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Control of the Going
Manchester, England, United Kingdom
Band Rock Psychedelic
Share Control of the Going's EPK!
"Delamere / Vynce / James Christy Band / Control Of The Going - Manchester Academy 3 - 10th October 2015"
Four very different bands make up the line-up of Scruff Of The Neck's latest showcase of the North West's best emerging talent at Manchester Academy 3. Headliners Delamere are launching their new single Heart, whilst Vynce, James Christy Band and Control Of The Going seek to make the most of the opportunity of the big stage to showcase their talents and win over new fans.
This is by far the biggest gig of Control Of The Going's fledgling life as a band, but it's also the night they make a significant step up. Most of the crowd have got down early for them as word spreads with every gig. They're assisted by a superb sound set up as well which allows the nuances that often get lost in the mix with a six-piece to be heard and it's in those details where Control Of The Going excel and stand out from their contemporaries.
Icy atmospherics, chiming guitars, subtle keyboards and drums that dictate changes of pace in the songs provide the thrilling backdrop for Liam's voice, which might not be to everyone's taste but is distinctive and perfect for the mood of the songs. He's also more animated than we've seen him before finishing War Crime by smashing his tambourine repeatedly on the floor, lost in a world of his own.
The six song set features songs from both their EPs to date - Epilepsy Bus Ride and Wild Flower - as well as some new additions to the set and whilst the more familiar songs such as If Only, The Message and Wild Flower are forever evolving, it's the two newer songs - War Crime and Control - that really hit home that they're developing into something quite special and prolific. - Even The Stars
"Freakout Honey / Control Of The Going - Manchester The Castle - 30th August 2015"
Two of the best new bands in town joined forces for the opening acts of Astral Elevator 6, the latest instalment of what is becoming one of Manchester's best underground gig and club nights. We made our way to a packed Castle to catch up on two bands that can still count the number of shows they've done on their fingers.
First up are Control Of The Going, an exceptionally prolific band in the studio already two assured EPs into their career. With six of them on stage, there's always going to be a lot going on, so much that could get lost in the mix as it did in parts of their last gig at The Yard, but tonight's sound man gets a mix that works perfectly for them and allows the full house to experience their full glory.
What's so great about them is that they so clearly fit like a hand in glove with so many other bands on the scene at the moment, yet there's something intrinsically unique about them, the way their three guitar and bass set-up combine and collide to create something thrilling and challenging to the listener. Liam's vocal drawl might be an anathema to some, but in that deep rich tone there's shades of Curtis, Cope and a hint of Waits that makes it curiously addictive and incisive in its impact on the audience.
The set is a mix of tracks from the two EPs (Reflection, If Only and The Message from their debut Epilepsy Busride and the title track and In Line from the follow-up Wild Flower), plus three as yet unreleased songs. They open with Bleed For Me, a claustrophobic song that builds and wraps itself around you and doesn't let go as keyboards chime and do battle with those guitars. Step Back is a bit of a departure for them as it trades in more familiar guitar rock territory and features dueling vocals between Liam and Tom whilst Mindless Generation talks of youth "struggling for inspiration" and "trying to find a way out of town with the train stuck at the station" which relates to them growing up in the Tameside town of Denton. As they finish with an extended version of The Message with all six of them lost in the music they're creating and taking the audience with them, you feel they're only a start of a journey. - Even The Stars
"Control Of The Going - Manchester The Yard - 9th August 2015"
For a band only playing their second gig tonight Control Of The Going have got a bit of a buzz building around them, already having secured a support slot with local heroes Purple Heart Parade and an Academy 3 show in October. They're already onto their second release as well - the single Wild Flower following quickly on the heels of debut EP Epilepsy Bus Ride. We went along to The Yard to watch them overcome technical problems to impress again.
Preceded by an act with just a keyboard, the band's first challenge is to set up without the aid of a soundman and with limited space to fit all six of them on the stage. With Ashley hiding behind Tom and Liam they just about manage it and start the set with Open Your Eyes. It's almost a public soundcheck as it sounds great in its component parts but the mix isn't right. They do a bit of shuffling around and fix most of the issues.
