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Tag Archives: Jill Golick
Featured, Industry News, Mohawk Girls
Tracey Deer on improving gender balance in Canadian TV and film: "You have to be brave to change things"
May 30, 2019 Greg David
After covering the Canadian television industry for five years, I assumed the gender balance was even. I know several female showrunners like Emily Andras (Wynonna Earp), Sarah Dodd (Cardinal: Blackfly Season), Jennica Harper (Jann), Catherine Reitman (Workin' Moms) and Michelle Lovretta (Killjoys), many female writers and female directors. And, after the CBC announced they would ensure 50 per cent of directors on their projects would be female, I naively thought, "All good."
I couldn't have been more wrong.
A recent report by Women in View examined more than 5,000 contracts issued between 2014 and 2017 in television, and between 2015 and 2017 in film. The report has been tracking gender balance in Canada's film and television industry, and the most recent uncovered some movement toward gender balance since the first study in 2012, but women of colour and Indigenous women remain woefully under-employed.
"There are still gaps and, sadly, it's women who are making the change," Women in View's Board Chair Tracey Deer says. "Women showrunners are hiring women. We need our male colleagues to get on board as well and then I think we're going to see some massive changes." Deer, who most recently directed, co-created and co-executive produced Mohawk Girls, believes the industry is slow to change because it has been male-dominated for so long. Add to that the industry is a collaboration—when you find someone you work well with, you'll hire them again—and it's an uphill battle for women.
"I don't fault [men] that," Deer stresses. "However, it's complicit, and part of this problem. We need to shake it up, expand our network and not keep working with the same people over and over again." There is some good news: between 2014 and 2017, there was a jump in women filling 17 per cent of the jobs to 28 per cent. But just 1.81 per cent of contracts went to women of colour, and Indigenous women only .69 per cent.
In 2017, no directing, writing or cinematography roles in television went to Indigenous women. Of the 3,206 television contracts issued during the full four-year period, just 22 went to Indigenous women, and only 12 of 1,637 film contracts. Just .87 per cent of writing roles and 5 per cent of directing jobs went to women of colour.
"There are lots of us out there who are at the calibre that is needed to do the work," Deer says. "We constantly want to be bringing women up. But to hire women isn't inherently throwing a bone to women, it's about doing your own project a greater good by bringing on the different perspective that women, specifically women of colour and Indigenous women. We all bring different perspectives to our work and that makes it richer, not poorer."
She believes the major change needs to begin at the top, at the broadcast level and the funding agency level, with a mandate to have a certain number of women and men. The people are there, Deer says, and ready to work.
"I talk a lot about people being brave," she says. "You have to be brave to change things. When it rests just on the individual to do the right thing and be brave, it's a really scary thing. It has to happen across the board."
You can find more information and reports on the Women in View website.Â
gender balanceJill GolickMohawk GirlsTracey DeerWomen in View
Ruby Skye jumps from online to TV
October 1, 2014 Greg David
Ruby Skye P.I. is a detective series, but the show's success is a Cinderella story. An independent project two seasons old, filmed on a shoestring budget and posted on the Internet garners wide acclaim. A third season is partially funded by the CBC, debuts online and then jumps to the network's morning television schedule. That's Ruby Skye's story, and it's one borne out of frustration.
"I wasn't able to tell the stories that I wanted to in the restricted, narrow focus that children's television has at this moment," creator Jill Golick says. "There wasn't a mystery show on television. Nobody was looking at making show's with girl leads. It was a way for me to tell the story that I wanted to tell."
Ruby Skye P.I.'s tale began in 2010 when the Independent Production Fund started offering funding for web series. Golick–after writing on such series as Sesame Street, Noddy, Shining Time Station and Instant Star–was dabbling in the digital realm and had pitched several ideas to the IPF; they backed seasons 1 and 2 of Ruby Skye. A chance conversation with CBC executives at a conference led to the public broadcaster acquiring the first two seasons–The Spam Scam and The Haunted Library–for their website and commissioning a third season, The Maltese Puppy, along with the IPF, Bell Fund, Shaw Rocket Fund and Canada Media Fund. Now Ruby's Season 3 adventures are available on CBC television as of Oct. 4.
"CBC's intention was always to make a web show and we didn't start Ruby thinking, 'Oh, this should be a TV series,'" Golick explains. "We started thinking when you're talking to today's youth you put it on the screen where they are."
Golick and Julie Strassman (Full House, Sophie, Metropia) co-write Ruby Skye P.I., and this third instalment, The Maltese Puppy, is a fun one. Ruby (Madison Cheratow, Wingin' It), the sassy, smart star of the series, takes over the dog-walking route run by her sister Hailey (Marlee Maslove, Hailey Hacks) when she comes upon a crime scene. A local charity has been robbed of precious toys and there are a number of suspects, including the charity's founder, Colin Cumberbund (Seán Cullen). Plus, Ruby has somehow ended up with one extra dog at the end of her leashes–a Maltese–and she's doesn't know where the owner is. Each episode–clocking in around the five-minute mark–is packed with whip-smart dialogue, top-notch performances and a cliffhanger style that keeps you wanting more.
"When people find it on the Internet they blow through all the episodes all at once," Golick says. "We have that pace that makes you want to keep consuming it like potato chips."
Episodes of Ruby Skye P.I.: The Maltese Puppy can be seen during the Kids CBC! programming block starting Saturday, Oct. 4, or on the network's web page.
CBCJill GolickJulie SussmanRuby Skye PI


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Melissa Meggison, CCO and General Counsel for FFAM360, Joins the PAWS Atlanta Board of Directors
First Financial Asset Management and the FFAM360 group of companies are excited to announce the appointment of General Counsel and Chief Compliance Officer Melissa Meggison to the PAWS Atlanta Board of Directors.
PAWS Atlanta is a no-kill shelter that gives the animals in its care the time, medical attention, and behavioral training they need to thrive and survive. Their mission is to build a community of caring through people helping pets and pets helping people.
Ms. Meggison is the loving and devoted owner of a nearly 18-year-old cat who was found as a stray on a South Florida golf course at 6 weeks old. Her love for animals, especially cats, combined with her legal background and professional experience make her an excellent addition to the Board of Directors.
"I am very honored to take on this new role as a member of the PAWS Atlanta Board of Directors. Every animal deserves a loving home and it's no secret that as an animal lover, my cat is one of the most important members of my family. This is an exciting opportunity to help guide the organization's important work of finding every animal a forever home," says Ms. Meggison. "I strongly believe in the PAWS Atlanta mission and the lifesaving services they provide. I consider myself very fortunate to have this opportunity to work together with the wonderful staff, volunteers, and fellow Board members to serve our community."
For over 56 years, the organization has relied on the generosity of supporters as it receives no funding from federal, state, or county governments. Paws Atlanta offers services such as:
Pet adoption and foster services
Bi-monthly pet wellness clinics
Discount health preventatives
A pet food bank for caring owners experiencing hardship
Senior support and pet matching assistance Community outreach and education
For more information on becoming a volunteer or adopting a pet, please visit pawsatlanta.org.
About PAWS Atlanta
Headquartered in Decatur, GA, PAWS Atlanta is the oldest no-kill animal shelter in the state of Georgia. It was founded in 1964 as a completely volunteer-run organization, called the DeKalb Humane Society. In 2002, the organization changed its name to PAWS Atlanta, continuing to care for animals in need. To date, they have found homes for over 46,000 animals.
About FFAM360
The FFAM360 group of companies deploys world-class people, operations, and technology to deliver revenue cycle solutions to their clients that optimize their credit and revenue lifecycles. Founded in 2002 with the vision of creating a best-in-class organization that provides comprehensive solutions across the Insurance Subrogation, Healthcare, Staffing, and Financial Service sectors, FFAM360 has achieved many significant awards and recognitions including being honored by the Women's Business Enterprise National Council ("WBENC") as a Certified Women-Owned Business Enterprise. FFAM360 is headquartered just outside Atlanta, GA, with additional offices in Phoenix, AZ and Paso Robles, CA.
This press release courtesy of FFAM360.
Published On: May 4th, 2020|Categories: Community|
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redpajama_set_name: RedPajamaCommonCrawl


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Camera IconThe UN's Michelle Bachelet has "responded positively" to a request for a joint Tigray inquiry.
UN rights agency agrees to Tigray inquiry
Michelle NicholsAAP
Conflict and War
United Nations human rights chief Michelle Bachelet has agreed to an Ethiopian request for a joint investigation in the country's northern Tigray region, where Bachelet says possible war crimes may have been committed.
