Hayden Norman Thorpe is an English singer, songwriter and multi-instrumentalist, originally from Kendal, Cumbria and currently based in Walthamstow, London.

(meta data) TITLE: Wild Beasts frontman Hayden Thorpe goes solo: "it's like playing chess against yourself..." - NME

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# Wild Beasts frontman Hayden Thorpe goes solo: "it's like playing chess against yourself

Former Wild Beasts frontman Hayden Thorpe tells NME's Tom Connick how the dissolution of his old band, and the subsequent rediscovery of his own, individual identify, informed 'Diviner'.

The spilt of Wild Beasts was a knock for fans.

Held up as one of British indie's most individualistic talents, the four boys from Kendal held a mystery that set them apart from the trilby and winkle-picker-wearing hordes of noughties indie boys.

At the heart of their appeal was frontman Hayden Thorpe, a whisper-delicate vocalist whose lyrics targeted toxic masculinity and latent sexuality long before such things became regular headlines.

Their final shows, a sold-out trio of mid-February gigs in Dublin, Manchester and London, were treated like a "funeral", he admits.

But last month, Thorpe returned from the dead.

'Diviner', his debut solo single, is an atmospheric cut of piano-led balladry, Hayden singing of the titular "diviner" like a man discovering a new spirituality.

"I'm a keeper of secrets," he sings in hearty falsetto: "I'll be your disciple – show me where to go."

It's that sense of relinquishing control that informed 'Diviner', and paved the way for Hayden's singular return, he explains.

Now, Thorpe has announced a full-length release under that ethereal new guise, also titled 'Diviner'.

A record of "torch songs about intuition, belief and mysticism", 'Diviner' is set for release on May 24 via Domino.

We discussed its creation, and the "gargantuan abyss" left by the dissolution of Wild Beasts, with Thorpe himself.

How have you found it, returning to music solo?

Hayden Thorpe: "It's a huge relief, to be honest.

I always remember a documentary with Gary Barlow, saying how quiet it went after Take That, and how the phone wouldn't ring.

I always thought, 'Oh, get over it, Gary, pull your socks up!'

"For a while there, my internal world and my external world weren't matching up.

The reality of having music ready to go and it not being out, it's kind of like a secret pregnancy.

It feels good just to have my inner world and my outer world finally in sync."

### So much of your life and identity has been wrapped up in being creative.

Is it nice to have that element of yourself back out there?

I often think musicians are kind of like tennis players, in that they become so hyper-specialised at that one very specific thing, they're actually ultimately very useless at other ways of being.

I kind of feel either hyper-specialised, or completely maladjusted – or maybe both at the same time.

The thing is, once you're used to crafting beauty and the cadence of your life is towards trying to create beauty, that becomes the compulsion, and nothing else matches that.

### Those final Wild Beasts shows must have been incredibly emotional.

How did the comedown after all that feel?

I feel like I lived that life, and I no longer live it.

The beauty of doing this is that I'm in a game which is constantly looking for the fountain of youth.

We're all absolute slaves to finding that, and music, in itself, is kind of a form of reincarnation.

It doesn't degrade, it doesn't erode; music stays the same.

The forces of time don't apply to music.

So, in many ways, music is the best way to deal with these things, because you can kind of get away without time passing.

"There was, I'll put it mildly, a gargantuan abyss, that it was a joy to explore, in truth."

### Had you always intended to go it alone, once the band came to an end?

"I had no idea what I wanted to do, because I had always relied on music as a compulsion.

And you can't rely on compulsion – it's either there or it's not.

To start to make plans upon a compulsion, it's a bit like navigating by the stars, it's trial-and-error.

I didn't want to bank on it, and I had no expectation that anyone would want to listen to my [solo] music.

There was no sensation of inheritance or righteousness to this position.

All-in-all, what happened felt so right –

the alignment and the perfection of the ending of the band, and how much closure and peace it gave meant that there was a massive forward propulsion from that.

### So, you used the break-up as a springboard, rather than a dead end?

"If you've lived a musical life your entire adult life, then the only response to the ending of that musical life, is music.

It was the only appropriate response, really."

Read more: Hayden Thorpe discusses Wild Beasts' split, and what's next, in 2017

Wild Beasts live at The Roundhouse, London (Photo: Getty)

### When did you start recording these things? Was it straight off the bat, or did you take some time to process it all?

"I went into the studio the week after the last gig.

There wasn't a distinct plan, that was just the office.

I remember, it was in London, and it snowed that week – the 'Beast From The East' rolled in – and London was covered in white.

It was a renewal – I remember feeling a great sense of it being literally a blank space.

### A blank space can be quite scary when you've had all this noise going on for a decade.

"Yeah, but I didn't find it scary – I found it peaceful.

A blank slate; a blank canvas; as long as you don't start firing blanks, then you're alright!

My main compulsion, if I see anything blank, is to fuck it up a bit.

Was it hard not to have bandmates to bounce ideas off?

"It was a lot of alone time, I'll be honest.

If you're in a band, you're in a family, you're in a gang.

You have your community, and that was the main, stark difference – the amount of time spent inward was long and intense.

"In terms of bouncing ideas, that was a funny one.

When you're bouncing them off yourself, it's kind of like playing chess against yourself.

There can be days sat in your dressing gown thinking about the next move.

By nature, I'm a pretty reclusive person who has to be dragged out into the daylight, so it kinda suits me in a lot of ways.

"You have to look at yourself cold and hard, that's for sure.

the idea of myself as the frontman, the idea of myself as the guy in the gang he has always had.

Even the idea of me being the singer wasn't really definite.

I had to break up with the idea of myself.

It felt like a privilege to be able to do, to be honest.

It can be really empowering and essential."

### What kind of things did you find yourself exploring during this process?

"I guess belief, and ideas of belief, because the band was my religion and the band was my belief system.

Once that went, I had to build my own new belief system through scraps of whatever I could find lying around… mostly YouTube philosophers and Instagram [laughs]."

"I also became very compelled by how I had experienced a living funeral.

I felt so privileged to have experienced that, to have survived it, to have walked away and to have seen so many people crying in front of you, for a part of you.

I saw so many people crying over that time: close friends, people I had never known, strangers, family.

"I became really fascinated with what music means to people and what belief means to people.

To be honest, I became quite obsessed with mysticism, became convinced that there is no such thing as a coincidence.

I became completely convinced this was always going to happen and this was how it was meant to be.

I am completely non-religious but I became more and more engrossed in the kind of mysticism of our days today.

Especially when we are in an era of science, and technology, and fact.

To me, to get sense and meaning to this, I still had to look to superstitious reasoning."

### Is that where the YouTube philosophers came in?

Is there anyone in particular or ideas you were drawn to?

"I would watch The School of Life cartoons every morning.

I felt like a little kid again – eating my cereal, watching the cartoons.

Those cartoons used to be moral tales and these are now our moral tales.

It's just trying to teach you 'how to adult'.

[laughs] That is something I had not encountered fully – a band does allow you suspend that process a little bit.

I had to figure out, a little bit, how to do this 'grown-up' business."

### Anything you struggled with in particular?

"[laughs] I guess it is, how do you do people?

When you have brought your world to the world.

I never stepped into the world – I created a world within which I could live, and that existed within the wider, 'real' world.

### Is that something that inspires the record? Your rediscovery of how to interact with people?

I guess the record, in a sense, is a break-up record, about me breaking up with myself, and therefore my new relationship with my new self.

But I'm not sure how strongly it informs the record.

Hayden Thorpe performing with Wild Beasts (Photo: Getty)

### A lot of the ideas Wild Beasts explored were about the expression of masculinity.

It's become a hot topic in the months since Wild Beasts split up.