This set is quarter of an hour longer than their recent debut so there's more new material added in that we haven't heard before. The new single Wild Flower is debuted towards the end and they capture the thrilling essence of the song as the multiple guitars collide and bounce off each other as the introduction grows in intensity before Liam's first vocal comes in. The other two new songs Reflection and Step Back demonstrate that they're a band still developing before us. The latter sees them experimenting more with their sound, a more direct forceful style and Liam and Tom sharing vocal duties.
The Message, our favourite song of theirs so far, has immense potential to be stretched beyond its three minutes into something more expansive and mind-blowing and they know it, but for now, it's there as a taster and a teaser of what's to come. It'll ultimately replace Don't Let The Sun Go Down as a set-closer when they inevitably revisit it, but for now that's a fitting end to their show, dark, brooding, chiming guitars, keyboards popping up then dropping back down and a rhythm section driving it along at just the perfect pace.
Tonight's a test for them. The venue's only really set up for solo artists and the lack of sound man and time to set up properly poses them a challenge they won't have faced before, but it's one they deal with in their stride.
We'll leave the last word to the group of blokes sat at the back of the pub coming to the end of their Sunday drinking session who think they remind them of Joy Division in parts but who stop their conversations to listen and at the end of the song ask us why they're playing in a pub rather than bigger venues. That'll come with time. - Even The Stars
"Introducing Mancunian Psychedelia: Control of the Going"
A real differentiator on the local scene, Control of the Going (CotG) offer a progressive experience that will send your head on a journey through fields of technicolour and watermelon sunsets. These boys are on another planet and they want you to come join their Epilepsy Bus Ride...
This being only The Stiff Upper Lip's second real post, we'd like to point out that this band don't really represent what one may describe as 'the norm' in the Manchester music scene. Put it this way: if you were planning on going shrooming this weekend with the lads, give it a swerve and allow your ears to feast on this band instead.
Their current release Wild Flower (https://soundcloud.com/cotg1/sets/wild-flower) is merely a drop in a kaleidoscopic ocean that'll take one's mind excavating through the sounds of the 60's. CotG bring their own contemporary edge to a movement that still lives in the heart of a generation of music lovers. It's hippy, trippy and haunting at times.
Another notable track is The Message (https://soundcloud.com/cotg1/the-message1), which wouldn't find itself out of place on Revolver or The Magical Mystery Tour. The melodic and rolling drums aligned with ghost-like vocals and distorted guitar creates a floating feeling within the mind that is reminiscent of Lucy in the Sky, or Strawberry Fields. There is no criticism of CotG obvious influences from the swinging days of sexual liberty and experimental freedom, as they're more than capable of delivering an authentic experience.
Imagine a cocktail of Prog Rockers Caravan and Pink Floyd, stirred with the mind altering effects of Sargent Peppers' Being for the Benefit of Mr Kite infusing an evocative sound that is redolent of everything psychedelic. The Stiff Upper Lip would like to suggest Manchester should be extremely proud of CotG and will continue to receive our support. - The Stiff Upper Lip
"Control Of The Going - Wild Flower EP"
Control Of The Going are one of our favourite new bands to emerge this year. Their debut EP Epilepsy Bus Ride was released a mere two months ago, but they're not resting on their laurels and have released a new EP Wild Flower. Even in such a short space of time since their debut, the lead track demonstrates just how quickly and how far they're progressing.
Wild Flower was apparently written, recorded and mixed in under a week. But you'd never tell from listening to it. Dispensing with any pretension to radio play, it starts with a thrilling, chiming intro that lasts a minute and a half before front man Liam comes in. Already his voice sounds fuller, richer and ever more confident, and, most importantly in a world of identikit Gallagher / Turner / Fray wannabes, instantly recognisable. It won't be to everyone's taste, but as he enunciates each word by means of emphasis, the impact on the listener is undeniable. The EP concludes with an instrumental version of the title track - a statement of intent that this band is as much about the music as they are about the words in the songs and emphasizes just how brilliant they are.
In Line follows in a similar, but far from identical vein. A rich, deep sonic landscape created by the six of them, never claustrophobic or suffocating but still enveloping the listener and coming at you from all angles. Yet, the beautifully crisp production lets you hear the subtlety of the bass line, the keyboard that lurk beneath the surface and the rhythmic thrusting drum beats that drive the song along. Like Wild Flower it has a hook that you'll struggle to get out of your head.
