of people from natural science and from technology, etc. The art critic Alexander Jabinski wrote a very interesting book, Another History of the Arts. This mixture of people of different professions is very good for critical research of the past. The next point where we differ from historians is that looking from today, discussing any historical epoch, we first ask the question: ‘are we speaking of a real past, real persons, or possibly a virtual past, historical romance, myths, legends, etc.?’. This is a question I have never heard a historian really presenting and analysing, though it is very important. I have got it in Russian translation, a sentence of Johan Huizinga, who wrote that in the Middle Age school system there was no place for history at all. Even at university, historical science was represented in a very limited way. It is difficult or impossible to name one important historical writing from a university of that period, i.e. before its beginning in the 19th century. My comment is that, as was clear to Theodor Mommsen at the beginning of the 20th century, it is clear that history is not science: it is a part of literature, part of philology. Therefore we can see such estimations, e.g., that the great Russian scientist and historian Lomonosov wrote his historical works as a writer and patriot. When we say that history begins today and you can think of nothing in this context, consider the following situation: imagine that aliens are coming to the earth and, after asking us about our philology, our way of reproduction and some other important things, they ask us about our history and dating this history. What can we today explain in the connection with such questions? We have to develop a presentation which is understandable to somebody who has come from Mars and was never in our schools or universities and does not know our model of the past, so every step must be logically presented. History Creation The next point is that history creation is continuing. Some years ago, Clark Whelton presented in an SIS meeting a very radical time-leap for the history creation process: the Gregorian Calendar Reform in 1582. His opinion was that after that term, the history is in some sense reliable. Today we can partly agree with this statement but in many cases the reliable history begins much later. Speaking about history, I would like to present a part of the Book of Civilisation. For each word connected with past the time is indicated when it was used for the first time in English literature. I have divided them into groups - Religion, Antiquity, Science, Middle Age - and we can see that in all of these groups the most important words were used for the first time at quite a late time: 14th, 15th century and even much, much later. Sometimes all these terms, for example connected with Islam, begin at the end of the 16th century, Greek words. We think they have been a long, long time in use and the orthodox model of the past says that Islam began in the 7th century. It is wrong: Islam begins much, much later, possibly in the 16th century or even in the 17th century. In 1603, a Turkish sultan declared Islam as the state religion for the first time in history. We can see some terms about science - ‘almagest’, ‘astronomy’, ‘astrology’, etc. begin in the 14th or 15th century. If we look for antiquity, ‘Etruscan’ was named in 1706 for the first time, ‘Golden Age’ in 1505, so think about what this means. The opinion of Whelton was that after 1582 history is in some sense reliable. Three years ago in our internet magazine History and Chronology we claimed the initial time for history to be reconstructed was about the year 1650. Our opinion was that everything before must be checked. Intensive contacts with the Russian community of historical analysis have helped me to revise my own optimistic evaluations. Today I would like to say that the process of history creation has never stopped and today is possibly even more intensive than in early times. Some examples follow. India is still trying to develop a new, grander, model of the Indian past which excludes all conflicts, wars, violence in general and other acts of ‘non-Indian’, ‘non-Gandhian’ events. It is the official program of the Indian government that history must be taught to children in schools of India in this new, politically and ideologically correct way. Other examples are connected with China and other countries. NB!!! The Great Wall of China was in reality a pure European myth for many centuries and was built only after 1950. I know the reaction - I published a paper about this and there is a book by a professional historian who says the same; but of course nobody reads such papers and books - everybody is reading newspapers and looking at cinemas and they have a wrong model in mind that this Chinese Wall has existed for 2000 years. For 100 years nobody in China had any information about it. All the European visitors had books and stories about the Great Wall of China but it was impossible to find a picture or an old Chinese drawing showing the wall. Now of course, the situation is quite different - over the last 50 and more years the Chinese Communists constructed this wall and now they proclaim that it is even older than the oldest of early estimates. Clark Whelton reported in our magazine about this new development in modern Chinese history creation. Another example: the German invention of book printing in the traditionally-named 15th century, 1440 is the earliest estimation. This invention works perfectly in Europe as we have a phonetic way of writing, so all our languages use phonetic alphabet. Now the official point of view is that 300 years before, in the 11th century, someone in China invented metal forms for printing one book - so they produced millions of symbols, metallic forms for letters, printed a book and then forgot it - just to have a place in history. In reality I think somebody translated in, say, the 17th century into Chinese some (possibly Dutch) book about the technology of printing in Germany. Later this book was rewritten, corrected and published another time. Today it is a part of Chinese history. As another example, were logarithms invented in China 500 years before they were invented in the Netherlands? Somebody checked the two publications and it was possible to see that each printing mistake made in Napier’s tables of natural logarithms (first published 1620) had been repeated in the Chinese book which was - as the historians said - 500 years older! Is this is a usual way of doing history? The Spanish Armada of 300 big ships is today an important part of the Chinese history of the early 15th century. You can read in each Chinese history book that in 1405 they sent a big Armada of 300 very big ships, some of them 150m long, something that it is impossible to construct from wood, and they sent this Armada to India, to Arabic countries and so on, without any clear aim, and they repeated these expeditions six or seven times. It is a tale which was of course made after reading a book about the Spanish Armada in some late time. From a Russian source I would like to bring an example about the history of Sakha - does anybody know what Sakha is? The Turkish folk of Sakha or Yakuts had been moving from Mongolia to today’s homeland around the Lena River for 400 years, officially from 1000 AD until about 1500 AD. In the 19th century, Sakha nationalism appeared which was strongly against the Russians. Only in the 19th century did any scientists start to collect Sakhan folklore and Sakha literature started to develop. Sakha was part of Russia from the year 1630. Today the Sakhan autonomous republic covers about one fifth of the full Russian territory, the biggest republic in the Russian federation. The Sakhan population of Russia was about 400,000 at the end of the Soviet era; today it may be about half a million. Now, one name: Tiganda Khan is a legendary figure in Sakhan folklore. This mythical nobleman of the Tangalas tribe, one of many many Sakhan tribes living in the Yakutsk area - Yakutsk is today the capital of the Sakhan republic - plays a very important role in hundreds of legends and tales. Sakhan nationalism created out of this legendary character a historical feature, a king of Old Sakha and so on. In reality, there was never a kingdom of Sakha - in the old time there was only a set of single tribes. Historians have demonstrated that non-historical sources referred to Tiganda Khan but modern Sakhan historiography continues the creation of a new eastern Charlemagne, a king of Sakha. This is only one example of such modern history creation; my son is the editor of a Russian magazine for politics and culture in Moscow and he sent me this paper. I am quite sure that if I try to do a search, I can find a lot of such examples from the history of Kazakhstan, Kirghizia, Uzbekistan, Turkmenia, Ukraine - I know that in Ukraine people are writing a long new history of the Ukrainian past. In my homeland, Estonia, we have today possibly the longest history in the world - yes, any Estonian history book begins at 5000 years BC, when Estonian tribes lived on this territory. Of course it is a tale, of course it is impossible to check, but it is a tendency which is today working in all countries of Asia, Africa, and Europe: every even very small country must have a long and reach history. That is the way of historian thinking in the 20th century. Now I want to say something about history creation in the 19th century. You know Burma, or Myanmar, an Asian country in which - historians say - in the 19th century a chronicle was completed, a ‘Mirror Palace Chronicle’, about a very, very long Burman history. This Palace Chronicle must have based on something earlier but nobody has seen the latest. For me it is quite clear that before the European idea of long history reached Burma in the 19th century and it was impossible to produce such a long history. Nobody knows if the coming of the early time which is reported in this chronicle really existed but one Russian historian started to analyse this chronicle and quite quickly he found out that many dynasties are just duplicated - they repeat themselves, the same as Fomenko found for world history. However Fomenko was doing a very exact analysis with computers and comparing a lot of different events during each reign. This man was working in the usual manner of historians, just comparing names and numbers: this is like this, this is a copy of this dynasty. After such analysis, he shortened the Burmese history by almost a thousand years. When one analyses this short Burmese history, it comes out that the average reign of each ruler was 32 years, which is at least two times too much, so this short Burman history must be shortened by another 50%, and possibly even much more, and even after that, a big part of this history is quite, quite legendary. So this is one example of doing history in the 19th century. The most important time of creating history was the 18th century. At this time was created the Russian history, the German, the Chinese; we have an especially clear picture about the creation of Chinese history. It was created using historical books translated from different European languages into Chinese. All these - now Chinese - books have been incorporated into Chinese history as a genuine part of it. Chinese writing is not phonetic, so after a translation, you can never say from which language it was translated and it can be proclaimed as an original Chinese book. In this virtual ‘Chinese history’ we can find parts of the Roman, Russian, German, Spanisch etc. history, almost all European inventories … The real Chinese history begins possibly after the 14th century AD - quite, quite late from the traditional point of view. Before that, China had even no idea of history in the European sense. The idea of history in China was quite different - it was moral history: what we can say about the past which is very useful for the world as we see it today. In India, there was no historical idea until the European conquest, so real Indian history begins in the 16th century. As one Japanese scientist has said, today Indian history is like a phone book, a lot of names collected from different poems without any historical events or any correct dating. As I am short of time, I cannot speak about Isaac Newton who is very popular in the Russian history analysis: he demonstrated in his chronological studies that different chronologies are results of analysing of different historical sources (therefore no single correct chronology is possible). Let me discuss the newest Russian book which exists in a - not very good but understandable - English translation. The authors of this Book of Civilisation are two Russian professors, one a very famous man from Moscow University, Kessler, who is a chemistry professor, and the other Davidenko who is a retired geology professor. The introduction to this book was written by Gary Kasparov, who is today playing a very important role in the organisation of this movement: he writes critical papers, publishes them in mass magazines and he organises discussions in TV. He is also trying to organise an international checking of all historical artefacts in all museums of the world, based on the modern scientific methods of chemical, physical etc. analysis. The main idea of Kessler and Davidenko is that with the history of technology we can demonstrate that normal history writing is not correct, as many artefacts - e.g. some granite statues - were impossible to produce without steel implements; a lot of coins were made with alloys which never existed in these times; a lot of manuscripts were written when this writing was first introduced in the 7th century and so on. One example is, you have spoken a lot about Egypt here, the Nefertiti head. Can you see how this sculpture was made? It was put together from two parts, so each part was made separately from concrete and put together, and one of the technological ideas of the critical writers is that many important sculptures and even pyramids were made using this technology. For example, a typical Egypt obelisk. No instrument was known at the time for doing such deep and such nice holes [incisions] in this form, only if this was pressed in not rock-hard concrete, special concrete, geopolymer (the terminology of the French chemist Joseph Davidovits from his book The Pyramids: An Enigma Solved, Saint-Quentin, 2001), as it is called, only then can we imagine how such things have been produced. Morosov, Velikovsky and Fomenko Now we must turn to the initiator of the Russian critical analysis of the history and chronology Nicolay Morosov. You all are interested in the Russian roots of Velikovsky. For me it is also a very open and interesting question whether Velikovsky read the books of Morosov. The first book of Morosov, a very strong critique of chronology, was published in 1907 when Velikovsky was 8 but it was republished many times and it was translated in 1912 into German, so it is possible that he read this book after emigration. In 1914, as Velikovsky started to study at Moscow University, Morosov’s second book was published, so it is possible that he received some ideas from Morosov. In the later times, during emigration, possibly, he was not so interested in obtaining Russian books and reading them but some ideas of Velikovsky are quite close to the general ideas of Morosov, who started the Russian historical critical research, so it is a very interesting question. Possibly members of the family can help to clear up this point of whether really he was acquainted with Morosov. To finish, some words about, Fomenko 1 and Fomenko 2. Morosov wrote 10 or more but published only 7 volumes of his Russian book Christos by 1932. Till the end of his life in 1946 no additional volumes were published. The book was not officially prohibited, but not wanted by Soviet ruler and so almost forgotten. In the years 1975-76 a known Russian mathematician Mikhail Postnikov presented the work of Morosov in a course of lectures for young mathematicians of the Moscow university (Fomenko, Mishtchenko etc.). This was the begin of Fomenko-1, a critical author with an interdisciplinary habit of research, who completely destroyed the old model of the past. During 20 years he published papers and books, in which the statistical and natural-scientific analysis of the history started by Morosov was continued and widened. In English some of his books are available. 1. Fomenko A.T., Some New Empirico-statistical Methods of Dating and the Analysis of Present Global Chronology, 1981. London, The British Library, Department of printed books. Cup. 918/87. 2. . Fomenko A.T., Kalashnikov V.V., Nosovsky G.V., Geometrical and Statistical Methods of Analysis of Star Configurations. Dating Ptolemy’s Almagest, CRC-Press, USA, 1993. 3. Fomenko A.T., Empirico-statistical Analysis of Narrative Material and its Applications to Historical Dating Volume 1: The Development of the Statistical Tools. Volume 2: The Analysis of Ancient and Medieval Records. Kluwer Academic Publishers, The Netherlands, 1994. A list of English papers of Fomenko is presented at www.jesus1053.com. Under Fomenko-2 I am understanding the very active team Fomenko-Nosovsky, which in last 10 years published a lot of very interesting book, in which they try to demonstrate, how a new historical model of the past can bee developed. This model describes the whole history of mankind as only c. 1000 years long and changes many events in the history. Unfortunately none of these books have been translated into English or German. Palmer photo Gabowitsch I A figure, now in the British Museum, from the Ming Dynasty of China, generally believed to date from the sixteenth century AD (photo: T. Palmer). According to the orthodox view of history, the Great Wall of China as we now know it was constructed mainly during the Ming Dynasty, to prevent a Mongol invasion from the north. Q1 David Roth: You say the Great Wall of China was built after 1950. If I look at a book that was printed in the 1930s, what will I find? EG: After my article was published, of course many people tried to find old pictures and photographs of the Great Chinese Wall, to hardly any avail. I am not saying that no fortification had previously been built in China. I am saying that the idea of the Great Chinese Wall was produced in Europe in the 17th and 18th centuries, but the construction of the long, long, long wall which links all these fortifications was started in the time of Mao Dzedong and Deng Xiaoping. Of course, during the time of the last dynasty in China, there were very strong fortifications to the north of Beijing and some other places but there was never the idea of building a long, long wall to protect China from the Mongols – which is a crazy idea. DR: If I look in my book, it won’t say ‘The Great Wall of China’ in the 1930s? When was that phrase used? EG: You will find the phrase used because European writings about a ‘Great Chinese Wall’ had been translated into Chinese by that time, and the idea had already caught on with Chinese intellectuals. However, the only real objects that there were in the 1930s were a lot of earth walls in very bad condition in different parts of China. DR: You say my book won’t have an article headed ‘The Great Wall of China’? EG: An article, yes, but the Great Wall itself didn’t exist at that time. At the end of the 19th century in Europe there was a debate on whether the Great Chinese Wall exists. A French author wrote a book saying it did not exist. Some Russians tried to find this wall and couldn’t. Even earlier, a European painter had been in China and came back with a picture of the Great Chinese Wall. He saw one fortification of some kind, or possibly even a 10 km long wall, and he exaggerated its length by a factor of 50. Of course something was there, but it was not the Great Chinese Wall. Q2: It was not reported by Marco Polo, he never mentioned the Great Wall. EG: He didn’t mention the Great Wall, he was never in China, and we don’t know if his writings are fiction or not - possibly they are fiction written by another person who had travelled in Eastern Russia. There is a book in German, Marco Polo war nie in China, Fomenko has written about the geographical limits of Polo’s trip and many Russian critics have, independently of each other, proved that he never was in China. Q3: In support of what you said, a history professor from Scotland told me about ten years ago that he had been aware of a book by a French researcher about the supposed kingdom of Southern Arabia round the Yemen and this French writer had come to the conclusion that large sequences of these kings had been duplicated and duplicated to produce a long history, so that is in support of what you are saying. Q4 Steve Mitchell: Similarly, I have got some support: the Chinese language as we know it from the ancient bronze inscriptions had been destroyed by the early 17th [and 18th?] century Jesuit German scholars and the truth is that there is no bridge that says what this particular glyph means on the early bronzes. EG: This is not about language but about writing - that’s different. Not just German but also Portuguese, Italian, Belgian etc. Jesuit scholars created Chinese history. SM: Yes, but there is no intermediate reading between this tradition and the present one, and that was fabricated and controlled by the Jesuits. EG: It would be very interesting for me if you could give me some more information about that. I can only say that Morozov said the idea was that the Chinese writing was a product of European thinking. When Europeans came to China, in every village people spoke a different language, it was impossible to develop a common writing system for languages in which phonetically there could be four tones, or seven, or eleven, or thirteen - they spoke quite different languages, so the only possibility was to use pictures. This idea was probably developed and completely realised by the Jesuits, but I think it is also possible it emerged a little earlier, when Buddhism had come from India to China, and thence to Japan, Korea, Vietnam etc. In any case I am sure that such a complex writing system was impossible to develop and implement without the support of a language with a phonetic alphabet. SM: Are you suggesting that they fabricated the original bronze glyphs? It may well be that they put their own interpretation on them. EG: In developing hieroglyphic writing, people tried out a number of different systems, which is why we no longer read some of the old glyphs. But I cannot rule out that many of the bronze inscriptions were made by, or under the influence of, the Jesuits. Q5 Trevor Palmer: Whilst it may be argued that Chinese writing was compiled by the Jesuits and so on, in England we know there has been a continuity of languages in different styles, which we can trace back generation after generation after generation for well over a thousand years, so how could that possibly fit into your model? EG: It’s very simple, you have the wrong chronology. Q6 In what year did we suddenly say, we now live in the year 1485 or 1762, what year did we first start to number our years? EG: May I speak for another two hours on the history of calendars? It is impossible to answer this question briefly but the only thing that’s important is the time distance between us and an historical event. To give just one very brief example, some of the dolmens in the Caucasus which are generally thought to be thousands of years old were built in the 19th century. For more detail, let me refer you to a great book, The Dolmen Path. The Caucasus Dolmen’s Anthology, 1999, on the construction of monoliths in the North-Western Caucasus, about which there is a lot of information on my website. Q7: What about the history of the arts? EG: I am sure nobody here has seen the Russian book A Different History of Art by Alexander Zhabinsky. This book demonstrates that the entire history of art does not reach back longer than 1000 years, and all other periods of the history of art (Ancient Greek, Roman, Ancient Egyptian, Early Medieval) are projections of the art of later times onto these imaginary, virtual times. All ‘previous’ art was, in reality, produced in the past millennium. Q8: If you’re working with tools, it depends on whether it’s iron or steel. EG: Steel is needed in most cases - but steel has only been produced in the past 1000 years, or even less. Q9 Steve Mitchell: Regarding changes in art, in Greek art, changes were fast. In Egyptian art, the changes are subtle, if you take Egyptian art at any point it’s difficult to see the changes. Antique style continues forward in time and it’s just a suggestion that the kouros is similar to the Egyptian statue, etc., it is not necessarily of the same period. Q10 Birgit Liesching: I think we saw yesterday the statue of Tuthmosis III that stands in the museum at Karnak, which is much more life-like and much more like later Greek sculpture than this comparison. We should also see what was produced in the contemporaneous period in Egypt - there may have been things that looked exactly the same as Ramesses II and this was where they got their inspiration. I don’t think you can prove anything with that comparison. EG: Zhabinsky does say he suspects an influence but in his book hundreds of examples are presented which demonstrate how the actual art of the past millennium was ‘distributed’ throughout previous history. Fig. 1. Young ladies at a ball. This mosaic has a traditional interpretation as an ancient imagination - but never more in the ‘ancient’ period and for more than a thousand years after it one can find pictures of young ladies in slip and bra. This is a typical Renaissance work of art. Fig. 2. Two portraits of the same person? Or of two relatives? In the history of art this two works of the same art style are dated with 14 centuries in-between: a Roman portrait of AD 60 and a Renaissance portrait from the year 1474. In Zhabinsky’s book (p. 157) hundreds of examples demonstrate that a big part of Renaissance art was set in ancient times by wrong dating traditions. Fig. 3. Very late genesis of the most important ‘historical’ conceptions. This table from the Book of Civilization (p. 50) demonstrates at which times according to Webster’s Oxford Dictionary many important notions from history, religion and science have been for the first time used in written English. One ‘can clearly see that the whole antique cycle appears in the English language in the middle of the 16th century as well as the concept of antiquity … Related to Islam notions appeared in the 17th century.’. Fig. 4. (Files Gutrasiert-Cäsar und Gepflegtes-Bart). Barbers as less known part of the virtual ‘ancient’ history. Well cared-for beard and hair of a ‘Roman’ emperor, well shaved Caesar: how have they be served by their barbers in a time without any steel tools? Did all these ‘Roman’ rulers in reality live in the first four-five centuries of the second Christian millennium? Fig. 5. (File Laokoon) A marble serpentine: Laocoon was produced by Michelangelo who used the stucco technology. As Fomenko and Nossovsky mentioned, by a modern restoration, 1960, all three raising arms of the sculptural group have been broken: for imitation of the ‘antique’ origin? It was never possible to produce the long serpent of the piton from a marble block without modern electric cutting tools. However it was possible to make the giant snail from a plastic mixture with organic agents which after being polished imitates the marble. This technology was in use in the time of Michelangelo.

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The Ingalls Family The Mini-Series The Documentary A Prairie Girl’s Faith: The Spiritual Legacy of Laura Ingalls Wilder January 22, 2018 By Little House on the Prairie This may contain affiliate links and we may receive a small commission on purchases. Our articles about recently released books are good resources for readers interested in Laura Ingalls Wilder and Little House on the Prairie. Here is a brief overview of A Prairie Girl’s Faith: The Spiritual Legacy of Laura Ingalls Wilder. Author: Stephen W. Hines Publisher: WaterBrook (February 6, 2018) The beloved author of the Little House books was not only one of America’s great pioneer storytellers but a woman of vibrant faith. A Prairie Girl’s Faith provides the first extended, in-depth discussion of the Christian faith of one of America’s most beloved pioneer women–Laura Ingalls Wilder. Although the faith of the Ingalls’ family pervades books in the Little House series, the more specific details of Laura’s faith have never been fully explored. It took extraordinary courage for anyone to survive the harshness of frontier life — from the heartbreak of sudden crop losses to dangerous storms to unrelenting loneliness. This book reveals how in surviving, the brave Laura drew not just on her character, but found encouragement, strength, and hope in her relationship with God. About the Author: Stephen W. Hines In the last twenty-four years, Stephen Hines has published seventeen books with over 600,000 copies in print. Using his skills as a literary prospector, Hines has researched and developed four bestsellers: Little House in the Ozarks (1991), I Remember Laura (1994), The Quiet Little Woman: A Christmas Story (1999), and Laura Ingalls Wilder, Farm Journalist: Writings from the Ozarks (2007). Little House in the Ozarks was a Publishers Weekly bestseller and The Quiet Little Woman landed on the USA Today gift book list. Hines spends his time in magazine and reference archives, on the Internet, and in university libraries to make his discoveries. His Ozarks book republished over 140 forgotten columns of the famous children’s author Laura Ingalls Wilder. It was the first time these columns had been published in book form. It was also a major Christian Booksellers Association title, though most of the sales were in regular trade stores. The Quiet Little Woman was a significant success for Honor Books. These Christmas stories by Louisa May Alcott reintroduced the nineteenth century’s most popular writer for children to a whole new generation of readers and have led to the publication of two more books: Kate’s Choice (2001) and Louisa May Alcott’s Christmas Treasury (2002). A release for 2006, Writings to Young Women From Laura Ingalls Wilder helped to revive interest in Mrs. Wilder’s biography from those years that followed her childhood as she continued to pioneer on the Ozark hill farm she shared with husband Almanzo and daughter Rose. This three-book series honored Mrs. Wilder’s birth 140 years earlier (in 1867) in Pepin, Wisconsin. The University of Missouri release in 2007 of Laura Ingalls Wilder, Farm Journalist: Writings from the Ozarks collected all of Mrs. Wilder’s writings for the old Missouri Ruralist farm paper and published them just as they originally appeared between 1911 and 1925. Hines’s eighteenth book was released September 1, 2011: Titanic: One Newspaper, Seven Days, and the Truth That Shocked the World. The work memorialized the 100th anniversary of the sinking of RMS Titanic on the night of April 14/15, 1912. As a graduate student at Ball State University in Muncie, Indiana, Hines started his career by editing and writing for the Indiana Oral History Newsletter. After graduation, Hines moved to Asheville, North Carolina, to work as a copy editor for The Presbyterian Journal, now called World magazine. From Asheville, Hines and his family moved to Nashville, Tennessee, to work for Thomas Nelson Publishers where he eventually became managing editor. After several years at Thomas Nelson, he went to work as editor for Wolgemuth Hyatt, Publishers, and then went to M. Lee Smith Publishers. Now he writes and edits from his home. Hines and his family live near Nashville. His hobbies include compulsive reading, competitive running, and songwriting. From 2001 to 2003 he was founding Director of Communications for the Tennessee Department of Children’s Services. A website, LiteraryProspector.Com, gives would-be writers advice and ideas on how to get started in publishing and relates the latest information on his Titanic book. His poetry has appeared in The Tennessean, The Nashville Scene, InReview, and Hills & Hamlets. He currently writes a column for The Nolensville Dispatch. Pick up your own copy of A Prairie Girl’s Faith: The Spiritual Legacy of Laura Ingalls Wilder here. Check out our Recommended Reading for Adults and Recommended Reading for Children & Young Adults for more great books and be sure to subscribe to our newsletter for information and recommendations about interesting reading and activities. Filed Under: Recommended Reading, Resources Tagged With: Laura Ingalls Wilder, Little House Books, Little House on the Prairie, Non-fiction, Reading, Recommended Reading, Spiritual, Stephen Hines, Stephen W. Hines « About Richard Bull About Alison Arngrim » See the world Laura lived in by visiting these historic Little House sites. Learn more about Laura and pick up your DVD on Amazon. LITTLE HOUSE ON THE PRAIRIE® and associated character names, designs, images and logos are trademarks or registered trademarks owned and licensed by Friendly Family Productions, LLC. All rights reserved. Copyright © 2015-2019 Friendly Family Productions, LLC Contributors | Terms of Use | Privacy Policy | Licensing | Newsletters

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This Is September By Benjamin Lefebvre / 20 September 2019 21 September 2019 / Poetry, Screen / A Name for Herself, Anne of the Island, Anne with an E, Around the Table, The L.M. Montgomery Reader Lo! a ripe sheaf of many golden days Gleaned by the year in autumn’s harvest ways, With here and there, blood-tinted as an ember, Some crimson poppy of a late delight Atoning in its splendour for the flight Of summer blooms and joys – This is September. L.M. Montgomery’s poem “September,” included in The Watchman and Other Poems (1916) “Harvest is ended and summer is gone,” Anne Shirley declares at the start of Anne of the Island (1915) – a statement that, as Rea Wilmshurst notes in her 1989 article “L.M. Montgomery’s Use of Quotations and Allusions in the ‘Anne’ Books,” is in fact a misquotation of Jeremiah 8:20 (“The harvest is past, the summer is ended”). For me as an academic, September also means the start of a new school year after a summer busy with research and writing projects – which this year included steady work on the next four volumes in The L.M. Montgomery Library. It doesn’t always make sense to work on four books at once, but in this case I became like the little boy in Anne of the Island (and originally in one of Montgomery’s “Around the Table” columns) who went to see a biograph: “I have to look for what’s coming next before I know what went last.” This year, September also coincided with the next phase in my latest overhaul of this website. After I published my three-volume critical anthology, The L.M. Montgomery Reader, I added the items included in those volumes – including hundreds of reviews of Montgomery’s books appearing in periodicals from eight countries – to the bibliography of sources. Until recently, the vast majority of the items in that bibliography were listed multiple times: by author, by type (journal article and review, for instance), and again by periodical title. As I started adding to that bibliography items appearing in A Name for Herself and A World of Songs, I soon saw that this duplication was going to be unmanageable, given that some of these items (like Montgomery’s tract “What to Teach Your Son,” originally from her 1901 sketch “Half an Hour with Canadian Mothers“) were reprinted dozens of times. In order to make this website more manageable, I decided to eliminate individual pages for periodicals except for those in which Montgomery published her hundreds of short stories, poems, and miscellaneous pieces between 1890 and 1942. As more and more newspapers have been digitized and made text searchable, I’ve noticed some of these items being reprinted again and again, sometimes anonymously. Her 1898 poem “Irrevocable,” for instance, appeared in The Congregationalist, a Boston periodical, before being reprinted in several newspapers between 1899 and 1901, including once, without Montgomery’s signature and under the title “Beyond Recall,” in the Brown County World of Hiawatha, Kansas. I haven’t yet found any more publications of that poem in the few years after that, but another burst of citations of this poem as “Beyond Recall” starts in 1905, usually unsigned, and sometimes attributed to Ewing Herbert, who owned the Brown County World. I’ve decided to list all these newspaper reprints but not create pages for each periodical given that Montgomery in all likelihood had no knowledge of how widely her work was recirculating, and given that more and more newspapers are being digitized all the time, there will always be more instances of reprinting to discover. I’ve also created a page for the alternate signatures Montgomery used, particularly early in her career, including “Maud Cavendish,” “Joyce Cavendish,” “Cynthia,” and “J.C. Neville” – a form of authorship that I talk about in my afterword to A Name for Herself. September is meaningful for another reason, too: the critically acclaimed television series Anne with an “E” is returning on CBC starting on Sunday night for a third season of ten episodes (it will appear on Netflix around the world, except Canada, on 3 January 2020). As I wrote in a blog post last year, the titles of all first-season episodes are quotations from Charlotte Brontë’s Jane Eyre, whereas the titles of all second-season episodes are quotations from George Eliot’s Middlemarch. Brontë and Eliot were prominent models of nineteenth-century women’s authorship for Montgomery, so it was fitting that the episode titles for the first two seasons referred to their work. For the third season, the episode titles that I’ve seen so far all allude to another prominent book by a British woman – Mary Shelley’s Frankenstein, which I find quite intriguing. And based on what I’ve read about the storylines for this season, I do look forward to seeing what lies ahead for Anne, her friends, and the community of Avonlea in this most recent incarnation of Montgomery’s story.

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TRIP TO AJANGBOTO March 15, 2019 April 17, 2019 / By Love Letters / Leave a Comment It was on a Monday morning – First day of Odunayo Aliu’s internship as a teacher at a school in Ondo, Ondo state. Odunayo has always had it in mind; thinking and brooding on how to best make sure that under privileged children in slums and forgotten communities have access to the basic things of life especially in the area of education, health and welfare. Before the time, she had already made an effort to help a child named Seun Dada who was in need of quality education. A flier had been designed in order to solicit help for her. Interestingly, her first day on the field as a teacher was the day she was spurned to carry out a community survey around Ijare town to have good information of a particular village around Ijare where there are children in need of intervention as regards provision of quality education. So Odunayo reached out to her friends that would help her in the quest to scout for communities where children that fitted the profile she had in her mind were. She called two of our friends and they left with together. Interestingly, Joy volunteered to be the tour guide that claimed to know the way despite her lack of experience as a tour guide. To the surprise of Odunayo and her inexperienced tour guide and companion, they realized that the initial information that Ajangboto which is the village they agreed to visit was not far from Ijare was false. It was a shock to when they realized that there was no regular bike to Ajangboto from Ijare and that the distance between the two locations was farther than a mile. After failed negotiations with several bike men, they finally got two bike men to take them to Ajangboto at a subsidised rate but it was at that moment Odunayo began to think of her own financial incapability and she muttered within herself “I am broke yet I want to offer disadvantaged students scholarships” and it was clear that it was not her own financial prowess that was driving her to help these disadvantaged children but her zeal to make sure that every child is not deprived of what they need to have a fulfilled and productive childhood. And this realization made her resolution stronger! The sojourners stopped at a town before Ajangboto called Ore Seun because Ajangboto was apparently farther than they were told before embarking on the scouting trip. Ore Seun is not a village like Ajangboto but a small settlement along the way. They were met by the community leader who was warm and upon hearing what Odunayo and her friends came to do, he was free to report that about 23 students were out of school and did not have any intention or hope of going back. After talking with the community leader, they got to a house where there was a girl who was not going to school and a man who did not let them see the girl because he thought they came with money. Because he was demanding for money before they could see or talk to the child, they were unable to have a conversation with the girl. They met another child called Emmanuel. Emmanuel had to travel to attend school because the school he attended was not in Ore Seun and he was about dropping out of when they met him. Unfortunately, there was nothing they could do to help Emmanuel at that time and they are still not able to keep in touch with him. Joy and Favour were both orphans and they were not going to school. They were staying with an elderly woman who was the one taking care of them. It is unfortunate that they could not help these orphans as well. The information they gathered from this scouting trip has been a source of motivation that drives the work of LLCSI till today. As much as it lies in LLCSI’s power, marginalised children that come across their path must be catered for as much as possible. LLCSI will make sure that marginalised children in forgotten communities like Ore Seun are catered for in terms of education, health and general welfare. Jeans For Love Volunteer Placement Signup to receive updates on our events and activities Copyright © 2020 Love Letters | Powered by Love Letters

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Malaysia rules out dedicated dept. for non-muslim affairs; why not declare Hindu an official religion? Malaysia rules out dedicated dept. for non-Muslim affairs Kuala Lumpur, (PTI), Dec. 18, 2007: A day after ethnic Indian activists sought setting up of a Non-Muslim Affairs department, Malaysia on Monday said it was "difficult" to meet the demand as Islam is the country's only official religion. Deputy Prime Minister, Najib Tun Razak, however, said that absence of such a dedicated department did not mean that the government had forsaken other religious communities in this predominantly Islamic country. The government had provided many channels and mechanisms to enable the various communities, including ethnic Indian Malaysians, to air their grievances, Najib told reporters. They have also been provided with places of worship, he said. Leaders of 40 Malaysian Indian NGOs on Sunday called on the Prime Minister's Department to set up a Non-Muslim Affairs Department to solve issues confronting citizens who were not Muslims. Najib said the government had set up a department to look after Islamic affairs as Islam is the country's official religion. "It's difficult to set up such a dedicated department as the other religions don't fall under the official religion category," he was quoted by Bernama as saying. Multi-ethnic and Multi-religious Malaysia's 60 per cent population of 27 million people are Malay Muslims while ethnic Chinese are 25 per cent mostly Christians and Buddhists, while Indians form 7.8 per cent mostly Hindus. There is also a sizeable Sikh population here. http://www.hindu.com/thehindu/holnus/001200712172037.htm