Fighting between government troops and the region's former ruling party, the Tigray People's Liberation Front (TPLF), has killed thousands of people and forced hundreds of thousands from their homes in the mountainous region of about five million.
The United Nations has raised concerns about atrocities being committed in Tigray, while US Secretary of State Antony Blinken has described acts carried out in the region as ethnic cleansing. Ethiopia has rejected Blinken's allegation.
Bachelet "responded positively" to a request from the state-run Ethiopian Human Rights Commission (EHRC) for joint investigations in Tigray, the Office of the High Commissioner for Human Rights spokesman Jonathan Fowler said on Wednesday.
"The UN Human Rights Office and the EHRC are now developing an investigation plan, which includes resources needed and practical modalities, in order to launch the missions as soon as possible," Fowler said.
Ethiopia's foreign ministry said on Saturday it was ready to work with international human rights experts to conduct investigations on allegations of abuses.
Amnesty International last month accused Eritrean forces of killing hundreds of civilians over 24 hours in Axum city last year. Eritrea denied that but the EHRC also described such killings in a rare acknowledgement from the Ethiopian side that Eritrean troops have taken part in the conflict.
The United Nations and the United States have demanded that Eritrean troops leave Tigray.


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Rise -- Songs for Kids and Everyone -...
Rise -- Songs for Kids and Everyone - Digital Album Download
Download a copy of Rise -- Songs for Kids and Everyone, an album by The Many, originally written for a year-long children's church curriculum. Though these songs were originally written for kids, we feel like the album is meant for all of us, young and old.
Get a preview of the songs on Rise below:
The Many · Rise - Songs for Kids and Everyone
Some of the songs on "Rise" are available for purchase as individual songs on our site.


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Experimental Panel Layouts
Published by B. McKenzie at 1:25 am under Writing Articles,Writing Comic Books,Writing Superhero Stories
The typical comic book page is a grid of panels. That's fine, but it can get boring. This article will help you play around with your panel layout. Your pages don't all have to look like this.
SLANTED PANEL-EDGES
Fighting Evolution- HAUZER by *UdonCrew on deviantART
Slanting the panels usually makes the scene look more intense and chaotic. For example, in the above page you can see that the panels are slanted only when the dinosaur attacks.
Here are a few possible situations that lend themselves well to slanted panels.
1. There's a wild fight scene or action sequence. For example, this page uses slanted panels on a chase sequence as well.
2. The main character learns something startling or disturbing. "I want a divorce!" Slanting the edges on that panel will make it stand out in an appropriately jarring way.
3. The main character of the panel is greatly disoriented. For example, if he's drunk, delirious, badly wounded, etc…
INSERT PANELS
Insert panels are panels that are set inside of other panels. Here are a few reasons you might use an insert panel.
1. It helps draw the reader's attention to an important object or character that might otherwise be hard to notice.
2. You want to bring in something closer than you could "accurately" depict it. For example, in the above panel, the shot is zoomed in on a naked guy showering. It'd look creepy if the journalist were actually two or three feet away from him.
3. To make characters look farther apart than they actually are. The panel border can be used as a barrier between the characters.
4. To draw the reader's attention to artistic contrast. For example, the colors and styles of the journalist and the showering guy above are very different. Setting the journalist in his own panel helps remind readers that that isn't accidental; the journalist is supposed to look warmer and more decent.
INSERTED OBJECTS BRIDGING PANELS
Here are a few reasons you might try bridging your panels.
1. The scene is progressing very quickly, or more quickly than the action/dialogue would suggest. This is one way of blurring one panel into the next.
2. Bridging the panels can make them feel very crowded and uncomfortable. That might be thematically useful if a character is confined or cornered.
3. To center the reader's attention.
4. To create distance.
5. To suggest a connection that might not otherwise be obvious. For example, let's imagine a scene where panel 1 shows a character holding a gun on someone. The apparent victim asks him why he's doing this. Panel 2 shows the gunman shooting the victim. The bridge might be a photograph of the gunman's family (if he's trying to protect them), a smiling shot of a criminal mastermind, an image that represents justice or revenge, etc.
UNUSUALLY TALL PANELS
(Art taken courtesy of Benny Fuentes; please see the original here).
Unusually tall panels are more noteworthy than wide panels because comic book pages are substantially taller than they are wide.
Here are a few reasons you might want to use an extra-tall shot.
1. You want to emphasize that one character or object is higher or taller than another. Above, we can see that the figure in black is substantially higher than the soldiers.
2. To show us a narrow slice of something, usually for frightening or mysterious effect. For example, you might have a character standing with something enormous looming behind him. We probably won't be able to see all of the sinister creature, but that just emphasizes how big he is.
3. You want to draw the reader's attention to something that's narrow and tall, like a building.
74 Responses to "Experimental Panel Layouts"
# Ragged Boy on 06 Mar 2009 at 3:37 pm
Here's another. The Bleed.
It's a panel in which a character or object is standing outside of the borders of the panel.
1. To emphasize space or distance.
2. To break the fourth wall if you wish.
3. To suggest omnipresence of a particular character. Although they aren't really there they are somewhere watching what is occuring.
I love this list. Admittedly, I wasn't very experimentatious with this first panel. I suspect I'll take a few more risks with the next issue.
# Jacob on 06 Mar 2009 at 4:00 pm
Ah, yeah. Here's one example of that, RB.
Ultimate Fantastic Four 59 p20 by *BlondTheColorist on deviantART
# B. Mac on 06 Mar 2009 at 8:04 pm
Good thinking, RB. I like that style. I was kind of past my preferred word-count on this article… I had a few other ideas as well.
For example, in a typical grid, all of the space is used for panels. However, one alternative layout is to include vacuums of dead space between panels. You might do that to…
1. Make a sparse scene feel claustrophobic and uncomfortable.
2. Make it seem like more time is passing between panels. This is especially good for awkward pauses.
Another strategy you can try is having each panel overlap the one before it. The main purpose is to make the sequence seem like it's going faster.
# Stefan the Exploding Man on 07 Mar 2009 at 2:32 am
Aha, I recognise those Ben Urich panels from Brian Michael Bendis' first four issues on Daredevil. Excellent art there. This article got me really interested because I've been playing around with ideas for a comic book but I am clueless when it comes to techniques for panel layouts. Thanks for this!
# B. Mac on 07 Mar 2009 at 6:25 am
Yeah, as you can probably tell, I was reading Daredevil while I was writing this article. My other reference was our collection of comic book art on DeviantArt.
# Alice2 on 08 Mar 2009 at 12:45 pm
I was quite adventurous with panel layouts when I was 11. On old, unfinished comic sticks out in my mind. I had a page with a layout similar to this:
Everything was sort of happening at once. I think the middle panel showed SpongeBob being brought back from the dead, and the corner panels showed everyone's reactions. I thought it looked really cool back then, but now I think it looked a little clumsy and weird.
I think that it's interesting, but I'd recommend tweaking the layout so that we see Spongebob resurrecting before we see the reactions. Right now, I think the reaction in the upper-left corner is the first thing we see.
# Rusty on 19 May 2009 at 9:15 am
I was wondering if any of you could help me. I have an idea for a comic, superhero of course, but I have no idea how to go about it. I've never done comics before.
# Ragged Boy on 19 May 2009 at 9:24 am
Hola, Rusty. Nice to meet you.
Personally, my story are usually character-driven, so I come up with a main character first. However, I don't know if this a conventional way of going about starting a story. I suspect you would want to think of the types of stories that you like. Then, find a style best suited to your ability.
I think many people have a spur of the moment idea and just roll with it. They have an idea, then they get an outline for a plot, create a setting, add characters and abilities, etc.
Do you have any ideas in mind? That would really help me help you.
Enchante.
Well I have a main Character, The Watcher(a.k.a. The Dark Rider). The setting is New York City. I've got a plot for the first few segments and I know where I want the story to go. I've already come up with what I call templates for other characters, both main and sub, they're already designed for the most part.
I was originally going to do a novel with my idea, but realized that a comic might better suit my designs.
Sorry, forgive my bad grammar in my last post.
# Holliequ on 19 May 2009 at 9:34 am
Hi, Rusty! As RB says, the best place to start is with your story and characters – like pretty much any writing undertaking, in fact.
After that, you probably want to start with a comic book script. (RB's review forum shows an example of one). Generally, you'd want to hire an artist (probably freelance) to illustrate it. I think that most comic publishers want at least 5 pages.
It's best to check out what individual companies want. Each one of them will want something slightly different.
How much would you say it would cost, on average, to create a comic?
Humm . . . for the 5 sample pages, I think maybe paid $200? I'm really not sure. It depends on the artist, I think.