This is a band in the early stages of their development, with a modus operandi that is all about writing songs and recording them quickly and capturing a moment, a place in time and not over-thinking, over-crafting their songs. It's a refreshing change for a band to be so spontaneous, so of the here and now. And if this is what they come up when they start off, imagine how good they're going to become. - Even The Stars
"Control Of The Going - Manchester Night And Day - 10th July 2015"
Tonight is Control Of The Going's first ever gig. On the back of their debut EP Epilepsy Bus Ride, we're intrigued to see if they can pass that mandatory litmus test of any band's mettle - whether they can cut it live. They pass with flying colours.
First song Open Up My Eyes sets the tone for the rest of the set, a persistent forceful drum beat that doesn't try to be too clever but which makes its presence felt throughout around which the bass, guitars and keyboards wrap themselves. With so many people on stage, it feels odd to say that the songs feel understated - that they are built around a ethic that, if you pardon the preposterous pun, has them in total control of where the songs are going. Not for them the traditional verse / chorus / verse / chorus / middle eight / big chorus ending of so many bands, these are sublime and almost delicate pieces of music, elegantly crafted and focused.
As they move into second track, In Line, that formula is still in place, but with a different set of variables. The keyboard, stuck at the back of the stage, makes itself heard as the guitars drop down but the effect is no less impressive. Reflection, with its chiming, addictive, repetitive guitar riff and that earworm lyric "now that we're older we're wiser" to the fore, is the first song from the Epilepsy Busride EP and it's transformed perfectly into the live environment.
The next two songs - If Only and The Message - make up the trio from the EP and cement that impression that they can transform the studio into venues like this. On the former, Liam sounds like Ian Curtis for one small moment and then the song lifts itself away. He's not the sort of front man who's going to jump around the stage and tell the audience he loves them at the end of every song - but then Control Of The Going are much more about the collective unit than they are about individual personalities.
They save the best for last though. Don't Let The Sun Go Down is a sprawling, threatening epic that bowls you over with the unstoppable momentum of the song. Despite there being six of them up on stage, including three guitarists, they don't try and overwhelm you with noise in a way lesser bands would. There's an intuitive control of volume and pace that they've mastered that works equally well on songs that last three minutes as on those that last more than double that.
As we make it back to the soundboard, we're stopped by a man in a shirt and tie, who assumes we're their manager (we're not), who gushes enthusiastically about them for several minutes. He'd never heard of them before yet alone heard them, but he's overwhelmed by their distinctive sound and the fact that they don't sound like anyone else, but grabbed him immediately. There's your recommendation. - Even The Stars
"Introducing - Control Of The Going"
This week we're very excited about our tip on Shell Zenner's Amazing Radio show. A drunken chat outside the Night And Day, a scribbled name (if iPhone notes count as the modern day equivalent) and a listen to the songs the next morning and Control Of The Going had us hooked. As well as their debut EP, Epilepsy Bus Ride, there's lots on their soundcloud for you to get your teeth into ahead of their debut show at the very same place we met them on July 10th. We had a bit more sober chat with them to find out more.
Could you introduce the band please and tell us how you got together?
(Liam) We are Liam Hart on vocals and guitar, Ashley Hart on 12 string guitar, Matt Byrne on guitar, Tom Sillitoe on bass guitar, Minesh Mistry on keyboard and Alex Reid on drums
We initially formed the band on a night out. We were in Mojos in Manchester three years ago and we came to the conclusion that, although we were all very different, we had a common love for psychedelic music. The founding members were myself, Alex, Matt and Minesh.
We have all known each other since school or college, so we were all very good friends. Initially we practised at Alex's house in a tiny room with some of the most rudimentary equipment available, but as time moved on we improved and chemistry began to flow. What took us to another level was when we looked like we were going to break up. Alex left the band and my brother Ashley joined as a bassist originally. We booked into a rehearsal studio and began putting a serious effort into working on our music. Ashley added a cutting edge to the band; we began to approach our music in different manner. A more critically minded yet creative approach to our sound.
We began to write better songs. Gained a temporary drummer and started to sound like an actual band. A year later, Alex made a spectacular return. Three months later we released our first EP, a month after that Tom joined us on bass, and now here we are.
It's an interesting name - Control Of The Going - how did that come about?