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More info on Secondary education Secondary education: Map Categories: School types > Educational stages > Youth > Adolescence Top rankings for Secondary education 18th Top Dewey Decimal classes: 300 – Social sciences 201st Top academic disciplines Secondary education is the stage of education following primary school. Secondary education is generally the final stage of compulsory education. However, secondary education in some countries includes a period of compulsory and a period of non-compulsory education. The next stage of education is usually college or university. Secondary education is characterized by transition from the typically compulsory, comprehensive primary education for minor to the optional, selective tertiary, "post-secondary", or "higher" education (e.g., university, vocational school) for adults. Depending on the system, schools for this period or a part of it may be called secondary schools, high schools, gymnasia, lyceums, middle schools, colleges, vocational schools and preparatory school, and the exact meaning of any of these varies between the systems. Secondary education by country The school system is free and mandatory. School is compulsory in Australia between the ages of five/six-fifteen/sixteen or seventeen, depending on the state, with, in recent years, over three-quarters of people staying on until their thirteenth year in school. Government schools educate about two-thirds of Australian students, with the other third in independent schools, a proportion which is rising in many parts of Australia. Government schools are free although most schools charge what are known as "voluntary" contributions, while independent schools, both religious and secular, charge fees. Regardless of whether a school is government or independent, it is required to adhere to the same curriculum frameworks. Most school students, be they in government or independent school, usually wear uniforms, although there are varying expectations. Each State and Territories has its own format of Year 12 Matriculation: Australian Capital Territory: ACT Year 12 Certificate South Australia: South Australian Matriculation / South Australian Certificate of Education (SAM/SACE) Northern Territories: Senior Secondary Studies Certificate / Northern Territory Certificate of Education (NTCE) Queensland: Queensland Certificate of Education (QCE) New South Wales: Higher School Certificate (HSC) Tasmania: Tasmanian Certificate of Education (TCE) Victoria: Victorian Certificate of Education (VCE) Western Australia: Certificate of Secondary Education / Australian Matriculation (AUSMAT) In Brazil, high school is officially called "Ensino Médio" and is also informally known as "Colegial" or "Segundo Grau". It is the last phase to basic education. Brazilian high school lasts 3 years, attempting to deepen what students learn in elementary school and junior high. A Brazilian high school student is referenced by their year - 1st, 2nd and 3rd years. Unlike some countries, Brazilian students don't have a final test to conclude studies. Their approval depends only on their final grade on each subject. Each university elaborates its own test to select new students - this test, the "vestibular", generally happens once a year. Enem, a non-mandatory national exam, evaluates high school students in Brazil and is used to rank both private and public schools. The best scores in vestibular and in Enem and the best universities are concentrated on the Southern region of the country, mainly in the states of São Paulo , Rio de Janeiro , Minas Gerais , Espírito Santo, Rio Grande do Sul, Santa Catarina and Paraná , and in the Federal District . The lack of funds and historical and social problems contribute to poor attendance from the students, especially those in public schools. Nevertheless, some are national models, such as the Colégio Pedro II, named after the 19th century emperor. Private establishments, on the other hand, may be recognized as academically excellent or merely as investments in social networking. Schedules vary from school to school. The subjects taught, however, are conceived by the Ministério da Educação (Ministry of Education) which emphasises the hard sciences. The educational year begins in February and finishes in December; institutions are permitted to define their own actual start and end dates. They must, however, provide 200 days of classes. Universities are also divided into public and private. At this level, public ones are considered excellent and their vestibular exam is very competitive (the exam for med school in UNICAMP may hit 300 candidates per place). For better preparation, therefore, many students take a "curso pré-vestibular" (university prep. course). The larger private high schools offer this course. The Czech school system is, due to historic reasons, almost the same as the German school system. The school system is free and mandatory to age 16. After the Základní škola (Elementary School) in age of 16 , students are directed to three different optional secondary education schools: Střední odborné učiliště (SOU) - designed for students going into a trade (e.g., carpentry, masonry, auto-mechanic etc.) Education is 3 years long and entrance exam free, combined with practice(one week study in school/one week practice in factory, bakery,building site... etc.), finished with a certificate. Střední odborná škola (SOŠ) - designed for students going into a profession (accountant, technician, kindergarten teacher..) and finishes with maturita as exit exam. The leaving exam consist of 2 compulsory and 2 optional subjects. Compulsory subjects are Czech language and World Literature and one other language. Optional ones depend on the type of school (mathematics, physics, accounting, etc.) The study is 4 years long and you need to pass an entrance exam (Czech Language and Mathematics or Physics, varies with the type of school) Gymnasium (Gym) - designed for students going to university/college and finishes with a maturita exam. Also with two mandatory subjects Czech language and World Literature and one other language. Optional subjects vary, usually between humanistic and science. The study is 4, 6 or 8 years long. In case of 6 (8) years one, the pupils finish elementary school two (four) years earlier and this two (four) years has harder studying programme on Gymnasium. There are also entry exams to all these programmes. The maturita is required for study in University. The Abitur from Gymnasium is better for Humanistic pointed University and SOŠ Abitur is better for Technical pointed university. In Denmark it is mandatory to be in school until the 9th year of school education, but a majority of pupils between ages 16 to 18 or 19 usually go through the "Gymnasium", which is University-preparatory. The starting age for compulsory school education is 6 or 7 years old, with an optional pre-school year which nearly every child attends. The Finnish education system is a comparatively egalitarian Nordic system. This means for example no tuition fees for full-time students and free meals are served to pupils. There are private schools but they are made unattractive by legislation. The second level education is not compulsory, but an overwhelming majority attends. There is a choice between upper secondary school (lukio, gymnasium) and vocational school (ammatillinen oppilaitos, yrkesinstitut). Graduates of both upper secondary school and vocational school can apply to study in further education (University and Polytechnics). Upper secondary school, unlike vocational school, concludes with a nationally graded matriculation examination (ylioppilastutkinto, studentexamen). Passing the test is a de facto prerequisite for further education. The system is designed so that approximately the lowest scoring 5% fails and also 5% get the best grade. The exam allows for a limited degree of specialization in either natural sciences or social sciences. The graduation is an important and formal family event, like christening, wedding, and funeral. In the OECD's international assessment of student performance, PISA, Finland has consistently been among the highest scorers worldwide; in 2003, Finnish 15-year-olds came first in reading literacy, science, and mathematics; and second in problem solving, worldwide. The World Economic Forum ranks Finland's tertiary education #1 in the world. The German school system is free and mandatory to age 18. After the Grundschule (Elementary School, 4 years), students are suggested to three different secondary education schools, on which they have the final say about; a fourth type is accompanying an apprenticeship students have to decide on if they haven't reached the age of 18 (usually when having decided for Hauptschule or Realschule, previously): Hauptschule - designed for students going into a trade (e.g., carpentry, masonry, etc.) and is finished at the 9th or 10th class. Realschule - designed for students going into a profession and is finished at the 10th class. Berufsschule - designed for accompanying an apprenticeship after Haupt- or Realschule; mandatory to age 18. Gymnasium - designed for students going to university/college and finishes at the 12th (G8) or 13th (G9) class. secondary school (中學, Cantonese:ʤəʊŋ1 hɔk6), college (書院) Secondary education in Hong Kong is largely based on the British education system. Secondary school starts in the seventh year, or Form One, of formal education, after Primary Six. Students normally spend five years in secondary schools, of which the first three years (Forms One to Three) are compulsory like primary education. Forms Four and Five students prepare for the Hong Kong Certificate of Education Examination (HKCEE), which takes place after Form Five. Students obtaining a satisfactory grade will be promoted to Form Six. They then prepare for the Hong Kong Advanced Level Examination (HKALE) (colloquially the A-levels), which is to be taken after Form Seven. The HKALE and HKCEE results will be considered by universities for admission. Some secondary schools in Hong Kong are called 'colleges'. In some schools, Form Six and Form Seven are also called Lower Six and Upper Six respectively. The HKCEE is equivalent to the British GCSE and HKALE is equivalent to the British A-level. As of October 2004, there has been heated discussion on proposed changes in the education system, which includes (amongst others) reduction of the duration of secondary education from seven years to six years, and merging the two exams HKCEE and HKALE into one exam. The proposed changes will take effect in 2010. In India , high school is a grade of education from Standards IX to XII. Standards XI and XII are also called Higher Secondary School, Senior Secondary School or Junior College. Usually, students from ages 14 to 18 study in this section. These schools may be affiliated to national boards like CBSE ICSE or various state boards. Education is compulsory until age 14. Most Schools are stand alone units except a few like the Delhi Public School Society which has 125 schools across the country. Most schools are day schools in major cities however, there are some popular residential schools such as the Doon school, Scindia school, Mayo college girls' school etc. Secondary Education in Iraq comprises TWO stages, each ending in Baccalaureate Examination Intermediate three years Preparatory three years. No student is admitted to college in Iraq before passing the Baccalaureate Examination held by this Ministry for Preparatory Schools. The maximum obtainable mark is 100, the minimum passing mark is 50. Secondary education, like primary education is now compulsory in Malaysia. Primary schools run from Year 1 to Year 6 (also known as Standard 1 to 6, for children aged 6+ to 12+), at the end of which they sit for the UPSR (Ujian Pencapaian Sekolah Rendah or Primary School Assessment Examination). Secondary schools run for seven years, known as Forms 1, 2, 3, 4, 5, Lower 6 and Upper 6. Not all schools offer all forms. Many secondary schools stop at Form 5. Forms 1 to 3 are known as the lower secondary level and at the end of Form 3, pupils sit for the PMR (Penilaian Menengah Rendah or Lower Secondary Assessment) examination. This replaced the SRP (Sijil Rendah Pelajaran) or LCE (Lower Certificate of Education) where a pass was required for promotion to Form 4. At the end of Form 5, pupils sit for the SPM (Sijil Pelajaran Malaysia or MCE Malaysia Certificate of Education), equivalent to the O-Level examination. (The label is based on the old British examination known as the 'School Certificate' examination.) At the end of Upper 6, pupils sit for the STPM (Sijil Tinggi Pelajaran Malaysia, formerly HSC Higher School Certificate). (The label is based on the old British examination, the 'Higher School Certificate', and this name is still used in Australia.) Automatic promotion up to Form 5 has been in place since 1996. Lower-secondary education (3 years) is considered part of basic education in Mexico and is compulsory. For entry, students are required to have successfully completed six years of primary education. The next stage, Upper-Secondary Education is non-compulsory and has three pathways: General upper-secondary, Technical professional education, and Technological upper-secondary. In The Netherlands, high school is called middelbare school (literally: "medium school") and starts right after the 6th grade of primary school (group 8). The pupils who attend high school are around the age of 12. Because education in the Netherlands is compulsory between the ages of 5 and 16 (and partially compulsory between the ages of 16 and 18), all pupils must attend high school. The high schools are part of the voortgezet onderwijs (literally: "continued education"). The voortgezet onderwijs consist of 3 main streams: VMBO, which has 4 grades; HAVO, which has 5 grades; and VWO, which has 6 grades. Recommendation for a particular stream is done by means of a test (CITO) and the advice of the grade 6 teacher. The final choice for a stream remains with the pupil and his/her parents. It is possible to switch between streams and a pupil can also do HAVO after he/she has completed VMBO. The same is true for a pupil who wants to follow VWO education after having completed HAVO. In New Zealand students attend secondary school from the ages from about 13 to 18. Formerly known as Forms 3 to 7, these grades are now known as Years 9 to 13. Schooling is compulsory until the student's 15th (with permission) or 16th birthday. In some areas of the country, secondary school is colloquially known as "college". NCEA is the Government-supported school qualification. New Zealand also has intermediate schools, but these cover the last two years of primary education (years 7 and 8) and are not secondary schools. New Zealand also sends aliens off to receive education in some other country. Secondary school in Pakistan begins from grade 9 and lasts for four years. Upon completion of grade 10, students are expected to take a standardised test administered by a regional 'Board of Intermediate and Secondary Education'. Upon successful completion of this examination, they are awarded a 'Secondary School Certificate' or SSC. This used to be called matriculation certificate or matric for short. Students then enter a college and complete grades 11 and 12. Upon completion of grade 12, they again take a standardised test which is also administered by the regional boards. Upon successful completion of this test, students are awarded the 'Higher Secondary School Certificate' or HSSC. This used to be called the F.Sc./F.A. or 'intermediate'. There are many streams students can choose for their 11 and 12 grades, such as pre-medical, pre-engineering, humanities, social sciences, business, and theology. Some technical streams have recently been introduced for grades 11 and 12. It is important to note that the two subjects 'Pakistan Studies' and 'Islamic Studies' or Islamiyat are compulsory and taught at every level. also has something to do with A levels and O levelsHowever, currently there has been an increasing trend in children from affluent families obtaining O/A Level qualifiactions based on the British system. These qualifications are coming to be more respected socially and in terms of job employment. In Portuguese, the word for high school used to be liceu, it was now recently replaced for Escola Secundária (secondary school which includes 7th to 9th grade) and covers grades 10th to 12th. After completing High School students may choose to go to Universidade (University) or Instuto Politécnico (Polytechnic Institute).Also, students may choose to pursue an artistic career, in such case they may audition to the National Conservatory or one of Portugal's Art Schools.The portuguese government is currently considering the extension of the Compulsory Education to the 12th grade, instead of the 9th.In High School, student can only move on to the next grade if they pass with a satisfactory CGPA (Cumulative Grade Point Average). In the Republic of Ireland secondary school starts at the age of 12, and lasts three or optionally five or six years. The main types of secondary school are: community schools, comprehensive schools, colleges (though this term is more usually applied to third-level institutions like universities), vocational schools, voluntary secondary schools and meánscoileanna (secondary schools that teach all subjects through Irish). After three years (age 14-16), every student takes a compulsory state exam known as the Junior Certificate. Typically a student will sit exams in 9 to 11 subjects; English (L1), Irish (L2) and Mathematics are compulsory. After completing the Junior Certificate, a student may continue for two years to take a second state exam, the Leaving Certificate, around age 17-18. Students typically take 6-8 subjects. Except in exceptional circumstances, subjects taken must include English (L1), Irish (L2) and Mathematics. Leaving Certificate results directly determine admission to university via a ranking system managed by the CAO. More than 80% of students who complete the Junior Certificate continue to the Leaving Certificate. There is an optional year in many secondary schools in Ireland known as Transition Year, which some students choose to take after completing the Junior Certificate, and before starting the Leaving Certificate. Focusing on broadening horizons, the year is often structured around student projects such as producing a magazine, charity work, running a small business, etc. Regular classes may be mixed with classes on music, drama, public speaking, etc. Transition Year is not formally examined but student progress is monitored by teachers on a continuous basis. Programs vary from school to school. In addition to the main school system, Ireland has a parallel system of vocational schools, which place less focus on academic subjects and more on vocational and technical skills - around 25% of students attend these. Many vocational schools also offer night classes to adults. There is also a prominent movement known as Gaelscoileanna where every subject is taught through the Irish Language, and these are growing fast in number. High school in Republic of Macedonia is called "средно училиште" or "middle school", and the structure is left from the socialists period. Reforms are conducting at the moment, so the education would be appropriate with the most of the leading world countries.That means that there are still many forms. In general there is high school for preparing for every faculty on the university. There are: electro technical high school, mechanical high school, economics high school, pharmaceutical, medical,...and natural sciences and linguistics gymnasium. The high school is attended between the years of 14 and 18. Children attend secondary school for the first 4 levels, followed by either junior college for 2 year courses or centralised institutes for 3-year courses. Based on results of the Primary School Leaving Examination (PSLE), Singapore 's students undergo secondary education in either the Special(Abolished in 2008), Express, Normal streams or the Integrated Programme which was implemented in 2004. Both the Special and Express are 4-year courses leading up to a Singapore-Cambridge General Certificate of Education (GCE) 'Ordinary' - 'O' level examination. The difference between Special and Express is that the former takes higher Mother Tongue, which can be used as a first language in exams instead of the subject "mother tongue" that Express students take. However if some Express students can cope with higher Mother Tongue, they are allowed to used it as a first language in exams too. The Normal stream is a four-year course leading up to a Singapore-Cambridge GCE "Normal" - "N" level examination, with the possibility of a 5th year followed by a Singapore-Cambridge GCE "Ordinary" - "O" level examination. It is split into "Normal (Academic)" and "Normal (Technical)" where in the latter students take subjects that are technical in nature, such as Design and Technology. After the second year of a secondary school course, students are typically streamed into a wide range of course combinations, making the total number of subject they have to sit for in "O" level six to ten subjects. This includes science (Physics, Biology and Chemistry), humanities (Elective Geography/History, Pure Geography/History, Social Studies, Literature, etc.) and additional mathematics subject at a higher level, or "combined" subject modules. Some schools have done away with the O level examination, and pupils only sit for the A level examination or the International Baccalaureate at the end of their sixth year (known as Year 6 or Junior College 2). Co-curricular activities have become compulsory at the Secondary level, where all pupils must participate in at least one core CCA, and participation is graded together with other things like Leadership throughout the four years of Secondary education, in a scoring system. Competitions are organised so that students can have an objective towards to work, and in the case of musical groups, showcase talents. In Slovenia , a variety of high-school institutions for secondary education exists one can choose in accordance with his or her interests, abilities and beliefs. The majority of them are public and government-funded, although there are some diocesan upper secondary schools and a Waldorf upper secondary school, which are private and require tuition to be paid. Upper secondary schools (Sln. gimnazije) are the most elite and the most difficult high-school programmes, intended for the best students that wish to pursue university education in the future. They are further divided into general upper secondary schools, classical upper secondary schools, technical upper secondary schools, upper secondary schools for arts, and upper secondary schools for business. They all last for four years and conclude with a compulsory leaving examination (Sln. matura) that is a prerequsite for studying at universities. Their curricula include a wide range of subjects that should deliver a broad general knowledge. Technical high schools last for four years and cover a wide range of disciplines. They end with a vocational leaving examination and allow pupils to study at vocational or professional colleges. Vocational high schools come in two varieties: the dual and in school-based programme. For the former, the apprenticeship is provided by employers, while the practical training for the latter is offered in school. Both of them complete with a final examination. Students may continue their education in the two-year vocational-technical programme (colloquially known as 3+2 programme), which prepares them for vocational leaving exam if they want to pursue higher education. The leaving exam course is a one-year programme, intended for vocational leaving exam graduates. After completing leaving exam course, they take the leaving examination, which makes the eligible for university education. The Vocational course is a one-year programme provided to upper secondary school students who, for various reasons, do not want to continue their education. It concludes with a final examinations, qualifying the applicants for a selected occupation. Main articles: Education in the United Kingdom In the United Kingdom secondary schools offer secondary education covering the later years of schooling. State secondary schools in England and Wales are classed as either (selective) grammar schools, (non-selective) comprehensive schools, city technology colleges or academies. Within Scotland, there are only two types of state-run schools, Roman Catholic or non-denominational. Most secondary schools in England and Wales are comprehensive schools. Grammar schools have been retained in some counties in England. Academies (previously known as city academies) are a new type of school introduced by the current Labour government. Independent secondary schools generally take pupils at 13. The table below lists the equivalent secondary school year systems used in the United Kingdom: England, Wales Equivalent Ages Primary 7 Year 7 (First Form) Year 8 (First Form) 11-12 First Year Year 8 (Second Form) Year 9 (Second Form) 12-13 Second Year Year 9 (Third Form) Year 10 (Third Form) 13-14 Third Year Year 10 (Fourth Form) Year 11 (Fourth Form) 14-15 Fourth Year Year 11 (Fifth Form) Year 12 (Fifth Form) 15-16 Fifth Year Year 12 Lower Sixth AS First Year College Year 13 [Post 16] Lower Sixth 16-17 Sixth Year Year 13 Upper Sixth A2 Second Year College Year 14 [Post 16] Upper Sixth 17-18 Private schools in England and Wales generally still refer to years 7-11 as 1st-5th Form, or alternatively privates schools refer to Year 7 as IIIrds (Thirds), Y8 as LIV (Lower Four), Y9 as UIV (Upper Four), Y10 as LV (Lower Fifth), Y11 as UV (Upper Fifth) and then Sixth-Form. England, Wales and Northern Ireland Main articles: Education in England, Wales, Northern Ireland In England , Wales and Northern Ireland , students usually transfer from primary school straight to secondary school at age 11. In a few parts of the UK there are middle schools for ages 9 to 13 (similar to American middle schools), and upper schools for ages 13–18. It is uncommon, but sometimes secondary schools (particularly in South West Wales) can also be split into 'Upper' (ages 13–16) and 'Lower' secondary schools (ages 11–13). Education is compulsory up until the end of year 11 (the last Friday in June in the academic year a person turns 16), and schooling can continue for a further two years after that. Traditionally the five years of compulsory secondary schooling from ages 11 to 16 were known as "first year" through to "fifth year," (and still are in the private sector) but were renamed in the 1990s to Year 7 through to Year 11 (Year 8 to Year 12 in Northern Ireland) with the coming of the National Curriculum. After Year 11 a student can opt to remain at school, transfer to a college, or to leave education and seek work or to start an apprenticeship. Those who stay at school enter Years 12 and 13 (Years 13 and 14 in Northern Ireland). These years are traditionally known as the Sixth Form ("Lower Sixth" and "Upper Sixth"), and require students to specialise in three to five subjects for their A Levels. In ever-increasing numbers since the 1990s some students also undertake more vocational courses at college such as a BTEC or other such qualification. This is an unusually specialised curriculum for this age group by international standards, and recently some moves have been made to increase the number of subjects studied. After attaining the relevant A Level qualifications the student can enter university. In Scotland, students transfer from primary to secondary education at either 11 or 12 years old. Pupils usually attend the same secondary school as their peers, as all secondaries have 'intake primaries'. Pupils either attend a Roman Catholic, or non-denominational school according to their or more commonly their parents' beliefs. Pupils in Scotland attend the same secondary school throughout their education; there are no sixth-form colleges in Scotland. The first and second years of secondary school (abbreviated to S1 and S2) is a continuation of the 5-14 curriculum started in primary school. After which students choose which subjects they wish to study with certain compulsory subjects such as English and Mathematics for S3 and S4. These are called Standard Grades, but some schools use Intermediates which take two years to complete with an exam at the end of S4. After Standard Grades/Intermediates, some students leave to gain employment or attend further education colleges, however nowadays most students study for Highers, of which five are usually studied. These take a year to complete. After which some students decide to apply for university or stay on for 6th year, where other Highers are gained, or Advanced Highers are studied. Due to the nature of schooling in Scotland, undergraduate honours degree programmes are four years long as matriculation is normally at the completion of highers in S5 (age 16-17), which compares with three years for the rest of the UK. As well as instruction through the English language education Gaelic medium education is also available throughout Scotland. As part of education in the United States , secondary education comprises grades 6, 7, 8, or 9 through 12. This depends on the school district and how it is comprised. Grades 9 through 12 is the most common grade structure for high school. High school in Vietnam is called Trung hoc pho thong, which mean "Popular Middle School", for children from grade ten to grade twelve (age of 16 to 18). In high school, students have 12 subjects to learn, and all the 12 subjects are compulsory. For each main subject (Literature, Mathematics, Chemistry, Physics, Biology, History, Geography and Foreign language), there are two levels of study: Basic and Advanced. Subjects in advanced level will receive more time and intensiveness than the basic ones do. Students are divided into five groups: Basic group: All subjects are in basic level. Group A: Mathematics, Physics and Chemistry are in advanced level. Group B: Mathematics, Chemistry and Biology are in advanced level. Group C: Literature, History and Geography are in advanced level. Group D: Mathematics, Literature and Foreign language are in advanced level. Students will graduate from high school if they have passed Graduation Tests of 6 subjects. If not, they must wait for the next year's tests. Students must graduate from high school to attend a university or college. Secondary education names Argentina: Secundaria or Polimodal, Escuela secundaria Australia: High school, Secondary college Austria: Gymnasium (Ober- & Unterstufe), Hauptschule, "Höhere Bundeslehranstalt (HBLA), Höhere Technische Lehranstalt (HTL) Bahamas, The: Junior High (grades 7-9), Senior High (grades 10-12) Bolivia: Educación Primaria Superior (grades 6-8) and Educación Secundaria, (grades 9-12) Bosnia and Herzegovina: srednja škola (literally middle school), gimnazija (gymnasium) Brazil: Colegial, Segundo Grau (former, but still in use informally); Ensino Médio (official) Bulgaria: Гимназия (gymnasium), Лицей (Lyceum) Chile: Enseñanza Media. People's Republic of China : zhong xue (中学; literally, middle school), consisting of chu zhong (初中; literally beginning middle) from grades 7 to 9 and gao zhong (高中; literally high middle) from grades 10 to 12 Republic of China (Taiwan ): Junior High School(國民中學), Senior High School(高級中學), Vocational High School(高級職業中學), Military School(軍校), and Complete High School(完全中學). Canada: high school, secondary school, école secondaire, lycée, collegiate institute Education in Colombia: Bachillerato, Segunda Enseñanza(literally Second Learning) Croatia: srednja škola (literally middle school), gimnazija (gymnasium) Cyprus: Γυμνάσιο(gymnasium), Ενιαίο Λύκειο (Lyceum) Czech Republic: střední škola (literally middle school), gymnázium (gymnasium), střední odborné učiliště Denmark: gymnasium Estonia: Gymnasium, Lyceum Finland: lukio (Finn.) gymnasium (Swed.) France: collège (junior), lycée (senior) Germany: Gymnasium, Gesamtschule, Realschule, Hauptschule, Fachoberschule Greece: Γυμνάσιο (3 years)(gymnasium), Γενικό Λύκειο (3 years) (~1996,2006~present), Ενιαίο Λύκειο (3 years), (1997~2006) (Lyceum) Hungary: gimnázium (grammar school), középiskola (comprehensive school, lit. "middle-school"), szakközépiskola (vocational secondary school, lit. "specified middle-school") Iceland : Menntaskóli, Framhaldskóli. India: secondary school Indonesia: Sekolah Lanjutan Tingkat Atas (SLTA), Sekolah Lanjutan Tingkat Pertama (SLTP). Italy: scuola secondaria di primo grado (3 years) + scuola secondaria di secondo grado (5 years): Liceo and Istituto Tecnico. Japan: chūgakkō (中学校; literally middle school), kōtōgakkō (高等学校; literally high school), chūtōkyōikugakkō (中等教育学校; Secondary School) - In the pre-Meiji educational system, the equivalent was called "chūsei" Liechtenstein: gymnasium Lithuania: vidurinė mokykla (literally middle school), gimnazija (gymnasium) Malaysia: secondary school or sekolah menengah, sometimes high school is used Malta: skola sekondarja or secondary school Mexico: Educación secundaria y preparatoria Netherlands: middelbare school or voortgezet onderwijs Norway: Videregående Peru: Educación Secundaria or Escuela Secundaria Poland: gimnazjum (grades 7-9), liceum (grades 10-12) Portugal: 2º Ciclo do Ensino Básico (5th and 6th grades), 3º Ciclo do Ensino Básico (7th to 9th grades), and Ensino Secundário, Liceu (10th to 12th grades) Romania: Liceu Russia: среднее образование (transliteration: sredneye obrazovaniye) Serbia: gymnasium (4 years), professional schools (4 years), vocational schools (3 years) South Korea: jung hakkyo (중학교; literally middle school), and godeung hakkyo (고등학교; literally high-rank school) Spain: Educación secundaria, composed of two cycles: E.S.O. (Educación Secundaria Obligatoria, compulsory secondary education, 4 years, 7th to 10th grade) and Bachillerato (non-compulsory secondary education, 2 years, 11th and 12th grade); formerly, primary education comprised up to the 8th grade and the secondary education was composed of two non-compulsory cycles: B.U.P. (Bachillerato Unificado Polivalente, 3 years, 9th to 11th grade) and C.O.U. (Curso de Orientación Universitaria, 1 year, 12th grade) Sweden: gymnasium Switzerland: gymnasium, secondary school Turkiye: Lise United States: high school (usually grades 9-12 but sometimes 10-12, it is also called senior high school) is always considered secondary education; junior high school' or 'middle school' (6-8, 7-8, 6-9, 7-9 or other variations) are sometimes considered secondary education. Uruguay: Liceo (4 years of compulsory education - Ciclo Básico -, and 2 years of specialitation into humanitites, sciences or biology - Bachillerato diversificado-). Educational stages University-preparatory school :Category:Secondary education by country for secondary education in individual countries List of schools by country List of colleges and universities by country List of the oldest schools in the world G1 > Vestibular e Educação - NOTÍCIAS - Veja as 20 melhores escolas do país no Enem 2007 EDUCATION AROUND THE WORLD: MEXICO BBC Schools Website 11-16 Revision World Schools Website 11-16 World Bank Secondary Education

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Review - On the Origins of Cognitive Science The Mechanization of the Mind by Jean-Pierre Dupuy Review by Mog Stapleton, MA, MLitt, MSc Aug 31st 2010 (Volume 14, Issue 35) On the Origins of Cognitive Science is an excellent review of early twentieth century cognitive science. It stands out amongst other reviews of cognitive science by taking a broad perspective over the ideas that were alive during the cybernetic era and not limiting itself to just that part of history that seems relevant in light of current orthodoxy. Dupuy explicitly states that the book is a testament to the failure of cybernetics, which I feel is not warranted by his exegesis. I found it to be an inspiring story of a research program that had lofty ambitions of exploring the ways in which new technologies could shape the way we understand the mind. Furthermore, it becomes clear through the book how much current orthodoxy and the research programs that are challenging this orthodoxy in the 21st century all owe to the research and new ways of thinking that the cyberneticians spawned. The book is not introductory reading. While there is explanation of many of the concepts involved, to benefit most the reader should have some background in cognitive science and some knowledge of the contemporary debates. With a little background in hand however, this book will help to clarify notoriously difficult concepts such as information and representation by situating them within the interdisciplinary debates in which they became orthodox terms. Though the style feels a little stilted to begin with, perhaps due to the nature of translating not only from French to English but also from an academic culture more influenced by phenomenological writings than the Anglophone academic culture, as the narrative progresses it becomes a joy to read. I would recommend all students of the cognitive sciences, and in particular the philosophy of cognitive science, to take the time to read this book; the familiar concepts put in their original setting take on a fresh face and give us cause to reassess the exciting potential of old ideas within the frameworks and technologies currently available. Dupuy splits the book into 6 chapters with a somewhat heavier introduction that is worth re--reading at the end of the book. In the introduction Dupuy introduces us to the Macy conferences, 10 conferences held between 1946 and 1953, at which a group of top researchers from mathematics, logic, engineering, physiology, neurophysiology, psychology, anthropology, and economics came together with the explicit aim of creating a science of the mind. Despite their differing backgrounds these researchers were all working towards an understanding of how the mind works which took cognition, thought, and the mind, with all of its meaning and intentionality, to be computational and explainable by physical laws. They referred to this view of the mind as 'Cybernetics'. In short, the aim of the cyberneticians was to mechanize the mind using physics as a model. As Dupuy emphases throughout the book, this should not be confused with the project of making the machine human. Dupuy discusses the importance of models to the cybernetic project. He highlights the different ways that models can be understood and the dangers of conflating a model of the mind for a model for the mind. Physics This turns out to not be trivial; it is the abstraction (the model of the mind) that becomes taken by the cyberneticists to be more real, that which is the true mechanism, and hence a model for the mind. This clearly is what underlies functionalism as it is still understood in cognitive science and philosophy of mind; if the model of the mind captures the essential functional relations of cognition then this can be used as a model for creating cognition in different systems, the very basis of multiple realizability. I found it important that Dupuy also reminds us that the "Turing thesis", "that every mechanically computable function is computable by a Turing machine" (p. 35) often used to ground computational--representational functionalism is just that -- a thesis -- and has not been, nor is it able to be, proved. Regardless of its provability it became treated by the cyberneticians as a theorem, and continues to this day to be the basis of how cognitive scientists approach computation. To those brought up in the current orthodoxy the Turing Thesis has become something of a gospel truth, and to see it placed back into its roots and original context allows us to approach one of the fundamental tenets of orthodox cognitive science with a healthy dash of open mindedness and critique. With these warnings in place Dupuy uses the rest of the book to guide the reader through a history of the ideas raised in the Macy conferences with enough of a description of the characters involved to allow one to get a feel for the excitement that clearly resonated throughout those early years of cognitive science. Without idealizing either the ideas or the people, and illuminating the differences in the attitudes of the researchers involved, Dupuy manages to portray a realistic glimpse into the difficulties and the excitement of interdisciplinary research programs. The core set of 'cyberneticians' were Wiener, Rosenbleuth, Bigelow, McCulloch, Pitts, and (Dupuy argues) von Neumann. What stands out is that Dupuy feels strongly that McCulloch has not been sufficiently acknowledged for the importance of his contributions to the cybernetic project, overshadowed as he was by Wiener. Perhaps more than any other review of this intellectual period therefore, this book shows how much the cybernetic project, and thus current cognitive science, owes to McCulloch's involvement. It was not only McCulloch's suggestion that instigated the conference series, but he organized and attended all ten conferences. Furthermore Dupuy argues that McCulloch "played a key role along with von Neumann in the first round of meetings, which we know was more eventful than the second and which served to establish the identity of the group, its composition, and its program of discussion" (p.75). Dupuy presents cybernetics as having been a failure and having been forgotten or "poorly remembered". Yet it is clear to me on reading the text that this is not true. Though today it is not a fashionable area of research, and Dupuy is right that its impetus -- as "cybernetics" -- has petered out, what can be seen clearly from Dupuy's exegesis of the history of 20th century cognitive science is that the ideas from cybernetics pervade through the disciplines of Cognitive Science, Artificial Intelligence and Philosophy of Mind. This is reminiscent of the way that Freud's work has come to be ostracized, and often ridiculed, by current orthodox theories of the mind, and yet on closer inspection the vocabulary that Freud provided us with pervades our discourse even in the lay-world. Likewise, it is clear from Dupuy's review of the history of cybernetics and cognitive science that many of the concepts, metaphors, and positive research programs were taken up by other research programs. It seems then that cybernetics has been left as owning only those that were not successful, and thus deemed as having failed. One could however take the opposite perspective and consider this as the ultimate success; many of the ideas spawned from this research program have been borrowed and built upon and have been adopted by new successful research programs. I think that Dupuy is overly harsh in judging the original cyberneticians for not having taken ownership themselves of all of the ideas that cybernetics spawned. It is particularly interesting to see the tension arising throughout the course of the Macy conferences between those cyberneticians whose attitudes would now be considered orthodox -- functionalist in particular -- and those who went on to participate in, or whose sympathies lay in, second-order cybernetics the focus of which was self-organization and complexity of the systems rather than the mechano-logical abstracted model so fundamental to first-order cybernetics. These two very different ways of understanding minds, machines, and organisms have once more become the forefront of cognitive science and the tension is creeping into the philosophy of mind. While connectionism and systems research have become orthodox in AI and cognitive science those inspired by the second-order cybernetic program have been quietly building up an alternative research program and in the last two decades this has burst on to the Anglophone AI, Cog Sci and Philosophy of Mind scene under various monikers including 'Embodiment', 'Embeddedness', 'Situatedness', and 'Enactivism'. Once again there is a tension between those who wholeheartedly welcome seeing minds and organisms as created from self-organizing processes of simple, "stupid" elements, and those for whom Turing--functionalism has become something of a self-evident truth and who push for understanding the mind in terms of a formal, abstracted, Turing-functional model. As was the case with the first- and second-order cybernetics both the current orthodox tradition and the Enactive challengers hold sacred that we are essentially machines, but the specter of the homunculus seems to haunt those who ally themselves with the more orthodox streams in their insistence on the need for more than a self-organized system to generate meaning and intentionality, such as the need for a controller in a dynamical mechanism, or an 'executive system' in the brain. © 2010 Mog Stapleton Mog Stapleton (MA, MLitt, MSc) is a final year PhD student in the School of Philosophy, Psychology, and Language Sciences at the University of Edinburgh. Working at the intersection of philosophy, neuroscience, and cognitive science she is writing her thesis on the relation between emotion and cognition.

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Hrithik to star in 'Agneepath' remake Anyone would think that Abhishek Bachchan would be the natural choice to play Amitabh Bachchan's role in a 'Agneepath' remake. However, Hrithik Roshan has been roped in to play the part in the new-age 'Agneepath', while Mithun Chakraborty's award winning character has been completely done away with. "When the idea of re-making 'Agneepath' came to producer Karan Johar, he right away locked in on Hrithik Roshan. It was a commitment to the actor, who is very keen to give his own interpretation to the character," a source revealed. In fact, it was presumed by a very large section of the entertainment industry that Abhishek would play the eponymous part of Vijay Dinanath Chauvan. And Jaya Bachchan would play Vijay's mother, played with brilliant poignancy by Rohini Hattangadi in the cult orignal directed by the late Mukul Anand. However, contrary to popular opinion, Abhishek was never offered the role in the remake. "Hrithik will play it closer to Al Pacino in 'Scarface' than Mr. Bachchan in 'Agneepath'," says a source. 'Agneepath', it would be recalled, was deeply influenced by 'Scarface'. The remake, written and directed by debutant Karan Malhotra purports to pay homage to 'Scarface'. While refusing to discuss the cast, producer Karan Johar says: "All I can say is that my 'Agneepath' is radically different from the 'Agneepath' that my (late) father (Yash Johar) produced. We've completely done away with the south Indian character played by Mithun Chakraborty in the original." With that information, Mithun's dreams of seeing his son Mimoh cast on the role he originally played also goes up in flames. Karan Johar's 'Agneepath' would be a solo act featuring Roshan Jr, who will experiment with the rasping dialogue-delivery that Big B had attempted in the original 1990's gangster film. Many thought that it was his gravelly way of speaking in 'Agneepath' that made the movie a hit. But, Hrithik is determined to prove all the self-appointed soothsayers wrong. "My father was very proud of Agneepath. I hope I don't let him down with my version of the film. Amit-ji had won the National award for it, it's a tough act to follow for any actor," Karan says.