Dark Horse accept scripts without the sample pages, I think, but you'd have to have a very impressive script.
# Ragged Boy on 19 May 2009 at 11:02 am
5 sample pages (plus the cover page) could range from $200-400, maybe $500, depending on the quality of the art and the artist. If you're published the company pays for the rest of the comic's production.
"Well, I have a main character, The Watcher(a.k.a. The Dark Rider). The setting is New York City. I've got a plot for the first few segments and I know where I want the story to go. I've already come up with what I call templates for other characters, both main and sub, they're already designed for the most part."
– How necessary is it for your protaganist to have two titles? I think one alias would be smoother.
– How dead-set are you on setting your story in New York City. It's a bit cliche for a superhero story. I'd recommend changing the setting for freshness or coming up with a fictional city based after NYC. For example, My San Libra City is closely based after Los Angeles.
-What do you have in mind for the central story?
Dark Horse, Image, and a myriad of other companies accept scripts from first-time writers. It won't be much a problem finding a company that you like. But as for now, I think your focus should be development. Then, you can move on to writing your script.
# B. Mac on 19 May 2009 at 12:03 pm
As RB noted, you would probably need 5 pages and possibly a cover to submit to publishers. I'd probably budget $300-500 (or $200-400 if you're doing black-and-white). At that price-range, you can get art that is serviceable but probably not great. You probably could find someone on DeviantArt who would do it for $200, but anyone that charges so little is probably not very good.
The other requirements vary a bit based on the publisher in question and what kind of comic book project you have in mind. If you're doing a one-shot comic, then you just need the script for the comic and a brief synopsis. If you're doing a limited series, you'd still need a complete script for the first issue but you'd also have to have a loose idea of the main plot points for the later issues. You'd include those in the synopsis.
OK, thanks for the help.
"How necessary is it for your protaganist to have two titles? I think one alias would be smoother."
It's not really what he calls himself, it's more of a given name from the public. I guess I could ditch the Dark Rider bit if it were necessary.
Here are some basic reasons why he has two names:
He's called the Watcher because he's, for the most part, always seen on rooftops watching the city. He's also called the Dark Rider because, when patrolling the streets, he is riding a jet black motorcycle. His costume is also all black.
"How dead-set are you on setting your story in New York City. It's a bit cliche for a superhero story. I'd recommend changing the setting for freshness or coming up with a fictional city based after NYC. For example, My San Libra City is closely based after Los Angeles."
I was actually thinking of setting it in Los Angelos at one point. Perhaps if I combined the two into a fictional city?
I think the Watcher is better out of the two. Although, I'm not feeling either that much.
What are his powers and mode of operation?
# Anonymous on 21 May 2009 at 9:11 am
His powers are enhanced strength, speed, agility, endurance, durability, and senses(hearing, sight, smell etc.). He gained these powers from an experimental syrum he created.
He only goes out in the night, during the day he spends time with his family and business associates. He prefers a cruder method of justice than the conventional heroes. Sometimes he works with a few other vigilantes, one at a time.
# Banana Slug on 21 May 2009 at 9:16 am
"Perhaps if I combined the two into a fictional city?"
I think that might be a good idea. Using real cities rarely suspends my disbelief, and after a while they stop offering much variety. Plus, I imagine it's a little hard to reach readers from New York City when you've got so many bizarre events taking place in their own home.
# B. Mac on 21 May 2009 at 9:25 am
I think it's hard to reach readers from New York City because there are so many books/comic books/TV shows already set in NYC. In contrast, if you set it in Chicago, you're only competing with Savage Dragon and the Dresden Files. 😉
Chicago would be a pretty cool setting.
# Asaya on 21 May 2009 at 9:32 am
Besides Chicago, what about Philadelphia or some city in Orlando? They're both pretty populated places and given the crime rates lately, there would be a lot of crime to fight.
# B. Mac on 21 May 2009 at 10:07 am
I'm biased (given that I'm ridiculously Chicagoan), but I think that Chicago is the best of the three because it has an iconic skyline. That's not the only consideration, but it matters to a comic book. Aside from Chicago and NYC, I think Seattle, DC, and maybe Las Vegas have particularly interesting cityscapes.
There are also cultural considerations. I think that Miami, Las Vegas and southern California get a lot of screentime in TV shows not merely because it's easier to film in a sunny climate but also because they feel fun and loose. No one takes vacations to Salt Lake City. Well, no one but me. 😉
# Ragged Boy on 21 May 2009 at 7:09 pm
How about Anchorage, Alaska? There's a city you don't see often. 😉
No one's ever around when I am actually on. 🙁
# B. Mac on 21 May 2009 at 8:53 pm
Me too. I think the problem is that my internal clock is on Baghdad time. That would be much less strange if I were actually in Baghdad.
What about New Haven City? Not New Haven, Connecticut.
P.S. Anonymous was me btw, although I think you all got that.
I'd recommend naming it just New Haven rather than New Haven City. Or, alternately, just Haven City.
I've been to New Haven by the way. I don't blame you for not wanting to use it. 🙂 (It's Yale territory!)
Well I was just going to shorten it to New Haven anyways so I guess dropping the City won't matter. New Haven just has a better ring to it than Haven City.
Lol, yeah. Not the kind of place I want to set my story.
Well, if you don't think the Watcher/the Dark Rider is a good enough name what are your suggestions? I should probably go more in depth with my character but I don't have time right now.
I don't think I know enough about the character to make a good suggestion for the name. All I know is that he's sort of dark, rides a motorcycle, and watches the city. I'll need a little more info.
# Tom on 27 May 2009 at 9:10 am
Hence the names Dark Rider and Watcher… 😛
How about Dark Watcher?
Rider?
Dark?
Watching Rider?
Okay I'm just messing around here.
I only knew that about him because of what you told me. What's his personality and mode of operation?
I meant 'he' told me. I thought Tom was Rusty for a second.
Yeah, like I said I didn't have time right then to go in depth and explain his characteristics. I still don't have that much time. I'll have to get back to you later.
# Friend on 28 May 2009 at 1:03 pm
Hi. I'm a friend of…Rusty I guess is the name he uses here. I was asked to talk about his character, but I don't know exactly what you want or what he's told you.
Alex Harding, that's The Watcher's real name, is probably more violent than the average hero. He believes villains (mainly of the super kind) deserve to face his own brand of justice. While in his suit he's kind of dark and brooding, keeping mostly to himself. He rarely excepts help, but on some occasions he requires the assistance of a few other heroes who work in the city. He uses some technology weapons and equipment, ones that the average person might think of as futuristic. (For example: his motorcycle has Artificial Intelligence, like Kitt.)
Uh…I think that's all I can remember from what he's told me of him for the past couple months. If you ask me some more specific questions I can look at his notes and get back to you.
Rusty's dealing with personal stuff and won't be able to talk for awhile, in case you were wondering.
In my opinion, he sounds like Rorshach on a motorcycle. What's Alex like out of costume?
You say that like it's a bad thing. Rorschach=awesome. Motorcycles=awesome. Therefore Rorschach on a motorcycle=awesome SQUARED!
I hated Rorshach. He was a crybaby and a broody jerk. Motorcycles are pretty high up on the badass chart, but I don't like them that much.
One of the things that struck me about Rorschach was that he was wildly conservative and that it's not clear that the audience is supposed to dislike him for that. In fact, he and his newspaper friends are the only guys that do the right thing at the end, and Rorschach dies for it. He's definitely unhinged, but it's because he's unhinged that he dies to do the right thing.
Other than that, I found him forgettable. His voice (particularly the monologues) is terribly overwrought and the plot didn't give him many chances to play investigator. In contrast, the Question got the chance to plant fake clues and do all sorts of other wacky-and-brilliant stuff on Justice League.
# Ragged Boy on 29 May 2009 at 12:29 pm
"In fact, he and his newspaper friends are the only guys that do the right thing at the end, and Rorschach dies for it."
I guess telling the world would be the "right" thing in an ethical sense. But I definitely feel that it would not be the smart thing. I mean, Ozy did stop America and Russia from practically blowing each other off the map. Telling the world would probably reignite angers and lead to a nuclear holocaust.
# Friend on 03 Jun 2009 at 9:31 am
Yeah, I told him it reminded me of Rorschach. His response was "who?". I guess he had never heard of the Watchmen before.
As far as I can tell Alex is a loving and caring family man. He doesn't let his day work or his work as a hero affect his family life, at first. Eventually Rusty told me that he wants Alex to change for the worse, he becomes darker because of his hero work.
# B. Mac on 03 Jun 2009 at 9:52 am
They don't have to tell the world, just kill Ozymandias.