A lot of people were kind of saying you were perhaps ahead of your time exploring these things.

In terms of the notion of toxic masculinity, I felt like I've been kind tolerating the intravenous of the toxicity of it for the best part of my adult life.

It comes as a great relief that these outmoded ways of being are being called out.

I got a no sense of satisfaction that this was something I had expressed before.

It was expressed in anguish, and is still expressed in anguish.

But, the rebalance is true and the rebalance is right.

### What are your plans for your solo work?

You say was such a personal pursuit – a break up from yourself.

Do you think people will relate to it, and what would you hope they get from it?

"I actually think we all exist now in the church of self, where we all have available to us all ways of seeing the world and believing in the world.

"That's something that we all have to face, and we all share – the sense of, 'I have to believe this to get through this thing, and then, in the next bit, that might change.'

The beauty of it is that change is constant; flux is the nature of our lives.

Therefore, thematically, I don't have to worry about people getting something from it.

Unless someone has been frozen, they are facing the forces of change at all times.

That can be both beautiful and terrifying."

Hayden Thorpe's debut solo album 'Diviner' is out May 24 via Domino Recordings.

### The Big Read – Brockhampton: "Shia LaBeouf is our idol and inspiration"


The number of children who are out of school increased to 1.8 million in 2015–2016 out of more than 5 million registered students, according to the 2013 statistics released by the Ministry of Education.

(meta data) TITLE: Education in Yemen Struggles after More than a Year of Conflict | Voices and Views: Middle East and North Africa

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Attend Spring Meetings on development topics from Apr 18-23.

There are 100 million young people in the Middle East and North Africa.

They are a force for change in a region at a crossroads.

This blog is focused on ideas for tapping into this immense potential and meeting the aspirations for jobs, justice and dignity.

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The annual 'Back to School' series runs at the start of each school year and looks at the challenges of the education system in the region.

## Tunisia: Stories from the Unfinished Revolution

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Who pays for the poorest?Bring poor Into the netTime to invest in peopleSoap opera edutainment

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The civil war in Yemen severely impacted and degraded the country's education system.


It is named "Sarmientosaurus musacchio" in honor of the town and of the late Dr. Eduardo Musacchio, a paleontologist and professor at the National University of Patagonia San Juan Bosco.

(meta data) TITLE: Sarmientosaurus Was a 10-Ton Dinosaur With a Plum-Sized Brain - The New York Times

(meta data) AUTHOR: http://www.nytimes.com/by/kenneth-chang

(meta data) PUBLISHED DATETIME: 2014-09-04

Skip to contentSkip to site indexScienceLog InToday's PaperScience|Sarmientosaurus Was a 10-Ton Dinosaur With a Plum-Sized Brain

# Sarmientosaurus Was a 10-Ton Dinosaur With a Plum-Sized Brain

ImageMatthew C. Lamanna and Rubén D. F. Martínez with bones from Sarmientosaurus musacchioi.CreditCreditMatt Lamanna/Carnegie Museum of Natural History

A rare and finely preserved skull unearthed in Argentina belonged to a dinosaur with a drooping head, far bigger eyes and keener hearing than some of its more evolved relatives, providing new clues about this group of lumbering plant-eaters.

The discovery of the skull and part of the neck led paleontologists to announce on Tuesday in the journal PLOS One the naming of a new dinosaur, Sarmientosaurus musacchioi.

The fossil is from a dinosaur that was part of a group known as titanosaurs, and is considered modest in size, about 40 feet long and 10 tons in weight, in contrast to some others in that grouping.

"About two elephants' worth," estimated Matthew C. Lamanna, an assistant curator at the Carnegie Museum of Natural History in Pittsburgh.

Titanosaurs were plant-eaters with long necks and long tails that could be as small as a cow or as big as a house.

While much is known about them, researchers still do not know much about their brains because so few skulls have been found.

"This group, to me, they're quite mysterious," Dr. Lamanna said.

"By combining data from these different discoveries, we're gradually building up a picture as to what the biology of these animals was like.

In other words, what makes the largest land animals of all time tick?"

ImageBones from the titanosaur known as Rapetosaurus, named for a mischievous giant in Madagascar folklore.

CreditK. Curry Rogers, M. Whitney, M. D'Emic, and B. Bagley

Meanwhile, in a paper published last week in the journal Science, a second group of paleontologists described the remains of a baby titanosaur, noting its quick growth in a couple of months to the size of a large dog.

Its bones had the same proportions of an adult, which suggests that young titanosaurs were quickly on their feet after hatching and fending for themselves.

For almost all known titanosaurs, paleontologists have fossils of parts of the body like leg bones that are taller than a person, but no pieces of the skull, which consisted of bones that were thinner, more delicate, and less likely to fossilize.

For Sarmientosaurus, which lived about 95 million years ago, scientists have the opposite: almost all of the head, which was about a foot and a half long, and part of the neck, but nothing from the rest of the body.

Paleontologists including Rubén D. F. Martínez of the National University of Patagonia in Argentina found the skull in 1997.

(Sarmientosaurus is named after the town of Sarmiento, close to where the skull was discovered; musacchioi honors Eduardo Musacchio, a paleontologist who died in 2011.)

For a while, it was not clear what kind of dinosaur it was.

With CT scans, the scientists could study the skull in detail, including some defining characteristics seen in the few other titanosaur skulls that have been found.

In other ways, Sarmientosaurus was unlike other titanosaurs, with a broad snout and fatter teeth.

It also had very large eye sockets, suggesting better-than-average eyesight, and an inner ear structure that appears tuned to low-frequency sounds.

"Maybe to track predators," said Lawrence M. Witmer, a professor of paleontology at Ohio University and another of the authors of the PLOS One paper.

"Maybe to track the movement of its own herd."

ImageThe baby Rapetosaurus looked like a miniature adult, suggesting that the young animals were not being fed by parents.

Curiously, from the scattered skull data, the more evolved titanosaurs appeared to have worse eyesight and hearing, Dr. Witmer said.

The orientation of the inner ear also suggests that Sarmientosaurus typically held its head pointing downward at a 45-degree angle.

The scientists infer that it foraged on plants near the ground.

"The head of titanosaurs is totally key to understanding them as living animals," Dr. Lamanna said.

Sarmientosaurus's brain was the size of a plum or a lime.

"You try not to judge him, but it's a pretty small brain."

On the other hand, perhaps brains are overrated.

Titanosaurs survived for tens of millions of years and lived on every continent, thriving in particular in the Southern Hemisphere.

"The lime-size brain of Sarmientosaurus was adequate," Dr. Witmer said.

In the Science paper, Kristina A. Curry Rogers, a professor of geology and biology at Macalester College in Minnesota, and her colleagues describe 17 bones that were excavated in Madagascar in 1993.

Dr. Curry Rogers came upon them in drawers at Stony Brook University in Long Island, where they had been misidentified as crocodiles.

Her doctoral thesis research had been describing a Madagascar titanosaur named Rapetosaurus — Rapeto is a mischievous giant in Madagascar folklore — and these bones looked like miniature versions of what she had worked with years earlier.

"I just happened to be the right person to be looking at them," she said.

Titanosaur embryos had previously been found at a nesting site, but baby dinosaurs are rare.

"This is surely the smallest out-of-the-egg sauropod," Dr. Curry Rogers said.

Closer study confirmed this was a young Rapetosaurus.

Slicing thin sections of the bones and looking at them under a microscope, the scientists could see lines that indicated how big the dinosaur was at hatching — about 7.5 pounds.

When it died, 39 to 77 days later, it had grown to 14 inches tall and about 90 pounds, the scientists estimated.