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Arrivals || By: Jen Yamato || September 29, 2012 06:30 PM EST ARRIVALS: A Breakout Role — And A Bright Future — For Noah Segan, Looper's Kid Blue In the cinematic world of Rian Johnson, where friends are collaborators and cast and crew a part of a close-knit filmmaking "family," actor Noah Segan is a constant. But after appearing in Johnson's debut film Brick and his follow-up, The Brothers Bloom, Segan received what he calls a "gift" from Johnson — one of the smartest rising writer-directors of his generation — in the form of what's sure to be his breakout role: The finely-tuned, gun-obsessed futuristic cowboy Kid Blue in Looper, a "gat man" eagerly hunting down rival Joe (Joseph Gordon-Levitt) who's so fraught with seriocomic human frailty he only grows more sympathetic as he becomes increasingly unhinged. To Segan's credit, he shines in the role Johnson tailored for him, inspired by Segan's own offscreen cinephilia and the actor's favorite movie — the obscure Dennis Hopper-Warren Oates Western Kid Blue, his signature on Twitter, Tumblr and the film community for years. As Gordon-Levitt's steely Joe attempts to change his fate by confronting his future self (Bruce Willis), Segan's eager-to-please Kid Blue illustrates a pained parallel course of desperate self-determination gone wrong. For the actor, who considers Brick the start of his bona fide career and also appeared in Deadgirl, What We Do Is Secret, and Cabin Fever 2, Looper could and should be the catalyst for Hollywood to take note. As he and the Looper crew took Fantastic Fest by storm, Segan spoke with Movieline about his uniquely personal relationship with Looper and director Johnson, the compelling complexities of Kid Blue, that one time he was on Dawson's Creek, and why no industry honor could match the feeling of being welcomed as family at the best movie theater in Los Angeles. You and Rian Johnson go back all the way to the Brick days. How did he first describe Looper to you? I had read his short story called Looper before we made Brick, and it was two pages long and it was really the hook — like getting the chorus to a song in your head if you were writing a tune. It was the chase between the older version and the younger version of the same guy. He tucked it away into the archives and went about his business, made Brick, and [Brothers] Bloom, and then he mentioned he was revisiting it a few years ago. Sent me a draft about three years ago, and that was that. And he wrote Kid Blue specifically with you in mind? He did. Kid Blue is my nickname; it’s been my nickname for about ten years, since I was a teenager. It’s a reference to a pretty obscure 1970s comedic Western starring Dennis Hopper and Warren Oates, and a buddy of mine who’s a screenwriter back in New York turned me onto some great movies, the movies that I now love, counterculture ‘60s, ‘70s American New Wave — the Dennis Hoppers and the Sam Peckinpahs and the Monte Hellmans, the guys who now I consider my favorite filmmakers. One day he said, “There’s this movie, and you’re gonna dig it — it’s going to be your story. It’s called Kid Blue, and good luck trying to find it.” I go down to this place we had in the Village called Kim’s, which is this famous archive of cinema, bootlegs, and at the time, VHS tapes, of stuff you could never find anywhere else, and you didn’t know how it got there, and maybe it’s not supposed to be there, but if it existed it might as well be at Kim’s. I found Kid Blue there, a pan-and-scan VHS of a dub of a dub from Spanish television with subtitles, and I watched it — it’s the story of a Kid, like Billy the Kid, played by Dennis Hopper, trying to go straight. He realizes he’s getting a little long in the tooth for his lifestyle so he tries to go straight in this town at the beginning of the Industrial Revolution; hilarity ensues. There was something about it that just clicked with me so I stuck with it, and it became my nickname. It’s a pretty good nickname, I must say — long before I had even heard about Looper it was your Twitter handle, so I knew there must have been a history there. It surprised me as much as anybody, because, listen — you happen to be lucky enough to be friends with one of your favorite filmmakers, that’s kind of enough. You don’t expect anybody to write you a part. And then he writes me a part, and he writes me my part. He wrote a part that I think, not dissimilarly from Brick, has a lot of the sort of vulnerability and pathos and yet diligence that I guess Rian sees in me. It’s a great honor to be saddled with these big emotions and still be able to have fun with it. That must be an interesting experience in itself, to have a friend write a character for you knowing what you’re capable of and shades of what he sees in you — and it turn out to be a character like this. Kid Blue is not the hero but he and Joe come from very similar backgrounds. It’s very Oliver Twist. Yes! Joe is Oliver and I’m the Artful Dodger and Abe [Jeff Daniels] is Fagin, you know? The three of us, Joe [Gordon-Levitt], Rian, and I, are very good friends — we spend a lot of time together along with the other members of the family, whether it’s Ram [Bergman] his producer, Steve [Yedlin] his cameraman, or Nathan [Johnson] his composer. We all live in the same neighborhood, pretty much, and have keys to each others’ houses and BBQ all the time. I think first impressions make a big impact whether we’re aware of them or not, and the first impression of our relationship was obviously Brick. Dode in that movie is a foil for Brendan, for Joe’s character, and I think a lot of the dynamic that the three of us have is that we are foils for one another. So I imagine, whether consciously or not, Rian read into that. He read into the dynamic between me and Joe probably by watching us, just like I watch him and Joe. There are a lot of parallels between the Kid and Dode from Brick as well — the idea that here’s a guy who will stop at nothing to do what he thinks is the right thing, even if it’s absolutely not the right thing. You've floated the idea that Kid Blue could be Dode’s grandson if the Brick and Looper universes overlapped… I’m rolling with that so hard! I kind of rolled that one out and now I’m going to kick it into gear. What I would love is somebody to do some fanfic that’s like Dode had an illegitimate son and that’s his great-grandson. I think they start early in that family. [Laughs] They’re very similar guys, guys who have a duty and a purpose. I think that’s where the vulnerability and the pathos comes from — someone trying to do a dignified act in a very undignified way. Therein you get sympathy too, right, because we’ve all tried to do the right thing and realized we have absolutely no idea how to do the right thing. The great thing about Kid Blue is that we can still understand where he’s coming from, even as he’s not the best equipped to handle the situation, and perhaps isn’t completely all there. You still feel for him. I hope so. I think everyone’s in the gray here. No one in this movie is absolutely doing the right thing. So you cut the Kid more slack. It also helps that he’s goofy, he’s funny, and in a movie that doesn’t have a lot of comic relief a little bit goes a long way. Kid Blue is the most colorful character in a movie that’s populated with very straightfaced people. Yes, and I think that’s something that Rian gave to me — this Western character, this cowboy, in this post-manufacturing era dystopian society, here’s a cowboy who’s earned his stripes to be as silly as he wants to be. He is the character who brings that Western element to the film, in many ways — he’s basically a gunslinger, he has his signature gat, and he even rides the futuristic equivalent of a horse in the form of the slat bike. I get to ride that, I get to spin my gun, I get to talk with a drawl… I got to really play the points of a Western, which again is a great gift from Rian because he knows how much I love that stuff. The guns in Looper provide a lot of interesting analytical dissection, but from your perspective how much is Kid Blue’s obsession with his gat perhaps a phallic psychological extension? [Laughs] Not mine, right? The Kid’s… that’s a bigger conversation to have, no pun intended. I do not have the biggest gun in the movie, as you know — I think Emily [Blunt] actually has the biggest gun in the movie, and she’s also kind of the most bad ass, so maybe that explains the answer to your question right there. I hadn’t thought about that but it’s such an obvious question: What do these guns represent? Rian explains it in the movie as the idea behind the gat is it’s this precision instrument, a perfect device that has withstood the test of time. It’s a side-loading revolver, a single action gun — the same thing that cowboys used to use, so it’s proven itself as a worthy tool. The blunderbuss, the thing that the loopers use and that Joe uses, is this modern distillation of a shotgun, this new school version of a very brutal weapon that just needs to be vaguely pointed in a direction and it’ll get rid of everything in front of it. I think that explains where the characters are coming from; the Kid really wants to be viewed as skilled, as worthy, and I think Joe doesn’t care — Joe’s just thinking, “How am I going to get out of here?” Has The Kid watched a few too many Westerns himself? Absolutely. There’s a line that Abe says where he says, “You’re just emulating these movies.” These movie-movies. I almost see that as a response as much to the Kid as it is to Joe, in that poor Abe is saddled with this guy who, unlike Joe who he also raised and reared, the Kid is a company man. He’s hanging around and he’s pretty good at his job even though he’s kind of a goofball and a screw-up, they keep him around. He’s diligent and a good kid, but poor Abe’s thinking, he’s got the skills so I’ll let him wear his blue jeans and his cowboy boots and let him use his special Western revolver, but how annoying is it that he can’t be contemporary here in the future? You mentioned the filmmaking “family” built around Rian’s films, but what was it like to have folks like Jeff Daniels and Bruce Willis come into that from the outside? We thought about that a lot, specifically with Bruce. What was it going to be like, every step of the way, to have this guy who represents the modern movie star hanging around with us? Everyone was really excited when he became part of the family, but you’re in awe of this guy who is an icon coming in saying, “Let me join in on the fun.” My guess is he vibed that, that this was an opportunity to join the family, and as a great actor and collaborator who has done so much I imagine his reaction was the same as ours, which was that this was fantastic, this was a beautiful thing. With Jeff, the best analogy I could use was it was like having a family reunion and meeting an uncle you never knew you had. They were onboard the minute they saw what we were up to. You and Jeff Daniels share some heavy moments; The Kid aims to please Abe, but he never quite seems to get it right. What were your impressions from working together? Jeff’s a very stoic guy and about as pro as you’ll ever find; he runs a theater company and he comes correct. He’d sit back with his guitar between takes and do his regal thing, but when we got into our really emotional stuff and he saw that I was not really holding back, because I had prepared for so long to do it and didn’t know any other way, and frankly I’m not trained like he and a lot of people are — I just figured, be ready to just wallow for a while and have a tough day then have dinner with your friends and take a deep breath. He was very kind to me and saw that on that day and said, “When the camera’s on me you don’t have to go whole hog, you don’t have to drive yourself nuts.” And I said, “I’m ready for this and I’m doing it, and there’s only one way I know how to do it.” We did the scene and stayed with it and that night he was leaving the set with his fedora and scarf on, looking extremely gentlemanly, and he turned back and saw me smoking a cigarette outside my trailer trying to shake off the day, and he said, “You did a good job, Kid — we’re in a good one.” He knows how to deliver that line on set and off, you know what I mean? And it wasn’t dissimilar from Bloom — I had a tiny part in Bloom and flew out to Serbia to visit my buddies making this movie and do one scene of schtick and it was the same thing. There were these great actors, Mark Ruffalo and Adrien Brody, and it was like my dad had a secret family and they were the half-brothers I never knew about. It’s just something that Rian and his crew really engender, an inexplicable comfort. Looking at your career to date — I have a career? I sort of feel like my career’s about to start, I hope. You’ve been a working actor for so long, and have done a number of indie films but you seem to have done things you really were passionate about. What has your approach been in terms of balancing indie and mainstream and where you’d like to go? My experience working in the movie business — I was a camera assistant before I was an actor — began when I was a little kid, acting in New York. It was something that I did because I was not into doing team sports. I was a little kid who could read and look in the same place for more than two seconds at a time, so I think my folks figured, “He might as well do something with his time, why not have him do commercials?” It was the exact opposite of what you hear when you hear of stage parents, I either did it or I didn’t depending on if I wanted to, and it was an after school hobby sort of thing. But I think it was the seed of loving movies and loving sets. As I came of age I thought I wanted to be a cameraman, a cinematographer — that was sort of the family business, my grandfather was a photographer and my mother is a photographer, among other things, and I have a very close family friend who was a cameraman so I started working for him. I did that for a couple of years very seriously and thought I was going to do that until I met an actor who said, “You should think about acting.” It being show business, you introduce somebody and introduce somebody and introduce somebody and the fifth guy you’re introduced to sends you out on an audition and it’s for Brick. So my first experience working in a movie was working with the people who are now my best friends in the world, who I love dearly, and I think for better or for worse that’s what I want every time now. I got spoiled really, really early. That’s sort of what I’m looking for, people who have that kind of mentality and that collaborative vibe, with an evangelical, pure vision of a script — which is usually people who’ve written their own scripts, so I tend to like to work on stuff that’s being directed by the guy or girl who wrote it. I’ve always thought that it’s such a weird thing to not have to shovel shit in order to pay my rent, which is really the only thing that I’m qualified to do — I have a 9th grade education. I am not capable. I have no skills! What happened in high school? It wasn’t for me. I wasn’t a school guy. I had a big chip on my shoulder, listened to a lot of punk rock music and watched a lot of grownup movies. I remember being in school, right before I left, and they had us read Catcher in the Rye which is basically a guide on how to drop out of school. You’re supposed to read this in high school or junior high and appreciate it as a great work of American 21st century fiction but in reality it’s that, and it’s telling you, fuck ‘em. It’s sort of like, this guy did it — I guess I will too. There are so many would be teenage Holden Caulfields who would love to follow suit, to grasp that sort of freedom for themselves. I grasped it! Much to the chagrin of my folks and all the other adults around me, but at the end of the day I’m now sort of stuck acting in movies as my job. Well, that did lead you to one of your greatest early acting credits, by which I mean that one very special episode of Dawson’s Creek where Joey and Pacey get locked in a store overnight. I was! I think that was the second thing I did after Brick. Why was it very special? Because I’m Team Pacey, of course. [Laughs] I remember I had gotten that job and there was some talk that it would be a recurring character. I actually don’t know much about the show so you can tell me if I’m wrong, but it was late in the show and there was some talk of finding someone to spice it up, like Cousin Oliver on The Brady Bunch. I showed up and I only knew this one weird way to do my job and I had created this really weird guy who has like five lines, but is super weird and stoned, and I think it really went against what they envisioned for their show. I just re-watched it and I think you were quite striking. Besides, you’re now part of television history. I am? Well, those two were always meant to end up together. I’m glad it worked out for them. Joey is Katie Holmes, right? And Pacey is the tall guy? Are you telling me you’re not up on your Dawson’s Creek lore? That’s fine. So — indie movies, mainstream movies — how do you view the two worlds and your place in them? I’m really excited about potentially working on more mainstream movies. I look at a lot of the movies and big filmmakers we now take for granted; if you went back in time and went to Sundance and saw sex, lies, and videotape and then said, “That guy’s going to make three of the most charming, entertaining popcorn movies with the biggest movie stars in the world in it and they’re going to be good and everyone’s going to see and enjoy them,” nobody would believe you. If you went back in time and went to a four-walled midnight screening of Evil Dead and said, “That guy’s going to make Spider-Man movies and they’re really going to get people interested and excited,” nobody would believe you. Did anybody watch Memento and think, that guy’s going to make Batman movies? That’s a really cool thing to me, the potential to up the game. For me it’s even more luxurious because I can be a good actor in any movie; that’s my challenge. I’d better be whatever I need to be – sad, or funny, or believable, or not believable. I can do that in any kind of movie. I can do that for $5 on an iPhone or for $5 million on a big movie, or $500 million on the biggest movie. So it’s not really an argument for me. The argument is really for the filmmaker, and the producers. It’s nice, I’m a worker bee. I get to follow direction, literally. You seem to just really love being a part of it all. I’m really happy to be a part of something. That’s the thing, you have all these people, all these iconoclast and idiosyncratic people, and when it works all of a sudden these disparate things come together into a team sport. Everyone’s fighting to get on the team and to sort of get called off the bench a little bit here is really nice. I just want to do a good job. Speaking of being a part of something, you refer to the New Beverly Cinema in Los Angeles, my favorite theater, as "church." When I first came to Los Angeles and wanted to do something in the movie business I started going to the New Beverly, because that’s where you go. Sherman Torgan, who originally ran it before he passed away, and his son Michael who took it over, have always been very kind to me, and within a couple years of being in L.A. I decided that I’m not really interested in how I’m going to feel if I make a bunch of money or win an award — that’s really fun stuff, that’s awesome, but I’m not really looking forward to that stuff as being watershed events. But if they ever know my name at the New Beverly, if they ever open the door and usher me in and say, “Noah, enjoy the show,” I’ll know that I’ve achieved some success. A couple of years ago Michael and Julia [Marchese] started doing that, and now I feel like a successful person. Now I feel like I belong. Looper is in theaters this weekend. What are you waiting for, go see it! While you're at it, follow Noah Segan on Twitter and Tumblr. Tags: kid blue, looper, Noah Segan Excellent interview. Noah Segan seems like such a genuine and thoughtful individual. There's an earnestness that's apparent in his roles in Brick and Looper that seems to shine through here as well so that's refreshing to see. Kid Blue is a great western, made during Hopper's most creative (and drug fueled) times. Glad Rian's referencing it (I was sold on him after Brick and 'Fly'). Preacher Bob says: "Church". Brilliant. Very excited for Mr. Segan's future. Loved him Brick, Bloom & Looper especially. Keep up the great work, sir! Hello there, I found your site by means of Google while looking for a related matter, your site came up, it seems great. Hello there, simply was aware of your blog through Google, and located that it's really informative. I'm going to watch out for brussels. I'll be grateful when you proceed this in future. Lots of people will probably be benefited out of your writing. Cheers! trygil says: Hello there, I found your site by means of Google while looking for related matter, your site came up, it seems great. I have bookmarked it in my

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Home > Sustainable Land Use > Contour Line Barriers A Sustainable Strategy for Climate Change Adaptation The northwestern region of Costa Rica is facing a historic drought that has left many residents with limited access to potable water, leading to protests calling for government intervention. Climate change and the El Niño phenomenon is exacerbating the problem. Proposed responses include building a dam, which would cause extensive damage to delicate ecosystems, or limits to water withdrawals, which would jeopardize sources of income for Guanacaste’s families while addressing only one aspect of the water shortages. ROW is offering an alternative, sustainable approach to confronting Guanacaste’s water-related challenges – the use of green techniques to capture more rainwater and recharge vital aquifers. Although 2014 was the province’s driest year since 1937, with about 75% less rain than historic averages, the areas most affected by drought still received 35 inches (890 mm) of rain. We measured 60 inches (1524 mm) in the Nandamojo. In comparison, the wettest U.S. state, Hawaii, receives an average of about 64 inches annually. Guanacaste’s water shortages are not caused just by a lack of precipitation; we believe that not enough rainwater is being captured. There are simple, effective and proven strategies to increase the percentage of rainfall that recharges groundwater supplies. In 2014, we helped 21 landowners plant living contour line barriers that are one way to do so. They also sequester carbon and improve soil fertility. The idea is catching on, and friends and family members of the original 21 landowners have been reaching out to ROW for assistance in adopting this technique. We’ve helped six more families plant living contour barriers so far in 2015, and we hope to reach ten more before the year ends. Positive change is happening in our watershed, and ROW’s success will provide a template for other areas in Guanacaste. Follow us on Facebook for updates and pictures as we help Nandamojo residents take control of their future. Just $20 enables us to plant 100 individual stems of vetiver grass, a "super plant" that harvests rainwater, restores fertility and sequesters carbon.

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Still ascending Stairway On this day in 1983, Jimmy Page became the first member of Led Zeppelin to perform "Stairway to Heaven" live after the band's breakup. Having closed the first side of the group's all-time bestselling album and become one of the most recognizable and popular songs of the entire era, "Stairway" has inevitably been a recurrent yet seldom fulfilled request at the concerts of Page and coauthor Robert Plant. Its inclusion became an inevitable choice for solo sets by Page on Sept. 20 and 21, two shows held at the Royal Albert Hall in London to raise money for the charity Action and Research for Multiple Sclerosis. The charity funded research and provided treatment for the neurological disorder that affects hundreds of thousands of people. At the helm of the concerts was Ronnie "Plonk" Lane, who had played bass for the Small Faces and founded the Faces and was then living with MS. Lane organized the benefits and enlisted a little help from his friends, becoming the poster boy for MS until his death in 1997. It spoke to the power of his pull that he was able to recruit some of the biggest names in British rock. The luminaries joining Page onstage at the event were Eric Clapton, Steve Winwood, Jeff Beck, Bill Wyman, and Kenney Jones, who had played drums for the Small Faces and the Faces for 10 years before replacing the late Keith Moon in the Who. The night was notable not only for the first live "Stairway to Heaven" by any former member of Led Zeppelin but it was also the first onstage gathering of all three infamous lead guitarists from the Yardbirds. Clapton and Beck had each been releasing music under their own names for well over a decade, whereas Page's post-Zeppelin solo career to that point consisted only of the 1981 soundtrack album for the film Death Wish 2. Following the sets by Clapton and Beck, Page began his own with some of that soundtrack material, starting with the instrumental "Prelude," based on a melody by Frederic Chopin. Winwood joined Page and a small backing band to sing "Who's to Blame" and "City Sirens." After those, Page strapped on his Gibson double-neck guitar for that instrumental version of "Stairway to Heaven." Part two of this edition of "On This Day In Led Zeppelin History" was called "Zeptember milestones in concert ticket demand," focusing on achievements in ticket sales in 1980 and 2007. It also highlighted Led Zeppelin News topics that were current at the time. Posted by Steve Sauer Users agree to avoid posting profanity and defamatory comments. Subscribe to updates via RSS Subscribe to updates by e-mail Subscribe to LedZeppelinHistory Browse Led Zeppelin History by year The pre-Zeppelin years: Ancient history The Led Zeppelin years: 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 The post-Led Zeppelin era: 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 The Page/Plant era: 1994 1995 1996 1997 1998 The post-Page/Plant era: 1999 2000 2001 2002 2003 2004 2005 2006 The second coming of Led Zeppelin: 2007 The post-second coming era: 2008 2009 On This Day In Led Zeppelin History is dedicated to one mammoth rock band, its original members, its manager, and to all those who carry on the band's legacy. Originally sent via e-mail daily from 1998 to 2003, each edition concentrated on one historical event for that day of the calendar year. Today, the newsletter continues to commemorate special occasions in great depth. Its current subscriber base numbers in the thousands, exemplifying the lingering popularity of the group labeled 15 years after its breakup "The Most Important Band in the World ... Today!" It was through this newsletter that, in 2001, Steve first caught the attention of Led Zeppelin's John Paul Jones, who provided a four-hour interview that is thought to be his most extensive in longer than two decades. The newsletter is located online at www.OnThisDayInLedZeppelinHistory.com. Steve "The Lemon" Sauer is a writer and musician based in Boca Raton, Fla. He is currently a contributing writer and consultant for Get the Led Out, a weekly syndicated radio program hosted by Carol Miller and syndicated in 100 U.S. markets including New York and Los Angeles. He also provides content for a Web site associated with the radio show, www.LedZepOnline.com. Although Steve was barely a year old when Led Zeppelin broke up and it took him until his teen years to become a true Led Zeppelin fan, he quickly made up for it. At age 18, he began publishing On This Day In Led Zeppelin History, a daily newsletter detailing the interactions of members Jimmy Page, Robert Plant, John Bonham, John Paul Jones, and their manager, Peter Grant. Steve maintains one other long-running online publication about Led Zeppelin. To monitor the ongoing careers of the band's surviving members, Steve launched Lemon Squeezings: Led Zeppelin News, located at www.LedZeppelinNews.com. In 2007, he covered the lead-up to the band's reunion concert at the end of that year, and he has closely examined every rumor of a followup tour since then, often dispelling or clarifying misinformation perpetrated by the mainstream media. Using his journalistic training, Steve has also uncovered some facts and accounts previously unreported elsewhere. As a backup vocalist and keyboard player, Steve often appears onstage with various bands. He has performed with three cover or tribute acts performing the music of Led Zeppelin. Do you have a news tip to share with Steve? Do you have something you would like him to write about? Would you like to book him for a speaking engagement? He can be contacted by e-mail at Steve at LedZeppelinNews.com. Lemon Squeezings: Led Zeppelin News Announcement: Why this site hasn't been updated - Two words: Life changes. During my very first hour visiting in Clarksdale, I met some traveling musicians who had just met up with a friend and were going ... Twitter / LedZeppelinNews

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Ukrainian military shoots down Russian drone in Do... Ukrainian army lost 191 fighters in 2017 74 Ukrainians come home from Donbas in POW exchang... Reminiscent of Nazi era? German police forced to e... Pope Francis asks for peace in Ukraine in Christma... The monument created by electrotyping tech in Polt... US will provide anti-tank weapons to Ukraine, Stat... STATEMENT BY SASC CHAIRMAN JOHN McCAIN ON TRUMP AD... Ukraine accuses government interpreter of spying f... White House on approval of U.S. arms export licens... Sobchak says civil war to start in Russia if Crime... An imperial visit in photos: Czar Nicholas II in S... The chain of furniture stores and home furnishings... The battleship Poltava - a naval memory of the Bat... Statement by the Ministry of Foreign Affairs of Uk... A postcard dedicated to the Treaty of Portsmouth P... U.S. defense budget for 2018 authorizes provision ... Polish, Ukrainian Leaders to Hold Icebreaker Meeti... 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Ukrainian Delegation in Sweden to Learn about Ener... Statement by the Ministry of Foreign Affairs of Ukraine on the 43rd anniversary of the UN GA resolution 3314 (XXIX) "Definition of aggression" December 17, 2017 (Web Portal of Ukrainian Government) For the fourth consecutive year, the Ministry of Foreign Affairs of Ukraine has been drawing attention of the international community to the anniversary of adoption of the UN General Assembly Resolution 3314 (XXIX) "Definition of aggression". This document has enshrined the principles of international law, recognized by the international community, that prohibit aggression in all its manifestations. The use by the Russian Federation of its armed force against the sovereignty, territorial integrity and political independence of Ukraine contrary to the principles of international law, including those enshrined in the UN Charter, is a classic case of aggression. We consider as exceptional cynicism the fact that the aggression against Ukraine was planned, prepared and unleashed by the Russian Federation – the guarantor state of Ukraine's sovereignty and territorial integrity under the Budapest Memorandum. The consequences of the Russian armed aggression against Ukraine are the occupation of the part of the territory of Ukraine - the Autonomous Republic of Crimea and the city of Sevastopol, certain areas of Donetsk and Luhansk regions; ongoing gross and numerous violations of human rights on the occupied territories; more than 10,200 dead and 24,500 wounded citizens of Ukraine; the death of 298 passengers of the MH17 flight; destroyed residential buildings and vital infrastructure; over 1,5 million internally displaced persons. Gravity and scale of the internationally wrongful acts being committed by the Russian Federation against Ukraine are striking and continue to grow. As history testifies, such acts result in responsibility, and both the Russian Federation and its supreme leadership shall inevitably be brought to justice. In this regard, Ukraine welcomes the continuing efforts of the international community to penalize the international crime of aggression in the Rome Statute of the International Criminal Court. The amount of ratifications of the Kampala Amendments, accomplished in 2017, and their subsequent activation is a proof of the will of the international community to deal resolutely with acts of aggression. We call on the Russian Federation to comply with the UN General Assembly resolutions 68/262 and 71/205 and to put an end to the armed aggression against Ukraine. We also request the Russian Federation to withdraw from Ukraine its regular armed forces, the illegal armed groups, mercenaries controlled, commanded and financed by the Russian Federation, its weapons and military equipment, to render void all acts aimed at legalizing the attempted annexation of the Autonomous Republic of Crimea, the city of Sevastopol, as well as the puppet regimes of the aggressor state in the occupied territory of Donetsk and Luhansk regions. Ukraine appeals to the international community to stand together against attempts of aggressor states, including the Russian Federation, to use aggression as a foreign policy instrument and to impose uncivilized and destructive for the world order and human values rules. We call to the international community to undertake all necessary measures to strengthen widely recognized principles of peaceful coexistence among states and respect for their sovereignty and territorial integrity.

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Great Lakes Swimmers “get it” Written by Kim Lunman posted on September 12, 2009 22:26 When Ian Coristine, who joined Paul Malo and Michael Franklin in creating Thousand Islands Life in 2006, identifies someone as “getting it”, you can be sure that they are being paid a true compliment. Ian, who is one of the most creative photographers on the River, feels strongly that recognizing the Thousand Islands for its beauty – in pictures, art and music - should be celebrated. We welcome Great Lakes Swimmers back to the region and look forward to a wonderful relationship with them into the future. DARK ISLAND N.Y. Dawn breaks over Dark Island. The sails from the tall ship snap in the morning breeze as the crew responds to the captain’s commands. A castle is on the horizon. A scene from a new Hollywood pirate movie? Not quite. This spectacular setting on the St. Lawrence River is the backdrop for Toronto folk band Great Lake Swimmers newest music video. Bytown Brigantine's Fair Jeanne, a tall ship that offers adventure voyages for adults and youth was the stage for the music video. Shooting began before the sun rose and continued for two days in several different areas within the Thousand Islands. The group has returned to the Thousand Islands for the third time in a year – this time to film a video for the song Palmistry. The band is promoting its critically acclaimed album Lost Channels, which has been nominated for Canada’s prestigious Polaris Prize to be announced in Toronto later this month. Lead singer Tony Dekker is waking up to familiar waters after returning from a tour ending with a concert in Ann Arbor Michigan to board the Fair Jeanne in Brockville Ontario. The Bytown Brigantine tall ship – owned by Ottawa developer Simon Fuller – set sail in the middle of the night with the band and a film crew aboard for the filming. The soft-spoken 33-year-old native of Wainfleet Ontario seems oddly at home here, relaxing in the tall ship’s "man catcher,” a safety net below the bowsprit and studying islands on a nautical chart on deck between takes. But his introspective lyrics underscored in songs such as Your Rocky Spine and Pulling on a Line make this musician more poet than pirate. His voice invites comparisons from music critics to that of another Canadian folkie: Neil Young. Lost Channels has set Great Lake Swimmers sailing up music charts this year. Their music caught the ear of NBC news anchor Brian Williams who interviewed Dekker in New York City this summer and listed the band on his top five play list, BriTunes. And the album is among 10 Canadian albums short-listed for the Polaris Prize to be announced Sept. 21 at a gala awards show will air on Much Music on Sept. 26 at 9 p.m. EST. The Polaris Prize recognizes excellence in the Canadian recording industry by singling out one album based on artistic integrity rather than sales, affiliations or genre. “It’s nice to be recognized and honoured, of course,” says Dekker of the nomination in an interview aboard the Fair Jeanne during a break in filming the band’s newest video. He wrote the track River’s Edge on Lost Channels when he was recording tracks on the album here last year. “I’m constantly writing,” he says. “When you write a song, you’re never sure where it’s going to go or how it’s going to affect someone.” Dekker counts Hank Williams, Joni Mitchell and Leonard Cohen as some of his biggest musical influences. Dekker attended two of Cohen’s concerts in the past year. “He’s a great guiding light in music as a Canadian and a songwriter,” he said. Great Lake Swimmers recorded tracks from Lost Channels in the Thousand Islands last fall, including Dark Island’s Singer Castle, St. Brendan’s Catholic Church in Rockport and the Brockville Arts Centre. The band named its fourth album after the Lost Channel in the Thousand Islands and returned from a European tour to stage a free concert in Brockville – the City of the 1,000 Islands – in June. The Lost Channel is an area of the river under the Canadian span of the Thousand Islands Bridge where a naval boat with 14 men vanished in 1760. Great Lake Swimmers connected to the area through Thousand Islands photographer Ian Coristine, who suggested their ambient folk music might find a natural backdrop in the region known for its fabled castles, cottages and more than 1,800 islands dotting the St. Lawrence River. It’s not a tough sell. “Having a day’s journey on a tall ship just seemed like a natural thing to do,” said the band’s general manager Phil Klygo of the shoot that involved a sail from Brockville to Dark Island and Rockport and back. “It makes perfect sense. This story still seems as if it’s still being written. That’s part of the fun of it all and the adventure.” “It was awesome,” said drummer Greg Millson. “It was one of the coolest days I’ve had in a long time. Absolutely beautiful.” “I didn’t even know the Thousand Islands were where they are,” said the Winnipeg native. “I had no idea there were castles here.” Industrialists used to be considered the region’s rock stars. The area was a playground for wealthy business barons who built castles and elaborate summer retreats in the late 1800s and early 1900s during the area’s Golden Age. Frederick Bourne president of the Singer Sewing Machine Company, built Singer Castle on Dark Island in 1904. Now owned by Vladi Private Islands and operated by Dark Island Tours, it is open to the public for tours and weddings between May and October. George C. Boldt, proprietor of New York’s Waldorf-Astoria, built Boldt Castle for his wife Louise but halted construction in 1904 when she suddenly passed away. The never-lived-in castle on Heart Island – now being refurbished – is a major tourist destination. The Great Lake Swimmers’ music video will put a spotlight on the Thousand Islands. As the Fair Jeanne sails past the Brock Isles back towards Brockville, the band prepares for their next journey: a U.S. tour including concerts in New York City and Los Angeles in an ongoing musical voyage that will bring it back to the St. Lawrence River. By Kim Lunman, kimlunman@thousandislandslife.com Kim Lunman is a member of our TI Life team. An award-winning Canadian journalist who lives in her hometown of Brockville, Kim has written a number of articles for our online magazine and several have covered visits by the Great Lakes Swimmer. The first was in October 2008, and that was followed by Navigating Lost Channels in June 2009 . These articles were followed by Ian Coristine’s tribute to the band written in May, 2009 with Masts Motors and Music. Kim spent many hours this summer on the River meeting islanders, river captains and even Admirals. Over the winter we will meet many of them. Posted in: Artists Comment by: Phil Klygo (weewerk) ( ) Left at: 8:35 AM Tuesday, September 15, 2009 Many many thanks to Kim for the story, Ian Coristine for his creative input & hospitality and to the Fullers (and the crew) for the use of their magical tall ship Fair Jeanne. Great Lake Swimmers had an amazing time during the video shoot, and it was an absolute pleasure spending the day out on the St. Lawrence River. Comment by: heather Left at: 11:20 PM Tuesday, September 15, 2009 Would love to see the video when available? Left at: 8:27 AM Friday, September 18, 2009 Hoping to have the video ready for an October debut, will post the date once it's confirmed. thanks for the interest Phil Comment by: Janice Laprade ( ) Left at: 9:39 AM Saturday, September 19, 2009 Thank you, Kim, for yet another article that focuses on the varied talents found here in our 1,000 Islands. It is a credit to Ian, and Simon to take the unique and gifted talent of the Great Lake Swimmers and bring them to this region to blend the two into something much bigger. Can hardly wait for the video release and for all who see it to say..where is that? and Let's go! Happy days on the river.. Comment by: Sheila Striemer ( ) Left at: 11:11 PM Saturday, October 3, 2009 We were fortunate to have been drawn out on the river after seeing this beautiful tall ship from our cottage window, the morning of August 31, 2009. Imagine our amazement as we observed the musicians aboard!! We thought that may have been Ian (with his camera) on top of the cabin. Thrilled to find this article and pictures!

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Kiev Names Minister Apr. 18 1998 00:00 KIEV -- President Leonid Kuchma on Friday named career diplomat Borys Tarasyuk as Ukraine's new foreign minister, replacing Hennady Udovenko, who quit earlier this month to take up a seat in parliament. "Mr. Udovenko cannot be both a minister and a deputy," Kuchma said at a Foreign Ministry meeting, appearing in public with Tarasyuk for the first time since he was appointed to the post. "But the departure of Mr. Udovenko does not mean there is a change in the course of Ukraine's foreign policy." Tarasyuk, 49, had been ambassador to the Benelux countries until being given the new job. He will continue to serve in his new post as Ukraine's representative at NATO.

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Photvoltaics (PV) » Author Topic: Photvoltaics (PV) (Read 10012 times) Re: Photvoltaics (PV) Seraphim Solar Increases Module Production Capacity to 360 MW To Meet Growing PV Demand By Renewable Energy World Editors US-based solar PV module manufacturer, Seraphim Solar , announced last month that it is on target for its planned Phase 2 expansion, which would add 200 MW of manufacturing capacity to its existing 160-MW facility. In addition, the company said that its high-efficiency, 60-cell solar modules, designed for the residential distributed generation market, are available for purchase in addition to its 72-cell module offering. The company’s rapid growth rate significantly contributes to the local and national economy, and continues to provide more jobs for Americans, said Seraphim. The company is partnered with the city of Jackson, Mississippi to recruit employees and local companies. Seraphim Solar’s “Made in the USA” solar modules are expected to meet the strong residential and commercial demand for solar energy. Seraphim said that it is consistently recognized within the highest rankings of the most trusted and most stringent testing organizations in the industry, and is the first module manufacturer to pass TÜV SÜD’s ‘Thresher' test, which was co-developed by the US Department of Energy and the National Renewable Energy Laboratory to measure true long-term performance and safety. The solar energy industry has a strong outlook for 2017. According to Mercom Capital’s most recent industry overview, Total corporate funding (including venture capital funding, public market and debt financing) into the solar sector in Q1 2017 doubled with $3.2 billion compared to $1.6 billion in Q4 2016. Year-over-year funding in Q1 2017 was about 15 percent higher compared to the $2.8 billion raised in Q1 2016. In addition to large-scale solar, electric generating capacity from small-scale solar systems is increasing. In 2016, the U.S. Energy Information Administration (EIA) estimates that the U.S. added 3.4 GW of small-scale solar generating capacity across all three end-use sectors, ending the year with more than 13.1 GW of installed capacity. According to EIA estimates, California, New Jersey, and Massachusetts had the most small-scale solar capacity with 5.4 GW, 1.3 GW, and 1 GW, respectively. http://www.renewableenergyworld.com/articles/2017/05/seraphim-solar-increases-module-production-capacity-to-360-mw-to-meet-growing-pv-demand.html U.S State Politics by AGelbert