# Baystreet on 10 Jun 2009 at 12:18 pm
The thing that has always bothered me was that quite simply, the whole issue was created by Ozymandias, Blue Balls Manhattan was complacent, he was active, the issue with the Russians only truly became dire because Ozymandias's machinations led to him abandoning humanity.
Alan Moore's masterpiece wasn't anything revolutionary at all. The villain was a villain because of his massive ego, his plot was pointless because of his massive ego, and his end game was pointless because…of his massive ego.
And in the movie, nipples.
Nipples.
Ozycontin wanted to save the world from a problem that he created, like setting fire to the store room so you can get a promotion for putting it out. Dreiberg and company acted like idiots, like every superhero and they did the wrong thing by doing the right thing, just like Superman has since day one by putting Lex Luthor in prison instead of throwing him into the sun, or Batman and the Joker.
The Watchmen is so well regarded because they had fetishes, and they had sex. Alan Moore didn't tell a great or masterfully painted story, he just perved out Silver Age superheroes and the issues don't go any deeper then that. It was new for it's time because everyone else that came before had enough sense to think "Hmm, maybe Batman doesn't need to suffer from erectile dysfunction."
# Jamie on 11 Jun 2009 at 8:15 am
Is Watchmen a graphic novel or a comic.
# Ragged Boy on 11 Jun 2009 at 5:10 pm
Watchmen was originally released as a 12-issue comic series. Graphic novels are usually just compilations of the comics. Nowadays, we usually see it in the big graphic novel form with the yellow cover.
K, thanks.
# Rusty on 04 Jul 2009 at 11:19 pm
Okay. For a superhero team what do you think of the name; 'The Supers'? I had my eyes set on 'The Ultimates' but then I found out it was taken by Marvel.
# B. Mac on 05 Jul 2009 at 1:51 am
From a legal perspective, it might be problematic that The Incredibles already used The Supers. However, I'd be more concerned that "The Supers" sounds generic and a bit forgettable. It might help to work in some defining trait about the team.
# Rusty on 05 Jul 2009 at 6:27 am
Never heard of the Incredibles before.
Also, do you think that me using the term 'Mutants' to describe humans that undergo genetic changes to obtain their power would be too similar to the 'X-Men'?
# B. Mac on 05 Jul 2009 at 12:33 pm
Hmm. I think it might help to come up with a unique name in place of mutants. It's a generic-enough word that you could use it without getting sued, I think, but X-Men is popular enough that it sort of has the mutant angle locked up.
# Brett on 05 Jul 2009 at 1:21 pm
Mutants is a bit generic. I would suggest:
-Genemorphs
-Abnormals
-NextGens
How about for the team name "Guardian Force"?
# Brett on 08 Jul 2009 at 12:58 pm
Guardian Force has been done.
More than once, actually.
# Rusty on 08 Jul 2009 at 1:17 pm
Yes, but not for a team of superhumans.
# B. Mac on 08 Jul 2009 at 1:30 pm
I'd recommend leaving Guardian Force alone because there's a good chance of confusion.
I liked Guardian Force and I'm not sure yet if I feel comfortable letting it go without an alternative.
# RICKY RAG on 23 Dec 2009 at 8:29 pm
Man, it's hard doing panels.
# XNS on 26 Jul 2011 at 4:22 pm
Has a comic book used a fold-out splash page before?
And what do you think of the title 'Fallen'?
"Has a comic book used a fold-out splash page before?" All-Star Batman and Robin did and I'd recommend checking out The Ultimates' Grand Theft America. I'm not sure on the logistics there but I imagine it would drive up the printing costs, so it might be easier to hold off on that until you've already been published.
The visual content generally has to be pretty spectacular to justify spending 2 pages on a double-splash, let alone more than 2.
I don't feel like Fallen is as memorable as it could be. Could you describe your series in a few sentences?
# XNS on 27 Jul 2011 at 6:57 am
The descendants of the Fallen find themselves the unwitting inheritors of a powerful legacy, one that could help end the war that they now find themselves apart of. The question they now find themselves asking is will they be able to cope with being the containers their ancestors' legacy and being the future leaders of their respective home planets? Or will their power corrupt?
# Sam on 16 Aug 2012 at 6:36 pm
I saw it in Astonishing Spiderman and Wolverine.
# Fey on 26 Aug 2021 at 8:23 am
How many panels should I have per page? I have an average of rn.
4! I have an average of 4.
# B. McKenzie on 29 Aug 2021 at 3:39 am
Fey, instead of counting average panels, I'd just make sure each page works. Different panel setups will (or won't) work depending on what you need from each page. For example, for a dialogue-heavy page, 8-9 panels may be doable if the visuals are simple. Here's an example where I think a 8-panel page (a Taxman Must Die sample page) feels effective to me: it covers all of the information I need, it's fairly easy to understand what's happening, and the text isn't super-cramped.
IN CONTRAST: here's an example where I think an 8 panel page probably *doesn't* work as well as it should.
In this second example, we have the two main characters meeting for the first time. Gary has never seen a mutant before and is shocked out of his mind. This moment probably needs more emotional impact than it gets as just one of 8 panels on this scene.
Some other situations where fewer panels may be advantageous:
–Action panels usually need more space than talking heads.
–Any scene with impressive or unusual visual details. An archaeologist seeing Atlantis for the first time after spending his life to find it, definitely. Seeing a mutant for the first time in a high-stakes job interview, yes. Talking in Gain's office, no.
–Any scene with unusual emotional impact. If a scene is building up to (say) a wedding proposal or accusing a loved one of a serious crime or running away from home or dramatically quitting the police force or abandoning your life's work, I wouldn't want the critical moment to be just one panel out of ~8.
–Any scene with critical background details. E.g. if you're writing a mystery and you want alert readers to notice that a gun or piece of evidence disappears from the boss's desk (or gets planted) during a conversation, I'd go with fewer panels than normal to give the illustrator space to build in the critical detail without being super obvious.
–Any scenes with space-intensive details. In Taxman Must Die, there's a page where Gain pulls out a reference guide, and that panel needs a lot of space. Contrast to something that can easily be shown in a small panel (e.g. a credit card scanner showing DECLINED).
Ah ty. I'm actually not drawing my comic. I plan to hire an illustrator once it's planned out. From what I researched I only need the first few pages to be illustrated before I submit as long as I have a full storyboard and well-developed characters. If I'm wrong please tell me. I'm usually a YA writer but this idea wouldn't go away and a comic seemed to be best way to portray it.
I don't think there's anything wrong with averaging 4 panels per page if the panels are effective.
I don't illustrate my own work. Before I sent the scripted pages to my illustrator, I did thumbnail sketches to see whether I could fit everything I'm putting in the script. This helped avoid issues where the writer (me) asks for too much to fit onto a page or unknowingly asks for contradictory stuff. Contradictory material: the most common example is when two characters are speaking to each other and the script specifies a facial expression for both. (When two characters are facing each other it's really hard to show both facial expressions). Or if the panel asks for multiple expressions for a character or for multiple zoom levels. (For example, if I script a panel including a facial twitch, a knife on an office table and a bloodstain on the ground, these would probably be hard to fit).
Thank you! Is there any way I can send the mock-up of the first few pages when it's done for you to take a look at? I've been following you for years and know you have the contact page, but I didn't have any ideas concrete enough before.
Sure, you can send me pages at my gmail (superheronation at gmail dot com).
# Fey on 27 Nov 2021 at 7:52 am
A comic book should be 24 pages, but is it okay if I go with 20 pages instead? Or will that ruin my chances?
# B. McKenzie on 27 Nov 2021 at 9:03 am
Unless the submission guidelines specify otherwise, I think being within a few pages of average is probably not an insurmountable issue in an otherwise publishable submission.
Awesome! and I need to keep within a number of pages divisible by 4 because of the way print, right?
# B. McKenzie on 27 Nov 2021 at 9:59 pm
I think the total number of pages needs to be divisible by four but the story might not be (with ads and letters). I'd suggest checking issues at your target publications.