Comparing the bones with fossils of other Rapetosauruses, the scientists found that baby Rapetosaurus looked like a miniature adult.

That suggests that the baby dinosaurs were not being fed by the parents, but were already on their feet and foraging.

The microscopic structures of the leg bones also indicated that they were already bearing weight, adding evidence to the argument.

With a robust skeleton, a baby Rapetosaurus might have been able to jump, trot and roll on the ground in ways that its parents would not have been able to.

The bone structure also hints at the baby's demise — starvation in a region prone to droughts.

Kenneth J. Lacovara, a paleontologist at Rowan University in New Jersey who was not involved in either study, said the research highlighted how much modern technology like CT scans have added to the study of dinosaurs.

"Those are great examples of paleobiology," said Dr. Lacovara, the discoverer of Dreadnoughtus, one of the leviathan titanosaurs.

"Now I think we're getting to the point where we're functioning more like biologists than geologists."

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A version of this article appears in print on , Section A, Page 9 of the New York edition with the headline: Sharp Eyes, Keen Ears and a Dinosaur Name of Its Own.

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## In Argentina, Rancher's Discovery Leads to Largest Titanosaur

## Argentine Dinosaur Was an Estimated 130,000 Pounds, and Still Growing

In the early 1900s it also experienced an influx of immigrants from Lithuania.
 In 1900, Argentine authority was locally established when the Swedish former sailor Oscar Lundqwist, who had been appointed police commissioner to Sarmiento, set up the first "comisaría" ever in Sarmiento. It was situated next to "Las Tres Casas" where the Jones families from Wales and the Briton Pryce lived.
 In 1903, 600 Afrikaner families arrived in Argentina following the loss of the Second Boer War.   They settled in the region as it had access to water unlike the coastal city of Comodoro Rivadavia where they first settled.   The descendants of these colonists make up a large portion of the population of Sarmiento and still speak Afrikaans and attend the Nederduitse Gereformeerde Kerk ("Dutch Reformed Church") to this day. As recently as the 1960s Afrikaans was the most commonly spoken language however this has changed as the town's Afrikaans population has become more assimilated into Argentinian culture and society. In 2016, an important fossil dinosaur was discovered near the town.


Named after Selman Waksman, it was first awarded in 1968.

(meta data) TITLE: Selman A. Waksman Award in Microbiology

National Academies Awards for Communicating Science

National Academies Keck Futures Initiative (inactive)

# Selman A. Waksman Award in Microbiology

## About the Selman A. Waksman Award in Microbiology

Established by the Waksman Foundation for Microbiology, the Selman A. Waksman Award is a prize of $20,000 that is presented to recognize a major advance in the field of microbiology.

Sharon R. Long, Stanford University, will receive the 2019 Selman A. Waksman Award in Microbiology.

Long is a pioneering molecular biologist whose research on the symbiosis between plants and nitrogen-fixing bacteria explains how some plants thrive without nitrogen fertilizer, making agriculture and natural environments more sustainable.

Sharon R. Long (2019)For pioneering research defining the molecular mechanisms underlying the important nitrogen-fixing symbiosis between Rhizobium and legumes, research that has had major implications for microbe-host interactions in general.

Bernard Roizman (2017)For his many seminal contributions to understanding the mechanisms by which herpes viruses replicate and cause disease.

Susan Gottesman (2015)For transforming our understanding of post-transcriptional regulation in bacteria through mechanisms of controlled proteolysis and small RNAs.

Jeffrey I. Gordon (2013)For his pioneering interdisciplinary studies on the human microbiome and for defining the genomic and metabolic foundations of its contributions to health and disease.

Carol A. Gross (2011)For her pioneering studies on mechanisms of gene transcription and its control, and for defining the roles of sigma factors during homeostasis and under stress

Jonathan Beckwith (2009)For fundamental contributions to gene regulation, protein targeting and secretion, and disulfide biochemistry, and also for the development of gene fusions as an experimental tool.

Richard M. Losick (2007)For discovering alternative bacterial sigma factors and his fundamental contributions to understanding the mechanism of bacterial sporulation.

Lucy Shapiro (2005)For her pioneering work revealing the bacterial cell as an integrated system with transcriptional circuitry interwoven with the 3-D deployment of regulatory and morphological proteins.

Stanley Falkow (2003)For his many contributions to understanding the mechanisms by which bacteria cause infection and disease.

Norman R. Pace (2001)For revolutionizing microbiology by developing methods by which microorganisms can be directly detected, identified, and phylogenetically related without the need for cultivation in the laboratory.

R. John Collier (1999)For his seminal contribution to the understanding of bacterial pathogenesis by the elucidation of the action of the diptheria toxin.

Carl R. Woese (1997)For discovering a kingdom of life, the Archaea—using ribosomal RNA sequences for phylogenetic studies of microorganisms—which has influenced concepts of evolution and microbial ecology and has had major technical and industrial applications

Ralph S. Wolfe (1995)For elucidating the biochemical pathway of the reduction of carbon dioxide to methane in microorganisms and in the course of this work defining new biochemical pathways, enzymes, and cofactors.

Boris Magasanik (1993)For his contributions to our understanding of catabolite repression, amino acid metabolism, and regulation of nitrogen metabolism in bacteria.

Melvin I. Simon (1991)For his discoveries in the field of bacterial chemotaxis, including the elucidation of flagellar phase variation and of flagellar motor activation by receptor-mediated signals transmitted through protein-phosphoryl-group transfers.

Bernard D. Davis (1989)For his ingenious development of the penicillin technique for isolating mutants and leadership in its application to microbial physiology.

Harland G. Wood (1986)For his classic studies in mechanisms of carbon dioxide fixation in heterotrophic bacteria, which have spanned a half century and have revolutionized our understanding of the biochemical roles of carbon dioxide.

Purnell W. Choppin (1984)For his discoveries of new mechanisms in the replication of myxo- and paramyxoviruses, in viral pathogenesis, and in viral gene expression.

Irwin C. Gunsalus (1982)For his pioneering studies in microbial biochemistry.

Julius Adler (1980)For his pioneering studies on motility and chemotaxis in bacteria.

Howard Green (1978)For his fundamental contributions to the biology of cultured animal cells.

Wallace P. Rowe (1976)For his fundamental contributions to our understanding of the biology of oncogenic viruses.

Renato Dulbecco (1974)For his extension to animal viruses the precise quantitative methods that had been developed with bacterial viruses, thereby revealing the integration of tumor viruses into host chromosomes.

Charles Yanofsky (1972)For his outstanding contributions to many aspects of microbial and molecular genetics.

E. R. Stadtman (1970)For his outstanding contributions in the field of microbial biochemistry.

Jack L. Strominger (1968)For his elegant studies on the biosynthesis of the bacterial cell wall and the mode of action of antibiotics.

The Selman A. Waksman Award in Microbiology is awarded by the U.S. National Academy of Sciences  "in recognition of excellence in the field of microbiology."


The ABC complaints unit agreed with AIJAC that Hamas's status was not, according to the Australian Government, based on any occupation.

(meta data) TITLE:  Complaint Two: ABC » J-Wire

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Australian Friends of the Hebrew University

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An AIJAC complaint against an article on the ABC's website, which claimed Hamas and Islamic Jihad are listed as terrorists by Australia simply because of "their continued resistance against Israeli occupation", has been upheld by the ABC's Audience and Consumer Affairs unit.

The July 21 article, titled "What is terrorism? The controversial label that is used and abused around the world," by Tracey Shelton, had a sidebar setting out "The 26 terrorist organisations on Australia's watch list".

In the sidebar, it stated, "Palestine's Hamas — Two Palestinian groups, Hamas and the Palestinian Islamic Jihad, have been designated for their continued resistance against Israeli occupation."