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Environmentalism from Below – A guest blog for the Rachel Carson Center Posted on August 28, 2014 by Jan By Marianna Dudley This August, I flew to Edmonton, Canada, to participate in a workshop organized by Jonathan Clapperton and Liza Piper at the University of Alberta. ‘Environmentalism from Below: appraising the efficacy of small-scale and subaltern environmentalist organizations’ brought twenty scholars from diverse scholarly backgrounds together to discuss each other’s work. Papers of 7,000 words had been pre-circulated, and we will continue to work on them for submission to an edited volume in the new year. The workshop was funded in part by the Rachel Carson Center, and I was invited to blog about it for them here: http://seeingthewoods.org/2014/08/26/environmentalism-from-below/ The workshop (and paper) was an excellent opportunity for me to think through the research I began with this project, looking at our use of water for recreation. Through my work I have identified a contestation of rivers by different recreational user groups, in particular anglers and paddlers/canoeists. My paper ‘Clear water, muddy rights: accessing British rivers for recreation’ suggests that historical notions of right use, insider/outsider identification, and contrasting philosophies of water as place and resource contribute to this ‘conflict’. To me, the campaign group Rivers Access for All (http://www.riveraccessforall.co.uk) can be seen as an environmentalist organization, though they identify themselves first and foremost as a recreational interest group. However, by working to assert a public right of navigation on Britain’s waterways and challenge current legal definitions of water-use, they are campaigning for a reconfiguration of how we use, protect and define water that recognizes those in and on the water, in addition to those who own or pay to use the riverbank. In effect, they are working towards a more holistic and all-encompassing definition of water than currently exists in British law, in which rights of property are privileged, and where the riparian owners also own the riverbed and water flowing over it. It is a complex issue, and I have been grateful for the help of my colleagues Chris Wilmore and Antonia Layard in the Law Department (University of Bristol) for helping me navigate the legal complexities of the subject. The Rivers Access to All campaign, the contestation of water and the history of the dynamics between anglers, swimmers and canoeists have become a major focus of my research on the Power and Water project and I am very thankful to Jonathan and Liza for giving me the opportunity to present my research in an early stage. I will continue to work on these issues as the project evolves, so if you have any thoughts on recreational use of British rivers, legal definitions of water access and use, or any personal experiences of angling, swimming or paddling on rivers, do get in touch via the comments or twitter (@DudleyMarianna). Northumberland’s ‘Hardest’ Geordie forces us to think about Landscape Art and the Definition of a Beautiful Landscape Posted on August 28, 2014 by Jan One comment By Leona Skelton During my summer holiday in Northumberland, I visited the relatively new land sculpture, Northumberlandia, near Cramlington. Northumberlandia could certainly handle herself in Newcastle on Tyne’s drinking and clubbing centre, the Bigg Market, containing 1.5 million tonnes of rock, soil and clay, towering 100 feet high and measuring a quarter of a mile long. Changing with the seasons, and designed to mature over generations, she reflects the local people’s relationship with the environment, providing a welcome sanctuary for dog walkers, tourists and hill walkers, notably to the exclusion of cyclists. This ‘Lady’, covering a 46-acre, free access, community park, and containing over four miles of footpaths, is certainly worth a visit. As can be seen in the photos, she is perhaps best appreciated from the air, but the majority of her visitors don’t own private choppers, so they wander the ground – under her nostrils, along her fingers, over her brow and down her legs. It certainly makes for an unusual (and completely free) day out. Northumberlandia’s Face (Photo: Leona Skelton) The landowner, the Blagdon Estate, with the Banks Group, a Durham-based land development and mining company, funded the £3 million project privately to sugar the pill of restoring the neighbouring Shotton surface coal mine, which is now back in operation, feeding the UK energy industry. The site is now maintained by the Land Trust, with the support of Northumberland Wildlife Trust. Inspired by the adjacent Cheviot Hills, which are renowned for their gentle curves and majestic presence as they watch over the county, Northumberlandia was designed by her creator, the American born architect Charles Jencks, to celebrate the female form. Jencks describes the site as a ‘cosmic setting’, explaining that through his work, he attempts to find relationships between ‘the big and the small, science and spirituality and the universe and the landscape’ – quite an ambitious brief! Northumberlandia’s Right Hand (Photo: Leona Skelton) The tourist attraction, which presents a very tangible and graphic example of a human impact on the landscape, inspired me to think about: landscape protection and damage; the definition and definitions of a beautiful landscape; nature, sculpture and art; and how we have forged, continue to forge and, indeed, to express our ever-changing relationship with the environment. In December 2013, shocking statistics were aired in the media, confirming that UK golf courses took up more land than UK homes. To take golf courses as an example, does constructing them damage or enhance the environment? It’s a hugely controversial and ultimately subjective question. Many golfers would argue that a well-tended and pristine golf course is a form of landscape beauty in itself, as they genuinely appreciate, admire and enjoy the environment of manicured fairways and greens, artificial lakes and ponds and sculpted bunkers filled with clean and soft sand, the hallmarks of an impressive golf course, for which a substantial number of golfers are prepared to pay large sums of money. How many golfers, however, object to the extensive use of pesticides, weed killers and machinery to obliterate nature and effectively sculpt the landscape in order for them to play their apparently land greedy game? Can both a golf course and wild flower, moorland wilderness be beautiful, admired and cherished? The answer is yes, but the respective groups of admirers, I guess, would be almost mutually exclusive. Northumberlandia reminded me of the land art which appeared across the beautiful, albeit agricultural, landscape of the Yorkshire Dales during Le Tour de France in July 2014. The project, Fields of Vision, produced twelve pieces of artwork, which were created on the hillsides visible from the cycle route, with the intention of entertaining the cyclists and spectators, as well as showcasing Yorkshire proudly to the world in no uncertain terms. Co-ordinated by Pennine Prospects, a rural regeneration company for the South Pennines, the artworks were produced by artists, young farmers, scientists, cyclists, communities and landowners. The giant images included a flat-capped farmer, one man and his dog, a poem and the image of a bike, literally worn into the hillside by a plethora of cyclists following a designated track in the shape of a bike. Transforming the landscape into art is not a new concept, having been an expression of human relationships with the environment since ancient times. The giant man engraved into a chalk hill above Cerne Abbas in Dorset is believed to date back to the Iron Age. If we are to develop our understanding of human relationships with the environment, perhaps these very obvious expressions of human culture, installed into the landscape to communicate a particular and enduring message, using the land itself as a medium for communication, might be a good place to start. Finally, as I can’t possibly write a blog without referring to my current Tyne project, the Jetty Project’s ‘Cone’ sculpture, recently erected on Dunston Staiths, is also well worth a visit. It dominates the Tyne riverscape in a powerful and deeply symbolic way, I’m sure you’ll agree. http://www.northumberlandia.com Aerial View of Northumberlandia: http://www.lbc.co.uk/britains-newest-and-biggest-tourist-attraction-59229/view/26887 http://www.banksgroup.co.uk/banks-group/banks-mining BBC Magazine: ‘How much of the UK is covered in golf course?’ [24/12/2013] http://www.bbc.co.uk/news/magazine-24378868 http://letour.yorkshire.com/news/fields-of-vision BBC News, England: ‘Aerial artworks for Tour de France in Yorkshire’ [09/06/2014] http://www.bbc.co.uk/news/uk-england-27768253 http://www.nationaltrust.org.uk/cerne-giant/ http://jetty-project.info/art/cone/ Dunston Staiths: Industry as Art in the Landscape of the Tyne Posted on August 15, 2014 by Jan Leave a comment By Jill Payne As part of their Newcastle trip in June, the Power and Water team walked through Riverside Park to Dunston Staiths with Dr Angela Connelly from the Jetty Project and David Fraser, industrial heritage researcher. Does energy infrastructure have to be redundant before it can be accepted as integral to the landscape? Dunston Staiths is an iconic window into the age when coal was king on Tyneside. Built in the 1890s and finally closed in 1980, it’s a towering wooden structure that facilitated faster coal loading onto the ships that lined the Tyne at Gateshead before hurrying their cargoes to London and other industrialising centres hungry for fuel. In 2013, the Heritage Lottery Fund awarded nearly £420,000 to the Tyne and Wear Building Preservation Trust as part of an ongoing restoration plan for the Staiths that includes improved public access and enhanced engagement with Newcastle’s coal heritage. The funding also envisions the ‘reconnection of the Staiths with the surrounding saltmarsh and wider natural heritage’. Dunston Staiths at low tide. Photo: Jill Payne The Staiths, of course, has been connected to the riverscape that it looms over ever since its construction; it’s us onlookers who need to be shown how to see it that way. On the whole, energy infrastructure tends to be too large-scale and, well, industrial, for many of us to view it as anything more than non-natural and detached from nature – and quite often, nowadays, detached from people and communities too. Dunston Staiths, now a scheduled monument and Grade II-listed building, reminds us that today’s ‘eyesore’ energy infrastructure may be tomorrow’s cultural heritage site. Some 35 years after the Staiths’ working life ended, it’s not difficult to view it as a grand addition to the public art dotting Riverside Park as it spools out from the centre of Newcastle. Here, works like Andrew McKeown’s ‘Riverside Rivets’ (2010) – giant rivets strewn alongside the path – anticipate the Staiths further upriver and remind us that people were working the riverbank long before we relaxed along it. Andrew McKeown’s ‘Riverside Rivets’ (2010). Photo: Jill Payne As energy production methods change, the redundant infrastructure of past technologies – so often super-sized and out of scale – builds up around us. The more structurally viable of these constructions can be reinterpreted to excellent effect: viz the stunning spaces of Tate Modern, formerly London’s oil-fired Bankside Power Station. Others are more challenging: the cooling towers of Richborough Power Station in Kent were demolished in 2012, although not without debate and commemoration. As heritage technology, we can deal with energy infrastructure – celebrate it, even. If it must be demolished, there is likely to be at least some concern expressed for the loss of landmarks and historical markers. Over the years, layers of meaning can be attached to any physical presence; time and socio-cultural associations can help us to smooth over the disconnection between us and the energy structures that have sustained us. However, over and above the comfort engendered by familiarity, it seems that we may be more accepting of energy structures as integral to our communities and our landscapes once they are no longer fit for their original purpose. Are we better able to appreciate them once they are presented to us outside of their original, workaday context? What, then, does this say about our responses to the infrastructure that currently supports us – solar panels, wind turbines, nuclear reactors – or, like fracking mechanism – may do so in the future? More about Dr Angela Connelly’s Riverside Art Walk with the Power and Water team and David Fraser here. Regenerating a river: how the future of the River Tyne could be its past Posted on August 15, 2014 by Jan 4 comments By Erin Gill I’m not the first – or even the thousandth – person to feel that there is something genuinely thrilling about the view from Newcastle’s quayside across the River Tyne to the enormous, undulating Sage Gateshead. It’s a view that is supported, rather than undermined, by the much older architecture of St Mary’s church, which is immediately adjacent. The view is enhanced further by the way both buildings are framed by the glorious bulk of the Tyne Bridge and by the double curve of Gateshead Millennium cycle & footbridge. Seeing it again recently with colleagues from the Power & the Water environmental history network, I felt a surge of gratitude toward the many individuals – none of whom I know – who made this ambitious plan for the Gateshead riverside a reality. My guess is that a good many of them were – or are – employees of Gateshead City Council or other organisations currently under pressure as England operates under the grip of public sector ‘austerity’. The renewal of the Gateshead portion of the Tyne riverside isn’t something that was bound to happen. It takes a city – or two, perhaps a whole region? – filled with determined and rather ambitious people to turn an urban regeneration project of this scale into a lasting success. I have lost count of the number of times people I know from the North East have told me what a wonderful place the Baltic-Sage-Millennium Bridge-Newcastle Quayside area is. They usually add that when they were young (or when their parents were young – it depends on the age of the speaker) that the area was too rough for them. ‘You didn’t go down there.’ Their comments have made me wonder about the now-erased urban industrial waterfront. I particularly wonder about its decline. My friends’ comments suggest there might have been a time after the waterfront’s heyday as an industrial workspace, when it was in decline and when it became less a place of work and more one of malicious mischief, a place of danger after dark, and sometimes during the day. Is this accurate? Newcastle castle keep across the Tyne to Gateshead, 1950s. Sage Gateshead with Tyne Bridge in foreground. Photo by Christine Matthews, Geograph I wonder also whether I have understood the regeneration story correctly. First was Gateshead Millennium Bridge, beautiful to look at, but even more exciting to use. Designed by architects Wilkinson Eyre, it opened in 2001. Next was Baltic Centre for Contemporary Art, creating a new use for a derelict flour mill. Completed in 2002 it was first imagined by public sector body, Northern Arts, in the early 1990s. Then in 2004, the stunning Fosters & Partners-designed concert hall, Sage Gateshead, opened. Gazing at it initially from the Newcastle side, I was reminded that the North East is a region that has a history of ‘big’, ambitious structures – from the Tyne’s many bridges to Durham Cathedral to the now Grade II*-listed Byker housing estate, completed at the end of the 1970s. Given the enormous scale of Sage Gateshead, it’s a good thing that Fosters’ design proved so successful. The Sage looks ‘made’ for its setting. By contrast, the architectural horror that is the Hilton Newcastle Gateshead and several of the identikit blocks of flats recently built on both sides of the Tyne in the vicinity of the Baltic do not inspire. Too much more of this type of mediocrity and the Tyne riverside running through Newcastle & Gateshead risks looking as awful as London upstream from Vauxhall Bridge. Having created a cultural zone on the Gateshead side, complemented by the social zone of Newcastle quayside with busy nightlife and handsome Victorian municipal architecture, is there anything missing? I wonder if the time has come for the Tyne’s industrial heritage to be made more visible. Not with some twee quayside museum. That wouldn’t do, and surely has been considered and rejected already. I’m imagining something that says: “this was a big and mighty working river, a liquid highway. Today, it may be a river of leisure, but not long ago it was a river of graft.’ Part of Dunstan Staiths, Gateshead. Photo: Erin Gill The ideal opportunity is already there, on the riverside: Dunstan Staiths, that incredible wooden structure a bit upriver from the Sage, also on the Gateshead side. It was built as the final link in a network that allowed coal mined in the North East to be transported by rail and loaded onto ships. From Dunstan Staiths coal was carefully cascaded into waiting boats. Now standing mute, Dunstan Staiths is a testament to the North East’s history as the source – for a short time – of the world’s coal. There were dozens of these huge wooden structures along the river. Only Dunstan Staiths remains, and it only partially. Can it be revived and protected in some imaginative way? Now that the heart of Newcastle’s and Gateshead’s urban riverside has been re-cast as a cultural and social space, can’t the next project remind residents and visitors of the past? Of the machines, the pollution and the toil of working people. Seeing is Believing?: Nina Canell’s ‘Near Here’ and Unearthing the Flows of Connectivity Baltic Centre for Contemporary art, Gateshead. Source: Wikimedia Commons One of the many river-related places we visited during our team meeting in Newcastle in early June 2014 was the Baltic Centre for Contemporary Art (est. 2002), which lies at the foot of the Millennium Bridge on the river’s Gateshead (south) bank. Our visit was rather rushed. The art had to be squeezed in between returning from our cruise downriver on the Clean Tyne Project’s vessel and a hasty pie and pint back on the north bank at The Red House, before heading out of town for a walk along the south branch of the Tyne. Fortunately, my own lightning and hopelessly incomplete tour did encompass a Level 2 Gallery exhibit by Swedish artist Nina Canell. ‘Near Here’ (18 April to 20 July 2014) was a collaboration with Camden Arts Centre, where it was developed and had featured earlier this year. Camden’s ‘Family Guide’ to Canell’s installation explained that she’s ‘fascinated by forces that affect us every day but that we can’t see with our eyes – things like electricity and air. If we can’t see them, how do we know they exist?’ The Baltic’s website introduces the exhibit in more traditional ‘artspeak’: ‘Transforming electrical currents [and] atmospheric elements into sculptural components, her assemblages fuse matter, radiance and sound to create delicate and ephemeral testing grounds’. What was uppermost in my mind during what were literally a couple of minutes spent with her work was (naturally) the idea of connectivity. Environmental connectivities reside at the heart of our project and supply the ties that bind together our three strands. We are constantly on the lookout for these ties (and glue), which usually reside underground or beneath the surface, like the infrastructure of sewage pipes, water pipes and broadband Internet cables, not to mention the electrical wiring and plumbing within the walls and under the floorboards of where we live. Where the analogy breaks down, though, is that in our research materials, not all of these connections between point of supply and point of consumption are in fact connected or ‘live’. ‘Near Here’ takes materials like cables, steel, water, concrete and voltage to create sculptural materials that blend matter, light and sound. The Baltic’s press release (17 February 2014) explained that her work gives ‘substance to the intangible and lightness to the physical’. What it also does is render the invisible visible, and brings the apparently far away closer to us (near here?). The piece entitled ‘Overcoming the Current Resistance’ (2012) – making its first European appearance, having premiered at the Cockatoo Island power plant during the 2012 Biennale of Sydney – comprises a curtain of neon tubes composed of circa 200 elements suspended in a copper frame. The work’s gaseous components create what the release refers to as an ‘ever shifting, pulsing electromagnetic energy field’. The installation that I found most striking, though, was a water-filled tank raised on a frame like a display case (‘Forgetfulness (Dense)’). The exhibit it contained was a suspended length of underwater telecommunications cable that bore an uncanny resemblance to a fat liquorice all-sort with a particularly colourful filling. I was drawn to the combination of power and water, especially to how the heavy object carried its weight lightly within the supporting liquid, which rippled and flashed when it caught the sun. The severed nature of the weighty-looking cable also appealed to me: the power supply had been cut off, literally, from its source, at both ends, and the environing water was destructive rather than life-restoring. And in this project, we’re in the business of re-establishing severed connections. Reading up on Canell after my visit, I was relieved to find that I hadn’t been too reductive in embracing her installations as richly suggestive material for our project (nor in thinking that if we’d commissioned her to make artworks for the project, then this is more or less what we’d have got). I quickly found a reviewer who completely understood its relevance to our project. Through objects such as ‘amputated’ cables, she explained that Canell ‘puts industrial, mundane objects that connect the sources of energy of our modern world into the viewer’s consciousness’.[i] And then I found a video interview in which Canell explained that her aim in ‘Near Here’ is to ask questions such as what is nearness; to use her art to examine notions of proximity and distance; to explore how sound frequencies that do not register on the scale of human hearing can be made noticeable; and to examine and expose the nature of linear forms of connectedness. The electric cable is a highly productive medium for Canell to get to grips with ideas of movement and fluidity. And the severed cable is particularly useful. She wants to find out what happens when you interrupt a connective form – in this case, by chopping up into sections an underwater telecommunications cable. Apart from bringing to mind something edible – a sushi roll bursting at the seams, or a tortilla wrap stuffed with multi-coloured strands – bigger thoughts bubble up: where can art take environmental historians? Can works such as those in ‘Near Here’ deliver a deeper understanding of the flows of water and energy? My closing question, though, is a little wackier, raising questions concerning the sentience, intelligence and hard drive memory storage capacity of supposedly inanimate objects (in this instance, the cables concealed in the walls of classrooms and bedrooms). It’s taken from Camden Arts Centre’s ‘Teachers’ Guide’ to ‘Near Here’. One of the suggested starting points for teachers preparing to visit with a class is this question: ‘Do you think these cables can remember any of the messages they carry when they are switched off?’ [i] Katherine Morais, ‘Nina Canell: New exhibition explores connections that make up our environment’, Artlyst, 29 January 2014, at http://www.artlyst.com/events/nina-canell-near-here-camden-arts-centre The UK National Grid: Environmental Impacts, Consequences and Connectivity Posted on August 5, 2014 by Jan A poster presented at the 2nd World Congress of Environmental History, Guimarães, Portugal, July 2014 By Kayt Button Download high resolution version of the poster. The national Grid in the UK is essentially the transmission system for electricity in the UK. It was built between 1926 and 1933 to scale up the electricity supply of the United Kingdom from small local suppliers providing different frequency and voltage power for a few customers, to an integrated, unified system for all. In order to address the environmental impacts of the national grid both then and now, we need to address the extraction of the fuel, electricity generation, transmission and the usage by the consumer. Initially 98% of the electricity generation was from the coal which had to be mined leaving scars on the landscape. Additional impacts were felt over the UK on landscape which accommodates the vast number of pylons and miles of overhead cables. Other effects were on the rivers, water from which was used to cool the power generating stations. This resulted in heating the water courses changing habitats for the flora and fauna within them. Air quality was also affected, dirt particles, carbon dioxide, sulphurous gasses, water vapours and heat all being pumped into the atmosphere. Over time as the grid has developed, new fuels have been used and the electricity industry has gone through nationalisation, privatisation and numerous parliamentary acts and regulatory bodies, and environmental issues have been addressed in different ways with varying levels of success. Whilst the grid was designed to join everything together giving access to cheap electricity for everyone as the benefits of “economy of scale” were to be realised. The grid is so integrated and accepted that it has almost become invisible. Few people know what fuel is used to create their electricity, or where it comes from, so the environmental impacts of this seem abstract despite using electricity every day. The questions this raises are whether we are actually less connected to our energy supply despite the integrated infrastructure and how this affects our relationship to energy, infrastructure and environment. Posted in Outputs

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JA Beranis Parasite Induced Cancer Donation Form - Adopt a scientist in Siberia Committed to making innovative therapeutic ideas accessible to patients – driven by patient need, independent of commercial potential ReMedys is a not-for-profit entity, founded by biopharmaceutical industry professionals, to drive a novel, collaborative approach for translational research and development. Become the preferred partner to bridge the gap between research and industrial partnering to give new therapeutic options and patients that need them a fair chance. Ensure that promising therapeutic ideas, independent of their commercial potential, become available to patients in need. ...is innovative therapeutic approaches for patients with severe disease without effective treatment. In partnership with academic research and industry experts we strive to secure for our projects the best possible transition from research to clinical proof-of-concept and on to the patients in need. Help us develop a new drug for ALS Help us clinically testing a drug against Neuropathy Help us supporting Scientists fighting against Opisthorchiasis and associated Cancer Risks for Children in Siberia ALS, also known as Lou Gehrig’s disease, is a rapidly progressive, fatal neurological disease,... Diabetic neuropathy (DN) is one of the most common complications of diabetes and occurs when nerve... Opisthorchis or liver flukes are parasitic flatworms that are ingested with incompletely cooked... ReMedys Foundation to initiate a project in Gene Therapy for Amyotrophic Lateral Sclerosis ReMedys Foundation has decided to accompany, on the path towards the clinic, a gene therapy project for the treatment of ALS caused by a mutation in the SOD1 gene (http://www.alsa.org/research/about-als-research/sod1.html, & http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4338957) This project shall be based on the R&D framework in ALS, that ReMedys established one year ago starting with a project from the Weizmann Institute of Science, to clinically reposition Enoxacin. Of note that, in February 2015, the European Medicines Agency granted ReMedys with an Orphan Medicinal Product Designation for the use of Enoxacin in ALS. The Enoxacin project is planned to enter early clinical tests within 2017. The SOD1 gene therapy project is planned to enter the clinic by the end of 2018. Optogenetics for Retinitis Pigmentosa ReMedys to receive support from the Swiss ALS Foundation (Schweizerische ALS Stiftung) The Diabetic Neuropathy project did a big step towards the clinic ReMedys established an affiliate in Russia About Remedys ReMedys Foundation Rue Agasse 54 partner (AT) remedys {DOT} net Copyright © 2016 ReMedys - Partnerships for New Medicines. All Rights Reserved.

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The Golden Age of Radio and Beyond Schedules 1 1940s Radio British Comedy 2 Crime Extra Saturn X Radio American Comedy Crime & Suspense Old Time Gold OTR Posts Tag: Police The Adventure of Sam Spade Detective Posted on March 6, 2011 May 9, 2019 by oldtimeradio Sam Spade is a fictional character who is the protagonist of Dashiell Hammett’s novel The Maltese Falcon (1930) and the various films and adaptations based on it, as well as in three lesser known short stories by Hammett. Dashiell Hammett - Creator of Sam Spade The novel, first published as a serial in the pulp magazine Black Mask, is the only one that Spade appears in, yet the character is widely cited as the crystallizing figure in the development of the hard-boiled private detective genre – Raymond Chandler’s character Philip Marlowe, for instance, was strongly influenced by Hammett’s Spade. Raymond Chandler's Marlowe was influenced by Spade Spade was a departure from Hammett’s nameless and less than glamorous detective, The Continental Op. Sam Spade combined several features of previous detectives, most notably his cold detachment, keen eye for detail, and unflinching determination to achieve his own justice. He is the man who has seen the wretched, the corrupt, the tawdry side of life but still retains his “tarnished idealism”. On the radio, Sam Spade was played by Bogart in a 1943 Screen Guild Theater production and a 1946 Academy Award Theater production. He was also played by Edward G. Robinson in a 1943 Lux Radio Theatre production. The Adventures of Sam Spade The Adventures of Sam Spade ran from 1946-1951 (on ABC, CBS, and NBC) and starred Howard Duff (and later Steve Dunne) as “Sam Spade” and Lurene Tuttle as Spade’s devoted secretary “Effie Perrine”, and took a considerably more tongue-in-cheek approach to the character. Howard Duff played Sam Spade The show ran for 13 episodes on ABC in 1946, for 157 episodes on CBS in 1946-1949, and finally for 51 episodes on NBC in 1949-1951. The series was largely overseen by producer/director William Spier. In 1947, scriptwriters Jason James and Bob Tallman received an Edgar Award for Best Radio Drama from the Mystery Writers of America. Laureen Tuttle played Spade's devoted secretary, Effie Perrine The series had a commercial that is well remembered. Wildroot Cream Oil. Wildroots catch phrase was, “A little dab’l do you.” The melody “Cream Oil Charlie” was copyrighted on 01/27/46 for Tad Dameron & Woody Herman by the Charling Music Corp., New York. Each of the broadcasts were 30 minutes in length. The Sponsor of Sam Spade - Wildroot (German Ad) Dashiell Hammett’s name was removed from the series in the late 1940s because he was being investigated for involvement with the Communist Party. Later, when Howard Duff’s name appeared in the Red Channels book, he was not invited to play the role when the series made the switch to NBC in 1950. Born on May 27, 1894, he was a veteran of World War II, serving as a Sergeant in Alaska. He was a member of the Civil Rights Congress, a liberal political group which was targeted by the Federal Bureau of Investigation (FBI) as being a Communist front. He refused to name contributors to the organization and was sentenced to six months in jail for that refusal. He later became a virtual recluse in the tiny village of Katonah, New York, partly due to chronic health problems. Dashiell Hammett's Grave He died there on January 10, 1961 and, as was his wish, he was buried in Section 12 of Arlington National Cemetery. At one point, FBI Director J. Edgar Hoover attempted to block the burial but was overruled in that attempt. You can hear episodes of The Adventures of Sam Spade on both the Crime & Suspense Channel and Heritage Gold. Happy Listening 🙂 Crime, OTRChandler, Dashiell Hammett, Detective Shows, Gumshoe, Howard Duff, Laureen Tuttle, Marlowe, Murder, Old Time Radio, OTR, Police, Sam Spade1 Comment The Black Museum Radio Series Posted on November 20, 2010 May 9, 2019 by oldtimeradio Opening in 1875, the Crime Museum at Scotland Yard is the oldest museum in the world purely for recording crime. The name “Black Museum” was coined in 1877 by a reporter from “The Observer”, a London newspaper, although the museum is still referred to as the Crime Museum. It is this museum that inspired The Black Museum radio series, produced in London by Harry Alan Towers. From Jay Hickerson’s “The Ultimate History of Network Radio Programming and Guide To All Circulating Shows”, the earliest US broadcast date was January 1, 1952. Thirty nine shows, from the full syndication of fifty two shows, aired over Mutual stations from January 1, 1952 through June 24, 1952 and September 30, 1952 through December 30, 1952. This may be the earliest broadcast of the series worldwide. It was later broadcast over Radio Luxembourg starting May 7, 1953. Radio Luxembourg broadcast sponsored programs at night to England (the BBC was state-owned and had no commercials). The shows were sponsored by Dreft and Mirro (cleaning products). The series continued to be offered in syndication and was heard on AFRTS broadcasts and in the US on NPR stations through the 1960’s, 70’s and 80’s. Some shows were broadcast by the BBC in England in 1994. This murder mystery series was based on true life cases from Scotland Yard’s files. Each episode was based on an item or items of evidence in the museum. Orson Welles hosted and narrated the shows. Mr. Welles opened each show slightly differently but followed a standard format. For example, the show, “The Bathtub”, open as follows: “This is Orson Welles speaking from London.” (Big Ben starts himing in the background). “The Black Museum, repository of death… Here, in this grim stone structure on the Thames which houses Scotland Yard, is a warehouse of homocide, where everyday objects, a piece of wire, a chemist’s flask, a silver shilling, all are touched by murder.” (dramatic music) Following the opening, Mr. Welles would introduce the museum’s item or items of evidence that was central to the case, leading into the dramatization. He also provided narration during the show and ended each show with his characteristic closing from the days of his Mercury Theater of the Air, remaining “obediently yours”. Harry Alan Towers produced the series from scripts written by Ira Marion. Music was composed and conducted by Sidney Torch. The museum was not open to the general public. It’s purpose was then, and still is, for police training, although it did receive a considerable number of famous people, including Sir Arthur Conan Doyle. It is currently used as a lecture theater for the police and like bodies in various subjects of Criminology. But, thanks to Mr. Towers and Mr. Welles, we can still get a glimpse of what secrets are housed in The Black Museum. Listen to The Black Museum of ROK Classic Radio OTR! (From the Old Time Radio Researcher’s Group) Crime, OTRCrime, Murder, Orson Welles, OTR, Police, Radio, Scotland Yard, shows ROK Radio Apps American Comedy Arthur Lowe Barry Took BBC Blue Network British Comedy CBS Comedy Cowboys Crime Dad's Army Detectives Detective Shows Dimension X Dragnet Ernest Kinoy Frank Sinatra Fred Allen George Lefferts Gumshoe Hancock's Half Hour Harry H Corbett Hattie Jaques Ian Lavender Isaac Asimov Jimmy Clitheroe John Le Mesurier Jon Pertwee Men From the Ministry Murder NBC NBC Radio Old Time Radio Orson Welles OTR Perry & Croft Police Radio Ray Bradbury Richard Murdoch shows Sid James Suspense Virginia Gregg X-Minus One Rocky Fortune Radio Show Parsley Sidings The Martin and Lewis Show Copyright 2016 - ROK Classic Radio Network - All Rights Reserved

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For PTCA Members Houses of Hospitality Transforming NextGen History of the PTCA Jobs and Membership PTCA News EMerge Feb. 1, 2019 Click HERE for PTCA Eco-Justice, Earth Care and Conservation News from member congregations! NEW CLIMATE ACTION VIDEO, “Jesus Calls Us.” You can view the video and read more about it on the Presbyterian News Service today: https://www.presbyterianmission.org/story/jesus-calls-us-video-addresses-climate-crisis/ Presbytery of the Twin Cities Area About the Presbytery Presbytery Mission Presbytery Ministries Presbytery Committees Other PTCA Resources Resource Center for Churches Six New Things Minnesota Council of Churches News for the Synod of Lakes and Prairies EMerge is a newsletter of the Presbytery of the Twin Cities Area. Through most of the year it is published weekly and distributed to congregations, teaching elders, ruling elders, church members, committees and friends of the presbytery. Please send submissions and address corrections to office@ptcaweb.org. Presbytery news Presbytery meets January meeting addresses new ways to evaluate churches, ministries Can you name the five "B's" that most often shape the way we evaluate our church and our ministries ... and why those might not be helpful? Or the six "S's" of leadership engagement that could accelerate congregational thriving? Those were two of the takeaways from last Saturday's meeting of the Presbytery of the Twin Cities Area, at the First Presbyterian Church in South Saint Paul, where pastors Tom Watson and Katie Estes and a legion of members served as our gracious hosts. One hundred teaching elders, ruling elders, and guests braved the cold and snow to attend -- thank you! The meeting featured a keynote address from the Rev. Danielle Ayana James, a pastor, coach and consultant from the United Church of Canada, part of this year's emphasis of the Presbytery Leadership team on "nurturing thoughtful expressions of God's mission in the world." The complete meeting summary can be found at "Presbytery Meeting." Presbytery Nominating Committee seeks input from everyone The presbytery's Nominating Committee wants to match the spiritual gifts of individuals in the presbytery with leadership opportunities. In a letter to the presbytery, Thomas J. Ruter, chair of the committee, wrote, "It is our desire ... to have broad, active and engaged involvement from our local congregations on presbytery committees helping to influence, develop and guide the church of tomorrow. Our success depends upon your involvement." To do this, the committee, according to Ruter's letter, is asking those "who would be interested in serving the larger church" to complete the new Spiritual Gifts form on the presbytery's website. Ruter's complete letter can be found at "Seeking Input from All." The Spiritual Gifts form can be found at "Spiritual Gifts." Information available for presbytery mission trip to North Carolina The 2019 Presbytery Mission Trip is now on the calendar, slated March 30 through April 7, and planned in collaboration with Presbyterian Disaster Assistance. Participants will travel to New Bern, North Carolina, and assist in disaster recovery, clean-up and rebuilding from the major flooding from Hurricane Florence. The total cost per participant is $250. Details are at "Presbytery Mission Trip." Triennium set at Purdue, carries theme, 'Here's My Heart' Presbyterian Youth Triennium, the gathering of thousands every third year for high school age Presbyterians, runs July 16-20 at Purdue University in Indiana. Its theme this year is "Here's My Heart." The Presbytery of the Twin Cities Area is again sponsoring a group, and Wendy Griffin is the presbytery's coordinator and registrar. She can be reached at ptca.pyt2019@gmail.com. Griffin's complete "invitation" letter can be found at "Presbyterian Youth Triennium." A Triennium information sheet is at "Going to Triennium." Jeff's Jottings ... following these commercial messages By Jeff Japinga Executive Presbyter It's Super Bowl weekend, where organizations are spending up to $5 million for 30 seconds of your time and attention. In that spirit (but without the dollars attached) we'll return to Jottings next week following these brief commercial messages. (Okay, "commercial" sounds wrong, as if I'm trying to sell you something you may or may not need. What I want you to know about are two great mission opportunities, whose deadlines are growing close.) The complete Jottings can be found at "Beyond the Commercials." Around the presbytery St. Louis Park church plans speaker series on immigration Peace Presbyterian Church in St. Louis Park will present "Welcome the Stranger," a series of speakers discussing immigration, alternating Wednesdays and Sundays, Feb. 3 through April 10. The events will be in the church's fellowship hall, accessible from a parking lot entrance behind the building, noon Sundays and 7 p.m. Wednesdays. Light meals will precede the programs 11:30 a.m. Sundays and 6 p.m. Wednesdays. Additional details are available at "Welcome the Stranger" and on Facebook. A poster is also available at "Speaker Series." An article on the series appeared in the Sun Sailor, a newspaper of the western Twin Cities suburban area. Minnesota organization plans activity for Interfaith Harmony Week The new Minnesota Multi-faith Network is planning a morning of activities as a part of Interfaith Harmony Week. The Minnesota organization has planned a plenary breakfast from 8 to 10:30 a.m. Wednesday, Feb. 6, followed by breakout sessions that run until noon. The event takes place at the Adath Jeshurun Congregation in Minnetonka. The Minnesota Multi-faith Network, according to its page on the website of the St. Paul Interfaith Network, is a "multi-faith, relationship driven, justice and anti-racism focused, invitational, collaborative, and generative." Details about the event, along with a link to online registration, is at "Interfaith Harmony." Annual JRLC 'Day on the Hill' event planned Feb. 7 The 2019 Joint Religious Legislative Council Day on the Hill is scheduled for Thursday, Feb. 7. The JRLC brings the three Abrahamic faiths together to influence public policy for social justice in Minnesota. This year's event begins at the St. Paul InterContinental Riverfront Hotel and ends at the State Capitol complex. The event includes a presentation by the Rev. Dr. Curtiss DeYoung, CEO of the Minnesota Council of Churches, on the history of the faith community and economic justice, and a keynote address by Imam Yahyi Hendi. There will also be issue briefings, lunch and transportation to and from the Capitol. The JRLC's legislative agenda for 2019 includes targeted support for low income children among other social justice issues. More information and online registration are available at "Day on the Hill." Interfaith environmental group plans gathering in Minnesota Capitol Minnesota Interfaith Power and Light, a Minneapolis-based organization building an interfaith climate movement across the state that acts on climate concerns, is planning a gathering at the State Capitol on Friday, Feb. 8, from 11:30 a.m. to 1:30 p.m. The group plans to gather in the rotunda at 11:15 a.m. The group's publicity states, "We will be holding sacred space and showing our care for our earth, our water, and our communities. We invite you to come practice your spiritual tradition through prayerful protest, meditation, and sacred rituals at [the governor's office] to send our moral message: Water is Life/Stop Line 3." Additional background on the gathering can be found at "Interfaith Power and Light." VocalPoint concerts slated at Central Presbyterian in St. Paul VocalPoint, a St. Paul auditioned choir of about 80 members, will present "Holding Space: Music Exploring Mental health, Compassion and Healing," a concert benefiting the Walk-In Counseling Centerof the Twin Cities. The counseling center provides free and accessible mental health counseling to people with urgent needs and few service options. VocalPoint, joined by singer/songwriter Sara Thomsen, uses the power of people, art and collaboration to tell the stories of organizations doing life-changing work. Concerts are planned Saturday and Sunday, Feb. 9-10, at 4 p.m. at Central Presbyterian Church in St. Paul. Additional details and ticket information are at "Holding Space." Valentine Cabaret planned at Spirit of Life on Feb. 9 Spirit of Life Presbyterian Church in Apple Valley will hold its annual Valentine Cabaret Saturday, Feb. 9. Once again there will be a silent auction, with doors opening at 5:30 p.m. The congregation's youth group will serve a full dinner at 6 p.m., raising funds for the youth mission trip later this year. A variety show following the dinner will be provided by adult and youth members of the church. A live local band will also play throughout the evening. Child care will be provided after the meal for children age 5 and under. Details can be found in the announcement at "Valentine Cabaret." Pulitzer Prize winner featured at Westminster Town Hall Forum Art Cullen, the 2017 winner of the Pulitzer Prize for editorial writing, will be the featured speaker at the Tuesday, Feb. 12, Westminster Town Hall Forum of Westminster Presbyterian Church in Minneapolis. Cullen, editor and co-owner of The Storm Lake (Iowa) Times, won the Pulitzer for a series of editorials indicting corporate agri-business for polluting the rivers and lakes in some of the most intensively farmed land in the world. Cullen's recently published book, "Storm Lake," describes his life as a journalist, and addresses the changes in politics, agriculture, climate and immigration confronting rural America. The event, free and open to the public, begins at noon. Details are at "Town Hall Forum." Acclaimed pianists present benefit concert at Woodbury's Trinity Two internationally acclaimed pianists will perform a concert Saturday, Feb. 23, 5 p.m. at Trinity Presbyterian Church in Woodbury to benefit the church's music ministry programs. Pianists Anton Melnichenko and Denis Evstuhin will perform music by Beethoven, Chopin, Haydn and Rachmaninoff. A free-will offering will be accepted. A poster is available at "Benefit Concert." Hudson First Presbyterian plans 'centering prayer' workshop in March First Presbyterian Church of Hudson will be host to an introductory workshop on centering prayers on Saturday, March 2, from 9:30 a.m. to 3 p.m. The workshop presents an opportunity to open minds and hearts to God beyond thoughts and words, and to listen to God in silence through contemplation. The workshop will be presented by Dr. Tom Eberle, director of The Living School at the Center for Action and Contemplation in Albuquerque, New Mexico. A suggested donation of $35 includes lunch. Registration is requested by Feb. 22 by visiting the church website or calling 715.386.2851. The workshop is open to everyone regardless of faith background. Additional questions can be addressed to the Rev. Dr. Kendra Grams at kendra.grams@fpchudson.net. Resources, conferences ... Presbyterians Today offers spiritual, visual Lenten devotional The 2019 Presbyterians Today Lenten Devotional offers a spiritual and visual pilgrimage through the holy season of Lent. The devotional relies on the words of the Psalms. The text, meditations and original photography are the work of the Rev. Krin Van Tatenhove, a long-time Presbyterian pastor, hospice chaplain, counselor, traveler, photographer and storyteller. Additional details about the devotional and ordering information can be found at "Awaking to God's Beauty." WJK Lenten devotional uses African American spirituals Valuable not only for their sublime musical expression, African American spirituals provide profound insights into the human condition nd Christian life. Many spirituals focus on the climax of the Christian drama, the death and resurrection of Jesus Christ, and the ways in which those events bring about the liberation of God's people. In these devotions for the season of Lent, Powery leads the reader through the spirituals as they confront the mystery of Christ's atoning death and victory over the grave. Each selection includes the lyrics of the spiritual, a reflection by the author on the spiritual's meaning, a Scripture verse related to that meaning, and a brief prayer. The complete announcement from Westminster John Knox Press can be found at "Were You There?" Austin Channing Brown headlines 2019 Winter Forum in Wisconsin Austin Channing Brown, a leading voice on racial justice, will be the keynote speaker at the 2019 Winter Forum of the Wisconsin Council of Churches planned Saturday, March 9, in Madison. Channing Brown is the author of the autobiographical "Still Here: Black Dignity in a World Made for Whiteness." She is committed to exploring the intersections of racial justice, faith and black womanhood. Her presentations infused with justice, pop culture, humor and truth-telling. Details can be found at "2019 Winter Forum." Ecumenical Advocacy Days planned in early April in Washington, DC The website of Ecumenical Advocacy Days notes, "The history of engaging in "good trouble" is embedded in our faith tradition and our history as a nation and in the world. In the Bible, we read stories of the midwives who resisted Pharaoh and preserved the lives of Hebrew baby boys. We see Moses challenging the authority of Pharaoh, and Jesus overturn tables run by money changers." In the spring, Ecumenical Advocacy Days will draw on the "good trouble" pioneers from the civil rights era and inspiration from young leaders. The event is planned April 5-8 in Washington, D.C. Details can be found at "Good Trouble." To give away ... First Presbyterian Church in Eau Claire, Wisconsin, has about 50 blue Presbyterian hymnals to give away for free. The church is also willing to help with delivery arrangements. Interested parties should contact Dan Mundt Jr. by e-mail at dmundtjr@charter.net. News of the wider church Presbyterians called to help avert 2nd government shutdown Presbyterians are being asked to play an advocacy role to avert a second government shutdown -- and at the same time protect immigrants and border communities. An Action Alert issued Thursday by the Presbyterian Mission Agency's Office of Public Witness indicates that Congress has until Feb. 15 to figure out how to, among other tasks, fund the Department of Homeland Security. "It is critically important," the alert states, "that Congress work together to avert another government shutdown while protecting the rights and dignity of migrants, border residents and vulnerable communities across the nation." According to Voice of America, the nation's immigration court system has a backlog of more than 809,000 cases this fiscal year, which ends Sept. 30. The complete Presbyterian News Service story by Rich Copley can be found at "Presbyterians Can Help." Stated clerk encourages voters to seek candidates who can unify Since the first of the year, a number of presidential hopefuls have come forward as potential candidates in the 2020 election. In the first of a monthly series of videos about issues facing the world today, the Rev. Dr. J. Herbert Nelson II, stated clerk of the Presbyterian Church (U.S.A.), discusses what voters should look for in the next president. The video can be found at "Seeking Unifier." Synod executives focus on racism at recent forum in Alabama Three times a year synod executives from across the country gather together to share, pray, and seek solutions to problems or challenges in their communities of worship. Planners for this month's meeting in Montgomery, Alabama, took a different approach, a field trip. The 50 attendees made a daylong visit to the Legacy Museum and the National Memorial to Peace and Justice. Both are managed by the Equal Justice Initiative; an organization working to end mass incarceration and protect basic human rights for the most vulnerable people in American society. "The Legacy Museum was pretty striking, especially as we learned about the racial terror lynchings, where African Americans were killed by mobs of people," said the Reverend Tricia Dykers-Koenig, associate director of mid council relations in the Presbyterian Church (U.S.A)'s Office of the General Assembly. The complete story by Rick Jones of the Office of the General Assembly can be found at "Focus on Racism." CLERK'S FILE CABINET PTCA Meetings PTCA Financials Treasurer's File Cabinet Mission Ministries PNC Resources Pulpit Supply Access to the member DIRECTORY requires log in credentials. Email office@ptcaweb.org to request your new login. 2115 Cliff Drive | Eagan, MN 55122 | Office (651) 357-1150 | Fax (651) 357-1141 | Email office@ptcaweb.org Member of the Presbyterian Church (U.S.A.)