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Home Clair
The catcher in the rye anticipation guide Clair
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text:
Keith Baker
J. E. Wallace Sterling Professor of the Humanities and Professor, by courtesy, of French and Italian
Professor (By courtesy), French and Italian
Administrative Appointments
Associate Master, Social Sciences Collegiate Division, University of Chicago (1974 - 1975)
Master, Social Sciences Collegiate Division, University of Chicago (1975 - 1978)
Associate Dean of the College, University of Chicago (1975 - 1978)
Associate Dean, Division of the Social Sciences, University of Chicago (1975 - 1978)
Chair, Commission on Graduate Education, University of Chicago (1980 - 1982)
Chair, Council on Advanced Studies in the Humanities and Social Sciences, University of Chicago (1983 - 1986)
Director, John M. Olin Program in the History of Political Culture, University of Chicago (1987 - 1988)
Chair, Department of History, Stanford University (1994 - 1995)
Director, Stanford Humanities Center (1995 - 2000)
Cognizant Dean for the Humanities, School of Humanities and Sciences (2000 - 2003)
Director, Institute for French Interdisciplinary Studies (2000 - 2003)
Jean-Paul Gimon Director, France-Stanford Center for Interdisciplinary Studies. (2004 - 2012)
French Revolution Bicentennial Professor, University of California, Los Angeles (1989 - 1989)
Directeur d'etudes invite, Ecole des Hautes Etudes en Sciences Sociales, Paris (1982 - 1982)
Visiting Associate Professor of European History, Yale University (1974 - 1974)
Professor in the Committee on the Conceptual Foundations of Science, University of Chicago (1977 - 1989)
Professor in the Morris Fishbein Center for the Study of the History of Science and Medicine, University of Chicago (1977 - 1989)
Professor in the Department of History and the College, University of Chicago (1977 - 1989)
Associate Professor, University of Chicago (1970 - 1976)
Assistant Professor of European History, University of Chicago (1965 - 1970)
Instructor in History and the Humanities, Reed College (1964 - 1965)
Chevalier dans L'Ordre, Palmes Academiques (1988)
Visiting Fellow, Cambridge University (1994)
Visiting Fellow, Max Planck Institut fUr Geschichte, Geschichte, (1994)
Internal Faculty Fellow, Stanford Humanities Center (2005-2006)
Boards, Advisory Committees, Professional Organizations
Fellowship Selection Committees, Mellon Foundation, ACLS
Member Editorial Board, French Revolution Research Collection
Series Editor, Bicentennial Reflections on the French Revolution
Ex officio member, Executive Committee, International Society for Eighteenth-Century Studies (2011)
Member Board of Editors, History of European Ideas (2007 - 2012)
President, International Society for Eighteenth-Century Studies (2007 - 2011)
Co-President, Society for French Historical Studies (2004 - 2005)
Elected Member, Executive Committee, International Society for Eighteenth-Century Studies (2003 - 2007)
President, American Society for Eighteenth-Century Studies (2000 - 2000)
Vice-President, American Society for Eighteenth-Century Studies (1999 - 1999)
Second Vice-President, American Society for Eighteenth-Century Studies (1998 - 1998)
Member, American Philosophical Society (1997 - 1997)
Co-Director, NEH Summer Institute (1995 - 1995)
Life Member, Clare Hall, Cambridge University (1994 - 1994)
Member, Organizing Committee, International Conference on The Terror in the French Revolution, Stanford University (1992 - 1992)
Member, Committee on Committees, American Historical Association (1991 - 1994)
Member, American Academy of Arts and Sciences (1991 - 1991)
Historical Adviser, Bastille, William Benton Broadcast Project, University of Chicago (1988 - 1989)
Chair, Scholars Committee, American Committee for the Bicentennial of the French Revolution (1987 - 1989)
Member, American Committee for the Bicentennial of the French Revolution (1987 - 1989)
Member, Organizing Committee, Principal responsibility, Conference on the Political Culture of the Old Regime, Chicago. (1986 - 1986)
Member, Conseil d'Administration, Fondation des Etats-Unis, Paris (1984)
Member, Organizing Committee, International Research Conference (1984 - 1988)
Co-Editor, Journal of Modern History (1980 - 1989)
Member, Steering Committee, University of Chicago (1980 - 1988)
Member, Institute for Advanced Study, Princeton (1979 - 1980)
Member Board of Editors, Ethics (1979 - 1980)
Member Board of Editors, French Historical Studies (1976 - 1979)
Book Review Editor, Journal of Modern History (1971 - 1972)
Program Affiliations
Ph.D, University College, Historical Research (1964)
Teaching Assistant, Cornell University, History of political theory (1961)
M.A., Cambridge University (1963)
B.A., Cambridge University, Historical Tripos (1960)
kbaker@stanford.edu
University - Faculty Department:&nbspHistory Department Position: Professor
Bldg. 200
Curriculum Vitae PDF
2021-22 Courses
Humanities Core: Great Books, Big Ideas -- Europe, Modern
FRENCH 13, HUMCORE 13 (Spr)
The French Revolution and the Birth of Modern Politics
HISTORY 237D, HISTORY 337D (Spr)
Independent Studies (7)
Curricular Practical Training
HISTORY 299F (Sum)
Graduate Directed Reading
HISTORY 399W (Aut, Win, Spr, Sum)
HISTORY 499X (Aut, Win, Spr, Sum)
Senior Research I
HISTORY 299A (Aut, Win, Spr)
Senior Research II
HISTORY 299B (Aut, Win, Spr)
Senior Research III
HISTORY 299C (Win, Spr)
Undergraduate Directed Research and Writing
HISTORY 299S (Aut, Win, Spr, Sum)
Prior Year Courses
DLCL 13, FRENCH 13, HISTORY 239C, HUMCORE 13, PHIL 13 (Spr)
HISTORY 237D, HISTORY 337D (Aut)
Doing Intellectual History
HISTORY 200G (Spr)
The Enlightenment
DLCL 324, FRENCH 244, HISTORY 234, HISTORY 334, HISTORY 432A, HUMNTIES 324 (Aut)
Stanford Advisees
Doctoral Dissertation Reader (AC)
Phoebus Cotsapas
Orals Evaluator
Anubha Anushree, Greg Priest
Revolution 1.0 JOURNAL OF MODERN EUROPEAN HISTORY Baker, K. M. 2013; 11 (2): 187-219
View details for Web of Science ID 000319062600004
Enlightenment Idioms, Old Regime Discourses, and Revolutionary Improvisation From Deluge to Deficit: The Origins ofthe French Revolution Baker, K. edited by Kley, D. V., Kaiser, T. Stanford University Press. 2011: 165–97
A Genealogy of Dr Manette Conference on Charles Dickens and the French Revolution - Crowds and Power Baker, K. M. PALGRAVE. 2009: 64–74
Tocqueville's Blind Spot? Political Contestations under the Old Regime The Tocqueville Review Baker, K. 2006; 27: 257-52
Political Languages of the French Revolution The Cambridge History of Political Thought Baker, K. edited by Goldie, M., Wokler, R. Cambridge University Press. 2006: 626–59
Venturi's Utopia and Reform in the Enlightenment Il repubblicanesimo moderno Baker, K. edited by Albertone, M. Naples, Bibliopolis. 2006: 19–43
Condorcet sur la Justice, Liberte, Egalite, Fratemite Justice, Liberte, Egalite, Fraternite: Sur quelques valeurs fondamentales de la democratie europeenne Baker, K. edited by Inkova, O. Geneva, Euryopa. 2006: 31–46
Tocqueville and Beyond. Essays on the Old Regime in Honor of David D. Bien (Review Essay) H-France Review Baker, K. 2005; X (20)
Legendre vs. the Ministry of the Interior Journ@l electronique d'histoire des probabilites et de la statistique Baker, K., Stigler, S. 2005; 1 (2)
Apres la 'Culture politique'? De nouveaux courants dans l'approche linguistique XVIIIe siecle Baker, K. 2005: 234-254
On Condorcet's "Sketch" DAEDALUS Baker, K. M. 2004; 133 (3): 56-64
Sketch for a Historical Picture of the Progress of the Human Mind: Tenth Epoch DAEDALUS Baker, K. M. 2004; 133 (3): 65-82
The Gimon Collection: A Resource for Scholarship A Vast and Useful Art: The Gustave Gimon Collection on French Political Economy Baker, K. edited by Parrine, M. J. 2004: 19–23
On Condorcet's 'Sketch Daedalus Baker, K. 2004; 113 (3): 56-64
Le trasformazione del repubblicanesimo classico nella Francia del Settecento Liberta politica e virtu civile. Significati e percorsi del repubblicanesimo classico Baker, K. edited by Viroli, M. 2004: 149–175
Condorcet Encyclopedia of the Enlightenment Baker, K. edited by Kors, A. C. Oxford University Press. 2002
Revolution Encyclopedia of the Enlightenment Baker, K. edited by Kors, A. C. Oxford University Press. 2002
Transformations of classical republicanism in eighteenth-century France JOURNAL OF MODERN HISTORY Baker, K. M. 2001; 73 (1): 32-53
What's Left of Enlightenment? A Postmodern Question Reill, P. H., Baker, K. Stanford, CA, Stanford University Press. 2001
Epistemologie et politique: Pourquoi 1' Encyclopedie est-elle un dictionnaire? L 'Encyclopedie. Du reseau au livre et du livre au reseau Baker, K. edited by Morrissey, R., Roger, P. 2001: 51–58
Introduction Les Gazettes Europeennes et l'information politique de l'Ancien Regime Baker, K. edited by Retat, P. 1999