AIJAC noted that this description of the designation of the two groups is incorrect and "The Australian National Security website does not state anywhere that 'occupation' is the reason for their listing.

It explains that Hamas and Palestinian Islamic Jihad are designated as terrorist organisations because they are against the existence of the State of Israel and use terrorism to achieve this goal."

"The description of Hamas and Palestinian Islamic Jihad being designated because of 'their continued resistance against Israeli occupation' frankly seems an expression of the views of the author of the article regarding these two groups, not Australian law.

This appears to be part of a larger pattern with the article… which repeatedly makes claims about terrorism as a phenomenon which are disputed or contested in the relevant literature and public debate but treats them as factual and uncontested.

Yet the article is labelled as neither opinion nor analysis on the ABC website."

AIJAC concluded, "In the interests of accuracy and the ABC's statutory requirements to be fair and balanced we therefore request that as a matter of urgency you amend the relevant section of the article to accurately reflect the reasons the Australian Government has given for Hamas and PIJ's listing."

In upholding the complaint, the ABC Audience and Consumer Affairs unit stated, "In response to your concerns, ABC News have advised that the summary in the sidebar for 'Palestine's Hamas' did not accurately reflect the description by Australian National Security.

Accordingly, the article has been amended to read: 'Palestine's Hamas — Two Palestinian groups, Hamas and the Palestinian Islamic Jihad, have been designated for their attacks on Israeli citizens."

The ABC response did not refer to AIJAC's request that the article as a whole be labelled as opinion.

AIJAC Executive Director Dr Colin Rubenstein stated, "We are pleased that, in this instance, the ABC acted expeditiously to rectify an obvious and frankly egregious error.

We hope that, in the future, the ABC will take more care to ensure that there are no more instances of this type of blatant misrepresentation, resulting from what seems to be biased advocacy journalism, and that its journalists adhere to its Editorial Policies.

"It is, however, disappointing that an article that is clearly based on a one-sided opinion will continue to present on the website as a straight news story, and that the ABC Audience and Consumer Affairs unit ignored that part of our complaint.

It is important for the understanding of readers, not to mention the integrity of journalism on the whole, that articles that are clearly the opinion of the writer rather than objective reportage are labelled as such,"

Visit J-Wire's main page for all the latest breaking news, gossip and what's on in your community.

It's all in the eye for accuracy and detail and one has to be quick to catch it.

That came home to me more recently viewed on YouTube in relation to the early church and how it was left mid air with the concluding statement .."and the rest is history".

For those who wouldn't know the history they're left to make their own conclusion……and with all the contadictions down through history even today.

The destrtuction of The Temple in 70 CE is just one example.

Believing the Jews had been subdued forever, that golden menorah depicted on the Arch of Titus a sign of the spoils of war is placed side by side with the Star of David, the Emblem of Israel when it became a state thousands of years later.

Now that's real history…..God never said it was going to be easy…..

From the ABC to Andrew Bolt many are getting tired of Dr Rubenstein constant whining.

I think epistemic vigilance is what it's called……meaning communication is a powerful but a dangerous tool.

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New York state has become ground zero for the anti-vax movement.

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In 2016, AIJAC accused then senator Nick Xenophon of being "highly and one-sidedly critical of Israel" during his time in the Australian Senate. The organisation also criticised the Australian Greens for trying to make Israel the "sole-aggressor" against Palestine. In 2018, AIJAC lodged a complaint against the Australian Broadcasting Corporation regarding an online article which claimed that Hamas was declared a terrorist organisation because of it activities against Israeli "occupation" of Palestine.


A new siding was provided in 1956 for Woodhall paper mill at the station, however in 1958, reports recommended that the station should be closed as revenue was in the region of £1,750 per annum and there was only one goods train per day.

(meta data) TITLE: "Juniper Green 300: The railway"

## The Railway at Juniper Green by Douglas Buchanan

The Edinburgh to Balerno train as it passed Inglis Mill in the 1940s

The railway serving Juniper Green was a loop made off the Caledonian Railway line that ran from Edinburgh Caledonian Station to Carstairs where it linked with the Glasgow to Carlisle line.

The main line had stations at Kingsknowe, Wester Hailes, Curriehill and Ravelrig, while the Balerno Loop, as it was called, had stations at Hailes Platform, Colinton, Juniper Green, Currie and Balerno before joining the main line again at Ravelrig.

The purpose of the Loop was to serve the Mills that were located beside the Water of Leith and it was on Saturday, 1st August 1874, that the Balerno branch railway was eventually opened to all traffic.

Almost 10 years had passed since the Caledonian Railway Company or 'Caley' had first discussed the application from the local mill owners and landowners for help with their plans for a railway line.

It had cost in the region of £134,000 (at least 50% over budget), and over these ten years created many disputes, complaints and objections.

The trains ran alongside the Water of Leith for 65 years, the line finally being closed to passengers on Saturday, 30th October 1943.

Goods trains continued to run until the line was officially closed, aided by the closure of the Kinleith Mill in 1966, to all traffic on 4th December 1967.

The railway was instrumental in the creation of house building from Colinton to Balerno as it was possible to travel easily into town by train.

Indeed, Juniper Green expanded very rapidly in the late 19th Century, due in large part to the railway.

The population of Juniper Green increased from 700 in 1874 to 1,600 in 1901.

The railway line was also used by golfers who wished to play at Baberton Golf Club, which opened in 1893 and at Torphin Golf Club which opened in April 1903.

In those days the clubhouse was situated further west than at present and almost directly above the railway station.

In the early days, there were eight trains per day and first class return to Edinburgh cost 1s.5d. (7p).

In 1883 the number of passengers that travelled from Juniper Green station was 38,280, bringing in revenue of £872.

To that should be added a further £1,285 for goods receipts.

The Juniper Green traffic accounted for about 37% of passenger use.

A steep and winding station brae led up from Juniper Green Station to the village main street.

The station master's house, formerly the north lodge of Woodhall Estate, was at the top.

The station had a single platform on the north side of the line.

It had a goods yard that was accessed from the east end of the station and was located to the north of the line.

At the east end of the station there was once a signalbox on the north side of the line.

In 1901, Juniper Green station was equipped, at a cost of £300, with tablet instruments that were installed in the station booking office.

These instruments worked the signal and points, allowing branch passenger trains to pass a goods train which was diverted to stand at the station sidings.

At the same time, the station signal box, a little to the east of the station, was closed.

This system operated until 20th March 1939.

By 1914, the traffic on the Balerno branch had developed to the extent that there were three engines regularly working the passenger services.

Trains usually comprised eight carriages; four third class, two brake thirds and two first class.

Each of the three sets was increased to thirteen carriages on Saturdays.

However, after the war, price inflation led to operational problems, and although the Government paid out compensation, the Caley was in trouble.

Indeed, landslips at the Colinton tunnel also caused operational difficulties and, added to that, in 1920, buses had reached Juniper Green.

On 1st July 1923, the LMS took over the Caley network.

Unfortunately, the General Strike of 1926 was to cause more problems as coal shortages affected the railways more than road transport.

The number of trains running on a daily basis fell from 20 to 13 by 1939 and the war had other effects, such as black outs and coal shortages.

In 1943, the LMS decided that, in consequence of adequate bus transport, the passenger service would cease.

In 1956, a new siding was provided for the benefit of Woodhall paper mill at Juniper Green station, followed by its enlargement of the mill by its new owners, Inveresk Paper Company.

However, in 1958, reports provided by British Railways management, recommended that Juniper Green station should be closed as revenue was in the region of £1,750 per annum and it was not cost effective.

By that time there was only one goods train running on the line per day.