(Liam) We are all from East Manchester, the majority of us are from Audenshaw. Despite many of us being hard working young lads, none of us have ever been able to get away from here or to even manage to find a job in the areas in which we wanted to work. I came up with the name, because personally I have always been prevented from where I want or need to go; this has been the same for the lads in the band too. Someone or something is controlling where we want to go.
The EP's called Epilepsy Bus Ride - again an interesting name - where did that come from and other than us not liking it in our review, have you had anyone have any issues with it?
(Ashley) It's a name I came up with whilst I was making my way home one day. I was on a Bus. It seems almost everyone didn't like the name but I thought it would have made a cool band name. When we were thinking of a name for the EP, we couldn't resist calling it Epilepsy Bus Ride, largely because it divided opinion and we believe it's rather eye catching and memorable.
(Matt) To me, the name of the EP meant to signify a journey which was influenced by experiences within the mind, which describes the mood we have tried to create.
(Liam) Some people believe it is a reference to Joy Division and Ian Curtis. However, this wasn't initially thought of. Without a doubt, there is some influence in the band from Ian Curtis and Joy Division, but this did not motivate the name for the EP. I believe we selected this name due to us struggling to find a name which was different, which would stand out, would create interesting conversation and would be memorable.
You've not played a gig yet but you have more than a dozen songs on your soundcloud. That's a different approach to most bands who are very secretive and protective about new songs. Do you think it's important that these get heard as they are formed?
(Liam) As a band we decided to upload early demos and concepts straight out of the practice rooms. I agree, this is different. However, we decided to do this because we didn't want to be seen like we were hiding away in a studio somewhere working on something obscure. We all enjoy how music develops and how it is created, so we had to do this to show our own development.
Your first gig is on July 10th at the Night And Day. How are the preparations going for that and what can we expect from the set?
(Liam) Without a hint of bias, the preparations are going fantastic. We cannot wait to get going. We have been together now for three years and have been developing and nurturing our sound, and now we feel like we are at a level where we are going to turn some heads now we are out and gigging. There is no doubt, we are still relatively unknown, but we relish being the dark horse and we can't wait to surprise everyone. Two six string guitars, a twelve string, bass, keyboard, drums and vocals, there will certainly be plenty going on.
How would you describe your sound to someone who hasn't heard you yet?
(Ashley) I'd say its "Neo psychedelic garage rock". I had a plan to bridge the gap between Joy Division and the early Rolling Stones stuff, I'm not sure if I've done that but we've certainly been influenced by the late 80s & early 90s shoegaze and sychedelic bands and even a lot of new and contemporary ones.
(Alex) Original. I can't really think of any band that sound similar to us. I believe we are fairly unique. The lyrics and metaphors are dark but the actual sound is catchy and upbeat, some have described it as having a heavy influence from the 60s and 70s.
(Liam) Describing your sound is very difficult, however, I would certainly agree with both Ashley and Alex. Our music is dark, life round here can be grim. However, we hide the dark lyrics in a fantasy which sometimes sounds like a juxtaposition. It is a reinterpretation of the music which we grew up with and the music we discovered growing up. It is also very different. Something new, but familiar.
We write music which is heavily focused on composition. Composition is key. Our music contains lyrics that mean something to us, catchy guitar work, a dominating bass line, with sometimes minimalistic drum lines and a guitar lick which is designed to get you humming it later. In listening to us, you can close your eyes and find something new every time. - Even The Stars
"Control Of The Going - Epilepsy Bus Ride"
Control Of The Going describe themselves an "psychedelic / shoegaze alternative sounding band" and they've just released their debut EP Epilepsy Bus Ride following a number of demos revealed on their Soundcloud. What we found is an interesting proposition, a sound that instantly feels familiar, but not like anyone else around the Manchester scene at the moment.
Opening track Reflection kicks in with three guitars creating a loop with an insistent hook that isn't in your face, but which manages to burrow its way into your conscience even before Liam's voice comes in. That theme is repeated across the three songs here, there's a vein that they tap into, you can hear echoes of some of the sparser darker elements of Joy Division at points and on the EP's highlight The Message we can also hear Pavement banging against the walls begging to be let out. They're far from copyists though, they appear to have found a niche around which they can evolve - and with a little of bit of research you can find another fourteen songs on their Soundcloud that amply demonstrate that they're doing their development as a band in public rather than hidden away in a rehearsal room somewhere.