American Historiography of the French Revolution Historical Writing in the United States Zizek, J., Baker, K. edited by Molho, A., Wood, G. 1998
L 'homme social L 'homme des lumieres: De Paris a Petersbourg Baker, K. edited by Roger, P. 1995: 133–152
Aufklarung und die Erfindung der Gesellschaft Nach der Aujklarung Baker, K. edited by Klein, W., Beyer, W. N. Akademie Verlag. 1995: 109–124
A FOUCAULDIAN FRENCH-REVOLUTION Conference on Foucault and the Writing of History Today Baker, K. M. BLACKWELL PUBL. 1994: 187–205
View details for Web of Science ID A1994BB43P00011
The Idea of a Declaration of Rights The French Idea of Freedom: Origins of the Declaration of the Rights of Man and of the Citizen Baker, K. edited by Kley, D. V. Stanford University Press. 1994: 154–196
Dialogue sur l'espace public Politix Chartier, R., Baker, K. 1994: 5-22
On the Problem of the Ideological Origins of the French Revolution Geschichte schreiben in der Postmoderne Baker, K. edited by Conrad, C., Kessel, M. Stuttgart, Reclam. 1994: 251–282
The French Revolution and the Creation of Modern Political Culture. vol. 4 The Terror Baker, K. Oxford, Pergamon Press. 1994
Enlightenment and the Institution of Society: Notes for a Conceptual History Main Trends in Cultural History Baker, K. edited by Melching, W. B., Velema, W. E. 1994: 95–120
A Foucauldian Account of the French Revolution Foucault and the Writing of History Baker, K. Blackwell. 1994: 187–205
Au tribunal de l'opinion. Essais sur l'imaginaire politique au XVIIIe siecle Baker, K. Paris, Payot. 1993
Public Opinions and Revolutionary Thoughts: Searching for Eighteenth-Century Culture The ARTFL Project Newsletter Baker, K. 1993; 8 (1): 2-3
Condorcet ou la republique de la raison Le siecle de l'avenement republicain Baker, K. edited by Furet, F., Ozouf, M. 1993: 225–255
Condorcet o la Repubblica della ragione L 'idea di Repubblica nell 'Europa moderna Baker, K. edited by Furet, F., Ozouf, M. 1993: 233–264
THE MAUPEOU-REVOLUTION, THE TRANSFORMATION OF FRENCH POLITICS AT THE END OF THE OLD-REGIME + AN INTRODUCTION HISTORICAL REFLECTIONS-REFLEXIONS HISTORIQUES Baker, K. M. 1992; 18 (2): 1-16
View details for Web of Science ID A1992JT77200001
Reason and Revolution: Political Consciousness and Ideological Invention at the End of the Old Regime In the Presence of the Past. Essays in Honor of Frank Manuel Baker, K. edited by Feingold, M., Bienvenu, R. 1991
Defining the Public Sphere in Eighteenth-Century France: Variations on a Theme by Habermas Habermas and the Public Sphere Baker, K. edited by Calhoun, C. M.I.T. Press. 1991: 181–211
Inventing the French Revolution. Essays on French Political Culture in the Eighteenth Century Baker, K. M. Cambridge University Press. 1990
Closing the French Revolution: Saint-Simon and Comte The French Revolution and the Creation of Modern Political Culture Baker, K. edited by Furet, F., Ozouf, M. Pergamon Press. 1989: 323–39
L'Unite de la pensee de Condorcet Condorcet: mathematicien, economiste, philosophe, homme politique Baker, K. edited by Crepel, P., Gilain, C. 1989: 515–24
A World Transformed The Wilson Quarterly Baker, K. 1989; 13
French Revolution and Intellectual History Intellectual History Baker, K. 1989: 75–93
Sieyes and the Creation of French Revolutionary Discourse The Languages of Revolution edited by Mannucci, L. V. 1989
La bombe Sieyes Le Monde de la Revolution francaise Baker, K. 1989; 1
Sieyes Critical Dictionary of the French Revolution Baker, K. edited by Furet, F., Ozouf, M. Cambridge, Mass., Harvard University Press. 1989
Le moment Condorcet? Le Monde de la Revolution francaise Baker, K. 1989
Editors' Introduction Bicentennial Reflections on the French Revolution edited by Baker, K. M., Kaplan, S. L. Duke University Press. 1989
A Script for a French Revolution: The Political Consciousness of the abbe Mably The French Revolution and Intellectual History Baker, K. edited by Censer, J. R. Chicago. 1989: 75–93
Condorcet Critical Dictionary of the French Revolution Baker, K. edited by Furet, F., Ozouf, M. Cambridge, Mass., Harvard University Press. 1989
A Script for Modern Politics France Magazine Baker, K. 1989; 13
Souverainete nationale Critical Dictionary of the French Revolution Baker, K. edited by Furet, F., Ozouf, M. Cambridge, Mass., Harvard University Press. 1989
Constitution Critical Dictionary of the French Revolution Baker, K. edited by Furet, F., Ozouf, M. Cambridge, Mass., Harvard University Press. 1989
Condorcet Dictionnaire critique de la Revolution francaise Baker, K. edited by Furet, F., Ozouf, M. Paris, Flammarion. 1988
Condorcet. Raison et politique Baker, K. Hermann. 1988
Sieyes Dictionnaire critique de la Revolution francaise Baker, K. edited by Furet, F., Ozouf, M. Paris, Flammarion. 1988
Constitution Dictionnaire critique de la Revolution francaise Baker, K. edited by Furet, F., Ozouf, M. Paris, Flammarion. 1988
Souverainete nationale Dictionnaire critique de la Revolution francaise Baker, K. edited by Furet, F., Ozouf, M. Paris, Flammarion. 1988
The French Revolution and the Creation of Modern Political Culture vol.1 The Political Culture of the Old Regime Baker, K. Oxford, Pergamon Press. 1987
Politics and Public Opinion under the Old Regime Press and Politics in Pre-Revolutionary France Baker, K. M. edited by Censer, J., Popkin, J. Berkeley, University of California Press. 1987: 205–246
Politique et opinion publique sous l'ancien regime Annales Baker, K. M. 1987
Science and Politics at the End of the Old Regime: Reflections on a Theme of Professor Charles Gillispie Minerva Baker, K. 1987; 25: 21-34
The Old Regime and the French Revolution University of Chicago Readings in Western Civilization Baker, K. M. Chicago, University of Chicago Press. 1987; 7
POLITICS AND PUBLIC-OPINION UNDER THE OLD REGIME ANNALES-ECONOMIES SOCIETES CIVILISATIONS Baker, K. M. 1987; 42 (1): 41-71
View details for Web of Science ID A1987H104200003
Montesquieu A Historical Dictionary of the French Revolution, 1789-1799 Baker, K. edited by Scott, S. F., Rothaus, B. Westport, Conn., Greenwood Press. 1985
Social Contract A Historical Dictionary of the French Revolution, 1789-1799 Baker, K. edited by Scott, S. F., Rothaus, B. Westport, Conn., Greenwood Press. 1985
The Language of Liberty in Eighteenth-Century Bordeaux: Early Writings of Guillaume-Joseph Saige L'Eta dei lumi. Studt storici sul settecento Europeo in onore di Franco Venturi Baker, K. Naples. 1985; 2 (1:331-370)
MEMORY AND PRACTICE, POLITICS AND THE REPRESENTATION OF THE PAST IN 18TH-CENTURY FRANCE REPRESENTATIONS Baker, K. M. 1985: 134-164
View details for Web of Science ID A1985ASR5300005
Legendre A Historical Dictionary of the French Revolution, 1789-1799 Baker, K. edited by Scott, S. F., Rothaus, B. Westport, Conn., Greenwood Press. 1985
Condorcet A Historical Dictionary of the French Revolution, 1789-1799 Baker, K. edited by Scott, S. F., Rothaus, B. Westport, Conn., Greenwood Press. 1985
On the Problem of the Randomness of Ends Condorcet Studies I Baker, K. edited by Rosenfield, L. C., Popkin, R. H. Atlantic Highlands, N.J., Humanities Press. 1984: 73–80
On the Problem of the Ideological Origins of the French Revolution Modern European Intellectual History : Reappraisals and New Perspectives Baker, K. edited by LaCapra, D., Kaplan, S. L. Ithaca, N.Y., Cornell University Press. 1982: 197–219
Report of the Commission on Graduate Education The University of Chicago Record Baker, K. M. 1982; 16 (2)
Un copione per la Rivoluzione francese: la conscienza politica dell'abate Mably Rivista storica italiana Baker, K. 1981; 93: 315-345
ENLIGHTENMENT AND REVOLUTION IN FRANCE - OLD PROBLEMS, RENEWED APPROACHES JOURNAL OF MODERN HISTORY Baker, K. M. 1981; 53 (2): 281-303
View details for Web of Science ID A1981MM05900006
A SCRIPT FOR A FRENCH-REVOLUTION - THE POLITICAL CONSCIOUSNESS OF MABLY EIGHTEENTH-CENTURY STUDIES Baker, K. M. 1981; 14 (3): 235-263
View details for Web of Science ID A1981LZ05200001
State, Society and Subsistence in Eighteenth-Century France Journal of Modern History Baker, K. M. 1978; 50
Memory, Judgment, Choice The University of Chicago Record Baker, K. M. 1978; 13
French Political Thought at the Accession of Louis XVI Journal of Modern History Baker, K. M. 1978; 50
Condorcet's Notes for a Revised Edition of his Reception Speech to the Academie francaise Studies on Voltaire and the Eighteenth Century Baker, K. M. 1977; 149
Condorcet: Selected Writings Baker, K. Bobbs-Merrill. 1976
Condorcet. From Natural Philosophy to Social Mathematics Baker, K. University of Chicago Press. 1975
Politics and Social Science in Eighteenth-Century France: the Societe de 1789 French Government and Society, 1500-1800. Essays in Memory of Alfred Cobban Baker, K. edited by Bosher, J. F. London, Athlone Press. 1973: 203–230.