The railway was well used by golfers heading to Baberton and Torphin Golf Clubs. At first eight trains ran per day. Juniper Green station saw 38,280 passengers in 1883, accounting for 37% of the lines passenger traffic with a revenue of £872 and £1,285 for goods traffic receipts.


In January 2011, the group signed to Shady Records and left E1 Entertainment.

(meta data) TITLE: Eminem Signs Slaughterhouse, Yelawolf To Shady Records - MTV

(meta data) PUBLISHED DATETIME: 2011-01-12 16:35

# Eminem Signs Slaughterhouse, Yelawolf To Shady Records

Cashis and D-12 remain on the roster as Shady enters 'new generation.'

[artist id="502642"]Eminem[/artist] is back in more ways than one.

The Detroit lyricist is reviving his Shady Records company, and Wednesday (January 12) he announced the signing of two new acts: underground supergroup [artist id="3031489"]Slaughterhouse[/artist] and upstart rapper [artist id="2043244"]Yelawolf[/artist].

Cashis and D-12 remain on the roster, but Em made no secret of wanting to bring new life to his company.

"Yelawolf and Slaughterhouse, it's kinda phase two of Shady," Eminem explained in a statement.

"It's the new generation of Shady Records, and as we're trying to rebuild our label, it's exciting for hip-hop, and with all of these forces coming together and with what everybody's capable of on the mic, it's gonna be fun."

The four-man Slaughterhouse collective — Joe Budden, Joell Ortiz, Crooked I and Royce Da 5'9" — was in talks with Shady Records for longer than a year working on the deal.

"I been answering that question for a year and change, ever since that Drake 'Forever' music video," Budden told MTV News during an appearance on "RapFix Live," citing a scene where the group stands behind Em during his verse.

"It's like, Eminem is a whole nother entity.

Southern rhyme slinger Yelawolf is backed by music industry veteran Kawan "KP" Prather, who inked an upstart T.I. to his first deal and helped Usher on the superstar's Confessions album.

"Considering where I'm from and the sh-- I've been through, it's hard to put into words what partnering with Shady means to me, my team at Ghet-O-Vision and my state of Alabama," Yela said in prepared remarks.

"I can tell you that when you're willing to give your life up to see a dream through, the reward is great," he continued.

"And now that I've become an apprentice to one of the greatest artists in the world, my potential reaches beyond anything I ever imagined.

Both acts are expected to deliver projects in the coming months.

What other artists would you like to see on Shady Records?

Music career.:2007–10: "The Brick: Bodega Chronicles" and joining Slaughterhouse.

Guest artists include rappers Big Daddy Kane, Styles P, Big Noyd, Akon, Immortal Technique, Grafh, and Ras Kass. Ortiz parted ways with Aftermath Entertainment on April 15, 2008.
 2009 was a busy year for Ortiz, as he released a number of freestyles and remixes leading up to the "Road Kill" mixtape. Among these was "Stressful" a song that remixed Drake's "Successful."
 Joe Budden reached out to Crooked I, Royce da 5'9", Joell Ortiz, and Nino Bless for a track titled "Slaughterhouse" on his digital release, "Halfway House".
 Based on the reception of the track, they decided to form a super-group, minus Nino Bless, and named it after the first song they made together. They released numerous songs throughout early 2009, building a buzz for their self-titled album which was released through E1 on August 11, 2009. The album features production from Alchemist, DJ Khalil and Mr. Porter, plus guest appearances from Pharoahe Monch, K-Young, and The New Royales.


In 2019, it was reported that the campus had the highest number of “major crimes” of any public NYC high school in the 2017-18 school year, although it was not the most violent.

(meta data) TITLE: NYC public schools logged 464 'major crimes' last year

(meta data) PUBLISHER: https://www.facebook.com/nypost

(meta data) COPYRIGHT: Copyright 2019 NYP Holdings. All rights reserved.

# NYC public schools logged 464 'major crimes' last year

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The Prospect Heights High School campus in Brooklyn

## Over half of NYC kids can't handle basic English, math on state tests

## Number of NYC students busted for sex crimes increases for third year

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## State to probe DOE special education schools after Post exposé

New York City public schools logged 464 "major crimes" including a murder and 1,104 violent crimes such as rapes, robberies and assaults, newly released data for the 2017-18 academic year shows.

And there were nearly 5,000 incidents that the Department of Education classified as "non criminal," including pot possession, disorderly conduct and harassment, the data shows.

The Prospect Heights High School campus topped the list of the most major crimes, which also include assault and grand larceny, with five for the school year, according to the DOE.

The Classon Avenue building includes the High School for Global Citizenship and the Brooklyn Academy of Science & the Environment.

There were four major crimes at the Bronx building that includes the now-shuttered Urban Assembly School for Wildlife Conservation, where 15-year-old Matthew McGree was stabbed to death with a switchblade and another student was wounded in a bloody September 2017 attack.

Fellow student Abel Cedeno, 18, was charged with manslaughter and assault.

He has claimed he was bullied for years over his sexuality and had been defending himself.

It was the first slaying inside a city school since 1993.

The NYPD pegged the total number of weapons seized by authorities in city schools in 2017-18 at 2,718, a 28 percent increase over the prior year, The Post has reported.

The number of guns found dropped from 10 to five while school personnel found kids with 1,551 knives, up 32 percent from 1,176.

Topping the list for violent crimes was the Brooklyn campus that includes Sheepshead Bay High School, Professional Pathways High School and two charter schools.

The Avenue X campus logged a dozen such incidents.

The DOE said it could not provide a breakdown for specific crimes by school.

But NYPD records show six robbery arrests alone at Sheepshead Bay HS in the first quarter of 2017.

### City schools have a serious sex crime problem

The number of city students charged with felony sex crimes...

The John F. Kennedy High School campus in the Bronx had 112 "non-criminal" offenses.

There were also more serious offenses at the complex.

NYPD data shows that in the second quarter of 2018 alone were three arrests for assault at Kennedy HS and three summonses issued for knife possession.

The Herbert H. Lehman campus in the Bronx had the most property theft crimes at 13.

The number of major crimes decreased by 7 percent last year from the previous year.

But violent crimes rose by 5.8 percent and the number of smaller offenses like pot possession increased by 15 percent.

Gregory Floyd, the head of the union that represents school safety agents, said the city's easing of marijuana laws has filtered down to the schools.

"The relaxing of drug policies in New York City for the arrest of marijuana has led to the assumption by teen-agers that it's OK and legal for them to smoke marijuana," he said.

"That is the reality that our mayor has created."

And he said the DOE had eased up on discipline for pot possession by issuing toothless warning cards.

Not every crime shows up in the DOE data.

A 14-year-old boy said he was sexually assaulted by upperclassmen in a locker room at the It Takes A Village Academy in East Flatbush in November 2017 and told school officials about the incident.

No one at the school told police and principal Marina Vinitskaya was reassigned while the DOE investigated the matter.

There are no criminal incidents for that school in the DOE's database.

"Our schools are safe, and our close partnership with the NYPD has led to a 29 percent decrease in major crime over the past five years," said DOE spokeswoman Miranda Barbot.

"Specifically, violent crime is also down 19 percent in the first half of this school year.

We continue to closely monitor all safety data and deploy real-time targeted interventions when necessary."

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Every morning students have to enter the building from the backdoor of the cafeteria, where they pass through scanning, remove their belts, and swipe their ID cards to indicate each school's attendance. Electronic devices are allowed in the building. Students must come early to get scanning, because there are four schools in Prospect Heights Campus.
 The Safe Schools Against Violence in Education Act (SAVE) was passed by the New York State Legislature and signed by Governor George Pataki on July 24, 2000, in response to issues of school safety and violence prevention.