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No Love Needed – Kiwanis Club I am pleased to be back at the Kiwanis Club to talk about Interdependence. Interdependence Day is officially September 12—a date deliberately chosen as the day after 9/11—the date indelibly carved into our hearts and minds as the dread day that we Americans, who regarded ourselves as invulnerable—were attacked by terrorists. It was the end of our innocence—and perhaps our arrogance—one could say long overdue. But some of us believed that we had to face this harsh reality not only with the necessary preparations to secure our homeland, but also with an effort to understand how and why these hateful acts were conceived and implemented and what we might do to avoid such violent reactions to cultural, ethical and religious differences in the future. As we look around the world, it doesn’t seem that we have been very successful in our efforts, but more than ever we must not desist from carrying the message that interdependence is our reality—not a luxury and not an ideal– and ask ourselves what the moral implications of that reality are. When we look at the spread of Ebola and at the rising tide of ISIS with its vision of becoming a transnational Islamic Caliphate, we realize that ours is a globalized world—isolationism isn’t a political choice– simply because isolation is impossible. Interdependence is our stark reality, for better and worse. In that context we must turn our attention to our own country and our defection from our promise of”liberty and justice for all” as evidenced in Ferguson, Missouri. The outrage of African Americans there and people of goodwill all over the country remind us that we have a lot of unfinished business right here at home. Fifty years after the Civil Rights Act was passed, and seven years after electing our first black president we are by no means finished with closing the gap—economic, social and political – between whites and blacks in our own democratic nation. We are a work in progress—as all democracies are. That is a humbling reality. It may seem counterintuitive to say, “No love needed” in this context, but I’ll explain why—even though it flies in the face of the traditional saying, “love thy neighbor as thyself.” To prove that I’m not speaking as a curmudgeon, a reincarnation of the despised Ebenezer Scrooge of Dickens infamy, I am following in the path of no less a hero than Martin Luther King, Jr., who in one of his less eloquent speeches said, “We’re not asking them to love us—just to get off our backs!” Fast forward to the many conflicts that we are reminded of every day. People fighting each other—often because of religious differences –but they may be cultural or tribal too. The key is difference—otherness. We fear and hate the other—it has its own name—xenophobia. It is almost like an illness—a collective mental illness—a plague. And it is, if we care about life itself, counterintuitive. The fact is that we are social creatures—members of society–not just because of friendship, love and sentimentality but of necessity- we cannot live alone—we need each other. The hermit and the loner think that they are doing everything on their own—but they are deluding themselves. Their lives depend on others—who might be invisible to them—maybe even denied by them. To hone in on one of the most enduring conflicts of our time, let’s turn to Israel and Palestine. The fact—their reality is that they live side by side. How that happened—is a story that probably matches many other stories about the birth of nations, including our own. So the challenge is how to live side by side in peace—with dignity and respect—respect for the rights of others. It means recognizing that peace is better than war—even if it means giving up some land or some practices in order to make it work. In that regard words are —diplomacy is– the most courageous and effective tool that we know of. It’s not about love. There are many stories of Israelis and Palestinians working together as neighbors, as doctors, as professors, as business people. Having been in both countries very recently—in mid-June—I find that they have a lot in common. They are Semitic people, the live in the Middle East, many of them are well educated and for the most part they are moderates. Unfortunately at this particular time—they are prompted and pushed by radicals—haters—into untenable situations. At the moment there is no leader on either side who promotes peace, democracy and interdependence—no Martin Luther King, no Nelson Mandela, no Vaclav Havel. No Anwar Sadat or Menachem Begin. Yitzhak Rabin would have been a possibility on the Israel side—he was a warrior who in the end became a man of peace and as prime minister he took on the task of making peace. Alas for his wisdom he was assassinated –not by the outside enemy but an enemy within, a radicalized, fanatical Jew. Some think that given the array of conflicts in today’s world, it is naïve to talk about interdependence. But in fact this is the time we must talk about it. Because of the revolution in information and communication technologies we are more literally interdependent than ever before. We are interconnected economically, politically, socially and definitely environmentally. What happens in Afghanistan affects us. What happens in Japan affects us. What happens in Africa affects us. And of course what we do affects everyone else–for better and for worse, we are interdependent. Kiwanis can be a model for others. You meet weekly to discuss matters of significance in your community. You are both local and global. Your mission is to help others in order to help your community and Kiwanis do that around the world. I see you Kiwanis as ambassadors of interdependence. And I applaud you for embracing that mission as your own—every week. Sondra Myers October 12, 2014 October 12, 2014 Speeches ← Local woman edits sequel to ‘Rwanda’ The Elegance and Efficacy of Conversation →

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About | Advertise | Contact | Sign in or Create Account Enterprise Florida Looks to Expand Economic Ties With Colombia Kevin Derby September 7, 2019 - 8:00am Manny Mencia Enterprise Florida, Inc. (EFI) is looking to expand economic ties between Florida and Colombia. EFI, a public-private partnership, defines itself as the “principal economic development organization for Florida” and its mission is “to expand and diversify the state’s economy through job creation.” On Friday, EFI announced it will lead a delegation of Florida businesses, including small businesses, to Bogota in November. “Colombia is a growing market within Latin America and presents tremendous opportunities for Florida exporters,” said Manny Mencia, the senior vice president of international trade and development for EFI. “This trade mission is a unique opportunity for small Florida companies looking to establish a footprint in a large hemispheric market with great potential.” EFI noted that Colombia continues to grow and is now the third most populous country in Latin America and has the fourth largest economy. Colombia’s growth in recent years has been, in part, from the U.S.-Colombia Trade Promotion Agreement passed by Congress in 2011 which saw tariffs be reduced as much as 80 percent. According to EFI, Florida has benefited greatly from that agreement. “With $7.2 billion in two-way trade, Florida accounts for 27 percent of all U.S. trade with Colombia – more than any other state. Florida exported nearly $4.2 billion of merchandise to Colombia in 2017, making the country Florida’s second-largest export market,” EFI noted on Friday. Back in October 2011, both chambers of Congress approved the long-stalled free-trade agreement with Colombia. The deal with Colombia garnered the most opposition but still passed 262-167 in the House and 66-33 in the Senate. The agreement had been delayed as the White House negotiated with Congress over continuing funding of the federal Trade Adjustment Assistance (TAA) program, which provides benefits for American workers who lose their jobs due to international trade agreements. Then President Barack Obama supported the deal with Colombia. Republicans in the Florida delegation called the passage of the agreement--as well as deals with South Korea and Panama--a big win for the national economy and for the Sunshine State. “Florida’s 14 deepwater seaports generate over $65 billion in economic value to the state,” said U.S. Rep. Vern Buchanan, R-Fla., in support of the agreements. As the chairman of the Panama Caucus and as the states only congressman serving on the Ways and Means Committee, Buchanan played a large role in guiding the measures through Congress. “We have an opportunity to generate thousands of jobs right here in our backyard.” From his perch on the House Foreign Affairs Committee, then U.S. Rep. David Rivera, R-Fla., also supported the measures, insisting they would “open up new markets for American companies that will help job creators hire new employees and grow their businesses." Rivera, who would serve a single term in Congress before being defeated in 2012, went in depth on the benefits of the deal with Colombia. “As the representative with the largest Colombian-American population of any district in the United States, I feel a special connection to the Colombia Free-Trade Agreement,” Rivera said. "Colombia is our best and strongest ally in Latin America and the oldest functioning democracy in the region. Their democracy has withstood terrorism and civil war and I have seen firsthand that the Colombian people are determined to be full partners in the global economy and they have shown great enthusiasm about trading with the United States. “The Colombia Free-Trade Agreement will create jobs in the United States, especially in South Florida. It will immediately boost U.S. exports to Colombia and U.S. GDP would increase by roughly $2.5 billion and exports by more than a billion dollars,” he added. There was some opposition in the Florida delegation, including that of Democrat U.S. Rep. Ted Deutch. "In the midst of unprecedented long-term unemployment, I cannot support trade agreements that repeat the mistakes of previous trade deals that shipped millions of American jobs overseas and exploded our national trade deficit," Deutch said. "These proposed pacts will only escalate the global race for cheap labor in nations with poor human rights records. The Colombia deal will increase the availability of cheap labor with historically poor worker protections.” Deutch was joined by two Florida Democrats -- U.S. Rep. Corrine Brown and U.S. Rep. Alcee Hastings -- in opposing the measures. The rest of the delegation supported them save for Republican U.S. Rep. Cliff Stearns who voted against the Colombia measure. The two senators representing the Sunshine State -- then U.S. Sen. Bill Nelson, D-Fla., and U.S. Sen. Marco Rubio, R-Fla. -- voted to back the measures. After three terms in the Senate, Nelson was defeated last year. Rubio said the deal with Colombia had “huge positive benefits for Florida" and “will create thousands of jobs in Florida.” Then Gov. Rick Scott, who is now in the Senate after defeating Nelson in November, also weighed in on the matter. “Free trade with Panama and Colombia will benefit Florida's economy and businesses for years to come. By eliminating the need to pay tariffs in order to export Florida goods and products to those expanding economies, Florida companies will now be able to invest their money in creating jobs,” Scott said when the trade agreements were passed. "Today’s action makes it even more important that we continue investing in our ports and infrastructure. By doing so, Florida will get the full benefit of these expanded trade opportunities and the jobs they will create.” Then U.S. Rep. Connie Mack, R-Fla., who chaired the U.S. House Western Hemisphere Subcommittee in 2011, also proved instrumental in getting the agreement through Congress. Mack led a congressional delegation to Colombia in May 2011 to showcase the benefits of the agreement. In 2012, Mack challenged Nelson but lost in the general election. During his first term as governor at the end of 2012, Scott and EFI led a trade mission to Colombia featuring more than 110 companies from the Sunshine State. In February 2013, Scott reported on the results of the mission. “It is great news that mission sales are on track to exceed $40 million, and with the recent ratification of the free-trade agreements, I am confident Florida’s economic relationship with Colombia will continue to grow and benefit Florida families,” Scott said. “Florida has an ideal location to trade with Latin America and beyond. We are committed to growing jobs for Florida families, and missions to international markets help us build relationships across the globe to create new jobs and opportunities in the Sunshine State.” IF Florida is really a "land Permalink Submitted by Anonymous on September 9, 2019 - 11:26am IF Florida is really a "land of economic opportunity", we don't need no steenkin' "Enterprise Florida" operating on taxpayer monies to persuade people running good businesses elsewhere to want to do business in Florida! Have Republicans turned against "the free market" and "market forces"? Seems so. There are too many uninformed Permalink Submitted by Anonymous on September 8, 2019 - 3:04pm There are too many uninformed (euphemism) people commenting based on bias and not facts. First of all, Enterprise Florida didn’t hire Pitbull for $2 million. Visit Florida did, for $1 million. And the point of a trade deal with Colombia is not to increase imports to them but to increase Florida exports, which it does. The #1 generator of jobs in South Florida is foreign trade. COLOMBIA??? They got nothing Permalink Submitted by Colt Seavers on September 7, 2019 - 7:04pm COLOMBIA??? They got nothing to export but cocaine and weed. Stupid Enterprise Florida the same agency that paid Pit Bull 2 Million for a video of sweaty hoes in high heel pumps to shake @ss and invite Yankees to Florida. SERIOUSLY GOVERNOR RON DeSANTIS SHUT THIS $HIT DOWN ALREADY!!!!!!!!! Right on! "Stupid Enterprise Right on! "Stupid Enterprise Florida". This has an Obama/Holder/Like This has an Obama/Holder/Like "Fast&Furious" corrupt smell about it..! Universal Orlando seeking $350 million in corporate tax breaks | Special Report Orlando Sentinel Corporate loopholes mean Florida taxpayers subsidize jobs in other states | Special report Groveland Four needs exoneration, family members say. But Cabinet doesn’t have that power. Gov. Ron DeSantis wants civics test for Florida’s 12th graders Abortion parental consent bill clears key Florida Senate committee New Oviedo Mayor Megan Sladek hopes to give residents a voice Stephen Miller has betrayed his Jewish roots, relative says | Commentary Stop raiding affordable housing money, Florida lawmakers urge How 2 women’s trip to a Florida strip club sparked a constitutional bout in court Live streaming of WBOB Talk Radio, a Sunshine State News Radio Partner. Your browser does not support HTML5 audio. Please update your browser to view this media content.

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Lords and MPs quotes on Health and Social Care bill Key Facts of interests in healthcare Healthcare Contracts Connecting Lords and MPs Notes to editors, journalists or anyone using this research The BBC's failure to challenge Lansley's healthcare connections The BBC have admitted to not challenging Andrew Lansley on two donations he accepted from individuals in private healthcare, yet fail to accept any wrongdoing. When Andrew Lansley unveiled his plans to restructure the NHS and increase the opportunities for private healthcare providers, it would be reasonable to expect alarm bells to ring inside the heads of journalists. Yet as the Health and Social Care bill was being debated in parliament with accusations of privatisation shouted from all and sundry, the BBC remained silent. His connections When shadow health secretary, Andrew Lansley accepted donations to run his office from two individuals connected to private healthcare. In 2008 he received a donation from Julian Schild, who owned hospital bed-makers Huntleigh Technology, the largest manufacturer of NHS beds. The other donation came from John Nash, the then chairman of Care UK, who gave £21,000 to fund Lansley’s personal office in November 2009. Hedge fund boss John Nash, now a Lord, is one of the major Conservative donors with close ties to the healthcare industry. He and wife Caroline have given £276,000 to the party since 2006. Mr Nash is also a founder of City firm Sovereign Capital, which runs a string of private healthcare firms. In addition, Andrew Lansley’s wife, Sally Low, is founder and managing director of Low Associates (“We make the link between the public and private sectors”). A Daily Telegraph report in February reveals that the Low Associates website as having pharmaceuticals companies SmithKline Beecham, Unilever and P&G among its clients. Yet, despite this information being published in other media, the BBC in an extraordinary journalistic failure, failed to highlight these clear conflicts of interest. The lack of exposure would have been absolute had it not been for one article written in 2008, which touched on the Huntleigh bed Ltd connection. Response to complaint The complaint came about following a search on the BBC site in all areas, and on the search engines for stories by the BBC on the subject of Lansley and the donations. There was nothing. Yet, this remarkable and gross dereliction of duty, was brushed aside by the BBC, who following a complaint made by Social Investigations, denied there was any issue over their coverage: ‘I understand that you believe we've neglected to highlight issues surrounding Andrew Lansley and allegations that he received money from Care UK Chairman, John Nash as well as Julian Schild…Although I appreciate your concerns, choosing the stories to cover is a subjective matter and one which we know not every viewer will feel we get right every time. Factors such as whether it is how much national interest there is in the subject matter will all play a part in deciding the level of coverage and where it falls within a bulletin.’ This response is appalling. The ‘allegations’ as this letter suggests, are actually facts that other newspapers were able to publish. In addition, surely when the health secretary and author of the Health and Social Care bill has had his office funded by individuals linked to private healthcare, he at the very least would expect to be challenged and disbelieved on his motives until proven otherwise. This is especially important, given the bill he wrote is about to substantially increase the amount of private healthcare involvement in the NHS. I think this can safely fall into the category of ‘national interest.’ As Media Lens pointed out in their alert titled: ‘People Will Die’ - The End Of The NHS. Part 2: Buried By The BBC – ‘The BBC has a duty, enshrined in its Charter, to report objectively on stories of national and international interest.’ Indeed, now that we see the likes of Serco and Virgin grabbing chunks of the service, it only amplifies what we the public suspected all along. Andrew Lansley, big business and the front men of the Conservative party, want to hand over the NHS to the corporations that sit in the House of Lords and Parliament. We now know that 1 in 4 Conservative Lords have financial interests to companies involved in private healthcare, who despite these conflicts of interest, were able to vote on Lansley’s bill. We also now know that over 50 MPs have these same interests, most of which are Conservatives. It’s not as if there wasn’t any chance to bring it up. When Mr Lansley was confronted by campaigner Jean Hautot outside the gates to Downing Street, he was forced to defensively say: "The NHS is not for sale, there will be no privatisation." Yet, even in the article written on this incident, the BBC failed to challenge him. One of literally hundreds of missed opportunities to hold the Health Secretary to account. BBC lack of trust Trust in the BBC is not improved when we learn from the Telegraph that the BBC spent £2.2 million of public money on private healthcare for hundreds of senior BBC staff between 2008-2010. Neither does it help having the Lord Patten of Barnes as Chairman of the Trust. The Trust is responsible for ensuring standards such as impartiality and fairness be maintained in the public interest. The Conservative Peer is a member of the European Advisory Board for a private equity investment company called Bridgepoint. The private equity firm which has been involved in17 healthcare deals over recent years Eight of these companies remain as their current investments, which include four in the UK at a combined investment worth over £1.1 billion. One company acquired by Bridgepoint was residential care company Care UK, whose chairman was the person who donated to Lansley. The Executive Board, which oversees the ‘operational management’ for the delivery of services agreed with the Trust, has a Dr Mike Lynch sitting on the board. Media Lens revealed how Lynch is a ‘non-executive director of Isabel Healthcare Ltd, a private company specialising in medical software. He is also a director of Autonomy PLC, a computing company whose customers include Isabel Healthcare, Blue Cross Blue Shield (a health insurance firm), AstraZeneca, GlaxoSmithKline, and several other pharmaceutical companies.’ In addition he is on the advisory board of investment company Apax Partners, which is a leading global investors in the Healthcare sector’. So the BBC could do itself some favours. Drop Chris Patten and Dr Mike Lynch from their respective positions. If the public say you are not doing a good job, don’t dismiss it as a belief and the next time Andrew Lansley speaks about the NHS, challenge him on his donations from healthcare company individuals set to benefit from the bill he produced. Indeed, by failing to challenge Lansley from when he became Health Secretary up until when the Health and Social Care bill became an Act, the BBC has let down not only the people they are meant to inform, but also themselves. Labels: 'BBC complaints', 'BBC Health and social care bill', 'BBC Lansley', 'BBC NHS', 'BBC' hilda dada 10 July 2012 at 17:35 Social investigation team 11 July 2012 at 07:49 Removed for Spam. Martin G Bell 26 August 2012 at 02:34 I complained to the BBC about their apparent bias and was duly fobbed off by them blatantly misinterpreting my questions. Social investigation team 26 August 2012 at 03:24 There has been a pattern of complaints form the BBC that have failed to accept any failure of their coverage of the NHS changes. Furthermore the replies as you say have been dismissive in a 'oh it is difficult to please everyone' kind of way...'sorry you're not happy but we're not sorry really.' wjohn228 11 March 2013 at 14:25 BBC has not reported Serco's fiddling of its performance data re GP Out of Hours Service either. Systematic and deliberate bias. Needs another media organisation Guardian? to shine the spotlight on BBC's failings Never accept the first response from the BBC when complaining. Reply, if you are not satisfied, and it goes further up the food chain, to programme producers and higher levels of management. This is their policy... Social investigation team 2 October 2013 at 01:43 Agreed. From here, a further complaint was made and the response was exactly as you described, it got passed on up the 'food chain'. Still, no further response and still the connections of MPs and Lords remain unchallenged when relevant in an interview. Most Popular Tales NHS privatisation: Compilation of financial and vested interests. Compilation of Parliamentary Financial Links to Private Healthcare Over 70 MPs Connected to Companies Involved in Private Healthcare Meet Lord Chadlington: He's about to vote on the Health and Social Care bill Tax Havens: Outsource Company's Half Billion Transfer Social investigation team In depth investigations on matters of public interest. Founder is Andrew Robertson. Articles appeared in Guardian, Independent, Daily Mirror, OpenDemocracy, Corporate Watch, Bureau of Investigative Journalism BBC and Russia Today. Cited in book 'NHS SOS' and 'A Quiet Word'. Subscribe to Social Investigations newsletter Social Investigations The BBC's failure to challenge Lansley's healthcar... Olympics: London takes Gold Corporate Britain: Parliamentary Rules Not Fit For... Private Healthcare Article roundup from Social Inv... And the 2012 Winners of the Healthinvestors Awards... Chris Skidmore states he will defend NHS in abolit... 2020health Patrons and their vested interests

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Tall as the Sky John McCaul’s Legal History Tag Archives: DCS Sonya Hodgin Suddenly, a new family April 4, 2014 tallasthesky Two recent high-profile cases have caught the attention of child welfare activists. One of the primary reasons for the substantial media attention to both cases has been the sudden nature of the transitions. It’s obvious even to non-professionals that a child shouldn’t be plucked from one family and dropped into another without time and procedures for adjustment. Let’s try something. If you didn’t know anything about children and their development, but you had to be in charge of a child’s transition from a foster family the child has been with and loves to another family that child didn’t know, how would you do it? Right after the judge’s decision, have the police come to a meeting with both families. Despite the child’s protests of not knowing the new family, and wanting to stay with his or her family, turn the child over within a few hours. Make the transition over weeks or months. Start with phone calls, then visits in neutral locations with both families present, letting the child express his or her feelings and having a mental health consultant present. Allow both families to be present in the child’s life. If you answered B, you have common sense! I don’t really think we need much research to understand that B is the only reasonable answer. And, in fact, this is probably the way that most transitions from foster care work. “Once the child attaches to a caregiver and that caregiver has become the psychological parent, it is crucial that the transition from the caregiver’s home be as emotionally protective as possible. Poorly executed or improperly timed transitions may adversely impact a child’s healthy development as well as the child’s continuing capacity to attach to others.”[1] Obviously, if a child is in a psychologically or physically dangerous situation, an immediate transfer is necessary. In the recent cases, though, a child was transferred from one loving family to another, under court order, without any transition time. The abrupt transition puts children at serious risk of mental health problems, including Reactive Attachment Disorder or Post Traumatic Stress Disorder. In 2011, when she was two years old, VC was transferred to her biological father from the family who had raised her since birth. (For more information, see http://tallasthesky.com/?cat=12). The transfer occurred soon after a court hearing, with little warning and no transition ordered by the court. In the second case, 9 year-old Sonya Hodgin, who had been with her foster and adoptive family about 8 years, was turned over with two hours notice to her biological father, with whom she had had no relationship. Police were present, and Sonya was begging not to let him take her. Now, there are clearly exceptions to a gradual transition, and the best interest of each child should be taken into account each time. This means that Child Protective Services workers, attorneys, judges, guardians at litem, and attorneys ad litum should understand a child’s situation. These are children’s emotional lives at stake. The transition should never be dramatic just because the court battle has dragged out. When a babysitter comes over, you give him or her instructions on what to do. When’s bedtime, the child’s routines, what the child is allowed and not allowed to do, what allergies s/he has, information about special needs or medical conditions. Think how much more information should pass between parents in a permanent transition situation. Parenting coordination has been developed as a discipline to help high-conflict parents implement their parenting plans.[2] Professionals are available to help with transitions, and they should be consulted. Let’s look at what’s standard practice and what the research says about how children should be transitioned. A simple factsheet from www.childwelfare.gov provides some information for foster families transitioning to adoptive family.[3] Even a child remaining within the same home, but making the transition from foster care to adoption, needs help with the transition. The factsheet recommends helping a child understand her life history and path forward, and giving her implicit and explicit permission to love both families. Henry (2005) outlines a model for transitions from foster to adoptive care, which could serve as a model cases like VC’s case and Sonya’s case. Her model lists five steps. First, a child should be given notification of a move over a period of weeks. Second, a visit should occur in the existing home for two to three hours with both families present. Next, two to three visits within 1-3 days of each other should occur with the newer family outside the home. After that, 3+ four- to six- hour visits at the new home should occur within a week. Finally, 4-6 overnight visits in a period of two weeks complete the transition period. Of course, the child’s individual circumstances, adjustment to the transition and development level should be taken in to account. Had Henry’s (2005) guidelines been followed, both children would have had much less stress in the transition and less risk of psychological harm. Children who don’t have a stable family life have enough stress without dramatic transitions. Our court system, and our child protection agencies, need to do better for children. [1] Advokids: A Legal Resource for California Foster Children and Their Advocates. http://advokids.org/resources/childhood-mental-health/transitions/ [2] Greenberg, E. (2010, January). Fine Tuning the Brainding of Parenting Coordination. Family Court Review 48(1), 206-2011. [3] Children’s Bureau (2012). Helping Your Foster Child Transition to Your Adopted Child. www.childwelfare.gov. adoptionAdoptive Couple v. Baby Girlbest interestchild welfareDCSfoster careMcCaulreuinificationSCOTUSTennessee Department of Children's Servicestransition Nine year old girl sent to live with violent felon February 18, 2014 tallasthesky A nine-year old Tennessee girl, Sonya Hodgin, needs our help. Sonya lived with her father in Nebraska. However, her father, John McCaul, owned a gentleman’s club and was rarely home. Sonya had a caregiver who, when she had a family emergency, took Sonya to Tennessee. She had McCaul’s permission to do so. It was only after several months, when they hadn’t returned, that McCaul wanted his baby back. Sonya was cared for by David and Kim Hodgin much of that time, though Sonya didn’t live with them. The Hodgins reported the caregiver’s parents to the Department of Children’s Services (DCS) because the house was unsafe for children. DCS took custody of Sonya and placed her with the Hodgins. Meanwhile, Sonya’s biological father, a violent career criminal, was in prison in Nebraska, sentenced to 15 years for three counts of felony robbery and possession of a firearm by a felon. In Tennessee, when a child is under the age of 8 and a parent is sentenced to 10 or more years in jail, parental rights are automatically terminated ((TN Adoption Code Chapter 36-1-113 (6)). The Hodgins adopted Sonya while he was in prison, when she was 4 years old. However, when her biological father cooperated with a murder investigation, his sentence was reduced from 15 years to 7.5 years. Still, his rights had been already terminated and the adoption was complete. In 2009, the court overturned the adoption. The reason the termination was invalidated by the appellate court is that the parties had agreed to try the case on one issue: abandonment. Abandonment is a different ground than being incarcerated for more than 10 years under TN law. The trial court had declined to terminate on the grounds of abandonment and terminated under the grounds that the biological father was serving more than 15 years. On appeal, the biological father argued that he wasn’t given notice to defend on grounds other than abandonment, and, had he known, he would have brought up his sentence reduction. Through all of these appeals, Sonya stayed with the Hodgins, while custody remained with CPS. Sonya was with the Hodgins until January 29, 2014. With police intervention, Sonya, with only a few hours notice, was turned over to her biological father, a “violent career criminal” who was essentially a stranger to her. They spent a night in a motel, then returned to Nebraska, where she remains today. Can you imagine how scary it’d be to be Sonya – 9 years old, and turned over to stay in a motel room with a man you’d only spoken to once? And then taken from your life with your family to live across the country with strangers? What happens to all the other children in foster care who might get adopted, but whose foster parents think the biological parent might be able to overturn the adoption? Do we, as a society, really want children in stable, loving homes – who’ve been there most of their lives, turned over to violent career criminals? Please, go to www.bringsonyahome.com and sign the petition to bring this sweet girl back to her family! adoptionbest interestchild welfareDCSfoster careHodginMcCaulTennessee Department of Children's Services Advocating for Children John McCaul’s attorney sentenced to prison The truth might not set you free 60% is Still Failing Governor Haslam Drops the Ball Did McCaul abandon Sonya, or not? Indian Child Welfare Act John E. McCaul, Jr. Cloud for Kids! abandonment adoption Adoptive Couple v. Baby Girl best interest child-centric Child Death Children's Rights child welfare DCS Defamation democracy father's rights feminism First Amendment foster care Hodgin ICWA Indian Child Welfare Act McCaul reuinification SCOTUS Sonya Hodgin Tennessee Tennessee Department of Children's Services TN Governor Haslam transition

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Now do you follow up the longest-running Billboard Hot 100 hit ever? For Jason Mraz, the answer is try and save the world. After "I'm Yours" lit up the Hot 100 with its easygoing ukulele licks and unapologetic optimism for a record 76 weeks ending in October 2009 (peaking at No. 6), the singer/songwriter headed to the Gulf of Mexico in the summer of 2010 to help with efforts to clean the Deepwater Horizon oil spill. Next was a trip to Ghana to fight child slavery alongside the nonprofit Free the Slaves; a year-and-a-half later, Mraz was in Antarctica, spending time with Al Gore and learning about climate change aboard the National Geographic Explorer. In between his activist outings, Mraz wrote and recorded his fourth album, "Love Is a Four Letter Word" (out April 17 on Atlantic), with producer Joe Chiccarelli ( Young the Giant, Christina Perri). First single "I Won't Give Up," a slow-burning ode to making a difference, became his second top 10 on the Hot 100. (It's No. 57 this week.) But Mraz says he's less interested in following up his biggest hit than using the power that "I'm Yours" gave him to fuel positive change. "Thanks to 'I'm Yours,' I'm probably set for a really long time," the 34-year-old says. "The pressure I put on myself, or what I hope my 'I Won't Give Up' does, is to make a difference in people's lives . . . With 'I'm Yours,' I got to go out and set my feet on different continents, and expose myself to different cultures and causes. I wanted to see who I was, outside of music." Billboard read more

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Pelosi to Introduce ‘War Crimes’ Resolution to Undermine Her President 2 weeks ago TWP Editor Speaker of the House Nancy Pelosi (D-CA) wrote a letter to her Democrat colleagues in the House on Sunday to reveal a new “War Powers Resolution” that amounts to a pre-emptive surrender to Iran in ongoing hostilities. Pelosi’s letter begins with the declaration that President Donald Trump’s airstrike last week targeting Iranian General Qasem Suleimani, leader of the terrorist Iranian Revolutionary Guard Corps (IGRC) Quds Force, responsible for the murders of hundreds of Americans and for recent attacks on the U.S. embassy in Baghdad, was “provocative and disproportionate,” terms suggesting the attack was illegal under international law and could constitute a war crime. Harvard Law School professor emeritus (and Democrat) Alan Dershowitz argued in Monday’s Wall Street Journal that the strike was not only lawful, but an “easy call”: “The president has the constitutional authority to take military actions, short of declaring war, that he and his advisers deem necessary to protect American citizens. This authority is extremely broad, especially when the actions must, by their nature, be kept secret from the intended target.” Nonetheless, Pelosi’s letter indicates that the House will declare the president’s action illegal under international law. The letter further claims that Trump’s action “endangered our servicemembers, diplomats and others by risking a serious escalation of tensions with Iran” — placing the responsibility for violence not on Iran, which recently attacked a U.S. Navy drone; a Saudi oil field; and, via proxies, Americans soldiers and civilians in Iraq; but on the United States, which had restrained itself until the recent assault by an Iranian-backed militia on the embassy. The letter goes on to describe a new resolution that would “limit the President’s military actions regarding Iran,” essentially signaling a surrender in the potential conflict before the Iranian regime itself had managed to respond. Pelosi adds that the resolution “reasserts Congress’s long-established oversight responsibilities by mandating that if no further Congressional action is taken, the Administration’s military hostilities with regard to Iran cease within 30 days.” Under current law, the War Powers Act of 1973 limits the time that a president can lead a military effort, without formal authorization, to 60 days following a required presidential report to Congress when hostilities begin. The new resolution, which Pelosi says mirrors a similar Senate bill by Sen. Tim Kaine (D-VA), would amount to an effective surrender by signaling that the president had no congressional support for striking back against Iran, and imposing a new deadline for any military action that would give Iran greater freedom of action. Paradoxically, the resolution could force the president to choose more drastic measures of conducting a war effort before the deadline. By declaring the attack “provocative and disproportionate,” the resolution also invites international prosecution of the president, as well as members of the administration and the military itself, who carry out his orders. The U.S. does not recognize the authority of the International Criminal Court (ICC) to prosecute Americans for war crimes, but the ICC takes a different view, and a future Democratic administration might well side with the ICC instead. Pelosi’s letter indicates that the new “War Powers Resolution” will be introduced and voted on this week. She has not yet indicated when she will transfer the articles of impeachment passed by the House on Dec. 18 to the Senate, which she claims is a necessary prerequisite to the Senate holding a trial on the president’s removal from office. Joel B. Pollak is Senior Editor-at-Large at Breitbart News. He earned an A.B. in Social Studies and Environmental Science and Public Policy from Harvard College, and a J.D. from Harvard Law School. He is a winner of the 2018 Robert Novak Journalism Alumni Fellowship. He is also the co-author of How Trump Won: The Inside Story of a Revolution, which is available from Regnery. Follow him on Twitter at @joelpolla Tags: Pelosi War Crimes, Trump War Crimes, War Crimes Resolution Previous UN Accuses Trump of Violating International Law by Protecting His Country Next Prosecutors Recommend Jail Time For General Michael Flynn Chicago Studies Set-Aside Contracts for Gay and Transgender-owned Businesses Gen. Michael Flynn Files to Withdraw Guilty Plea

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Difference between revisions of "General information about Oz, and what this document is" From OzWiki Ericgjovaag (Talk | contribs) (→‎I think you got something wrong. How can I convince you to fix it?) (→‎How can I help with your FAQ and website?) ==How can I help with your FAQ and website?== Well aren't you a sweetheart for asking! The FAQ and website are a labor of love, and I do it mainly for the enjoyment of doing it. However, it does cost me some money for the server space and other expenses, so if you still want to offer me something, I'm not going to say no! The best way you can help is to buy items in my website's bookshop (http://thewizardofoz.info/bookshop.html). I have an affiliation agreement with Amazon.com where they pay me a part of what people spend there if they go through my shop. This helps me to buy new Oz books! You can also donate directly to this website's upkeep at http://www.dreamhost.com/donate.cgi?id=6828. Finally, if none of these ideas work for you, please feel free to pay it forward. One way to do that is by donating Oz books to a local school or public library. If my efforts can inspire you to help and educate others, I'll be happy. Well aren't you a sweetheart for asking! The FAQ and website are a labor of love, and I do it mainly for the enjoyment of doing it. However, it does cost me some money for the server space and other expenses, so if you still want to offer me something, I'm not going to say no! The best way you can help is to buy items in my website's bookshop (http://thewizardofoz.info/bookshop.html). I have affiliation agreements with Amazon.com and some other companies where they pay me a part of what people spend there if they go through my shop. This helps me to buy new Oz books! You can also donate directly to this website's upkeep at http://www.dreamhost.com/donate.cgi?id=6828. Finally, if none of these ideas work for you, please feel free to pay it forward. One way to do that is by donating Oz books to a local school or public library. If my efforts can inspire you to help and educate others, I'll be happy. <div style="text-align:center;">[http://thewizardofoz.info/wiki/Oz_FAQ Oz FAQ Index Page] • [http://thewizardofoz.info/index.html "There's no place like the home page."]</div> 1 What is Oz? 2 Where did the name Oz come from? 3 How do you pronounce Oz? 4 What is an Oz FAQ? 5 Who wrote this FAQ? 6 Why did you write this FAQ? 7 What do I need to know to read this FAQ? 8 How is this FAQ different from previous versions? 9 How do I use this FAQ? 10 This sounds like a lot of work! Can't I just e-mail you and ask my question? 11 Will you do my homework for me? 12 How accurate is this FAQ? 13 Why do you answer so many questions about The Movie in this FAQ? Don't you care about the books or the other movies? 14 What are some of the most frequently asked questions you get? 15 I think you got something wrong. How can I convince you to fix it? 16 May I link to your site? 17 May I use material from your FAQ for my own purposes? 18 How can I help with your FAQ and website? What is Oz? Oz is the name of a fantastic country, created by L. Frank Baum in the novel The Wonderful Wizard of Oz, which was first published in 1900. The book was so popular and so successful that Baum wrote thirteen more Oz novels, several short stories, and three Oz plays. He also produced some early silent Oz movies. After Baum died in 1919, his widow agreed to allow the publishers to continue the series with another writer, and still others wrote more books later on. More plays and movies (including one of the most watched and beloved films of all time), radio and television shows, toys, dolls, games, clubs, conventions, computer software, and many, many other products came along later. Today, after more than a century, the Oz phenomenon is still going strong, with new stories being written, new dramatic versions being presented, and new merchandise being manufactured all the time. Where did the name Oz come from? There is a story that L. Frank Baum, when asked the country's name by a child he was first telling the story to, looked to his filing cabinet in the next room, which had two drawers. One drawer was marked A-N, and one marked O-Z. So he called it Oz after the letters on the second drawer. While this story has been told many times, there seems to be little evidence that it's true. Baum himself told at least two different versions of this story (one version has three file drawers marked A-G, H-N, and O-Z). Others have speculated that it comes from the Oohs and Aahs his stories produced from readers and listeners. Still others, looking for hidden meaning in the book, claim it comes from the abbreviation for ounces, or have linked it to Uz (Job's home in the Bible, sometimes also spelled Utz), Shelly's Ozymandius, or Charles Dickens' pseudonym Boz. But L. Frank Baum's widow, Maud, once wrote to writer Jack Snow on this subject and stated that it was just a name that Frank had created out of his own mind. How do you pronounce Oz? The vast majority of Oz fans agree that in English, it's pronounced with a short o sound, sounding like Ahz. This is how it's pronounced in just about every movie and stage version. There are a few people, however, who like to pronounce it with a long o, sounding like Ohz. In other languages it's said slightly differently, but the idea is usually the same. What is an Oz FAQ? This very document you are reading is an Oz FAQ. It is not the only one, but it strives to be the most thorough. FAQ is a commonly used acronym on the Internet, and it stands for Frequently Asked Questions. A FAQ is any document that lists common questions about a particular subject and provides answers. This is so that newsgroups, bulletin boards, and other online forums where people with common interests meet won't be cluttered with the same general questions and answers. This Oz FAQ was put together to answer many common questions about the Oz books, movies, and so forth, and also to give some idea of just how extensive the entire Oz phenomenon is. Who wrote this FAQ? This FAQ was compiled by Eric Gjovaag, a long-time Oz fan from the Pacific Northwest region of the United States. He is the sole person responsible for all content, including errors, omissions, typos, and other goofs. All comments, corrections, additions, and other feedback should be sent to him at wizard@thewizardofoz.info. He did have help and encouragement, however, from his wife, Laura Gjovaag; repeated proofreading and comments from Peter Hanff; and input, feedback, questions that were included in this or previous editions, or suggestions from Donna Addison, Aaron S. Adelman, Jane Albright, Melanie Allis, Dennis J. Amundson, Paul Andinach, Paul Apfelbeck, David Baker, Pete Baker, Todd Balog, Gili Bar-Hillel, Richard Beebe, William Beem, J. L. Bell, Lynn Beltz, Marc Berezin, Ruth Berman, Herm Bieber, Steve Biodrowski, Christopher Biow, Brenton Brookings, J. R. Brown, Bill Cameron, Karyl Carlson, the CBS Programming Department, Steven Chapmen, Jessica Clarke, Christina Cohen, Roxie Cooper, Gehan Cooray, Ken Cope, Warren Crandall, Joanne Cursine, Wayne Daigrepont, Cynthia Daniel, Sarah Danks, Don Davis, Jared Davis, Nathan DeHoff, Tom DeWitt, Patrick T. Dempsey, Joyce Dick, Chris Dulabone, Dorothy Easterday, Orville Eastland, Jill Emmert, Robert Embry, Barbara Evans, the excite.com television listings, Ray Faiola, Frank Freudberg, Antoinette Fornshell, Mick Forstag, John Foust, Jonathan Furedy, Meredith Furney, Egan Futz, Charles Galda, John Gaskey, Joel Gerlach, Tammy Gibbs, Peter Glassman, Andrew N. Goldberg, MD, D. Gary Grady, Susan Hall, Dave Hardenbrook, Aljean Harmetz, Jessica Heid, John Henson, Robin Hess, Susan M. Higbee, Marie Hopkins, David Hulan, Bill Hunter, the staff at the Hussian School of Art, Scott Hutchins, Rick Ipshina, Jim Johnson, Alex Jones, Michael Jones, Tyler Jones, Mike Kelly, Rudyard Kennedy, the King County (Washington) Library System (particularly their newspaper archives at the Bellevue branch), Laura Klink, Roland Krohn, Susan LaFrance, Andy Lahr (no relation), Judy Lalouche, Katy Lau, Phil Lewin, Jonathan Llewellyn, Louis-David Lontz, Naomi Lorditch, Sara Lundvall, the late Rob Roy MacVeigh, Terence Martel, Cliff May, Greg McElhatton, Jim Meadows, Warren Melnick, Paul Michalak, Susan Miles, Nicholas Moore, Matthew Morgan, Michael Newman, Carrie O'Grady, John Mark Ockerbloom, Robin Olderman, Sharon Orenick, Ronald I. Orenstein, Karen Owens, Wendy Padoshek-Romano, Vincent Palmese, David Parker, Kristen Pearson, Les Pickett, Andrew Pierce, Steve Price, Connie Purkey, Patrick Quigley, Colin Raff, Noel Ratch, Samala Ray, Christiana Rickard, Marisa Sandora, Adam Santangelo, Heather Sarver, Bobby Saverino, Joseph Schuld, The Seattle Times, Eric Shanower, Neil M. Sheldon, Stan Sieler, Nancy C. Smith, Paul J. Smith, Yehudit Trina Spera, William Stillman, Ginny Stubbs, Shannon Patrick Sullivan, Thomas H. Summers, Jr., Tams-Witmark, Bill Thompson, Michael Thorpe, Usenet and the archives on Google Groups, Steve Wallach, John Wells, Jim Whitcomb, John N. White, Elaine Willingham, Chris Wisniewski, Chester Witham, Lorella Woods, W. R. Wright, Matthew Yates, Marc Younger, Julie Youngren, Andrea Yussman, Ralph Zellem, Greg Zimmerman, and Randy Zimmerman, along with a few other folks who were probably inadvertently left out (or who just never gave me a name), for which the author profusely apologizes right now. Now that this FAQ has been transferred to a wiki, it's entirely possible that lots of other people are going to jump in and make even more changes. This is to be expected. I intend to give final approval to all changes, so it's still my responsibility, but I'm open to whatever others want to add or alter. Why did you write this FAQ? The honest answer? I got sick and tired of answering the question about the hanging man in The Movie. Inevitably, if I ever mentioned online (and very often in the real world as well) that I was an Oz fan, this question would pop up. There were a number of other questions that also came up quite often, and I also found that people didn't know a lot about some aspects of the Oz phenomenon. (You probably wouldn't be surprised to learn that most people think Oz is only a movie.) So I wrote this FAQ partly to educate people, and partly so I wouldn't have to write the same answers to the same questions over and over again. I also felt that the one or two other Oz FAQs out there at the time didn't cover the topic thoroughly enough, being too narrow in scope or assuming that the reader was already familiar with many aspects of Oz. What do I need to know to read this FAQ? First off, the FAQ is divided into several sections in an effort to sort the questions into some sort of logical categories, and thus make them easier to find. So when looking for a particular question, you may want to check the category that sounds like it's closest to what you are looking for. Also, understand that this FAQ does not cover every single aspect of Oz, but only hits some of the highlights. A bibliography is provided at the end of the FAQ to help those who wish to pursue some of these topics in more depth, or to deal with more obscure aspects of the Oz phenomenon. A number of acronyms and other written shortcuts are used in a probably futile effort to shorten this FAQ. They are: FAQ - Frequently Asked Question (see the question What is an Oz FAQ? above). FF - The Famous Forty Oz books (see the question What are the "official" Oz books?). IWOC - The International Wizard of Oz Club (see the question Is ther any sort of Oz fan club? for what this organization is all about). MGM - Metro-Goldwyn-Mayer, one of the biggest of the Hollywood movie studios during the golden age of American filmmaking. WWW - World Wide Web. Some Oz fans also use it to refer to the Wicked Witch of the West, but to avoid confusion, WWW won't stand for her in this FAQ. TMOHH - Tooting My Own Horn Here, my way of saying that what I am about to write has something to do with one of his own Oz projects. WWOOW - Wonderful Wizard of Oz Website, maintained by (TMOHH) me. It can be found at http://thewizardofoz.info. This FAQ is only one small part of this comprehensive Oz website. Return to Oz. There have actually been two different productions called Return to Oz: an animated 1964 television special, and the 1985 movie from Disney, directed by Walter Murch and starring Fairuza Balk as Dorothy. Unless indicated, references to Return to Oz in this FAQ will refer to the latter production, as it is the better known and more available of the two. And finally: The Movie — note the capitalization. This is a much shorter and easier way of saying "the Oscar-winning film version of The Wizard of Oz produced by MGM in 1939, starring Judy Garland as Dorothy." Given its iconic status, it should come as no surprise that The Movie comes up frequently in this FAQ, even in sections that aren't directly involved with The Movie. How is this FAQ different from previous versions? Well, it's a wiki now, that's a pretty big change right there. As a result, it's a lot easier to update, and I won't necessarily be the only one doing it as well. Since this should result in a more fluid and dynamic document, I've also decided to abandon the idea of version numbers. I've also updated a lot of questions (the wiki version went up in 2010, the last HTML version went up in 2005, so there were a lot to update!), added a few more, and deleted a few that were no longer relevant. You can always click on "recent changes" in the Navigation box, in the upper left corner of every page, just under the picture of Dorothy writing, to see what's happened lately. How do I use this FAQ? It's pretty straightforward: Go to the main page of the FAQ. Find a section that looks interesting, or might have the question you want answered. Click, and take a look. If you see your question at the top of the page, click on it, read, and be enlightened. If you don't see your question, or are just curious, you can always browse, or even click on "Random page" over in the navigation box on the left. Or you can try a keyword search in the box below that. This sounds like a lot of work! Can't I just e-mail you and ask my question? Well, then, what would have been the point in my writing this FAQ in the first place? I set this up so I wouldn't have to keep answering the same questions over and over again, and so I can get on with doing other things in my life. (Believe it or not, I do have a life outside of The Wizard of Oz, WWOOW, and the WWW.) Really, it's not that tough to find your question, it will only take a little bit of time (much less time than it would take to wait for me to reply to your e-mail), and learning how to do research on your own will help you immensely throughout your life. Should you not heed this warning and send me an e-mail with a question I've already answered, I'm just going to refer you back to this FAQ anyway — or, in the case of the hanging man, I won't even do that before I hit "Delete". Will you do my homework for me? Admittedly, nobody has ever actually asked me this question, but it's pretty clear from the way it's phrased that this is what some people are actually asking. The answer to this unspoken question is no, because then your teacher won't know what you did, but what I did. And since I'm a teacher myself, I will not take away an opportunity for you to learn. I will be glad to help you as best I can, and I can point you to resources that might help, but the actual work needs to be your own. Please understand that my time is limited, however, and I can't drop everything for you if I don't have the time. And yes, sticking to a deadline is also part of the learning process, so don't wait until the last minute. How accurate is this FAQ? When writing the many different previous versions FAQ, I've made every attempt to be as accurate as possible, and others have checked it for errors. That doesn't mean there are no errors, but they are very likely few and far between. As with all documents of this type, take it with a grain of salt. One of my goals with the new wiki version of the FAQ is to (eventually) cite references to some answers. I do plan on previewing changes and alterations submitted by others, so this wiki shouldn't have the problems seen by some other wikis that anyone can change. Why do you answer so many questions about The Movie in this FAQ? Don't you care about the books or the other movies? I care about the books very much, which is why I am trying to be thorough and cover as many different aspects of the Oz phenomenon as I can in this FAQ. But the fact is, more people ask me many more questions about The Movie than all other aspects of Oz combined. Whether fans of the books like it or not, The Movie is what most people know about Oz, and want to ask about. Remember, it's so much more than just a movie. It's a major cultural icon and a piece of popular Americana. More people have seen The Movie than any other movie ever, so people who aren't Oz fans still know and want to ask questions about it. And I have tried to write this FAQ with everyone in mind, not just Oz fans, no matter what aspect of Oz they are fans of. Besides, I don't want to give away too much information from the books, so that those who haven't read them yet won't be spoiled. What are some of the most frequently asked questions you get? I'd say roughly ninety percent of the questions I'm asked once people find WWOOW are one of these. Despite the fact that most of these have been answered in previous editions of this FAQ, these are still the big ones. (Fortunately, since I added this question to the FAQ, I'm actually being asked these questions a lot less!) So, here they are: What's the first line of The Wizard of Oz? Is it true that The Wizard of Oz was written as a political tract? What Oz books are available? And where can I get them? I have some old Oz books. How much are they worth? What breed of dog is Toto? Where can I find The Dreamer of Oz on home video? What are the words to "Over the Rainbow," or any of the other songs? Who is Nikko? Was The Movie originally made in color or black and white? Were the Oz scenes colorized later? Was The Movie the first film made in color? Where does the Red Brick Road go? What is it that the Wicked Witch's guards are chanting? What's this I hear about a connection between The Wizard of Oz and the classic Pink Floyd album Dark Side of the Moon? How can I get my hands on some of this Oz stuff? I have some old Oz stuff. How much is it worth? I want to throw a Wizard of Oz-themed party for my son/daughter/self. What can I do? I want to decorate my child's room (or my own) with a Wizard of Oz theme. What resources are available for this? Can I use The Wizard of Oz as a theme for a corporate or charity event, or for publicity purposes? Do I have to pay anyone to do so? And that all-time favorite: Is it true that you can see a man hanging himself in The Movie? If any of these are one of the questions you want the answer to, you can click on any question above and go straight there. I think you got something wrong. How can I convince you to fix it? By all means, if you think I've made a mistake, please let me know. I am only human, and I'm sure there are some things I've left out or goofed up, or just haven't updated yet. However, if you are going to report an error, please back it up. I've done a lot of research in compiling this FAQ, and I've been reading and learning about Oz for over thirty-five years now. I will stand behind what I say here. For example, if you think I'm wrong about the hanging man, don't just tell me that you've heard it somewhere. I've heard it, too, in many, many, many different versions. Please provide me with solid evidence, and more information. (I've actually had people tell me they knew the man who hanged himself, but wouldn't provide a name.) I know many Oz and Baum researchers, and they'd be glad to help prove or disprove any long-covered allegations. You can also ask to be a contributor to the wiki, and make your own changes. But understand that I have the final say on any changes to the wiki, and I may reject your contributions, or even revoke your right to edit the wiki, if you take advantage of the privilege. May I link to your site? Yes, please. I'd be happy to let you link to my site unconditionally. Please understand that I do not do formal link exchanges — in other words, I will not automatically link to your page if you link to mine. I will be glad to provide a reciprocal link on my site's links page (http://thewizardofoz.info/links.html) if your site is about or related to Oz. There is more information about linking to my site, including the HTML code to do so, on the links page. May I use material from your FAQ for my own purposes? This FAQ is copyrighted by me, and as a result I can say who can use the material and in what way. But I'm a generous person who feels information does no good if it's not out there educating people, and so I hereby give permission for anyone to reprint or reproduce up to five (5) questions and their answers, in whole or in part, in any way, shape, or form other than on the Internet or WWW. For instance, if you like my summing up of Baum's life (see the question Who was L. Frank Baum?), and you'd like to use it in a program for a local stage production of The Wizard of Oz, be my guest. But to do this, you need to acknowledge me, Eric Gjovaag, as the author, and my website, http://thewizardofoz.info, as the source. If at all possible, I'd also like a copy of whatever the information is appearing in, but I know that may not always be possible. If you wish to use more of my FAQ than the five questions I've given permission for, please feel free to contact me. If you wish to use parts of the FAQ for online purposes, I ask that instead of copying it, you link to it instead. This is not difficult, and I can help you do so. Feel free to contact me at wizard@thewizardofoz.info for details. How can I help with your FAQ and website? Oz FAQ Index Page • "There's no place like the home page." Retrieved from "http://thewizardofoz.info/w/index.php?title=General_information_about_Oz,_and_what_this_document_is&oldid=576" About OzWiki