Science and the Social Order in the Old Regime (Review Essay) Minerva Baker, K. 1972; 10: 502-508
Condorcet Encyclopedia of Philosophy Baker, K. M. edited by Edwards, P. New York. 1967: 182–184
Les debuts de Condorcet au secretariat de l' Academie royale des sciences (1773-1776) Revue d'histoire des sciences Baker, K. M. 1967; 20
Scientism, Elitism and Liberalism: The Case of Condorcet Studies on Voltaire and the Eighteenth Century Baker, K. M. 1967; 55
Un 'eloge' officieux de Condorcet: sa notice historique et critique sur Condillac Revue de synthese, 3e serie Baker, K. M. 1967; 47-48
The Early History of the Term 'Social Science' Annals of Science Baker, K. 1965; 20: 211-226
The Origins and Authorship of the Educational Proposals ... Generally Ascribed to Lavoisier Annals of Science Baker, K. M., Smeaton, W. A. 1965; 21


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Celtics unable to tame the Grizzlies, lose overtime nail-biter 132-126
Boston came up just short in a hard fought game.
By Jesse Cinquini@CinquiniJesse Mar 22, 2021, 11:38pm EDT
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The Celtics traveled to FedExForum in hopes of establishing a new win streak after handily defeating the Orlando Magic on Sunday. Meanwhile, Boston's foe, the Memphis Grizzlies, were 2-2 across their last four outings with recent victories against the Miami Heat and Golden State Warriors. A fantastic showing from Jeff Teague (26 points on 10-for-12 shooting from the field) was not enough to overcome Ja Morant as the Celtics fell 126-132.
First Quarter: Boston came out of the gate with a palpable sense of urgency on both ends of the floor. Three three-pointers combined from Marcus Smart and Jeff Teague and a charge taken by Semi Ojeleye against Ja Morant propelled Boston to an early 13-4 edge. Memphis then countered with a 6-0 spurt of their own by doing what they do better than any other team in the NBA — score inside the paint. The latter portion of the quarter consisted of a one-sided three-point shootout. The two squads combined for 21 attempted treys, but the Celtics shot a much superior 6-for-11 compared to Memphis' 2-for-10 clip. Boston led by six after 12 minutes, 30-24, behind nine points from Marcus Smart.
deep 3⃣ pic.twitter.com/pga40TCt7x
— Boston Celtics (@celtics) March 23, 2021
Second Quarter: Aaron Nesmith was the odd man out in Boston's rotation a few weeks back, but as of late, he's seen an uptick in run time, and he had a standout beginning to the second. He ushered in the frame with five quick points, including one three off a pin-down action and a pair of free throws. But the home team began to maneuver their way to the paint possession after possession and devastated the Celtics with layups and floaters. Memphis converted eight of their first nine shots to start the quarter, with many being point-blank looks. By the 4:26 mark, the Grizzlies seized a two-point advantage thanks to 20 combined points for Morant and Dillon Brooks, who hit nine of their 14 field-goals up to that point. However, the Celtics roared back to close the half thanks to an unlikely hero — Jeff Teague. He led the Celtics in the points department with 13, and Boston entered the locker room ahead by five, 65-60.
+✌ pic.twitter.com/Nzk39nAYPj
Third Quarter: Jonas Valanciunas, one of the more underrated players in the NBA, devastated Daniel Theis in the early part of the third. He accumulated eight points across the first three minutes — his most noteworthy two was a poster dunk on the German. With 8:12 to go in the third, Brad Stevens opted for a timeout after the Grizzlies commenced the second half on a 14-4 run to capture a five-point lead. Additionally, though the threes were falling early in the game for Boston, they struggled to obtain a rhythm beyond the arc in the penultimate quarter. Only one of their six treys found nylon. If it wasn't for ten third-quarter points from Jaylen Brown, the Grizzlies could have very well run away with this one. Memphis outscored the Celtics 34-21 and were sitting pretty at the end of three ahead by eight.
SHEEEESH 12. pic.twitter.com/m4uL6yNPt8
— Memphis Grizzlies (@memgrizz) March 23, 2021
Fourth Quarter: The start of the fourth was a battle of the benches, as both teams rolled with their reserves. Memphis undeniably has greater depth than the Celtics, and they made this apparent through their play. Consecutive three-balls from D'Anthony Melton and interior scoring from Brandon Clarke and Justise Winslow enlarged the Memphis advantage to nine with 8:20 to play. But once the starting unit entered the game for Boston, the green began to rally. Brown and Robert Williams found their grooves offensively — nine points from the pair across two minutes sliced Memphis' once sizable lead to four by the 4:36 mark. The final minutes of the fourth were nothing short of thrilling. Neither side could gain any semblance of breathing room. A game-tying dunk from Theis with 7.3 seconds in regulation ensured an overtime period in Memphis. The squads entered overtime knotted at 117 apiece.
Overtime: Memphis thoroughly outplayed Boston in the extra minutes. Brooks made enormous plays for the opposition, grabbing offensive rebounds and knocking down jumpers. Teague continued his brilliance from regulation and kept the green team somewhat within arm's reach, but Boston didn't have enough left in the tank to come away victorious. Teague finished with arguably his finest performance as a Celtic with 26 points and six dimes. The final score was 132-126 in favor of Memphis.


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Posts Tagged 'book'
The Very Hungry Caterpillar by Eric Carle Read by Uncle Interloper HTS #5
By SMM | June 29, 2019 | 0
http://www.uncleinterloper.com – Uncle Interloper is back with a new HERE'S THE STORY where he reads kids books! Today's book:THE VERY HUNGRY CATERPILLAR BY ERIC CARLE #puppets#books#readaloud Help us make more videos like this one. Become a patron of Saturday Morning Media and get cool rewards! Visit www.patreon.com/saturdaymorningmedia for info! Tell a friend! Music by Kevin Macleod FOLLOW UNCLE INTERLOPERhttp://www.twitter.com/UncleInterloperhttp://facebook.com/uncleinterloperhttp://www.instagram.com/uncleinterloper http://www.UncleInterloper.com MORE…
The Giving Tree by Shel Silverstein Read By Uncle Interloper HTS #2
By SMM | January 19, 2019 | 0
http://www.uncleinterloper.com – Uncle Interloper returns with a new episode of HERE'S THE STORY! Today's book: The Giving Tree by Shel Silverstein. Music By Kevin MacLeod. Tell a friend! FOLLOW UNCLE INTERLOPERhttp://www.twitter.com/UncleInterloperhttp://facebook.com/uncleinterloperhttp://www.instagram.com/uncleinterloperhttp://www.UncleInterloper.com MORE FAMILY FRIENDLY FUNhttp://www.twitter.com/SaturdayMMediahttps://www.linkedin.com/company/saturday-morning-mediahttp://www.youtube.com/user/SaturdayMorningMedia?sub_confirmation=1 FOLLOW GRANThttp://www.MrGrant.comhttp://www.twitter.com/toasterboyhttps://instagram.com/throwingtoasters/ SUBSCRIBEhttp://www.youtube.com/user/SaturdayMorningMedia?sub_confirmation=1 ©2019 Saturday Morning Media
1971 Walt Disney World Whitman Tell-A-Tale Big Al Moves In Book – Country Bear Jamboree Collector Show #033
By SMM | February 19, 2016 | 0
Bonus content for this episode is available on The Saturday Morning Media App! Download it today – App Store (iOS) | Google Play Store | Amazon.com Today on the Country Bear Collector Show we have a really unique item! From 1971, this is a Whitman Tell-A-Tale book called 'Big Al Moves In.' It is a illustrated storybook that tells the tale…


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Drummer Steve Smith hosts five different groups during residency at Birdland in NYC
WBGO | By Lee Mergner
c/o the artist
It's not uncommon for a high-profile jazz artist to perform at a club for a week's worth of shows. In New York City, the usual run would be Tuesday through Sunday. What is less common is five weeks at one club, as Steve Smith is in the midst of doing at Birdland from September 16 through October 16, playing with five different configurations.