 Prospect Heights High School was ranked twelfth most violent among New York City's 125 high schools in 1990 by the Board of Education, rating not only all the security hardware, but also a special full-time security coordinator, a retired police detective.


In the 18-34 male demographic, it's 5.0 rating nearly tripled its lead-in (1.7).

(meta data) TITLE: 'Smallville' bow super for the WB – Variety

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Read Next: 'The Simpsons' Producers Talk Potential Disney Spinoffs, Confirm Apu Will Remain

## Skein draws the best preem numbers in netlet's history

Young Superman tale "Smallville" proved to be more powerful than a locomotive Tuesday, premiering to some of the best ratings in the WB net's seven-year history.

Tuesday also saw continued boffo ratings for the CBS dramas, more good news for rookie laffers "Undeclared" (Fox) and "Scrubs" (NBC), and slight improvement for a beleaguered ABC.

According to Nielsen Media Research, the 68-minute premiere of the critically acclaimed "Smallville" (9-10:08 p.m.) attracted the largest audience ever for a series preem on the WB (8.35 million viewers) — outdrawing ABC's comedies and Fox's "Love Cruise" to finish third for the hour.

It also bagged the best 18-49 rating for a Frog net series premiere (3.8/9) as well as the best score for any episode of any series in the WB's history among adults 18-34 (4.5/12), men 18-34 (5.0/14) and men 18-49 (3.9/10).

The strong male demos are especially encouraging for the heavily femme Frog net.

"Smallville" won its hour in demos such as persons 12-34 (4.4/12), men 18-34 (5.0/14) and teens (4.1/15), growing through its broadcast.

Net's "Gilmore Girls" (5.99m, 2.4/6) also did well, improving in several categories from its strong season preem a week earlier.

CBS won the night in adults 25-54 for a second consecutive week (5.6/13) and tied for second with NBC in 18-49 (4.4/11), just 1 share behind first-place Fox (4.6/12).

Net also continued its domination on the night in total viewers, with each drama winning its hour.

Despite increased drama competition from "Smallville," rookie hit "The Guardian" drew the largest aud since its premiere (15.08m) and was second to NBC's comedies in adults 25-54 (4.9/11).

"JAG" (17.27m), the most-watched show of the night, and "Judging Amy" (season-high 16.06m) both topped their hours in 25-54, with "Amy" also winning in 18-49 (4.8/12).

Fox received strong ratings for its Tuesday comedies "That '70s Show" (10.27m, 5.5/15 in 18-49) and "Undeclared" (8.49m, 4.8/12), both of which won their slots in 18-49 and 18-34.

"Undeclared" has held onto 90% or more of its lead-in every week.

Fox clinched the night in 18-49 — its first Tuesday victory of the season — when reality skein "Love Cruise" wrapped with the best numbers of its seven-seg run (7.26m, 4.1/10 in 18-49).

NBC's "Scrubs" (12.71m, 5.8/14 in 18-49) also continues to look good, retaining 92% of its "Frasier" 18-49 lead-in (5.8 vs. 6.3) and 94% in 18-34 (4.7 vs. 5.0).

It won its half-hour in 18-49 for a third straight week.

But the Peacock's "Emeril" fell to new lows in its fourth outing (6.70m, 2.6/7 in 18-49), dropping 8 shares behind Fox's " '70s Show" in 18-49.

ABC's revamped lineup improved by 9% week to week in both 18-49 and total viewers but remained fourth in the demo.

"Spin City" (7.68m, 3.9/9 in 18-49) pulled ABC to within 6 shares of comedy rival "Frasier" (down from last week's 9-share disadvantage with "Bob Patterson"), and in the less competitive 9:30 slot, "Bob" (7.18m, 3.3/8) improved vs. the previous week.

At 10, "Philly" added viewers week to week (to 9.30m), but declined another tick in 18-49 (to 3.7/9).

UPN's "Buffy the Vampire Slayer" (6.03m, 2.8/8 in 18-49) improved week to week, topping the WB's "Gilmore Girls" (5.99m, 2.4/6).

"Buffy" got the best of the weblet war in 18-34 (3.5/10 vs. 2.8/8), with "Gilmore" doing better among women (3.9 vs. 3.7) and "Buffy" better among men (3.3 vs. 1.7).

But at 9, UPN's "Roswell" (3.03m, 1.2/3 in 18-49) clearly felt the effects of "Smallville," slipping 29% week to week in 18-49.

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In case you hadn't heard, Emmy-winning drama "Breaking Bad" is cooking up a movie sequel.

On Saturday, after details of Netflix's project quietly leaked online, the streaming giant issued the first teaser for "El Camino: A Breaking Bad Movie," which will be released on October 11.

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### 'Breaking Bad' Movie Release Date, Title and Plot Revealed

The "Breaking Bad" movie is coming to Netflix sooner than you might think.

The film, titled "El Camino: A Breaking Bad Movie," is now set to be released on Netflix on Oct. 11, according to a report from the New York Times, with Aaron Paul returning as the series' popular meth cook Jesse Pinkman.

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The "Matrix" star is set to executive produce "Marvel's Moon Girl and Devil Dinosaur," an animated series which has been given the greenlight at Disney Channel.

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"The Simpsons" has never shied away from lampooning Disney over the years, but maybe that's no longer the case.

Homer, Marge and co. are of course now part of the Disney family and made their first appearance at the Mouse House's D23 Expo convention, where the show's producers were asked plenty of questions about what [...]

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Frankie Rodriguez, who plays Carlos, an openly gay theater student, on upcoming Disney Plus series "High School Musical: The Musical: The Series," thanked executive producer and showrunner Tim Federle while discussing the theme of diversity and inclusion in the spin-off at the D23 Expo on Friday.

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The series' pilot broke The WB's record for highest-rated debut with 8.35 million viewers, 3.8/9 in the 18-49 demographic, 4.5/12 in the 18-34 demographic and beat its lead-in Gilmore Girls, which was viewed by 5.99 million viewers, 2.4/6 in the 18-49 demographic, 2.8/8 in the 18-34 demographic by 39.4%, 58.3%, 60.7% respectively.


The album featured contributions from Sia Furler, Mike Del Rio, Cutfather, Pharrell Williams, MNEK and Ariel Rechtshaid.

(meta data) TITLE: Kylie Minogue Discusses Pharrell, Sia And New Album 'Kiss Me Once': Idolator Interview

# Kylie Minogue Discusses Pharrell, Sia And New Album 'Kiss Me Once': Idolator Interview

Over the decades, the musical force that is Kylie Minogue has offered us one variation or another of her on-stage image while still maintaining enough of a "girl next door" likeability that we truly wish she would just move in down the block already.

Listening to her upcoming 12th album Kiss Me Once (out March 18), however, conjures up a new persona for the Australian pop queen: Comforting Kylie.

Making the album wasn't an easy road for the singer, by her own admission.

And once countless tracks were done after a year of working with a multitude of collaborators, there came the arduous task of whittling them all down to one cohesive, Kylie-worthy set.

Knowledge of that melts away, though, when listening to the record, as what ultimately shines through on Kiss Me Once is the radiant positivity, particularly with the optimistic lyrics that fill songs like lead single "Into The Blue," the uplifting Ariel Rechtshaid composition "If Only" and the album's title track, on which Minogue worked with the LP's executive producer Sia Furler.

Kylie spent time cluing us in to what the process of piecing together her first studio album in four years was like, from switching her management over to Roc Nation to working with talents ranging from hit maker Pharrell Williams to French actor Clément Sibony.

Head below for the full Idolator interview with Kylie Minogue.

I've given Kiss Me Once about five full listens ahead of our little chat.

The song that's jumping out immediately is the title track.