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Boston desegregation busing crisis Information (Redirected from Boston busing desegregation) https://en.wikipedia.org/wiki/Boston_busing_desegregation Boston busing desegregation Part of the Civil Rights Movement Caused by Desegregation busing The desegregation of Boston public schools (1974–1988) was a period in which the Boston Public Schools were under court control to desegregate through a system of busing students. The call for desegregation and the first years of its implementation led to a series of racial protests and riots that brought national attention, particularly from 1974 to 1976. In response to the Massachusetts legislature's enactment of the 1965 Racial Imbalance Act, which ordered the state's public schools to desegregate, W. Arthur Garrity Jr. of the United States District Court for the District of Massachusetts laid out a plan for compulsory busing of students between predominantly white and black areas of the city. The hard control of the desegregation plan lasted for over a decade. It influenced Boston politics and contributed to demographic shifts of Boston's school-age population, leading to a decline of public-school enrollment and white flight to the suburbs. Full control of the desegregation plan was transferred to the Boston School Committee in 1988; in 2013 the busing system was replaced by one with dramatically reduced busing. [1] 1.1 Racial Imbalance Act 1.2 Boston School Committee opposition to the Racial Imbalance Act 1.3 Development and implementation of busing 2 Impact 2.1 Protests and violence 2.1.1 ROAR 2.1.2 Violence 2.2 Impact on Boston Public Schools 3 End of racial desegregation policy 4 Boston's current school demographics 7.2 Dissertations and theses Racial Imbalance Act The Racial Imbalance Act of 1965 [2] is the legislation passed by the Massachusetts General Court which made the segregation of public schools illegal in Massachusetts. The law, the first of its kind in the United States, stated that "racial imbalance shall be deemed to exist when the percent of nonwhite students in any public school is in excess of fifty per cent of the total number of students in such school." These racially imbalanced schools were required to desegregate according to the law or risk losing their state educational funding. [2] [3] An initial report released in March 1965, "Because it is Right-Educationally," [4] revealed that 55 schools in Massachusetts were racially imbalanced, 44 of which were in the City of Boston. [3] The Boston School Committee was told that the complete integration of the Boston Public Schools needed to occur before September 1966 without the assurance of either significant financial aid or suburban cooperation in accepting African American students from Boston or the schools would lose funding. [3] Boston School Committee opposition to the Racial Imbalance Act After the passage of the Racial Imbalance Act, the Boston School Committee, under the leadership of Louise Day Hicks, consistently disobeyed orders from the state Board of Education, first to develop a busing plan, and then to support its implementation. Development and implementation of busing In 1972, the NAACP filed a class-action lawsuit ( Morgan v. Hennigan with Tallulah Morgan as the main plaintiff) against the Boston School Committee on behalf of 14 parents and 44 children alleging segregation in the Boston public schools. Two years later, Judge W. Arthur Garrity Jr. of the United States District Court for the District of Massachusetts found a recurring pattern of racial discrimination in the operation of the Boston public schools in a 1974 ruling. His ruling found the schools were unconstitutionally segregated, and required the implementation the state's Racial Imbalance Act, requiring any Boston school with a student enrollment that was more than 50% nonwhite to be balanced according to race. [5] As a remedy, Garrity used a busing plan developed by the Massachusetts State Board of Education, then oversaw its implementation for the next 13 years. Judge Garrity's ruling, upheld on appeal by the United States Court of Appeals for the First Circuit and by the Supreme Court led by Warren Burger, required school children to be brought to different schools to end segregation. The busing plan affected the entire city, though the working-class neighborhoods of the racially divided city—whose children went predominantly to public schools—were most affected: the predominantly Irish-American neighborhoods of West Roxbury, Roslindale, Hyde Park, Charlestown, and South Boston and; the predominantly Italian-American neighborhood of the North End; the predominantly black neighborhoods of Roxbury, Mattapan, and the South End; and the mixed but segregated neighborhood of Dorchester. [6] In one part of the plan, Judge Garrity decided that the entire junior class from the mostly poor white South Boston High School would be bused to Roxbury High School, a black high school. [7] Half the sophomores from each school would attend the other, and seniors could decide what school to attend. [7] David Frum asserts that South Boston and Roxbury were "generally regarded as the two worst schools in Boston, and it was never clear what educational purpose was to be served by jumbling them." [7] For three years after the plan commenced, Massachusetts state troopers were stationed at South Boston High. [7] The first day of the plan, only 100 of 1,300 students came to school at South Boston. [7] Only 13 of the 550 South Boston juniors ordered to attend Roxbury showed up. [7] Parents showed up every day to protest, and football season was cancelled. [7] Whites and blacks began entering through different doors. [7] An anti-busing mass movement developed, called Restore Our Alienated Rights. The final Judge Garrity-issued decision in Morgan v. Hennigan came in 1985, after which control of the desegregation plan was given to the School Committee in 1988. [7] [8] The integration plan aroused fierce criticism among some Boston residents. Of the 100,000 enrolled in Boston school districts, attendance fell from 60,000 to 40,000 during these years. [7] Opponents personally attacked Judge Garrity, claiming that because he lived in a white suburb, his own children were not affected by his ruling. The co-author of the busing plan, Robert Dentler, lived in the suburb of Lexington, which was unaffected by the ruling. [7] Judge Garrity's hometown of Wellesley welcomed a small number of “black” students under the voluntary METCO program that sought to assist in desegregating the Boston schools by offering places in suburban school districts to black students, [9] but students from Wellesley were not forced to attend school elsewhere. Senator Ted Kennedy was also criticized for supporting busing when he sent his own children to private schools. [10] Protests and violence Main article: Restore Our Alienated Rights Restore Our Alienated Rights (ROAR) was an anti-desegregation busing organization formed in Boston, Massachusetts by Boston School Committee chairwoman Louise Day Hicks in 1974. Using tactics modeled on the civil rights movement, ROAR activists led marches in Charlestown and South Boston, public prayers, sit-ins of school buildings and government offices, protests at the homes of prominent Bostonians, mock funerals, and even a small march on Washington DC. By 1976, with the failure to block implementation of the busing plan, the organization declined. [9] There were a number of protest incidents that turned severely violent, even resulting in deaths. In one case, attorney Theodore Landsmark was attacked and bloodied by a group of white teenagers as he exited Boston City Hall. [11] One of the youths, Joseph Rakes, attacked Landsmark with an American flag. [12] According to Landsmark, Rakes was swinging the flag and trying to hit him, not trying to spear him as it appears in the photo, and he narrowly missed. [13] A photograph of the attack on Landsmark, The Soiling of Old Glory taken by Stanley Forman for the Boston Herald American, won the Pulitzer Prize for Spot News Photography (now the Pulitzer Prize for Breaking News Photography) in 1977. [14] [15] In a retaliatory incident about two weeks later, black teenagers in Roxbury threw rocks at auto mechanic Richard Poleet's car and caused him to crash. The youths dragged him out and crushed his skull with nearby paving stones. When police arrived, the man was surrounded by a crowd of 100 chanting "Let him die" while lying in a coma from which he never recovered. [7] In another instance, a white teenager was stabbed nearly to death by a black teenager at South Boston High School. The community's white residents mobbed the school, trapping the black students inside. [16] There were dozens of other racial incidents at South Boston High that year, predominantly of racial taunting of the black students.[ clarification needed] The school closed for a month after the stabbing. When it opened again, it was one of the first high schools to install metal detectors; with 400 students attending, it was guarded by 500 police officers every day. In December 1975, Judge Garrity turned out the principal of South Boston High and took control himself. [7] Judge Garrity increased the plan down to first grade for the following school year. In October 1975, 6,000 marched against the busing in South Boston. [7] Impact on Boston Public Schools In 1987, a federal appeals court ruled that Boston had successfully implemented its desegregation plan and was in compliance with civil rights law. [8] Although 13 public schools were defined as "racially identifiable," with over 80 percent of the student population either white or black, the court ruled "all these schools are in compliance with the district court's desegregation orders" because their make-up "is rooted not in discrimination but in more intractable demographic obstacles." [17] Before the desegregation plan went into effect, overall enrollment and white enrollment in Boston Public Schools was in decline as the Baby Boom ended, gentrification altered the economic makeup of the city, and Jewish, Irish and Italian immigrant populations moved to the suburbs while black, Hispanic, and Asian populations moved to the city. Although the busing plan, by its very nature, shaped the enrollment at specific schools, it is unclear what effect it had on underlying demographic trends. By the time the court-controlled busing system ended in 1988, the Boston school district had shrunk from 100,000 students to 57,000, only 15% of whom were white. [18] End of racial desegregation policy In 1983, oversight of the desegregation system was shifted from Garrity to the Massachusetts Board of Education. [19] With his final ruling in 1985, Garrity began transfer of control of the desegregation system to the Boston School Committee. [20] After a federal appeals court ruled in September 1987 that Boston's desegregation plan was successful, the Boston School Committee took full control of the plan in 1988. [8] In November 1998, a federal appeals court struck down racial preference guidelines for assignment at Boston Latin School, the most prestigious school in the system, the result of a lawsuit filed in 1995 by a white parent whose daughter was denied admission. [21] On July 15, 1999, the Boston School Committee voted to drop racial make-up guidelines from its assignment plan for the entire system, but the busing system continued. [22] In 2013, the busing system was replaced by one which dramatically reduced busing. [1] As of 2015, the voluntary METCO program remains in operation, as do other inter-district school choice programs. [23] Boston's current school demographics In 2014, Boston public schools were 40% Hispanic, 35% black, 13% white, 9% Asian-American and 2% from other races. [24] In that same year, the school-age population of Boston was 38% black, 34% Hispanic, 19% white, and 7% Asian.[source?] The vast majority of white public school enrollment is in surrounding suburbs. In metropolitan Boston, public school enrollment in 2014-2015 was 64% white, 17% Hispanic, 9% black, and 7% Asian.[source?] Wendell Arthur Garrity Jr., judge who ordered desegregation Kathleen Sullivan Alioto, School committee Chair and member John J. Kerrigan, School Committee Chair and member Ruth Batson, in her work with the Boston Branch of the NAACP, spearheaded the effort for school desegregation in Boston. Jean McGuire, executive director of the Metropolitan Council for Educational Opportunity (METCO, Inc.) and the first female African American to gain a seat on the Boston School Committee at Large right after the Boston busing desegregation Kevin White (mayor), United States politician best known as the Mayor of Boston, during the late 1960s and the 1970s. White won the mayoral office in the 1967 general election in a hard-fought campaign opposing the anti-busing and anti-desegregation Boston School Committee member Louise Day Hicks. [25] Louise Day Hicks, an American politician and lawyer from Boston, Massachusetts, best known for her staunch opposition to desegregation in Boston Public Schools, and especially to court-ordered busing in the 1960s and 1970s [26] Joe Moakley, a Democratic congressman from the Ninth District of Massachusetts. He won the seat from incumbent Louise Day Hicks in a 1972 rematch. [27] South Boston High School was the site of many of the most vocal and violent protests of busing and desegregation. As a result of these protests, the school's community became unsafe for students; a federal court placed the school into receivership in December 1975. [28] The Combahee River Collective, a Black lesbian feminist organization based across the river in Cambridge, included members who worked on school desegregation in Boston. Citywide Educational Coalition played an important role in the desegregation of the Boston Public Schools and advocated for school reform by providing parents with the skills necessary to participate in shaping education policy. [29] List of incidents of civil unrest in the United States ^ a b Seelye, Katherine (March 14, 2013). "Boston Schools Drop Last Remnant of Forced Busing". The New York Times. ^ a b "An Act providing for the elimination of racial imbalance in the public schools". No. 641 of August 18, 1965 (PDF). Retrieved February 7, 2018. ^ a b c Levy, Frank (1971). Northern schools and civil rights; the Racial imbalance act of Massachusetts. Chicago: Markham Publishing Co. pp. 138. ISBN 9780841009127. Retrieved February 7, 2018. ^ Because It Is Right—EDUCATIONALLY (Report). Advisory Committee on Racial Imbalance and Education, Massachusetts State Board of Education. April 1965. Retrieved February 7, 2018. ^ Handy, Delores (March 30, 2012). "40 Years Later, Boston Looks Back On Busing Crisis". ^ "Stock Market Crash of 1929". library.tc.columbia.edu. The Gottesman Libraries @ Teachers College, Columbia University. Retrieved June 18, 2012. ^ a b c d e f g h i j k l m n Frum, David (2000). How We Got Here: The '70s. New York, New York: Basic Books. pp. 252–264. ISBN 978-0-465-04195-4. ^ a b c Gold, Allan R. (December 28, 1988). "Boston Ready to Overhaul School Busing Policy". The New York Times. ^ a b Lukas, J. Anthony (1986). Common Ground: A Turbulent Decade in the Lives of Three American Families (1st Vintage Books ed.). New York: Vintage Books. ISBN 0394746163. ^ "Edward Moore (Ted) Kennedy". American National Biography Online. Retrieved March 23, 2015. ^ Theodore Landsmark press conference Abstract. GBHT original air date: April 7, 1976. ^ Most Memorable Photos, Stanley Forman. ^ "Stars and Strife". Archived from the original on September 10, 2012. Retrieved June 17, 2011. ^ Contextualizing a Historical Photograph: Busing and the Anti-busing Movement in Boston Archived July 20, 2011, at the Wayback Machine UMBC Center for History Education. ^ Photographs depicting anti-busing protests and marches, parents demonstrating around Boston, police, and students in class and outside Hyde Park, Charlestown, and South Boston High Schools are available in the James W. Fraser Photograph Collection in the Archives and Special Collections at the Northeastern University Libraries in Boston, MA. ^ MacDonald, M. P. (1999). All Souls: A Family Story from Southie. New York: Ballantine 3, 95. ^ UPI (September 29, 1987). "Boston Schools Desegregated, Court Declares". Chicago Tribune. ^ "Busing's Boston Massacre". Hoover Institution. November 1, 1998. Retrieved August 28, 2011. ^ Muriel Cohen "Hub schools' transition period runs to 1985," Boston Globe. December 24, 1982. ^ Peggy Hernandez "Garrity Ends Role In Schools; After 11 Years, Boston Regains Control," Boston Globe. September 4, 1985 ^ Rimer, Sarah (September 25, 1995). "Challenge To Quotas Roils School In Boston". The New York Times. ^ Goldberg, Carey (July 15, 1999). "Busing's Day Ends: Boston Drops Race In Pupil Placement". The New York Times. ^ "Choosing a School: A Parent's Guide to Educational Choices in Massachusetts". Retrieved May 26, 2015. ^ Boston Public Schools At-A-Glance, 2014. ^ View guide to the records at Boston City Archives. ^ View guide to the records at Suffolk University. ^ https://news.google.com/newspapers?nid=2512&dat=19751210&id=lbZHAAAAIBAJ&sjid=V_8MAAAAIBAJ&pg=766,1709982&hl=en ^ View guide to the records Formisano, Ronald P. (2012). Boston Against Busing: Race, Class, and Ethnicity in the 1960s and 1970s. Chapel Hill, North Carolina: University of North Carolina Press. ISBN 9780807869703. Lukas, J. Anthony (2012). Common Ground: A Turbulent Decade in the Lives of Three American Families. New York: Vintage. ISBN 9780307823755. Masur, Louis P. (2008). The Soiling of Old Glory: The Story of a Photograph that Shocked America. New York: Bloomsbury Press. ISBN 9781596918542. Naimark, Susan (2012). The Education of a White Parent: Wrestling with Race and Opportunity in the Boston Public Schools. Amherst, Massachusetts: Leveller Press. ISBN 9781937146122. Reid, Willie Mae (1974). The Racist Offensive Against Busing: The Lessons of Boston, How to Fight Back. New York: Pathfinder Press. ISBN 9780873483414. Sheehan, J. Brian (1984). The Boston School Integration Dispute: Social Change and Legal Maneuvers. New York: Columbia University Press. ISBN 0231059205. Tager, Jack (2001). Boston Riots: Three Centuries of Social Violence. Boston: Northeastern University Press. ISBN 9781555534608. Taylor, Steven J. L. (1998). Desegregation in Boston and Buffalo: The Influence of Local Leaders. SUNY Press. ISBN 9780791439203. Brown, Charles Sumner (1973). Negro Protest and White Power Structure: The Boston School Controversy, 1963-1966. (Dissertation) Boston University. Hyman, Daniel S. (2002). Public Transportation as an Integrative Institution: Race and Quality of Experience on the Boston Subway System. Waltham, Massachusetts: (Thesis) Brandeis University. Klein, Rebecca H.; Brandeis University. Department of American Studies (2012). Analyzing the Failure of Integration in Education Through the Lens of Boston and Atlanta. Waltham, Massachusetts: (Thesis) Brandeis University. McGrath, Susan Margaret (1992). Great Expectations: The History of School Desegregation in Atlanta and Boston, 1954-1990. (Dissertation) Emory University. Offner, Amy C. (2001). "Too Late for Pleading": Black Boston and the Struggle for School Desegregation, 1963-1976. (Thesis) Harvard University. Shaw, Edward R. (1988). The Limits of Theory: White Resistance to School Integration in Boston. (Thesis) St. Lawrence University. Wetzler, Lauren Anne (2000). Democracy on Trial: The Boston School Committee and Desegregation, 1963-1976. (Thesis) Harvard University. Digitized primary sources related to busing for school desegregation in Boston from various libraries and archives are available via Digital Commonwealth. Busing in Boston: A research guide. Moakley Archive & Institute, Suffolk University. Short YouTube video on Boston's busing crisis How The Boston Busing Decision Still Affects City Schools 40 Years Later Stark & Subtle Divisions: A Collaborative History of Segregation in Boston Mayor Kevin H. White records, 1929-1999 (Bulk, 1968-1983). Boston City Archives. Louise Day Hicks papers, 1971-1975 (Bulk, 1974-1975). Boston City Archives School Committee Secretary Desegregation Files 1963-1984 (bulk: 1974–1976). Boston City Archives Morgan et al. v. Hennigan et al. and related cases files, 1967-1979. Boston City Archives W. Arthur Garrity, Jr. chambers papers on the Boston Schools Desegregation Case, 1972-1997, University Archives and Special Collections, Joseph P. Healey Library, University of Massachusetts Boston Center for Law and Education: Morgan v. Hennigan case records, 1964-1994, University Archives and Special Collections, Joseph P. Healey Library, University of Massachusetts Boston 40 Years Later, Boston Looks Back On Busing Crisis Collisions of Church & State: Religious Perspectives on Boston's School Desegregation Crisis An International and Domestic Response to Boston Busing directed at Mayor Kevin White What About the Kids?: A Look into the Student Perspective on Boston Desegregation Retrieved from " https://en.wikipedia.org/?title=Boston_desegregation_busing_crisis&oldid=931265104" School segregation in the United States Riots and civil disorder in Massachusetts Wikipedia articles needing clarification from January 2018 Meta Search | Travel Reviews

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‘You ain’t seen nothing yet.’ Yonkers mayor promises city’s best days are ahead Wednesday, November 6, 2019 5:36 PM EST One of the biggest winners of Vote 2019 was the mayor of Westchester’s largest city. Mike Spano easily cruised to a third term in office. He spoke to News 12 to discuss what’s in store for the city over the next four years. Tuesday evening may have lacked suspense, but it was packed with plenty of emotion for Yonkers Mayor Mike Spano. He celebrated his first election night victory without his political hero by his side – his late father, former Westchester County Clerk Leonard Spano. The two-term Democrat was considered a shoe-in, and in the end it wasn't even close. Spano dealt his opponent, GOP businessman Mario de Giorgio, a crushing defeat. Spano had made the case to voters that the City of Hills is booming, with billions of dollars of economic development and more big projects on the way - like the MGM casino and Lionsgate film studios. He promised the city's best days are still ahead. “You ain't seen nothing yet! You think Yonkers has reached its potential? Hell no!,” says Spano. After his fiery speech, he spoke to News 12 and admitted the city’s biggest challenge is coming up with the money to save Yonkers' overcrowded, underfunded and aging public schools. “We are going to continue to try and drive the message to Albany. The message is very simple. You have rebuilt Buffalo, you are rebuilding Syracuse. You are rebuilding Rochester. It’s time to rebuild Yonkers schools,” he said. The voters made it clear Tuesday night. They believe Spano is on the right track and the best person to lead Yonkers into the future. Breaking news and headlines in your inbox. Sign up for News 12 email alerts!

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Biddy Ronelle Singer/songwriter Biddy Ronelle is usually joined by her two musically-talented country-loving friends David Luke and Stu Magru. Biddy has a voice akin to Melissa Etheridge and Brandi Carlisle. Her music features strong hooks and anthemic choruses. Ridiculously new to the UK Americana scene, Biddy, David and Stu have made quite an impression on the national scene. Biddy's debut single "Raising Hell" reached number 3 in the UK Country Charts and her follow up single "Run" reached the top 10 to critical acclaim. Biddy has featured on stations such as Country Hits UK (Baylen Leonard's Front Porch), across the board on BBC Introducing (including being a part of the Long Road playlist), BBC Country's pick of the week by Mike Shepard and proving to be a fan favourite on The Country Music Showcase. Biddy was recently featured on the Gaby Roslin Show on BBC Radio London once again to critical acclaim and is currently in talks for a publishing deal as a songwriter. Alongside country music Biddy is a well known stage performer having toured the UK and internationally and also appeared in the West End. From 10 years old it has been her dream to perform her own country music and now that a trio has been firmly formed, they believe that they can do just that. It's dark and twisty country rock not seen since the likes of Delta Rae. It’s gritty, dark and twisty with an occasional bit of light shining through. Biddy Ronelle's EP "Aftershocks" was released on 3rd January 2020 and entered the iTunes UK country chart at number one. Join @biddyronellemusic on Facebook Follow @BiddyRonelle on Twitter Get Biddy's "Aftershocks" EP on Apple Music Get Biddy's "Aftershocks" EP on Spotify Go to Biddy's YouTube channel Biddy is supported by the team at Country Music Social Media. Visit Country Music Social Media's website

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Sam Millar Although SAM MILLAR is still a singer songwriter at heart, more recently he has focus his time on a new music project in his life, one of which he has been longing to do for a long time. His new TV Show is called ‘The UK Americana Bar’. This is such a thrill for Sam for who, coming from an Irish family and after recording two albums in Nashville, 'this music family variety show seems to have brought me full circle and summed it all up', says Sam. Sam is the Executive Producer and Founder of The UK Americana Bar ‘TV Show’ which is due to launch this year on terrestrial TV. ’It’s been a hard and long slog I can tell ya’, says Sam, 'but what a great TV Show we have lined up for the UK audiences and beyond'. With all the best from the world of Americana, Sam has put together music, comedy, cooking, lifestyle and even has a BIG Foot called Berni ,who runs the coffee bar downstairs all on one show, just awesome. Join Sam and the gang on his New TV show, SKY TV - Showcase 192 or FreeSat 161 launching at 6pm on Sunday 3rd November 2019 Sam's first album ‘9 hours 2 Nashville’ was a critical success with many of the tracks being used for line dance compilations including releases from MCA and EMI. This brought many TV appearances and coverage around the world. Times change, and Sam moved onto other media projects, but promised himself he would continue writing songs and eventually would return to the USA to record a second album. This was completed in 2009 when he recorded ’Saturday Night’. The album contains twelve tracks (eleven self-written) all with a theme and emotions around a Saturday night. The title track was released as a promotional single in August to re-introduce Sam to the many radio stations and magazines that supported him years ago. Saturday Night was again produced by Mark Moseley, Sam's producer in Nashville, Tennessee, and a host of top session musicians and singers were brought together to make this modern-day country/pop album. The only cover is Sam’s version of ‘I Can See Clearly Now’. Sam received four stars out of 5 for his album "Saturday Night" when it was reviewed by Maverick Magazine. And Sam has reached number one in three separate European and British independent charts. Buy Sam's music from our Online Music Store Visit Sam's Website Visit The UK Americana Bar's website

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Some stuff 1. Police brutality. A woman who was talking loudly on her cell phone outside at a Metro station, and possibly using profanity, ignored a Metro cop's request to quiet down. Naturally, this being Metro, the officer took the only reasonable action available to him and forced her to the ground and handcuffed her. Bonus points: she's five months pregnant. Metro's spokespeople, being customer-centric, of course, immediately and profusely apologized. "We need better enforcement to allow people to know we are serious and want to maintain the high-quality level of the system," said Robert J. Smith, chairman of the Metro board, adding that "ranting youth" have become a plague on the subway. "This isn't Montana. We live in a very dense region, and people are on top of each other all the time." Smith, who refuses to carry a cell phone, said he thinks Metro riders need to use the devices with care. "We wouldn't allow someone to come into the U.S. Capitol Rotunda and shout obscenities into a cell phone," he said. So, of course, the cop treats her like he just found out she was the one mailing anthrax to people back in '01. Seriously, why not do something about the drunk and/or crazy guys who ride the train, shouting in a random yet threatening manner at the other riders, thus scaring the crap out of them? I swear that's happened to me, like, five times. A woman talking loudly on her cell phone, outside of the train? For Metro, that's refreshingly benign. 2. No more Visions. The erstwhile cinema-slash-bistro-slash-lounge, which only did one of those three things well (lounge), is closing soon, or maybe has already closed. Tens of college students, who loved watching the vastly overrated Donnie Darko on a small screen at the end of a long, narrow theater with bad sound, are weeping into their Smirnoff Ices. Close the book on Visions. It was a good place for people who need to feel cool, but not a good place to actually watch a movie. They did ocassionally get some super-obscure things, but overall, Bruce Springsteen's new E Street Theater is much better. 3. We're still on Orange Alert in D.C. Anybody know why? Ohhh, because the terror alert levels are bullshit? You don't say. 4. D.C. may get baseball, but at a huge cost. Make the team pay for it, like with the new ballpark in San Francisco. The team is who reaps all the financial benefit, anyway; the economic impact of baseball will in no way offset the property acquisition/building costs. Then again, D.C., much like America itself, has to maintain its ghetto rich attitude. "I want lots of cool stuff, but I don't want to have to pay for it... right now." 5. Juvenile homicides way up in D.C. But, like the rest of suburban fantasyland, the less I think about it, the less upset I get. Problem solved! Posted by James F at 1:49 PM 0 comments Why not? Part 1. Why not elect Marion Barry? Why not make D.C. look like a laughing stock again? The city had only just started to recover from his reign of terror as mayor. So yeah, let's just bring his ass back. How long until he's caught smoking crack again? Over-under: 1 year from now. Place your bets. Why not repeal the D.C. gun ban? I mean, sure, it's not anything that anybody in the District wants. And also, the murder rate had just started to decline, thanks to better policing. But hey, who knows what's better for D.C., after all? The residents of the city? Or a bunch of sheltered, self-important, white Republicans representing non-urban areas? Good job, Republicans. You take up that white man's burden. Repeal that handgun ban that D.C. residents instituted. Remove the prohibition against semiautomatic weapons. Remove registration requirements for ammunition and other firearms. Cancel those criminal penalities for carrying unregistered guns. That will solve everything. YOU'RE SO MOTHERFUCKING SMART. WHAT A FUCKING GREAT IDEA. THANK YOU SO VERY, VERY GODDAMNED MUCH. Also, while you're at it, I suggest going one step further and allowing guns to be carried into Congress. It's a crime against freedom that American citizens can't carry a handgun into the House of Representatives... to protect themselves, of course. I'm sure nothing bad could possibly come of that, either. Kurtz Got Served This is an utterly brilliant opinion piece by Rick Mercier of the Fredricksburg Free-Lance Star. It's about the Post, and its recent non-apology apology for totally fellating the President during its coverage of the run-up to Operation Iraqi Quagmire. A free press is supposed to question what a government is trying to spoonfeed it, not simply assume that leaders are credible and that their claims about the designated enemy are beyond scrutiny. [Post media reporter Howard] Kurtz provides no help with these questions. He patronizes readers with platitudes about the basic tenets of journalism, but leaves them wondering how in the world the Post arrived at its conclusions about whom it could trust... Nailed it. Absolutely stuck the landing. The judges are loving it. That's exactly what Kurtz's opinion piece was: patronizing. I'm not the type to trot out the "read the whole thing" cliche, but I do think that, if you're a reporter or editor, you should print out this article and tack it to your forehead. Text-side facing in. We haven't quite mastered the light bulb yet D.C. is the least well-lit of all the big cities I've visited. For whatever reason, there just isn't a whole lot of emphasis on street lighting; even in densely populated and re-gentrified residential areas, where you might expect a lot of auto and foot traffic, the streets stay surprisingly dark. Of course, in a city plagued by muggings and other street crimes, this only serves to make things that much more creepifying. But the darkness problem seems to have at least been acknowledged. After the high-profile murder of a popular waiter walking home late near Dupont Circle, the National Guard brought bright floodlights into the neighborhood to light it up at all hours. Now, James' new favorite website DCist reports some community activists are trying to get D.C. to be more dilligent in fixing broken street lights, because... and I hope you're sitting down, because this news will rock your world... the city's DOT is not especially responsive when it comes to fixing broken lights. Clearly, more light at night in dangerous neighborhoods would be a good thing, just as a common-sense safety issue. But this is D.C., where common sense is kidnapped and hunted down for sport on a desolate island with only rocks and a crude slingshot to defend itself. Naturally, we have residents complaining that roads like M Street in Georgetown are too bright. I'm guessing we don't want to be reminded we live in a real city? Just a guess. Imagine a Manhattanite complaining that 5th Avenue is too bright. They would be openly mocked and told to move to Connecticut. And yet, here we have people arguring that, while brighter streets might save a few lives, the brightness keeps Muffy the poodle awake at night, and we can't have that, because she'll be all cranky in the morning when we take her to the doggy daycare on 18th. Meanwhile, it's not just D.C. that could use more light. Even my neighborhood gets surprisingly dark at night. Not that my neck of Arlington is dangerous... the only unusual characters in my 'hood appear to be of the non-threatening variety (big shout out to Perpetually Drunk Lady, Confused Shirtless 7-Eleven Guy, and Transvestite Cheerleader Guy). But once you veer away from Lee Highway and into purely residential territory, the few street lights there are low, dim, and far apart. I'd rather live somewhere that's walkable at night, and where you're encouraged to enjoy what a city has to offer at all hours. But then, if I always got what I wanted, I'd be too busy catching the winning space-touchdown in the Galactic Super Bowl to write this. Posted by James F at 12:53 AM 0 comments Please don't pimp my ride The headline for this article is "Band of Would-Be Pimps Abducted Women." The kidnappers tried to kidnap prostitutes as a way of horning in on the city's sexual service industry, but, sadly, kidnapped innocent non-hookers at gunpoint from off the street. Could this happen anywhere else, I ask you, than your nation's capital? Gonzalez was driven around the District for some time. Eventually, she was forced into the basement of a house in Northwest, where she said Watson screamed, "Who's your pimp, who's your pimp?" Gonzalez said she pleaded with Watson, telling him that she didn't have a pimp and that she was just visiting her cousin. Makes you proud to be an American, right? Am I right? UPDATE! Oh man, I just thought of the best idea for a movie, involving these guys accidentally kidnapping the Bush twins. I see the Olsen twins as the Bush twins, and Chris Rock in a dual role as the pimps. And also, Anthony Hopkins as the mysterious pimp kingpin. Kingpimp...? Wait, now I think this movie's been done before. Posted by James F at 11:58 PM 0 comments Rated PG for MURDER Good: D.C. homicides are way down this year. Bad: They seem to have migrated east to Prince George's County. Posted by James F at 2:48 AM 0 comments Oh no, cave in at the old mine! Have you ever driven up Georgetown Pike in Langley, Va.? Go north on George Washington Parkway, then south on VA-123, then right on Georgetown Pike. I highly recommend it, because, seriously... it's like Republican Fantasy Land. As you drive along 123, it looks more or less like the rest of GW Parkway land; lots of trees, not many buildings. The completely unironically named George Bush Center for Intelligence, where they're so good at digging up slam dunks on Saddam Hussein's weapons of mass destruction, is down the road. There are occasional side streets into neighborhoods belonging to the likes of progressive everyman Pat Buchanan. All that's standard-level suburban creepiness for Washington. But the supreme über-creëpiness doesn't kick in until you turn down Georgetown Pike. This is where suburban living is taken to a Stepfordian extreme. In fact, they've somehow managed to cross the line from suburban to exurban. I was driving through rural Pennsylvania a few weeks back, and this was almost exactly like that; a narrow two-lane road, with some up-and-down hillyness. The road is completely covered with trees, so that you can't see any evidence of city living (that includes "dc style") in any direction. There's a general store-slash-gas station with just a couple of pumps. And not "store" in the usual metropolitan mini-mart sense; it's literally a little shack, like you would see driving around in the middle of nowhere. After a while you come upon a big-ass high school, just like they might have in a one-school rural county. The mascot of said high school is, once again completely unironically, the Saxons. And so, the sheltered suburbanites managed to insulate their community from any signs of urban life. There are no restaurants, supermarkets, theaters, bowling alleys, bars, etc. Nothing fun or vibrant; there are no signs of life, and indeed, no sidewalks. A visitor might, for a second, think he had blacked out and driven all the way to West Virginia, if not for two crucial differences. 1. This isn't the middle of nowhere. It's inside the freaking Beltway. 2. I could afford to live in a rural/exurban community. I will never, ever be able to afford to live on Georgetown Pike in Langley. In fact, if I cloned myself four times, the four of us would still be unable to afford to live there as roommates. (There's an idea for the next Real World. So, then... what's the point? Why re-create Little House on the Prairie in the middle of a gigantic metropolitan area? Well, Washington's a disturbing place to live. There is a lot of urban blight. There are real problems throughout the area that these people would rather not be confronted with... crime, extreme poverty, homelessness, neighborhoods that appear to have been hit by a nuclear bomb, etc. And, if you're a Republican, your Fantasy Land does not include such elements. (For these problems would cost money to address, and if something costs money, but doesn't involve, say, bombing Muslims at random, well, it's just not worth doing.) But conscience is a funny thing. Overpriced city living is great, but driving the SUV around Logan Circle and having to look at all those homeless drug addicts just won't do... it tends to make one uncomfortable. Suburban living, is, I guess, too common and crowded for these people. Thus, Georgetown Pike provides the illusion of rural living, but is priced well out of the league of most people, while still being less than 15 miles away from all the blight and other wonders of D.C. Everybody wins! Nobody has to be confronted with the realities of failed economic so-and-so whatever. The residents can sleep soundly at night, having convinced themselves of the illusion that they live like the Waltons. So, yeah, I recommend sightseeing in this neighborhood, if you want to transport yourself to a different place and time. Say hi to Michael Landon for me. Just one more thing: you'll have to drive. Metro doesn't travel anywhere along Georgetown Pike. (Wouldn't want to give those minorities and drug addicts a free pass into Fantasy Land!) I hate this damn city. I'm nobody I could barely bring myself to go into work last week. My company has largely moved to a new floor it purchased in our building, but I stayed behind in the old digs, which are now empty and largely desolate. It was a strange environment even before the mass migration. I'll walk past people in the hallways, and they won't even look at me. I wasn't introduced to anyone when I started there; just plopped in a conference room as a makeshift office. I have supervisors who only talk to me, via e-mail, when I do something wrong. Then, in the employee evaluations, I was, strangely, dinged for not keeping my supervisors apprised of my progress (as were my two co-workers on the same project). This was the excuse given for my less-than-average raise. But since then, when I try to tell my supervisors what's going on, they're largely unresponsive. On one part of the project, I asked three times for a meeting to make sure I was meeting the project requirements, and was blown off each time. When I run into a roadblock, it's like pulling teeth trying to get them to help. Every morning I wake up later and later because I hate my job. But mostly I hate myself for settling for this crap. It's easy to get complacent when they don't pay attention to when you come and go, and just collect a paycheck. But when you get treated like a nobody for long enough, you start to believe that you are a nobody. That's why it gets hard for me, at times, to even bring up this web page, which I haven't done all week. I sometimes can't bear to look at my own stupid ramblings, peppered as they are with pop-culture references and profanity. Not because I'm embarrassed, necessarily, but because... they don't mean anything. They don't serve any useful purpose, because I'm a nobody. I have no power and no influence. I have no money. I can't change anything about Washington, so I'm just waiting for the day when I can leave. I'm not exactly making the world a better place through my existence. Congress isn't going to read any of this and say, "Oh yeah, we should do something about that." All I can do is sit behind my computer screen and make fun of all the bullshit, and hope that it helps a few like-minded Washingtonians feel better. So... hope this helps.