The drummer started the first week of the residency with the latest version of his band Vital Information, which now features Manuel Valera on keyboards and Janek Gwizdala on electric bass. Smith got to know Gwizdala's playing from tours with Mike Stern, Randy Brecker and others. "He's an incredible electric bassist, a really unique player," Smith says. "When I was in the process of organizing a new group, he was my first choice. And luckily, he's available to do it." With its first album released in 1983, Vital Information will celebrate its 40th anniversary in 2023. Wounded Bird Records recently released The Complete Columbia Recordings, a four-CD set of the first four Vital Information albums.
For several years, producer/curator Milan Simich has put together an ensemble and show called "Coltrane Revisited," presented, pandemic period aside, at Birdland during the week of John Coltrane's birthday (September 23). This year the group features Vincent Herring, Jimmy Greene, and Greg Osby on saxophones, Helen Sung on piano (on September 20-21), Jeremy Pelt on trumpet (September 22-24), with a rhythm section of Lonnie Plaxico on bass and Smith on drums. The band is performing the entire Giant Steps album, which features iconic compositions such as "Naima," "Cousin Mary," Syeeda's Song Flute," Mr. P.C," and of course, the title song. Such is the reputation of "Giant Steps" that a New Yorker cartoon showed a brain surgeon in the operating room during a procedure, saying, "Well, it's not playing 'Giant Steps.'"
Smith says that he always prepares for the week of Coltrane's music, but this album posed greater challenges. "One of the things that's so interesting for me is I have listened to a lot of his music but listening and then playing the music is quite different," he explains. "To learn the music, I have to really dig in and find the right tempos, learn the form of the song and then integrate the form of the song into my memory so when we get on stage and we play I'm real clear on what it is that we're doing. His music and all the music he's been involved in is extremely fun to play and some of it's hard to play. With 'Giant Steps' itself, the tempo is quite fast but with the third tune, 'Countdown,' the tempo is as fast as one can possibly play, so there's a physical challenge. Meeting the demands of playing the tempo and tuning into the form – as a drummer – I need to be really clear on what the form in some of the songs are. And some of the forms are not typical. They have various sections that can be, let's say, odd. So I do a lot of homework before I go to these [Coltrane] gigs."
During the pandemic in 2020, Smith performed a virtual version of "Coltrane Revisited" with Donny McCaslin and Eric Alexander on tenor saxophones, playing music from both Ascension and A Love Supreme. Watch that here:
Steve Smith with Eric Alexander and Donny McCaslin playing Coltrane
During September 29 through October 2, the Bouncin' With Bud Trio will perform the music of Bud Powell, specifically material from his album The Scene Changes. Smith and Plaxico will be joined by pianists Helen Sung (on September 29), Manuel Valera (on September 30-October 2). Smith says that Powell's compositions offer a different challenge for him and the trio. "A lot of them are AABA and are relatively typical," Smith says. "But then, for example with 'Tempest Fugue,' the meat of the tune is an AABA tune, but then he's got a separate intro and he's got segues into the solo section and endings that are, let's say, additional material. It's like learning a Chick Corea tune. It's not just a simple as you think it might be because there's all these extra parts added into it. That's one of the challenges of playing the Bud Powell music is being clear about all these segues, as well as introductions and endings."
During the fourth week on October 7-9, Smith and The Misterioso Quartet featuring Tim Hagans on trumpet, Steve Cardenas on guitar, and Ben Allison on bass, will play the music of Thelonious Monk. For the fifth and final week at Birdland (October 13-16), Smith will play with the group called Four In One, a bassless ensemble with Jimmy Greene and Greg Osby on saxes, Paul Bollenback and Mitch Stein on guitars, also playing the music of Thelonious Monk.
All of the shows except for the "Coltrane Revisited" sets will be presented in the Birdland Theater, a smaller venue that has a capacity of about 100. "It's actually more acoustic-oriented so, especially me as a drummer, I have to be aware of overall level to not play too loud," Smith says. "I have to make sure I'm playing at just the right level so I blend nicely with the other players."
For more information visit birdlandjazz.com.
Watch this performance of "Mr. P.C." from "Coltrane Revisited" at Birdland in 2021, with Jaleel Shaw and Vincent Herring on saxophones, Helen Sung on piano, Kenny Davis on bass and Smith on drums:
Steve Smith and company performing "Mr. P.C." at Birdland in 2021
Music Steve SmithBirdlandJohn ColtraneBud PowellThelonious Monk
Lee Mergner
For over 27 years, Lee Mergner served as an editor and publisher of JazzTimes until his resignation in January 2018. Thereafter, Mergner continued to regularly contribute features, profiles and interviews to the publication as a contributing editor for the next 4+ years. JazzTimes, which has won numerous ASCAP-Deems Taylor awards for music journalism, was founded in 1970 and was described by the All Music Guide, as "arguably the finest jazz magazine in the world."
See stories by Lee Mergner


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Home»Naval News Staff
Author Archives : Naval News Staff
SNA 2019
Leonardo DRS to Provide Advanced Hybrid Electric Drive for 2nd USCG OPC
Leonardo DRS, Inc. announced today that it will provide a second hybrid electric drive system for the U.S. Coast Guard's next Offshore Patrol Cutter (OPC) under a contract from Eastern Shipbuilding.
GE Showcases Power, Propulsion and Digital Analytics at SNA 2019
GE's Marine Solutions' gas turbine propulsion, hybrid electric drive (HED), integrated electric drive (IED) and digital analytic solutions are proven to meet the demanding power and propulsion needs of world navies.
Kratos lands follow-on order for Royal Saudi Naval Forces training support
Kratos Defense & Security Solutions, Inc., a leading National Security Solutions provider, announced on January 3rd that it was awarded a follow on Task Order (TO) by the Naval Air Warfare Center Training Systems Division (NAWCTSD).
US Navy commissions 13th LCS, USS Wichita
The U.S. Navy commissioned USS Wichita (LCS 13) – the nation's seventh Freedom-variant Littoral Combat Ship (LCS) – at Naval Station Mayport today before a crowd including active-duty and veteran sailors. This milestone places the ship, built by the Lockheed Martin-led team into active service.
AAI secures US Navy order for UISS program technical support
AAI Corp., a subsidiary of Textron Systems, has been awarder a US$10 million contract to exercise options for engineering and technical services for the US Navy's Unmanned Influence Sweep System (UISS) unmanned surface vehicle platform, the US Department of Defense said on January 10, 2019.
Leidos to develop new torpedo countermeasures for submarine defense
Leidos was awarded a contract by the U.S. Navy's Naval Sea Systems Command to develop torpedo countermeasure technologies for submarine defense, the US company said on January 10, 2019.
General Dynamics lands US Navy SPAWARSYSCEN Atlantic support
General Dynamics Information Technology (GDIT) on January 7 announced it has been awarded the Navy Cyber Mission Engineering Support contract by the U.S. Navy's Space and Naval Warfare Systems Center (SPAWARSYSCEN) Atlantic.
MBDA Mistral Missile gets anti-surface capabilities
At the end of 2018, MBDA successfully demonstrated the use of the Mistral missile against fast boats such as FIACs (Fast Inshore Attack Craft).
Iran, Russia planning joint naval drills in the Caspian Sea
Iran and Russia are planning to hold naval drills in the Caspian Sea, the commander ...
BAE Systems lands $78.8M US Navy order for USS Shoup upgrade
BAE Systems has received a $78.8 million contract from the U.S. Navy for the maintenance ...
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