Yeah, I think it's got a lot to offer, that track.

It's probably the most old school Kylie, I would say.

Sia co-wrote "Kiss Me Once" and co-executive-produced the whole album along with you.

How did this collaboration with her come about?

We worked together a couple of times — with her as a writer and me looking at some tracks she had already written, and also doing some writing together.

Around about what turned out to be the halfway mark of making this album — I didn't know how long it would take, so I didn't realize that at the time — I asked her if she would executive-produce.

I didn't know if it was something she had done or was interested in, or if maybe she just preferred writing and doing her own music.

Anyway, she said yes immediately and I was thrilled, because I really admire her.

How was it different with Sia in this role as opposed to Stuart Price, who executive-produced your last album, Aphrodite?

Well, Stuart has more to do with the production side.

Sia is involved with the production, but a lot of that is left to the producers.

I totally adore him and I think he did a fantastic job with Aphrodite.

But, yeah, it just seemed a little different [this time].

So, I gave Sia everything I had recorded up until that [halfway] point, which was already a lot, and it was good to have someone help me make sense of what I had.

Crazily enough, it was around that time, or shortly after, when she said, "There's no sex!

Next thing, there's three songs — sex, sex, sex — on my album, the most noticeable one being hers, which is "Sexercize."

Kylie Minogue — Kiss Me Once album sampler

When all those "sex" titles were revealed, I thought, Well, now we know what kind of mood Kylie has been in.

But I'd say they're more like "pop" hot, if that makes any sense.

Even "Sexercize" — obviously it's a memorable title.

But I have to confess, the first time Sia told me about it, I thought, "Sexercize"?

But it's Sia's genius that she can make it cool and make it a great song.

But it's definitely got everyone talking.

At this particular moment, "Les Sex" is a personal favorite.

That was with MNDR, who I fawned over because I love "Bang Bang Bang," her song with Mark Ronson.

I also worked with her and Fernando Garibay, but the songs didn't make it, although they were also really good!

I worked with so many people, and I want everyone who was a part of this album — whether they were a part of the final tracklisting or not — I hope they know that even when we took a turn that wasn't the right turn, it was an important one and [they] helped to make this album.

A lot of people were excited to hear you'd recorded with Ariel Rechtshaid.

Sky Ferreira, Haim — that was all fantastic.

How many tracks did you record with him?

We did two, but only one of those is on the album, which is "If Only."

I love it because it's got that feel he brings to the track that kind of makes me feel like a school disco — just feeling like you're desperately in love with someone and you're probably alone.

Would you be open to talking about particular collaborations that didn't make the cut of the album?

Some people who were more just starting out.

You just never know where you're going to get a song from, and then it's a case of putting them all together.

I can't tell you how many versions of this album have been put into a list.

I mean, I've made more lists in the last year than I care to think of.

And, really down to the very end, there were so many contenders.

I felt like no matter which way the song list went, there was going to be some disappointment [over what was cut] on my side and on the side of other writers and producers.

But once I realized, okay, there is no happy ending for everyone, in the back of mind was that there are always other releases.

The songs will find the right home when it's the right time.

Getting it just right sounds like a particularly grueling process, particularly with Kiss Me Once.

You just think, Come on — they're all great.

There are some people I trust who'd make their own list, and some of them were completely different.

That song from 11 months ago that we'd all almost forgotten about has suddenly come back into the running.

It's a strange little process…or big process.

But right up until the wire we were making last minute decisions.

We probably had eight tracks that everyone was absolutely certain about, and the others it was just, what would work best for the album?

I'm a little bit shocked that it's done, like an out of body experience.

My mindset has been working on it for such a long time.

It's really, really exciting that now I get to share what I've been working on.

Tags: Kylie Minogue, Pharrell, Sia, Spotlight

Life and career.:2013–2016: "Kiss Me Once" and "Kylie Christmas".

In September, she was featured on Italian singer-songwriter Laura Pausini's single "Limpido", which was a number-one hit in Italy and received a nomination for "World's Best Song" at the 2013 World Music Awards. In the same month, Minogue was hired as a coach for the third series of BBC One's talent competition "The Voice UK", alongside record producer and Black Eyed Peas member, will.i.am, Kaiser Chiefs' lead singer Ricky Wilson and singer Sir Tom Jones. The show opened with 9.35 million views from the UK, a large percentage increase from the second season. It accumulated an estimated 8.10 million viewers on average. Minogue's judging and personality on the show were singled out for praise. Ed Power from "The Daily Telegraph" gave the series premiere 3 stars, praising Minogue for being "glamorous, agreeably giggly [and] a card-carrying national treasure". In November, she was hired as a coach for the third season of "The Voice Australia".
 In March 2014, Minogue released her twelfth studio album, "Kiss Me Once".


In Tripoli, the GNC announced the temporary closure of the borders with Algeria, Niger, Chad and Sudan, and declared southern Libya as a "closed military zone".

(meta data) TITLE: GNC announces temporary closure of southern borders and declares south a "closed military zone" |

# GNC announces temporary closure of southern borders and declares south a "closed military zone"

The General National Congress (GNC) declared much of the south a closed military zone on Sunday evening and announced that it would temporarily close the borders with Niger, Chad, Sudan and Algeria, state news agency LANA reported.

GNC members passed the exceptional legislation with a majority of 136, designating the areas around Ghadamis, Ghat, Awbari, Al-Shati, Sebha, Murzuq and Kufra as closed zones of military operations.

Members also voted to close Libya's southern borders, but said that they would reopen them at an undesignated time in coordination with their neighbouring states.

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On 15 December, three Libyan soldiers, including two Captains, were killed in Bani Walid when they were ambushed by gunmen who were then reported to have taken full control of the Darha area. The next day, four policemen were killed in two attacks by Islamist gunmen in Benghazi.


In November 2006, Hirst was curator of "In the darkest hour there may be light", shown at the Serpentine Gallery, London, the first public exhibition of (a small part of) his own collection.

(meta data) TITLE: The Oxonian Review » High Art Lite in the Darkest Hour

1 March, 2007 • Issue 6.2 • Europe • The Arts • Visual Arts

Works from Damien Hirst's murderme collection

Although Damien Hirst and his every breath get miles of press in the British tabloid and other newspapers, critical appreciation of the work of Hirst and his generation has been scarce.

This is particularly evident among post-YBA (Young British Artists), and artists in the other notable art worlds.

New York, LA and Berlin—cities whose markets are sufficiently inflated to merit swathes of attention from not only their own but also foreign press—have dismissed British art in general with a slight sniff of disdain.

Eric C. Banks, writing in Artforum in January 2002, put his finger on the problem: 'The notorious difficulty of writing about many of the Young British Artists has always been the Hobson's choice of approaching them with sombre detachment and overshooting the runway or, alternatively, treating them on their own terms and never really going anywhere at all.'

This circularity has extended to next generation artists, British or otherwise, who seem loath to reference or engage in dialogue with their predecessors—not to mention with the surge of cash that has flooded the London art world, for better or for worse, since their coming.

From across the calming waters of the Atlantic Ocean, Thomas Crow, the British art historian now ensconced in the Getty's cracked ivory towers, has made some lone, valiant attempts to tackle this conundrum.

These have mostly taken the form of a Marxian analysis that foregrounds the evidence of social history within the work.

In the case of Hirst alone, he has offered an awed take on his recent Mexican intervention.

In general, however, the non-YBA British art world largely hangs its head in horror at the thought of acknowledging the bastard breed.

In the darkest hour there may be light therefore offered an opportunity to take a deep breath and be drawn in.