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Mrs Cecilia Jane HARPER, née Frost (1816–1861) Her daughter Minnie Helen Maud HARPER (1856–1866) St Giles section: Row 16a, Grave B25½ Cecilia Jane Harper Minnie Harper born March 22, 1856 Died Dec. 2, 1866. For more on Cecilia’s husband, see his separate grave Cecilia Jane Frost was born at Hadleigh, Suffolk on 19 March 1816 and baptised there on 16 April. She was the daughter of the music teacher Edward Frost and Jane Compton Dawson. At the time of the 1841 census Cecilia (25) was living at Grandpont (now part of Oxford, but then in Berkshire) with her father Edward Frost, who was a music teacher and presumably a widower. Six of her siblings were also at home: Ellen (20), Juliana (15), Frederick (14), Selina (11), and Rose (10). On 1 April 1843 at West Hackney church, Cecilia Jane Frost married Henry Smith Harper, a librarian and bedel of the University of Oxford (see his separate grave for more information about him): they were both then living in Kingsland, and Henry was recorded as Henry Stanley Harper and described as a gentleman. Cecilia returned to Oxford with her husband, and they had the following children there: Florence Emilie Harper (born at New Inn Hall Street, Oxford on 14 January 1844 and baptised at St Peter-le-Bailey Church on 11 February) Kate Cecilia Maria Harper (born at Cornmarket, Oxford in 1848 and baptised at St Martin’s Church on 15 June) Grace Edith Harper (born at New College Lane, Oxford in 1854 and baptised at St Peter-in-the-East Church on 8 October) Minnie Helen Maud Harper (born at New College Lane, Oxford on 22 March 1856 and baptised at St Peter-in-the-East Church on 15 June). The family was living in New Inn Hall Street when their first daughter was born in early 1844, and Henry was described in the baptismal register as an assistant at the Bodleian Library. By 1846 the family was living at 58 Cornmarket Street in St Martin’s parish, and Cecilia Jane Harper was listed as a teacher of music there in Hunt’s Directory for 1846. By the time of the 1851 census, Cecilia (35) was still working as a music teacher and was living over James Russell’s music and musical instrument shop at 125 High Street (at the south-west end of the street in All Saints’ parish, now the Black Sheep Galleries) with her husband Henry (31) and their children Florence (7) and Kate (2). Cecilia’s unmarried sister Rose (20), who was a teacher of dancing, was also living with them, and they had one servant. The family had moved to New College Lane by October 1854, and then at some point between March 1856 and 1861 they moved to Park Town. Mrs Cecilia Harper died there in early 1861: † Mrs Cecilia Jane Harper née Frost died at Park Crescent at the age of 45 on 10 March 1861 and was buried at St Sepulchre’s Cemetery on 16 March (burial recorded in the parish register of St Giles’s Church). At the time of the 1861 census her husband Henry Harper (41), still a Yeoman Bedel and librarian, was at home at Park Town with their four children: Florence (17), who was a music teacher, and Kate (12), Grace (6), and Minnie (5). They had one servant. In the third quarter of 1863 in Kensington, Henry Smith Harper married his second wife Mary Hurd Wood of Notting Hill. They continued to live at Park Town with his daughters from his first marriage, and they had a son in 1865. Cecilia’s youngest daughter Minnie died in 1866: † Minnie Helen Maud Harper died at Park Crescent at the age of 10 on 2 December 1866 and was buried at St Sepulchre’s Cemetery on 5 December (burial recorded in the parish register of St Giles’s Church). See Henry Smith Harper’s separate grave for a continuation of his life Surviving children of Cecilia and Henry Harper Florence Emilie Harper (born 1844) gave birth to an illegitimate daughter Cecil [sic] Williams Harper, later known as Cecil Maude Williams, at Hanover Square near the end of 1869. At the time of the 1871 census Florence (27) was posing as a married woman and living at 42 St Paul’s Road, St Pancras with her one-year-old daughter and a 17-year-old servant girl. In 1874 in the City of London district she married Robert Williams, who was presumably the father. Florence’s daughter emigrated to the USA in 1885 when she was 16, and her husband died in 1887. Florence Emilie Harper herself emigrated to the USA in 1918, arriving at New York on 28 October. She died at Point Pleasant, Ocean, New Jersey on 2 November 1925 (see her memorial in White Lawn Cemetery). Kate Cecilia Maria Harper (born 1848) married Charles Glen Bott, a widower and surgeon of Aveley, Essex, at Ss Philip & James’s Church on 3 November 1868 when she was 20. Her first three surviving children were born at Aveley: Cecilia Elizabeth Bott (1869), Mary Bott (1873), and Walter Stanley Bott (1875). Their next child Hugh Glen Bott was born in the Hackney district in 1877. Her husband Dr Bott died on 15 May 1879 in British Guyana (Plantation Skeldon, Berbice County). His effects came to under £600, and his will was proved by Kate, who was then living at 4 Landsdowne Terrace, Winkfield Road, Wood Green. At the time of the 1881 census Kate (32) was living at 2 Bounds Green Road, Tottenham with her four children and a servant. By 1891 she had moved to 40 Hogarth Road, Kensington, and three of her children were with her: Cecilia (21), who was a typist; Mary (19), and Walter (15), who was a draughtsman. By 1901 Kate (52) had moved to 8 Gainsborough Mansions, Fulham and was receiving a government pension. Three of her children were still with her: Cecilia (31) was now a hospital nurse; Mary (29) was a carver and guilder; and Hugh (23) was a bookkeeper to a colour printer. By 1911 Kate had moved into the home of her son Hugh and his family at 65 Flanders Mansions, Bedford Park. She died at 108 Brightwell Avenue, Westcliff-on-Sea, Essex on 25 September 1915. Her effects came to £156 8s. 4d., and her son Walter, who was now an electrical engineer, was her executor. Grace Edith Harper (born 1854) was living with her father and his second wife and their son at Park Town in 1871. On 12 August 1875 at Ss Philip & James’s Church, when she was 21, she married Thomas Henry Barnett, a widower and gentleman of Stoke Newington. They are hard to trace after that date.

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The Plant, Sausalito, CA Studio Projects ( in reverse chronologically ) Lines On The Wall My first ever solo recording, Lines On The Wall features ten songs written over the last decade or so. A departure from the heavier more progressive music I've recorded the last few years, most of these tracks are acoustic guitar based and more pop oriented. I intended this project more as a display of my songwriting than my guitar playing, but I couldn't resist the opportunity to take a lead break every now and then. Created at Cheap Ass Studios in Alameda, CA between February 2001 and July 2002. My Role: Guitar, Vocal, Bass, Keyboard, Percussion, Engineer, Producer Philadelphia Folk Festival - 40th Anniversary Box Set The people at the Philadelphia Folk Festival were gracious enough to include Tempest's version of "Ye Jacobites by Name" on their star studded 40th Anniversary Box Set. The track comes from the Tempest - Live at the Philadelphia Folk Festival CD. My Role: Guitar, Mix Engineer Tempest - Balance Balance is the first recording I have made for Magna Carta. Working with Robert Berry at Soundtek Studios was great fun and the performances on this album reflect the vibe in the control room - sometimes laid back and sometimes intense! Recorded November and December 2000, released April 24, 2001. My Role: Guitar, Backup Vocal, Songwriter Trance Lucid - Vigil I met Dave Halverson and Terry Lee while working at Skyline Studios in Oakland, CA. All of us had recently moved to town and Dave and I found we have way too much in common. He and I spent hours in the studio on this one. Released in the Summer of 2000. My Role: Recording/Mix Engineer, Co-Producer Tempest - Live at the Philadelphia Folk Festival Recorded live at the 1999 Philadelphia Folk Festival. This is the biggest show I've played yet - 15,000 people, and it was recorded to 24 track! We took the master tapes home to Oakland and I mixed the CD at Skyline Studios in late 1999, released January 2000. Pickpocket Ensemble - International House of Dreams I met these guys while working as an audio engineer for a local San Francisco company. We ran cables throughout the studio and recorded the band live to multi-track. For me the highlight was an improvisational piece they later called "Breathing Under Water." My Role: Recording/Mix Engineer John R. Burr - Piedmont Avenue John R. Burr is a great player with a wonderful sense of humor. I recorded him at Skyline Studios for several of the tracks on this CD. Darvish - Darvish I met Victor Spiegel of Darvish one day at Skyline Studios when he was working on one of his soundtrack projects. Later he showed up with the rest of the group and we recorded three tracks that afternoon. Darvish has a great sound that will take you straight to the bazaar. Box Smiley - 22 Shannon... A fun bunch of Coast Guard boys. We worked late at night. One night we tracked all the vocals. In one night! I still think they came out great too. The mix was fun but tough because there was no automation on the mixer. Nothing like manually mixing the eighth song of the session at 4:00 am. The band broke up when the Alameda Navy Base closed and they all shipped out to different parts of the country. This is a two song CD by my previous band FEED. It was recorded in the living room of the drummer and singer. We used triggered drums and recorded bass and guitar direct. The neighbors still complained about the stomping on the floor during drum takes. For the mix the three of us huddled around the Mackie1604 and it was every man for himself! I still enjoy playing the old FEED material. It is very heavy. My Role: Guitar, Recording/Mix Engineer, Co-Producer

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the tool page toolshed.down.net This site is no longer being updated. See here for details. Follow me here and here for updates. Thank you for 22 great years. (And yes, new album "Fear Inoculum" is out, lyrics are posted!) select an album: lyrics to, well, everything as submitted to t.d.n Some Tool songs undergo slight lyrical variations in each performance; Maynard's own typed versions are shown here, uncorrected, to provide you with a straight-from-the-source guide to what he has said / might say next time. Most of these transcriptions came straight from the Man's computer. How he writes his lyrics/poetry and then translates that into music is up to him. Think of them as photographs; you don't look exactly the same in every picture, but it is still you. Posted lyrics for "10,000 Days" are official / confirmed (except for "Lost Keys" and "Intension"). For those songs, it is sort of like the good old days of "Undertow", when there were no official lyrics available for two years, and it was every word for himself. The redesign of this section of The Tool Page was done at lightning speed, and would not have been accomplished without the help of Systolic, Professor Pudding, awb, beLIEve, and newtnewrt from the Opinion forums. The night "Invincible" and "Descending" had their live debut, visits to this page spiked 600%. And now it turns out that for the first time ever, official lyrics are included in the liner notes of the new album. They are now posted here. Thanks for stopping by; hope you're all doing well. kabir/akhtar | kabir@t.d.n

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Vol. 123, No. 2 A Newspaper of General Circulation January 13, 2020 Replay dominated sports in 2019, expect more By JOSH DUBOW From the moment two officials failed to throw a flag for obvious pass interference on a play that helped decide the NFC championship – stunning the players, coaches and millions of fans – officiating and replay became a constant theme in 2019. No matter the sport, fans and competitors were frustrated by inconsistent standards and rules that prevent some obvious mistakes from being changed. But those same fans and competitors also complain about long delays to determine something as mundane as whose fingernail last touched a basketball before it went out of bounds, even in a regular-season blowout. “I don’t want any instant replay in my life personally, but if we are going to have it, let’s use it properly,” Oakland Raiders coach Jon Gruden said after getting an apology for a blown call that led to a loss. “I don’t think it’s that hard.” But no one agrees on the proper way to implement video review. Some argue the technology takes away the human element and is too intrusive, and others counter that all wrong calls should be overturned. Some even want to let technology call balls and strikes in baseball. From that no-call at the Superdome that helped send the Rams to the Super Bowl instead of the Saints, to the Final Four where Virginia was helped to a title by some calls that couldn’t be reviewed to another that was, to the Kentucky Derby where for the first time ever the apparent winner was disqualified for interference on video review, to controversy from the Video Assistant Review system at the Women’s World Cup and across Europe’s biggest soccer leagues, replay has confounded nearly everyone. The only constant seems to be more of it. “I don’t think you can go backward anymore,” NHL Commissioner Gary Bettman said when his league expanded the use of replay following a series of mistakes in the playoffs that changed the outcome of some games. “I think that ship has sailed. Frankly, we want to get it right.” Figuring out how to do that is the challenge. There was nearly unanimous agreement that there should have been pass interference called against the Rams’ Nickell Robey-Coleman on New Orleans’s Tommylee Lewis in the NFC title game. The no-call gave Los Angeles enough time to drive for a game-tying field goal before eventually winning in overtime to go to the Super Bowl. There has been no such unanimity when it comes to the solution. The NFL acceded to the wishes of the coaches led by New Orleans’s Sean Payton to allow challenges of pass interference calls, but that has only added more ambiguity, with no consistent standard of what warrants an overturn. Throw in weekly disputes on what constitutes roughing the passer, premature whistles that negate touchdowns, botched calls that aren’t reviewed because a team is out of challenges, and the complaints have only grown louder. “It seems like week in and week out, there are three or four games that have impact calls that continue to make the headlines,” said former NFL referee and ESPN officiating analyst John Parry. “They have to find a way to get off of the headlines. There will be a holding call missed here and there. But it’s the game changers, the two or three impact plays where quality officiating is needed. We’re just not there.” Parry blames inexperienced officiating crews and the lack of a lower league training program like NFL Europe. He’s now open to more radical changes, including putting an extra official upstairs to communicate obvious misses to the field officials and allowing challenges on more types of calls. But that won’t solve all the missed calls, which have become more evident thanks to new camera angles and high-definition TV. “I think slow-mo replay is the biggest problem with replay,” Gruden said. “When you’re looking at ‘is it a catch or isn’t it a catch?’ at that speed it’s hard to tell. It really is hard to tell. So I think if you threw that slow-mo out, I think you’d get back to common sense.” There are issues in almost every sport, from the pass interference debate in the NFL to balls and strikes in baseball to the block or charge in the NBA to the standard for penalties in the NHL to fans reporting infractions seen on TV in golf. Perhaps the only sport that has implemented replay in a nearly controversy-free method is tennis. The only major complaints are whether replay should be added to clay court tournaments like the French Open, where linesmen use the old-fashioned method of checking marks. Tournament director Guy Forget said this past year that’s not about to change. “Historically, we’ve been judging the course of a ball and where it lands on the court by the mark it leaves on the clay,” he said. “Would you like to have a court with no chair umpire, no linesmen, just electronic line-calling? Is that something we really want in the future? I think we’d miss something.” That’s exactly the debate going on in baseball, where many replay advocates are pushing for balls and strikes to be called electronically. Those complaints reached a crescendo in Game 5 of the World Series, when a couple of apparent bad calls hurt the Washington Nationals. Baseball has experimented with “robots” calling balls and strikes and communicating to an umpire in the Arizona Fall League and in the independent Atlantic League. That could come to the big leagues soon. Umpires agreed to cooperate with Major League Baseball in the development and testing of an automated ball-strike system as part of a five-year labor contract announced in December, two people familiar with the deal told The Associated Press. The people spoke on condition of anonymity because those details of the deal, which is subject to ratification by both sides, had not been announced. “It would change the game for the good. It would continue the effort to eliminate human deficiency,” Hall of Famer Mike Schmidt wrote in a story for The Associated Press in October. “We have replay everywhere else in the game. Like it or not, replay gets the call right.” In soccer, the increased use of video assistant refereeing in 2019 collided with wider changes. Confusion was fueled as referees had to get used to a new way to interpret handballs and the movement of goalkeepers on their line when facing penalty kicks. The arrival of VAR in the Premier League sowed fresh confusion. Fans and players alike had gotten used to referees going over to assess replays for themselves on field-side screens in other competitions. In England, referees have been relying heavily on the VAR system feeding their verdicts through the radio. Fans have also grumbled about a new level of scrutiny, with VARs using forensic geometry to rule if a player is offside. At times, an attacker has been ruled offside because of the position of his armpit in relation to a defender. The NBA also added a challenge system this season, but that didn’t help correct one glaring mistake when Houston’s James Harden had what appeared to be a clear dunk wrongly disallowed in a double-overtime loss to San Antonio. The Rockets protested but the result held even though the officials in question were suspended. Complaints about officiating are as old as sports and won’t change no matter what kind of technology is used. “At the end of the day, there’s no perfect system,” Parry said. “It is sports. It is humans making calls. We’re just trying to interject technology into the human element to make it a little better.” Home | Public Notices | Online Content | Subscribe | Contact Us | Admin © 2020, Lewis Legal News, Inc. Terms and Conditions Apply.

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S: (n) radiculitis (inflammation of the radicle of a nerve) S: (n) inflammation, redness, rubor (a response of body tissues to injury or irritation; characterized by pain and swelling and redness and heat) S: (n) adenitis (inflammation of a gland or lymph node) S: (n) alveolitis (inflammation of the alveoli in the lungs caused by inhaling dust; with repeated exposure the condition may become chronic) S: (n) alveolitis, dry socket (inflammation in the socket of a tooth; sometimes occurs after a tooth is extracted and a blood clot fails to form) S: (n) angiitis (inflammation of a blood vessel or lymph duct) S: (n) aortitis (inflammation of the aorta) S: (n) appendicitis (inflammation of the vermiform appendix) S: (n) arteritis (inflammation of an artery) S: (n) balanitis (inflammation of the head of the penis) S: (n) balanoposthitis (inflammation of both the head of the penis and the foreskin) S: (n) blepharitis (inflammation of the eyelids characterized by redness and swelling and dried crusts) S: (n) bursitis (inflammation of a bursa; frequently in the shoulder) S: (n) carditis (inflammation of the heart) S: (n) catarrh (inflammation of the nose and throat with increased production of mucus) S: (n) cellulitis (an inflammation of body tissue (especially that below the skin) characterized by fever and swelling and redness and pain) S: (n) cervicitis (inflammation of the uterine cervix) S: (n) cheilitis (inflammation and cracking of the skin of the lips) S: (n) cholangitis (inflammation of the bile ducts) S: (n) cholecystitis (inflammation of the gall bladder) S: (n) chorditis (inflammation of the vocal cords) S: (n) chorditis (inflammation of the spermatic cord) S: (n) colitis, inflammatory bowel disease (inflammation of the colon) S: (n) colpitis (inflammation of the vagina) S: (n) colpocystitis (inflammation of the vagina and bladder) S: (n) conjunctivitis, pinkeye (inflammation of the conjunctiva of the eye) S: (n) corditis (inflammation of the spermatic cord) S: (n) costochondritis (inflammation at the junction of a rib and its cartilage) S: (n) dacryocystitis (inflammation of the lacrimal sac causing obstruction of the tube draining tears into the nose) S: (n) diverticulitis (inflammation of a diverticulum in the digestive tract (especially the colon); characterized by painful abdominal cramping and fever and constipation) S: (n) encephalitis, cephalitis, phrenitis (inflammation of the brain usually caused by a virus; symptoms include headache and neck pain and drowsiness and nausea and fever (`phrenitis' is no longer in scientific use)) S: (n) encephalomyelitis (inflammation of the brain and spinal cord) S: (n) endarteritis (inflammation of the inner lining of an artery) S: (n) endocervicitis (inflammation of the mucous lining of the uterine cervix) S: (n) enteritis (inflammation of the intestine (especially the small intestine); usually characterized by diarrhea) S: (n) epicondylitis (painful inflammation of the muscles and soft tissues around an epicondyle) S: (n) epididymitis (painful inflammation of the epididymis) S: (n) epiglottitis (inflammation of the epiglottis; characterized by fever and a severe sore throat and difficulty in swallowing) S: (n) episcleritis (inflammation of the sclera of the eye) S: (n) esophagitis, oesophagitis (inflammation of the esophagus; often caused by gastroesophageal reflux) S: (n) fibrositis (inflammation of white fibrous tissues (especially muscle sheaths)) S: (n) fibromyositis (local inflammation of muscle and connective tissue) S: (n) folliculitis (inflammation of a hair follicle) S: (n) funiculitis (inflammation of a funiculus (especially an inflammation of the spermatic cord)) S: (n) gastritis (inflammation of the lining of the stomach; nausea and loss of appetite and discomfort after eating) S: (n) glossitis (inflammation of the tongue) S: (n) hydrarthrosis (inflammation and swelling of a movable joint because of excess synovial fluid) S: (n) ileitis (inflammation of the ileum) S: (n) iridocyclitis (inflammation of the iris and ciliary body of the eye) S: (n) iridokeratitis (inflammation of the iris and cornea of the eye) S: (n) iritis (inflammation of the iris) S: (n) jejunitis (inflammation of the jejunum of the small intestine) S: (n) jejunoileitis (inflammation of the jejunum and the ileum of the small intestine) S: (n) keratitis (inflammation of the cornea causing watery painful eyes and blurred vision) S: (n) keratoconjunctivitis (inflammation of the cornea and conjunctiva) S: (n) keratoiritis (inflammation of the cornea and the iris of the eye) S: (n) keratoscleritis (inflammation of the cornea and sclera of the eye) S: (n) laminitis, founder (inflammation of the laminated tissue that attaches the hoof to the foot of a horse) S: (n) laryngitis (inflammation of the mucous membrane of the larynx; characterized by hoarseness or loss of voice and coughing) S: (n) laryngopharyngitis (inflammation of the larynx and pharynx) S: (n) laryngotracheobronchitis (inflammation of the larynx and trachea and bronchial passageways) S: (n) lymphadenitis (inflammation of lymph nodes) S: (n) lymphangitis (inflammation of a lymph vessel) S: (n) mastitis (inflammation of a breast (or udder)) S: (n) mastoiditis (inflammation of the mastoid) S: (n) metritis, endometritis (inflammation of the lining of the uterus (of the endometrium)) S: (n) myelitis (inflammation of the spinal cord) S: (n) myositis (inflammation of muscle tissue) S: (n) myometritis (inflammation of the myometrium) S: (n) neuritis (inflammation of a nerve accompanied by pain and sometimes loss of function) S: (n) oophoritis (inflammation of one or both ovaries) S: (n) orchitis (inflammation of one or both testes; characterized by pain and swelling) S: (n) osteitis (inflammation of a bone as a consequence of infection or trauma or degeneration) S: (n) otitis (inflammation of the ear) S: (n) ovaritis (inflammation of the ovaries) S: (n) pancreatitis (inflammation of the pancreas; usually marked by abdominal pain) S: (n) parametritis (inflammation of connective tissue adjacent to the uterus) S: (n) parotitis (inflammation of one or both parotid glands) S: (n) peritonitis, peritoneal inflammation (inflammation of the peritoneum) S: (n) phalangitis (inflammation of a finger or toe) S: (n) phlebitis (inflammation of a vein (usually in the legs)) S: (n) pneumonitis (inflammation of the lungs; caused by a virus or an allergic reaction) S: (n) posthitis (inflammation of the foreskin of the penis; usually caused by bacterial infection) S: (n) proctitis (inflammation of the rectum; marked by bloody stools and a frequent urge to defecate; frequently associated with Crohn's disease or ulcerative colitis) S: (n) prostatitis (inflammation of the prostate gland characterized by perineal pain and irregular urination and (if severe) chills and fever) S: (n) rachitis (inflammation of the vertebral column) S: (n) retinitis (inflammation of the retina) S: (n) rhinitis, coryza (an inflammation of the mucous membrane lining the nose (usually associated with nasal discharge)) S: (n) sinusitis (inflammation of one of the paranasal sinuses) S: (n) salpingitis (inflammation of a Fallopian tube (usually the result of infection spreading from the vagina or uterus) or of a Eustachian tube) S: (n) scleritis (inflammation of the sclera) S: (n) sialadenitis (inflammation of the salivary glands) S: (n) splenitis (inflammation of the spleen) S: (n) spondylitis (inflammation of a spinal joint; characterized by pain and stiffness) S: (n) stomatitis (inflammation of the mucous membrane of the mouth) S: (n) synovitis (inflammation of the synovial membrane that lines a synovial joint; results in pain and swelling) S: (n) tarsitis (inflammation of the eyelid) S: (n) tendinitis, tendonitis, tenonitis (inflammation of a tendon) S: (n) thyroiditis (inflammation of the thyroid gland) S: (n) tonsillitis (inflammation of the tonsils (especially the palatine tonsils)) S: (n) tracheitis (inflammation of the trachea) S: (n) tracheobronchitis (common respiratory infection characterized by inflammation of the trachea and the bronchi) S: (n) tympanitis (inflammation of the inner ear) S: (n) ulitis (inflammation of the gums) S: (n) ureteritis (inflammation of the ureter) S: (n) uveitis (inflammation of the uvea of the eye) S: (n) uvulitis (inflammation of the uvula) S: (n) vaginitis (inflammation of the vagina (usually associated with candidiasis)) S: (n) valvulitis (inflammation of a valve (especially of a cardiac valve as a consequence of rheumatic fever)) S: (n) vasculitis (inflammation of a blood vessel) S: (n) vasovesiculitis (inflammation of the vas deferens and seminal vesicles; usually occurring with prostatitis) S: (n) vesiculitis (inflammation of a seminal vesicle (usually in conjunction with prostatitis)) S: (n) vulvitis (inflammation of the vulva) S: (n) vulvovaginitis (inflammation of the vulva and the vagina) S: (n) shin splints (painful inflammation of the muscles around the shins; frequent among runners) part holonym

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The Feast of Corpus Christi Barbara R. Walters, Vincent Corrigan, and Peter T. Ricketts 7" × 10" “In this welcome, scholarly book, three American academics working in the field of medieval studies assemble a remarkable collection of material that brings fresh light to bear on the origins and early development of the festival of Corpus Christi.” —Kenneth Stevenson, Journal of Theological Studies The feast of Corpus Christi, one of the most solemn feasts of the Latin Church, can be traced to the Fourth Lateran Council in 1215 and its resolution of disputes over the nature of the Eucharist. The feast was first celebrated in Liège in 1246, thanks largely to the efforts of a religious woman, Juliana of Mont Cornillon, who not only popularized the feast, but also wrote key elements of an original office. This volume presents for the first time a complete set of source materials germane to the study of the feast of Corpus Christi. In addition to the multiple versions of the original Latin liturgy, a set of poems in Old French, and their English translations, the book includes complete transcriptions of the music associated with the feast. An introductory essay lays out the historical context for understanding the initiation and reception of the feast. “The inclusion of Corpus Christi material in such vernacular poems attests to the growing popularity of the feast and the desire of the Church that this feast be received and disseminated at a popular level. Beyond the content of this book that is stellar, this volume distinguishes itself as a monument to collaborative research and a must-have for any serious scholar of the liturgy.” —Michael S. Driscoll, Catholic Historical Review “The Feast of Corpus Christi is in many ways an invaluable resource. It makes available for the first time a centrally important group of texts and chants, presented in such a way that specialists and nonspecialists alike can easily make use of them for research and teaching. Although not everyone will agree with Walters’s contentions, the book greatly enriches our understanding of the feast by placing an abundant offering of primary source material in its historical context.” —Susan Boynton, Speculum: A Journal of Medieval Studies Barbara R. Walters is Professor of Sociology at The City University of New York, Kingsborough Community College and SPS, University Center. Vincent Corrigan is Professor of Musicology at Bowling Green State University in Ohio. Peter T. Ricketts is Honorary Professor of French Studies at the University of Birmingham. PART I: INTRODUCTION 1. THE FEAST AND ITS FOUNDER by Barbara R. Walters The Vita of Juliana of Mont Cornillon Realizing Juliana of Mont Cornillon Juliana of Mont Cornillon as Prophetess Diffusion of the Feast through Social Networks Thirteenth-Century Liège The Community of Women Textual Communities and Texts PART II: MATERIALS FOR THE STUDY OF CORPUS CHRISTI: SOURCES 2. INTRODUCTION TO THE LITURGICAL MANUSCRIPTS by Barbara R. Walters BNF 755 and Offices A, B, and C Chronological Ordering of the Three Offices and the Papal Bull Transiturus Gy and Zawilla’s Analyses The New Critical Editions 3. CRITICAL EDITIONS OF THE LITURGICAL MANUSCRIPTS by Vincent Corrigan The Hague, National Library of the Netherlands, MS 70.E.4 Prague, Abbey of Strahov, MS D.E.I.7 Paris, Bibliothèque nationale de France, lat. 1143 Graz, Universitäts Bibliothek, MS 134 Brussels, Bibliothèque royale, 139 Brigham Young University, Harold B. Lee Library, Special Collections, Vault 091 R263 1343 Edinburgh University Library, MS 211.iv (Inchcolm Antiphonary) PART III: POEMS OF THE MOSAN PSALTERS 4. INTRODUCTION TO THE MOSAN PSALTERS by Barbara R. Walters CRITICAL EDITION OF THE POEMS OF THE MOSAN PSALTERS by Peter T. Ricketts Medieval Religion

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From May 29th To Jun 3rd, 2018 Croatia Major (Cancelled) Croatia Major (Cancelled) From May 29th To Jun 3rd, 2018 Croatia (Cancelled) Perisic chasing World Cup glory one year on from beach volleyball debut Lausanne, Switzerland, July 13, 2018 – Beach volleyball fans will be forgiven if they decide to back Croatia when they take on France in the FIFA World Cup Final on Sunday, thanks to the presence of Ivan Perisic in the Croatia team. In 2017 the left-winger, who plys his trade in Italy for Inter Milan, competed alongside Niksa Dell’Orco at the Porec Major. FIVB Beach Volleyball World Tour They lost all three of their matches, against US teams Casey Patterson and Theo Brunner, and Jacob Gibb and Taylor Crabb, and Brazilian duo Alvaro Filho and Saymon Santos, but they definitely made their mark. Perisic donated his appearance fee to the Croatia Volleyball Federation to help with their development of beach volleyball players and his appearance was popular with his opponents. One year on from his appearance in Porec the Split player has been one of the stars for the Croatia team that is one step from winning football’s ultimate prize. He scored Croatia’s equaliser in the 2-1 victory over England in the semifinal at Moscow’s Luzhniki Stadium and only injury is likely to stop him being part of the starting team when Croatia return to the stadium for the final on Sunday. The 29-year-old Perisic wasn’t the only link to football in Porec. Later in the tournament Brazil’s Gustavo ‘Guto’ Carvalhaes showed off some skills of his own as he and Pedro Solberg beat Austria’s Clemens Doppler and Alexander Horst.