It included a number of seminal works from the YBA-era, alongside their 1980s New York predecessors Jeff Koons, Richard Prince and Haim Steinbach, as well as some predictably dismal tat from Banksy and his younger, and by the looks of it slightly lost, generation of British artists.

To quickly address the curating: since Hirst managed to catalyse the coming into being of the Young British Art world in the early 1990s, he has played a significant role in subsidising it, not to mention keeping Koons and a few secondary market dealers happy.

His 'murderme' collection contains some fantastic work but, like most collections it contains some pretty dreadful efforts as well (such as Banksy: a more literal image-maker would be hard to find but, frankly, who would want to look?).

The show was therefore a bit of a mess, not only in terms of quality but also with respect to its display.

Items looked shoved into place with scant attention to size, scale, theme or attribute—but such sloppiness could have been exaggerated and thereby made more convincing, more satisfyingly, by making it less clear how exactly it is that Hirst differentiates between his obsessive collection of curiosities and art.

Why not go for it and really clutter the Serpentine Gallery?

This style of curation is due, in part, to Hirst the phenomenon, as more than one newspaper reviewer pointed out: given his massive pulling power, the Serpentine needs the artist's patronage more than he needs their floor space, and he can therefore curate as he sees fit.

In fact, Hirst's work in general, with its gleeful mass production and mass concatenation (think a thousand flies, a thousand spin paintings, a thousand years) could often do with a good edit.

But perhaps that is somehow the point: he, like Warhol, has the ability and the brazen gumption to churn out as much as he wants—although perhaps he isn't as much of a whore as Andy: he never solicited portraits of the great dictators as the ultimate Pop vixen did of Farah Dibah and the Shah.

Hirst's closest contemporaries, Angus Fairhurst and Sarah Lucas, with whom he collaborated most recently on the 2004 Tate show 'In-A-Gadda-Da-Vida', both come up trumps at the Serpentine—and another look at their work sheds a clearer light on the terms under which a critical engagement with the YBAs might be negotiated.

Lucas's Percival (2006) is a bronze replica of a tchotchke of a horse-drawn cart carrying a massive cement gherkin.

Blown up to ten times its size, coloured in so that it looks exactly like its ceramic forebear, and plonked on the lawn in front of the gallery, Percy manages to be both hilarious and hardcore.

Such a combination is present in all of Lucas's best work; inside, her Sunday Sport collages, cigarette sculptures, and banged-up car with crude wanking arm mechanism offer a mini-retrospective of the artist.

Pietà (1996), his photographic self-portrait, quotes the famous Michaelangelo painting in the Vatican (inter alia from the art historical canon).

In this version, however, the artist, who takes on the role of Christ, is cradled by an empty gorilla suit, deftly conjuring pathos through a visual joke.

Likewise his life-size sculpture of a bronze gorilla, A Couple of Differences Between Thinking and Feeling II (2003), who looks in front of him seemingly dumbfounded at his left arm, which appears to have dropped off.

Both Fairhurst and Lucas know how to deliver an uneasy punchline; Gavin Turk's soiled sleeping bag minus tramp, installed unceremoniously on the Serpentine's floor, also fits in this category.

It is these artists' adept manipulation of the joke that ought to prompt a critical appreciation of the poor little YBA paragons.

The gags are subversive—it is high art lite—

as we all know, you make your victim laugh before you deliver the sucker punch… all the way to the bank if need be.

Emily Spears Meers is a writer, translator and equestrienne, and an MPhil student in international relations at Balliol College, Oxford.

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Some have argued that the methodology behind the determination of those who are subject to being detained at such facilities is not scientific and rational, resulting in the detention being merely punitive.

(meta data) TITLE: Opinion | Sex Offenders Locked Up on a Hunch - The New York Times

(meta data) AUTHOR: http://www.nytimes.com/interactive/opinion/editorialboard.html

(meta data) PUBLISHED DATETIME: 2015-08-15

Skip to contentSkip to site indexSunday ReviewLog InToday's PaperSunday Review|Sex Offenders Locked Up on a Hunch

Aug 15, 2015ImageCreditCreditHanna Barczyk

The essence of the American criminal justice system is reactive, not predictive: You are punished for the crime you committed.

You can't be punished simply because you might commit one someday.

You certainly can't be held indefinitely to prevent that possibility.

And yet that is exactly what is happening to about 5,000 people convicted of sex crimes around the country.

This population, which nearly doubled in the last decade, has completed prison sentences but remains held in what is deceptively called civil commitment — the practice of keeping someone locked up in an institution for months, years or even decades for the purpose of preventing possible future offenses.

The authorities have the power to detain people with mental illnesses or disorders who cannot function independently, or who pose a danger to themselves or others.

But since the early 1990s, this power has been used increasingly to imprison one distinct group: sex offenders.

Federal law and the laws in 20 states and the District of Columbia allow people convicted of violent sex crimes — such as rape or child molestation — to be held in custody indefinitely past the end of their criminal sentences.

The Supreme Court has upheld these laws on the grounds that they are not intended to punish or deter crime, but only to hold people until they are no longer a threat.

In theory, a civilly committed person gets treatment and is released as soon as possible.

In practice, however, it usually means leaving one prison for another — civil commitment facilities are generally high-security buildings patrolled by armed guards and ringed with barbed wire — from which many are never released.

In a decision in June, a federal judge ruled that Minnesota's civil-commitment law for sex offenders violates the Constitution.

Federal District Judge Donovan Frank said the law imposes "a punitive system that segregates and indefinitely detains a class of potentially dangerous individuals without the safeguards of the criminal justice system."

For example, local prosecutors — not clinicians or mental health professionals — choose whether to seek continued detention based on a screening test that claims to predict a person's likelihood of committing another sex offense, though there is no clear evidence such tests are accurate.

Yet based largely on those screening tests, more than 700 Minnesotans who have completed their prison sentences are locked up, at an annual cost of more than $120,000 per person — triple the cost of prison.

This civil commitment rate is by far the highest in the country.

Some people have been held for more than 20 years.

During that time, not one person has been released from the program unconditionally.

A central flaw, Judge Frank said, is that Minnesota does not perform reassessments of risk, so the burden lies with the detainees to prove they no longer pose a danger.

On Aug. 12, Judge Frank ordered the state to come up with constitutionally valid reforms by the end of September, or he "may demand a more forceful solution."

Despite the public perception that all sex offenders are recidivists — a belief that drove these laws in the first place — sexual re-offense rates are in fact lower than those for other crimes (though an unknown number of sex crimes go unreported).

In addition, while some states' laws make it easier for detainees to earn their way out, 30 states have no civil-commitment laws at all, and there is no evidence that a state's sexual-violence rate is affected by whether it has such a law.

As with California's three-strikes law or harsh mandatory-minimum sentences nationwide, the indefinite detention of sex offenders reflects the politics of fear and overreaction that drive so much of criminal justice policy.

That was the case in Minnesota, which drastically increased the number of people it committed after a recently released sex offender sexually assaulted and murdered a college student named Dru Sjodin in 2003.

Public safety would be better served if resources were directed toward community supervision and other services for those leaving prison, rather than toward skirting the edges of the Constitution to keep them locked away.

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A version of this article appears in print on , Section SR, Page 8 of the New York edition with the headline: Indefinite Imprisonment, on a Hunch.

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The facility has been the subject of controversy as it has been considered by some to be a place of unconstitutionally punitive detention for those fraudulently deemed both dangerous and mentally ill despite the state knowing otherwise.
 It is a maximum security facility labelled (by the government of the state of California) as a "civil-commitment facility" and others as a prison. According to the state, it was built to ensure that individuals labelled as "sexually violent predators" receive treatment for their mental disorder(s) and do not re-offend within the community as a result of their mental disorders. According to others, it is merely a prison.