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The Right Ring For A Retro Rumble Just when you thought you had enough toy rings in your collection, in creeps another one. But this one is a bit different. It's like meeting someone new who is almost identical to an old friend from your past. A blue friend. A friend made of plastic. A friend who spent many hours taking a beating, yet still came back for more. That friend was unbreakable. That friend was your Hasbro WWF ring. Now, to match that classic toy, Mattel has recreated it for their popular WWE Retro line. How does it compare? Let's find out. Like the figures themselves, the packaging is similar to its counterpart from the past. Also like the cardbacks of the figures, the cardboard used on the ring box is just a tad lighter than that of the original. It's also a bit smaller, but that will be explained shortly. It's actually nice and compact, in case anyone is looking to pick up an extra to keep sealed. Instead of The Ultimate Warrior pounding George South as in the Hasbro version, we get a live action shot of AJ Styles flying through the air. AJ's figure is displayed, as are several from the 4th and 5th series. The back depicts a total of four upcoming series of retro figures. We've got prototypes of Ric Flair, Sami Zayn, Finn Balor, a repaint of Kevin Owens, The New Day, and nWo Macho Man Randy Savage. In Hasbro-like drawings at the bottom of the box we're shown Bray Wyatt, Daniel Bryan, Shinsuke Nakamura, Sting (Wolfpac), Shawn Michaels, Chris Jericho (complete with The Scarf of Jericho), Sheamus, and Kurt Angle. That's quite a lineup to add to the first three series already released! The ring comes unassembled and the pieces are neatly packed into the underside of the ring. Everything easily slides out of the box, enabling you to slide into the DMs...err...accessories. The first point of order must be the logo sticker. It wouldn't be retro if you apply it neatly, either, so I expect every example of this ring to have the logo just a tad off center. There are things that you purposely just don't do perfectly. This is one of them. The aforementioned reason as to why the box is smaller than the original is that the ring steps, announcers table, and title display that jut out from the four sides of the ring are removable. They are also very easy to snap in. Though Randy Savage is depicted on the box as using the steps as a weapon, you would have to lift the whole thing up to actually remove them. As with most Mattel rings, the posts come tied together with the ropes. After some maneuvering, they eventually untie. The ropes feel very much like the original, although they are all permanently connected to the turnbuckles of one post and snap into the other three. It's much easier than the Hasbro tying method. The posts snap in very easily and don't have the large rectangles at the top as the later and more common version of the Hasbro ring did. The bit of movement that the separate turnbuckle pieces had from the original ring is completely gone here. Is it necessary? No, but smashing faces into them back then seemed just a tad more realistic. The ropes are tight enough that balancing AJ on the top took very little effort. The box shows the WWE Universal Championship being used with the removable title display. This is the accessory included with the large Mattel figures. Since no belts...err...championships have been included with any of the Retro figures, this seems to indicate that we are "officially" supposed to use the already released ones from the regular line. The problem is that these belts do not fit on the display as shown. They can be displayed on a tilt, but that isn't how it's utilized on the box. It's really surprising that they let this happen, unless they plan on releasing some retro figure-specific championships down the line. The other side of the ring has a small announcers table. The original had a smaller table with a single monitor that showed Hulk Hogan. The yellow King of the Ring version had a blank white sticker, though the instructions showed a picture of Vince McMahon. Here we get nothing. It's designed to look like a modern announcers table, but it's very boring. The lack of stickers could be the biggest negative to this ring. While again not a necessity, over-the-top stickers would have added to the retro fun of it all. Is this another cool retro toy?Absolutely. It's a great way to display the retro figures, even if most of them aren't from the "blue ring" era. There are some negatives (title display, lack of stickers...and no flag?), but it's a worthwhile purchase. It might be cool to see it re-released in another look, too, as was done in 1993 with the Hasbro yellow ring. Perhaps remolded in modern colors, since most of the figures are current stars? And speaking of things that could be done, how about finally utilizing that trench that stretches all the way around the apron (just as it did twenty-eight years ago) and finally get a cage match going... Blue bars, anyone? Posted by J\/\/ at 7:00 PM No comments: Labels: Action Figures, AJ Styles, Hasbro, Mattel, WWE Signature Moves: Kerry Von Erich Collecting signatures of long-deceased stars can often be a trying endeavor. As I've stated at other times on this blog, forged wrestling signatures are few and far between. There just isn't enough reason for someone to do it. The ones that do exist are fairly blatant and/or are sold by some now notorious names on a popular auction site. Even with the realest of the real, there's no true guarantee that anything was signed authentically without you seeing the autograph signed right in front of you. With long gone names, sometimes a really good chain of acquisition and ownership simply has to do. When collecting most of the Von Erich clan, this is usually the case. The nice thing about collecting Von Erich signatures is that the boys signed a lot. Just pull up any World Class Championship Wrestling episode on WWE Network and you're bound to see a photo or two being signed. WCCW sold many 8x10s for the stars to autograph, and many of their fans have kept these treasures over the years. The boys, being the Texas heroes that they were, also did any number of personal appearances where autographs were given to send the legions of fans home happy. My favorite member of the family, Kerry, was no stranger to this. Even though we just hit the milestone of twenty-five years since his death, his autographs can still be found. One of the most popular 8x10s of Kerry sold by WCCW included his dog Bo. Another featured Kerry seemingly caught in the light of a sunburst. In the example that I own, father Fritz even signed in the "sun" itself, as if he were the shining light to guide Kerry to stardom. Both of these photos, as shown, feature full "Kerry Von Erich" signatures, but that was not always the case. Some examples were simply signed "Kerry," likely in a rush situation as shown so often on World Class television episodes as the boys were being rushed to the ring at the Dallas Sportatorium. Many stories of the Von Erich boys signing exist. When you can acquire a signature with a story or even appearance advertisement it makes the item all the sweeter. Many of the female WCCW fans held onto their collections over the years which has been a prime source for myself acquiring the signatures of Kerry and other family members. Kerry was signing right up until his death in 1993. In January of that year the former "Texas Tornado" appeared at a convention and show in Philadelphia. A series of photos of the stars who appeared at this event seem to have originated here. They are made to look like promotional photos and have a "Legends of Wrestling" logo on them. There are items out there, including my example of the aforementioned photo, signed by Kerry in some sort of silver pen. While normally this would be a red flag when associated with someone who passed away before silver Sharpies came into existence, there were other writing apparatuses at the time which produced a similar look. For all of troubles that they eventually found, the Von Erich boys were said to be good to others and specifically to their fans. It doesn't surprise me that evidence of such, in this case pressed to paper, still exists long after they have become memories to those who knew them and legends to those who watched them in the ring. Labels: Autographs, Fritz Von Erich, Kerry Von Erich, Signature Moves, Texas Tornado, The Von Erich Family, WCCW The Territory Photo Albums--WWWF 1976 Before the Internet, how did you see the rosters of your local wrestling territory? If you were lucky, your promotion put out a photo album or yearbook! Usually for a nominal fee, plus postage and handling, these publications could be the key to any fan becoming an expert on the stars and champions of any number of promotions. Some areas kept up better than others at maintaining these guides, but most put out at least a few that are known to exist today. Bruno Sammartino featured heavily in the five Tri-State Wrestling photo albums put out by the Pittsburgh wrestling office in the 1960's. It's no surprise that "The Living Legend" also made the cover of the 1976 World Wide Wrestling Federation album. Officially titled "Championship Wrestling Yearbook," Sammartino is shown on the cover in a fierce battle with longtime nemesis "The Russian Bear" Ivan Koloff. Of course, Koloff is also the man who ended Sammartino's first World Heavyweight Championship reign. Also on the cover is the famous Madison Square Garden logo. These were likely sold at the Garden, though the inside cover shows that these were also marketed through the mail. Just $2.00 ($1.50 for the yearbook, .50 for postage and handling) was all that this forty-page treasure cost 42 years ago. As with so much shown on this blog, if we only had a time machine... The yearbook features two page spreads on the top stars, while others get single pages (including one each on "The Three Wise Men of The East") and many other get a single photo. All in all we've got Sammartino, Superstar Billy Graham, Ivan Putski, Koloff, Louis Cerdan, Tony Parisi, Buggsy McGraw, Andre the Giant, Fabulous Moolah, Gorilla Monsoon, Spiros Arion, Bobo Brazil, Lou Albano, Freddie Blassie, The Grand Wizard, Haystack Calhoun, Dominick DeNucci, Pat Barrett, Baron Mikel Scicluna, Chief Jay Strongbow, Ernie Ladd, Francisco Flores, Manuel Soto, Pete Sanchez, Johnny Rodz, Black Jack Lanza, Black Jack Mulligan, Jimmy Valiant, Johnny Valiant, Kevin Sullivan, Crusher Blackwell, Dave O'Hannon, Pete Reeves, George Steele, Bob Duncum, Butcher Vachon, Waldo Von Erich, Tony Altimore, The Wolfman, Tony Garea, Dean Ho, Pedro Morales, Taro Tanaka, Susan Greene, Toni Rose, and "The WWWF," which we'll get to. The many misspellings above are intentional. Those are the misspellings used in the yearbook itself, so I repeated them here for historical accuracy. Most of the photos match up, even if you'll be thrown for a loop at just how young and different the man later known as "The Taskmaster" looks here as regular Kevin Sullivan. It should be noted that the picture used for Toni Rose is actually her tag partner Donna Christanello. The two were often mistaken for each other in photos, and I always enjoy seeing my late friend Donna show up. She is sorely missed. The last page, listed in the table of contents as "The WWWF," features the brass. The head honchos. The office. Shown are Willie Gilzenberg, Vince McMahon, Arnold Skoaland, Phil Zacko, Angelo Savoldi, and television announcers Vince McMahon Jr. and Antonino Rocca. It's amazing that only Skaaland was misspelled. Of everyone on this page, only Vincent Kennedy McMahon is alive today, though Savoldi just passed away a few years ago and made it as one of the longest living wrestlers on record. If anyone knew where the bodies were buried, it's these seven men. It's always a blast to look through these publications. Back then, they were a fun look at the stars of the wrestling world as it was in your area. Today they're a time capsule of a bygone era with men and women who are now legends. Featured here were the stars of what the wrestling world knew as "New York." They filled the Garden to capacity and then moved onto the next town, no matter how big or small. The promoters were happy with an ass every eighteen inches, the wrestlers were happy with a decent check and a six-pack. May those days be remembered forever... Labels: Andre the Giant, Bruno Sammartino, Donna Christanello, Haystack Calhoun, Ivan Koloff, Madison Square Garden, Pedro Morales, Susan Green, The Grand Wizard, The Territory Photo Albums, Vince McMahon, WWWF A Big Bully...Who Was A Great Guy It's been a tough couple of months for names associated with wrestling in the Steel City. First Johnny Valiant's tragic death, followed by the unexpected passing of the all-time Pittsburgh wrestling legend Bruno Sammartino. Now, Nick Busick, best remembered as Big Bully Busick, has died after a long battle with cancer. Busick got his start in Pittsburgh in the late 70s, Though he was largely a preliminary wrestler in many areas, that made him no less a name among fans and peers alike. His most remembered stints would likely be in the GWF and, of course, the WWF. The cigar-chomping Bully's run in the World Wrestling Federation, managed by Harvey Wippleman, was brief but memorable. He had matches with many of the WWF's top stars including Bret Hart and Sid Justice. His run yielded two trading cards in a European set produced by Merlin, as well as inclusion in the 1991 Survivor Series program as he was originally scheduled to be part of the event. In the Pittsburgh and West Virginia area, Busick was a familiar face. He made various appearances at wrestling, mixed martial arts, and bodybuilding events over the years. Despite being a "Big Bully," Busick had a way of making everyone feel like an old friend, or even part of the family that he cherished so much. Welcoming one and all to his personal Facebook page, his love for his family was regularly waved like a flag. It was also on social media that many fans learned of his cancer battle, which he was also not shy about. Few put up a braver fight against the dreaded disease, which I'm sure he raised awareness of as he often talked about. From bodybuilder to wrestler to police officer to family man, Busick was another role model in the vein of Sammartino. His friends and family have a lot to be proud of when remembering "The Bully..." "Big Bully" Nick Busick Labels: Big Bully Busick, RIP Toys "R" Us Delivers a Final "Weapon of Mass Destruction" No one wanted to see Toys "R" Us close. As different as it was from when many of us were kids, it was an institution. As frustrating as things got when action figure collecting was at its height, with rampant stories of employees selling "rare" figures out the back, many of us remained loyal Toys "R" Us kids. Now in 2018, we're all making our last stops to "the world's biggest toy store." Many wrestling collectors have a reason to visit, a last exclusive WWE figure set from Mattel. The WWE Fan Central series features Mark Henry (as Sexual Chocolate), Bobby "The Brain" Heenan, Triple H, and The Big Show. They're in the 2018 boxy packaging that I love and really could have been part of the previous Toys "R" Us exclusive line, the WWE Network Spotlight collection. It's "The World's Largest Athlete" that we're focusing on today, who has always been one of my favorites to collect as an action figure. There's just something about a legitimate giant that translates well into plastic. Plus, stretching back to the days of the well-remembered and dangerous (did you ever hit another kid with one?) King Kong Bundy LJN figure, you just feel that you get your money's worth with the bigger guys. We're seeing a few firsts for a figure of The Big Show in this release. This is the first time that this particular head sculpt has been used. How about that beard? This is also the first time to my knowledge that we see a completely closed fist for Show, allowing the figure to properly "knockout punch" any opponent. The left hand of the figure is aptly reused from recent Andre the Giant releases. Maybe I should say "paw" instead of "hand?" The body of the figure itself also seems to be new, showing off a svelter Show than in past figures. Speaking of Andre, this is the second figure to include the Andre The Giant Memorial Battle Royal trophy. Just as in its original release, the trophy is "breakable" for jealous runners-up to smash in an epic tantrum. The trophy itself doesn't have quite the "shine" that the first release did, but unless the two accessories are side-by-side, you wouldn't really notice. It remains one of my all-time favorite wrestling figure accessories and looks great packaged with, in my opinion, the most deserving of the Andre Battle Royal winners to date. This whole series is a winner. Why did it have to be exclusive? Many theories abound as to what will happen. Toys "R" Us stores are STILL receiving shipments of this series, thus the secondary market prices have greatly dropped. There are rumors that Mattel took back some of the cases due to the chain closing. Will they show up elsewhere? I wouldn't doubt it. Needless to say, I feel that three of the four figures here (Show, Heenan, and Henry) belong in any collection and the situation does need to be handled to satisfy collector demand. When will we find out? You won't see it comin', but I promise you'll know... Labels: Action Figures, Mattel, The Big Show, WWE Tweets by @JWsWrestlingMem Toys "R" Us Delivers a Final "Weapon of Mass Destr... J\/\/

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Madness of a Modern Writer I'm not really mad, just dedicated Not My Duck Map Making AtoZ Challenge Daygar Legacy #0.5 – Journey to Darlet #1.0 – Templar Five Terran Psychosis Pocket-Sized Yarns Scraping By AtoZ 2017 Worldbuilding #14.1 – Copper August 24, 2015 mad_cat Advice, Worldbuilding No comments Welcome to the second article of my new Worldbuilding series. Today we discuss one of the most important metals: Copper. Copper is really the unsung hero when it comes to metals. While noted for its use when there were only a few known metals in the world, it soon fell out of favor over time, only for it to resurface and the is metal responsible for the modern age of electronics. However, it is not just electronics that make Copper so valuable, but how it reacts to water as well. Of all metals, Copper has an interesting history and understanding that will definitely help you in understanding its place within your universe. Help Keep This Site Running This site is a great achievement for me, but due to being unable to work, I may not be able to keep this site running. With your help, I might be able to. I need $125 by October 30th, 2017. Anything you can give will help. https://www.gofundme.com/help-madness-worldbuilding-continue Before we get started, you will note that I have switched from using letters after the article number to using numbers. In this case, 14.1 instead of 14a. This is due to the fact that some areas like metals and minerals will have more than 26 articles, and this will help me to avoid confusion in the future. Copper has an atomic number of 29 of the periodic table with the symbol Cu. Cu is the abbreviation for the Latin name Cuprum. The name is derived from the Ancient Rome, where Copper was primarily mined in Cyprus, and was then known as aes cyprium (or metal of Cyprus). http://mrdesjardinsee12wiki.wikispaces.com/file/view/copper.big.en.jpg/288211188/copper.big.en.jpg It is one of most abundant metals in the world, where it is believed that over 8 trillion tons of it exists. However, only 750 billion have been mined in all of history, which is less than 10%. At current rate of extraction, it is estimated that it will take 5 million years to mine all the Copper in the world. It should be noted that not all deposits of copper ore is economically viable to extract. However, it is one of the few metals that is 100% recyclable, and at least 80% of copper ever mined is still used today. Copper occurs as native copper or in minerals such as chalcocite, azurite, and malachite. Most copper is mined or extracted as copper sulfides from large open pit mines. Examples include Chuquicamata in Chile, Bingham Canyon Mine in Utah, United States and El Chino Mine in New Mexico, United States. Copper has been used for nearly 10,000 years, however, 95% of all Copper mined has been since the 1900’s, with more than half extracted in the last 25 years. https://upload.wikimedia.org/wikipedia/commons/c/c6/Bingham_mine_5-10-03.jpg Copper is one of the few metals that can be found in its metallic state. It is also one of four metals to have a natural colour other than grey or silver. Copper in its pure form is an orange-red colour, but when exposed to oxygen (or oxide), it is a reddish tarnish. Other metals with a natural colour is the yellow of Caesium and Gold, and the blue of Osmium. Interesting to note about Copper is changing colour when dealing with moisture. Like Iron that has rust, Copper has Patina, which is what causes Copper to go from red, to a dark brown, to green. Famous example would be the Statue of Liberty. http://userscontent2.emaze.com/images/20257ee2-425c-4b2d-900f-f2b84cb894d3/98fedefc-2a70-42f9-96e3-8c8d1ce6e332.jpg Copper was likely discovered along with other rocks. It was malleable that it could be dug out of rocks with a sharp rock or bone. Over time, smelting was discovered and people were then capable of molding it. Copper has a low melting point compared to Iron, so it was the first choice used for tools and decoration. It was a drastic improvement from stone tools. While Copper could be found on the ground, eventually civilizations ran out of that, and it then had to be mined from underground sources. The greatness of Copper is not just what it can do by itself, but also what it does in combinations with other metals, also known as Alloys. Perhaps the most significant alloy discovered early on was that of Bronze. Believed to be discovered by accident, a mixture of Copper with a little bit of Tin creates an alloy that is superior than both metals. Bronze proved to be less malleable than Copper, meaning that it was greater at holding its shape. A blade of pure Copper would lose its sharpness after repeated use, but a Bronze blade would be able to maintain its sharpness for a longer time. Bronze was so prevalent in the world, that many cultures have their own version of the Bronze Age. At present, there are over 400 copper alloys used today, but it is believed that we have only scratched the surface of what can be done with Copper and the advancements of the future may come from a special alloy of Copper. A discussion of Alloys will be their own section. As great as Bronze was compared to copper, it was eventually replaced by Iron, and then Steel. Copper (and all alloys containing Copper) also has a unique property that makes it ideal for water-based applications. Copper is resistant to water-based corrosion, unlike Iron that will rust rather quickly (Patina can take up to 10 years before a brown-black colour forms). For this reason, structures that were built with Copper tend to remain for a long time, such as the Historic Christ Church in Philadelphia, dating back to 1727, and still stands today. This is due to its corrosive resistance, low need for maintenance or cleaning, lightweight (even compared to tiling), and protection against lightning. It’s also useful for protecting against radio frequency. http://farm4.static.flickr.com/3069/2322119310_dbe90d0b74.jpg Of all of those things, the one thing not mentioned that makes it good for architecture also makes it ideal for statues, door knobs, and sea vessels. Copper is anti-microbial. As we stated, Copper is resistant to water corrosion, so putting that on the hull of ships will keep the wood/metal underneath safe from damage. It does have the added benefit of killing microbes that are in water. It is believed that Copper somehow destroys the DNA of microbes, but at present, it is not entirely known what Copper does specifically. All that is known is that it prevents the growth of some micro-organisms and kills others. Interestingly, even before the discovery of micro-organisms in the 19th century, this fact was partially known. Such as water transported in copper vessels were of better quality than non-copper. It was found to have little to no slime. In Ancient Egypt, there appeared to be a water delivery system through Copper pipes (rudimentary plumbing system). What makes this significant is by doing this, the Ancient Egyptians made their water more pure, healthier to drink. Likely didn’t know they did that. Many pipes today use copper alloys, especially when dealing with salt water. It should be noted that Copper doesn’t make water completely pure, but it certainly helps. Because of this, little to no barnacles form on the bottom of sea vessels. Prior to the use of Copper, wood was often used and microbes could form in the wood and eat away at it. This was obviously seen throughout the ages, even if it wasn’t understood why. Perhaps for this reason is why copper was still used when you had other metals such as steel. http://i.kinja-img.com/gawker-media/image/upload/s–ZULbjLEj–/c_fit,fl_progressive,q_80,w_636/fhygjbyvm8rorm1uyg6s.jpg At present, there are trials being done for Copper to be used in hospitals, specifically on door handles to prevent the growth of diseases. When someone grabs onto a door handle, they can transfer germs onto the surface which can live there for up to 30 days. Each person that touches it there after will be exposed to those germs and possibly transfer some more. Which is why when I’m in a bathroom, I always use a paper towel to open up a door after washing my hands. With a Copper handle (or copper based alloy handle), the microbes will be killed on contact. Copper has been tested to kill: E. Coli, MRSA, S. aureus, E. aerogenes, P. aeruginosa, and VRE. It also kills Influenza A. Of the nearly 200 known strands of it, the common yearly flu is one strand that is killed by Copper. A US study in 2013 found a 58% reduction of acquired infections in ICU compared to non-Copper ICU’s. Though an interesting effect was noted in 2010 known as the Antimicrobial Halo Effect of Copper Surfaces, in which non-copper materials that are touching Copper surface (up to 55 cm away from Copper surface) has up to 70% reduction of anti-microbial infection. Interesting to note though, is that Copper is found within our bodies. While found in many other animals (which is part of the reason horseshoe crabs have blue blood), somewhere between 1.4mg to 2.1mg is in our body. Normal consumption of Copper in our foods for a healthy adult is .97mg/day to 3mg/day. Copper, for humans, is used for growth, development and maintenance of the bones. It is involved in the formation of red blood cells, the absorption and utilization of iron (which iron helps the the transport of oxygen to the rest of our bodies). It metabolizes cholesterol and glucose, and helps regulate nerve transmissions and blood clotting. It also promotes healing, stimulates the immune system, repair injured tissues and neutralize free-radicals. As important as Copper is, negative effects can occur with too little or too much in our system. As far as deficiencies, people are more at risk for this than they realize and can cause severe blood disorders and increase of diseases. Excess, or Copper Toxicity causes upset stomach, nausea, tissue damage, and disease. It is believed that Copper levels are often overlooked, and to be healthy, you need to help maintain a good balance. With discussing the anti-microbial effects as well as human physiology, there is of course the alternative medicine. I’m not a firm believer in a lot of these things, but this article is not about whether those things are true or not, rather just pointing out what is believed about Copper. When it comes to Copper for alternative medicine, the best known example is Copper bracelets, commonly believed to help with arthritis. It’s also believed that with a bracelet, that your skin can absorb the copper to help heal you, or it acts as a magnet. Now before we discuss Copper throughout the ages and some final thoughts to writers in general, let’s go over the section that will likely be of particular interest to the Steampunk and Sci-fi writers out there: heat and electrical conductivity. Copper is a highly conductive metal, which means it can be used for power generation/transmission/distribution, telecommunications, and circuitry. It is primarily found in wires and cables, whether in a building or on an airplane, with half of the extraction of Copper is used for wires and cables. https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Stranded_lamp_wire.jpg/440px-Stranded_lamp_wire.jpg It also has a high tensile strength, meaning it can can be stretched a lot before it breaks. This is useful in wires made of copper, that it won’t stretch so easily or break. It is also has a high ductility, which relates to how it will deform under stress, which is important for making wires, which Coppers high ductility allows it to be made into a thin wire. High ductility also means it can be hammered into shapes without cracking. As we know with metals, when you apply heat to it, it expands, and with cold, it contracts. This is undesirable in electronics, and when it comes to Copper, it is highly resistant to that change. More than that, Copper is highly conductive of heat, which allows for better heat dissipation in electrical systems. http://ecx.images-amazon.com/images/I/51X2AnpImeL._SX425_.jpg It is believed the reason why Copper is good with both electrical and thermal conductivity is due to its softness. Only Silver outmatches Copper’s high heat and electrical conductivity. It’s conductivity is 106% that of Copper. However, it’s high cost with low tensile strength and low ductility prevents its more widespread use than that of Copper. It is generally used for special applications, such as joint plating and sliding contact surfaces. https://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/Thermal_conductivity.svg/1024px-Thermal_conductivity.svg.png Aluminum has only 61% of Copper’s conductivity. Using Aluminum over Copper for electronics required more 56% more Aluminum than you would have Copper for the same carrying capability. However, Aluminum is still lighter than Copper, and still used long distance electrical power cables. https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Sample_cross-section_of_high_tension_power_%28pylon%29_line.jpg/800px-Sample_cross-section_of_high_tension_power_%28pylon%29_line.jpg For the reasons mentioned above, Copper is responsible for the modern age, namely in the use of wires, but also in the use of integrated circuits found within computers. However, that wasn’t always the case. Prior to the use of Copper, computers used Aluminum. While Copper had been used for electrical applications since the 1800’s, in the case of the telegraph, batteries, and telephones, there were some difficulties in using it in computers. The problem that Copper faced that Aluminum didn’t have as much problem with was something called, Galvanic Corrosion. Basically, Galvanic Corrosion is when you you have two metals touching with electrical current, that develops corrosion, making the metals unusable. Copper and Silicon (remember that Silicon is a metal) would corrode if in contact with each other, yet the need for computers to be smaller and faster was pushing Aluminum to its limits. Aluminum has a high electrical resistance compared to Copper, which means you need to use more of it to send an electrical signal. Copper was what was needed, and IBM spent 15 years researching how to make Copper work with Silicon. The solution was a chemical agent between them, that acted as a buffer. The use of copper allowed computers to be smaller, faster, and use less power than Aluminum. There is much more about Copper I haven’t covered here that will be address in other articles as it relates to them. Prehistory (2.5 million years ago to 3600BC) It is debated on which metal was found first, but is generally believed to be Copper or Gold. Copper was easily spotted on the ground as stones with shinny red or green. Generally, the use of Copper is considered to be a part of the Bronze age, but will regarded as the Chalcolithic age, or Copper Age. It is seen as the transition from Stone Age to Bronze Age. The use of Copper is believed to have started around 5500 BC (though some reports go as far back as 8000BC). Widespread use is believed to be closer to the start of the Bronze Age in 4000BC, when charcoal was used for smelting. Copper was used for weapons, tools, jewelry, statues, pigmentation, and other art. The nation with the most use of Copper tend to win wars. Sumeria was notable for their use of Copper during this time, which was later adopted by Egypt. They were very skilled with it and made a great amount of art with Copper. Ancient Age (3600BC to 800BC) The discovery of combining Tin and Copper together to make Bronze improved a great many things. Better tools and weapons. Extracting ore and processing it was improved, allowing for higher quality Copper and Bronze. Near the end of the Ancient Age, the use of Iron started to be more commonplace, as finding new mines of Tin and Copper was getting harder.. During this time, we saw a boom in civilizations, as the people were more capable to do things such as harvest crops and use tools to take on harder tasks. Egypt developed a method of using wax to mold the shape they wanted, and pouring copper/bronze to create the desire shape. Age of Antiquity (800BC to 500AD) Even though Steel was more popular of a metal, the use of Copper and Bronze was still used. Likely noting the anti-microbial properties (though they weren’t aware of this) and resistant to corrosion, it was put on the hull of sailing vessels. While seen in some civilizations before this, during this time were Bronze used for currency, namely that as coins. Romans also invented Brass and used that as coins. There was more widespread use of copper in plumping, though it was more used valves and pumps, while only some used it for tubing. Iron was often used for tubing in other cultures. It is believed that Rome, which had access to several Copper mines, produce 17,000 tons of Copper annually. Due to crude methods of Copper extraction and smelting, produce a lot of pollution that may have affected the health of its citizens. Both the amount of Copper produced and pollution generated wouldn’t be seen again until the Industrial Revolution. Middle Ages (500AD – 1500AD) With the fall of Rome, the massive production of Copper disappeared. Copper production was localized to their area. During the Early middle Ages, there was a decline in the extraction of metals including Copper. During the High Middle Ages, we saw renewed production of metal work, with new technologies invented to do more with metals. While Iron and Steel were heavily favored, Copper was still used in art. Some cultures even used it for coins. By the Late Middle Ages, there was a brief moment of great productivity, but that stopped in the 14th Century with an Ice Age, Famine, and Plague. It took some time for society to recover. Bells were made a lot during this time. Bells were often made of Bronze or Brass. While bells had been made since the time of the Romans, there were more widespread during this time. Renaissance (1400AD – 1700AD) After the problems faced near the end of the Middle Ages, there was a need to rebuild society and outdo any previous civilization before that. New understanding were developed in how things worked, that allowed new inventions to improve life. In the 17th Century, Europe’s economy was based around the wool industry, and Brass was used extensively for pins. The use of coal made it easier to extract copper from ore and make higher quality alloys with it. Industrial Revolution (1700AD – 1900AD) During this time, there was a drastic demand for Copper. There were faster methods of extraction of Copper from the ore, and higher quality of alloys. Wealthy people often owned a smelting plant, while the citizens would work them. It was one of the biggest industries in the world. Production reached to the levels of the Ancient Romans, but cause a lot of pollution. Some places that were once lush with vegetation were killed. Topsoil was affected on hillsides that it cause erosion. Livestock had swollen joints and rotten teeth. People complained of shortness of breath and decreased appetite. Some places had acid rain. During this time, electricity was studied. Copper was found to be a good metal for electricity. As mentioned above, we saw the development of man electronic devices, including the telegraph and telephone, both which needed copper wiring. Also big was the electronic trolley cars near the end of this period, which greatly advanced transportation. Post-Industrial & Atomic Age (1900AD – 1980AD) I’m combining these together. While there is a lot of history here, what drove the use of Copper was warfare. Early on, there was a big concerned for worker safety. Companies were always looking for a way to make more profit. These methods came at the cost of injury and death. In 1913, this lead to the Copper County Strikes in Michigan. The demands were the need for shorter days, higher wages, safety, and decrease of child labour. During the two major wars, Copper was used for wiring of vehicles such as jeeps, planes, ships, and tanks. We also saw the evolution of radios, which also made use of Copper. Bullets and shell casings were made of Brass. As costly as WWI was, WWII saw shortages in Copper and pennies were made of other materials, including the steel penny. There was also cities that were becoming fully electrical, a building of infrastructure that required a lot of copper. The demand during this time was greater than that of the industrial revolution and almost all of history to that point. Information Age (1990 – Present) With Copper in electronics, our modern technological advancement is thanks mostly to Copper. Almost everything has Copper in it. While other metals are in use to a great demand, Copper is likely used more than any other. So much has been said about this already, and we’d have to discuss individual aspects that copper is used for to truly understand everything that it does for us. Future Age Copper, and all its alloys, will continued to be used in one form or another. It is cheap, abundant, and adaptable to any need we have. Even if you use an made-up a metal that is superior, you’ll likely still use Copper to some degree, as any metal would likely need to be created or is in low supply. Copper used as an alloy would help keep the cost down of such a metal. There is starting to be use of a Copper-Magnesium Alloy, which will allow wires to be smaller and lighter. Likely will be used in automotive and aeronautic applications. There is a demand for superior video and voice communications, which will require new improvements in Copper productions. Currently, the highest quality of copper is known as 4-nines, or 99.99% pure. There has been limited production of 6-nines, or 99.9999% pure. As of this time, there is no practical application for Copper this pure, as it is highly expensive to make. Some products that use Copper doesn’t even need to have 4-nines purity. However, the price of Copper does seem to be going up, which will affect how it is used. Some countries have been looking for alternatives to Copper, such as Aluminum for cooling systems. While Copper may be superior, the price of it makes it less cost effective. Recycling will play a big part with Copper. There are suggestions that recycled Copper is not high quality enough for Copper wires. While it could be made to that level, it is too expensive for it to be cost effective. What will drive Copper in the future is economy, and people having the money for the latest technology that will need to be faster and smaller than before. Copper will play a part in that, likely to a greater purity or alloy (or both) that allows Copper to do more than before. There is a lot of information here about Copper, and even then, it doesn’t cover everything. These articles are never meant as the be all guide to these subjects, but more of a starting point of things to consider. Copper, as we can see, is highly important to any world we have. While it might be possible to have a world without Copper, it will be for a very different world. Copper provides us with many advantages that we are still trying to understand today. It is one of the first metals to be found, and though it fell out of favor after the fall of Rome, it picked up again during the Industrial Revolution and once again became one of the most important metals ever in the Modern Age. As many stories are fantasy and Medieval-esque, there will be a lot you can do with Copper, but those things won’t be understood as why. Many cultures had beliefs around smelting, believing it to be a form of magic or the work of a God to make it possible. For a modern story or future, your universe will likely have a good understanding of Copper, but like we in our world, will not really give it much thought. While there are a lot of metals that are capable of many different things, there are few as versatile and abundant as Copper. When you think about your world, think about where Copper fits in. Likely not using it for a sword or armour, but I bet it is on the bottom of your ship’s hull or your character walks past a bronze statue. Or even flying in a ship in deep space and in the hull is copper wiring. Something to think about. Likely, for futuristic stories, your universe will discover a superior method of extraction, ore processing, a new alloy, or a need for higher quality metal. Madness Editing Services We are a two-person team that offers you affordable editing services that covers the content of the story itself, how it flows, and the language and grammar. More than just editing, we also offer a one-stop shop for all your additional needs to become an author, including ebook formatting, cover design, book blurbs, synopsis, biography, and flourishes. Antimicrobial Halo Effect of Copper Surfaces Bingham Canyon Mine chalcocite Chalcolithic age Christopher D. Votey Chuquicamata Copper County Strikes copper sulfides corrosive resistance E. aerogenes El Chino Mine electronic trolley cars Galvanic Corrosion Historic Christ Church mad_cat Madness of a Modern Writers micro-organisms pit mines S. aureus Votey VRE I don’t live my life based on the tests others put me through, rather the test I put myself through. — Christopher D. Votey Amazon – $2.99 Smashwords – $2.99 Amazon – $.99 Smashwords – Free Amazon – $1.99 – 4.5 Stars Smashwords- Free – 5 Stars Top Posts (Recent) Amygdala Hijack — New Age Literary Term Literary Terms - Anti-Climax Worldbuilding #7 - Deserts Worldbuilding #8 - Mountains Worldbuilding #9 - Basic Forests Worldbuilding #1 - Earth Worldbuilding #3 - Continents Literary Term - Ab ovo Worldbuilding #14 - Metals A-to-Z Challenge (27) How I Write (3) Worldbuilding (26) A-to-Z A-to-Z Blog Challenge A2Z A2Z Blog Challenge April Arts Astrology blog blogging Blogging From A to Z Challenge Book Challenge Character Astrology Personalities Character Design character development Chinese Zodiac Christopher D. 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From Bestseller To Big Screen – the fairy-tale romance Me Before You 5 July 2016 by Daniel Dercksen·Comments Off on From Bestseller To Big Screen – the fairy-tale romance Me Before You Oftentimes you find love where you least expect it. Sometimes it takes you where you never expected to go… Based on the critically acclaimed, bestselling novel by Jojo Moyes, Me Before You marks the feature film directorial debut of renowned theatre director Thea Sharrock, from a screenplay by Moyes. “You only get one life. It’s actually your duty to live it as fully as possible,” says Will Traynor in “Me Before You.” His advice is directed at his effervescent yet seemingly settling caregiver Louisa “Lou” Clark, 26, who claims to be happy in the quaint English town in which they both grew up. But Will, only 31 himself, knows whereof he speaks…perhaps better than most. When Louisa Clark (Emilia Clarke – Game of Thrones) —Lou, as she’s known—unexpectedly loses her waitressing job she must scramble to replace the income that her tight-knit family depends upon. Desperation drives her to take a job as a caregiver to Will Traynor (Sam Claflin – The Hunger Games movies), a man who used to be a wealthy banker with an adventurous soul, living life to the very fullest, but for whom those days are in the past. After a tragic accident, Will lost the desire to live and now keeps everyone at a distance with his caustic, overbearing attitude. But unlike his family, Lou refuses to tiptoe around him or cater to his moods. In fact, her sparkling personality and easy nature are hard for even Will to ignore, and soon enough each becomes exactly what the other needs. “At its most basic, this is a story about the power of love and how it transforms you,” says director Thea Sharrock. “These are two characters who, but for their very different and difficult circumstances, should never have met…but here they are. And that’s where the fairytale begins.” Jojo Moyes is the author of twelve books, including the global bestsellers Me Before You and it’s follow up, After You, and The One Plus One. Her books have been translated for sale in more than 40 countries. She has twice won the Romantic Novel of the Year Award, and was recently named Author of the Year in Germany. She spent ten years as a journalist on the Independent newspaper and South China Morning Post, covering stories from Belfast to the handover of Hong Kong and the death of Princess Diana. She lives on a farm with her husband and three children, and she is currently adapting two more of her books for the big screen. Lou and Will’s uniquely romantic tale was crafted for the screen by Jojo Moyes, based on her own bestselling novel. “It’s a simple and complicated story all at once,” Sharrock continues. “Both in the script and in her book, Jojo managed to find a way to make the most emotionally difficult situations incredibly accessible through the unfolding of these two characters’ getting to know each other along this transformative journey they take.” “It’s a bit of a dream for me, the idea that this story is going beyond the book to the screen,” Moyes offers. “Having watched what it’s become through the actors’ performances and Thea’s wonderful direction, I can say that people who see the movie will get the same story and characters, but also get something quite different out of it. Audiences bring their own experiences, hopes and fears, and I think they will truly be taken out of themselves and into Lou and Will’s world.” Sharrock adds, “Jojo has carried these characters, Lou in particular, with her for a long time, so it was especially important to me that we get it right.” “Thea is a very respected theater director in the UK, and I had seen her television work—very traditionally British—so when I met her I expected a proper English woman to appear,” recalls producer Karen Rosenfelt, smiling. “Instead, she plopped down in an overstuffed armchair, swung her legs over the side, and over the next hour we had a wide-ranging general discussion about film, theatre, books. We then turned to this project, and it went from there. I loved her humanity, her accessible sophistication, and that she was instantly right at home with me and with the material.” At one time, Will’s world was all-encompassing; he lived a “no limits” lifestyle. Now, two years on, we find him utterly confined. Betrayed by his own body due to a spinal cord injury, he resides—even he would not say he lives by any definition of the word—at his parents’ countryside home. Lou, on the other hand, has rarely stepped outside this little town, and even stepping into the grand Traynor estate—the “castle,” as it’s called by the locals—is foreign to her. Yet they meet, whether by chance or by fate. Emilia Clarke, who stars as the wide-eyed, endearing Lou, says, “What drew me to this movie were the words of Jojo Moyes, the book first and then the script. I was hooked on page one and so excited to play a character with such charm and sincerity, who is so authentically and brilliantly British, and with such a lovely arc in her story.” Sam Claflin, starring alongside her as Will, was equally pulled into the material. “The writing itself was so beautifully done, and the subject matter surrounding this very challenging character was handled so well, it really got me thinking. That was a big draw for me.” “What resonated with me in Jojo’s novel was the original voice of the characters and the emotional truths,” says Rosenfelt. “I loved how she handled the most complicated and personal issues and how life-affirming the story was. I was absorbed—I read the book in one sitting and immediately visualized the film, and that rarely happens.” Like Rosenfelt, producer Alison Owen’s interest in the property was longstanding. “I read the book when it came out and I loved it. Jojo creates such fantastic characters and has so much insight into people’s lives and minds, and she writes with incredible empathy,” she says. “So, when Karen called me up and asked me if I would join the production, I was thrilled to do it, because everything about the project appealed to me—the story, Thea, Emilia and Sam. It was very easy to step into.” A theatre veteran, Thea Sharrock won the James Menzies-Kitchin Young Director of the Year Award in 2000, making her directorial debut with a production of Caryl Churchill’s “Top Girls,” which transferred to the West End and toured the UK twice. Sharrock was then made Britain’s youngest artistic director when she took over the Southwark Playhouse for three years before going on to become the artistic director of the Gate Theatre in Notting Hill. Since then, as a freelance director her credits include productions for the Almeida and the Donmar, the Royal National Theatre and numerous West End theatres, including productions of “Equus,” with Daniel Radcliffe and Richard Griffiths (also Broadway); “The Misanthrope,” with Keira Knightly; “Heroes,” with John Hurt; and “Cause Célèbre,” with Anne-Marie Duff at the Old Vic. Her production of “After the Dance” for the National Theatre won eight major awards. She has also directed “Henry V,” starring Tom Hiddleston for Sam Mendes/Neal Street and the BBC, as well as the 2013 Christmas Special of “Call the Midwife,” also for Neal Street and the BBC. She directed Richard Griffiths in his last stage performance, “The Sunshine Boys,” with Danny DeVito at the Savoy Theatre, before directing her first musical, “The Bodyguard,” at the Adelphi, which is now on a number one UK tour, before coming back to London this summer. It will also play to packed houses in Germany and Holland, and open in the United States, Italy and South Korea, later this year. She recently directed Miranda Hart in her first arena tour and Kevin Spacey in his first one-man show, “Darrow,” for the Old Vic. “To fall in love with somebody so much that it changes your life immeasurably, and your life will never be the same again, but to then have that moment of recognition that you might not be with that person…it’s intensely emotional,” Sharrock posits. “As a director, it’s a privilege to take actors who are willing to go to those extremes to that place. Our devoted cast and crew, we were all in this together, laughing and crying. It was an incredibly liberating experience.” “Lou and Will…Me Before You…to me it basically means ‘who I was before I met you,’” Jojo Moyes reveals. “It refers to how each of them has changed the other. Lou is intimidated by the house, by the class of people she’s dealing with. She’s deeply out of her comfort zone. Will doesn’t want her there, so he’s going to do his best to be annoying and not give her an inch. They start off as two people who never should’ve met, but the more they get to know each other, the more they appreciate each other’s strengths. He realizes that in some ways she’s as trapped as he is—by her own expectations, her own history. Ultimately it’s Will who pushes Lou to look outward, to expect more from life, but he’s only able to do so after she opens his eyes, and his heart.” Hoping that the film will strike a chord with moviegoers just as the novel did with readers, Emilia Clarke adds, “On a really fundamental level, I would love for people to take away from this movie the joy that life has to offer, the joy that love has to offer. It’s a story that touched people when they read it and all of us as we were making it, so I hope it would touch the people who watch it, as well.” “The film poses a lot of questions, especially as regards my character,” Sam Claflin states, “and I hope people do talk about it and are willing to learn more. I think I can safely say there are many inspiring stories and many heartbreaking stories of people like Will and Lou, and I think this movie has both and, ultimately, is very uplifting. Thea Sharrock concludes, “There’s a lightness to Lou, a lightness of touch and a level of humor that’s very easy to enjoy. And there’s some lovely, unexpected moments between Lou and Will where they really bring out the best in each other. If you go to the theatre to see a simple love story, you’re going to get it, and you’ll have laughs along the way and maybe a cry at the end. And hopefully, if we’ve done justice to Jojo’s story and her fans, the journey will stay with you.” Previous Previous post: Mr. Right – a high concept that proved too challenging for mainstream Hollywood tastemakers Next Next post: Thea Sharrock talks about Me Before You, marking her feature film debut

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