Front man Liam's vocals are intriguing too. On first listen, they feel a little deadpan, droll even (and there's plenty of lyricists who have a catalogue of wonderful records forged around that), but as you become familiar with it, the warmth starts to exude out even when the subject matter of the song is dark ("page is wearing thin, how will I ever win, desire fades away, fire burns away" on If Only as an example) as you make the connection between voice and music and between the music and the words. In The Message the half-spoken, half-sung approach around which the insistent guitar hook is wrapped is perfect in pitch and tone for the mood that the song creates. It's to be hoped that this isn't something that they lose as they develop further.
Epilepsy Bus Ride is a stunning debut EP from a band that's been prolific in writing, demoing and previewing songs over the last few months. It gets better on every listen too, so needs time to fully appreciate its modest charm. The title of EP is, of course, awful, but everything else around it suggests that, just like Ist Ist, they're going to be a band that's going to stand out from the crowd and make people sit up and notice them. - Even The Stars
An eclipse formed from surreal psychedelia with post-punk overtones.
Control of the Going are beginning to emerge from the... dark and uncertain streets of East Manchester to become one "of the best new bands in town". So far, they have featured as the Real Radio XS "Future Classic" band for July and have drawn comparisons from Joy Division to early Pink Floyd.
COTG are currently touring Manchester supporting their latest releases: the Epilepsy Bus Ride EP and Wild Flower.
"the warmth starts to exude out even when the subject matter of the song is dark"
"What's so great about them is that they so clearly fit like a hand in glove with so many other bands on the scene at the moment, yet there's something intrinsically unique about them, the way their three guitar and bass set-up combine and collide to create something thrilling and challenging to the listener"
- Even the Stars
"Fans of The Brian Jonestown Massacre should find much to enjoy with Manchester shoegaze reprobates Control Of The Going, whose waves of subtle shimmers evokes Anton Newcombe's estimable band. Or for another comparison, maybe Control Of The Going are a baby version of Helicon, Glasgow's 3D demons of space rock"
- Colourhorizon
BigCartel

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PCMag UK Computers & Electronics Smart Home Home Security Cameras
Arlo Kills Free Cloud Storage Feature, Ends Firmware Updates for Old Cameras
A new End of Life policy will be applied to old Arlo security devices going forward.
byMatthew Humphries Jan 03, 2023
2023 began with some bad news for anyone who owns an Arlo Generation 3 or Arlo Pro wireless security camera.
As 9To5Google reports, the company sent an email to customers on Jan. 1 detailing a new End of Life policy (PDF) that will be applied to older camera models going forward, with "old" meaning any device that was first manufactured more than four years ago.
To begin with, the Arlo Generation 3 (VMC3030) and Arlo Pro (VMC4030) will be subject to this new policy and will lose access to seven-day cloud storage, firmware updates, security updates, bug fixes, and email notifications on April 1, 2023. No spare parts, replacement devices, or servicing will be offered, either.
It's important to point out that these two cameras were released in 2014 and 2016 respectively, and Arlo discontinued them several years ago. However, in a Reddit post about the announcement, it's pointed out that customers paid more for Arlo cameras because they included seven days of free cloud recordings instead of requiring a subscription.
After April 1, the cameras will continue to "live stream video, receive motion notifications, and store video clips locally with a compatible Arlo base station." Cloud storage can be enabled again by paying for an Arlo Secure subscription (from $2.99 to $19.99 per month), but the lack of firmware updates means "some functionality" will be lost over time.
The End of Life policy will be applied to other Arlo products as they age. On Jan. 1, 2024, the Arlo Baby (ABC1000), Arlo Pro2 (VMC4030P), Arlo Q (VMC3040), Arlo Q+ (VMC3040S), Arlo Lights (ALS1101), and the Arlo Audio Doorbell (AAD1001) will be subject to the policy. Arlo also announced that its email notifications, E911 emergency calling, and legacy video storage services are being deprecated.
The Best Outdoor Home Security Cameras for 2023
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About Matthew Humphries
I've been working at PCMag since November 2016, covering all areas of technology and video game news. Before that I spent nearly 15 years working at Geek.com as a writer and editor. I also spent the first six years after leaving university as a professional game designer working with Disney, Games Workshop, 20th Century Fox, and Vivendi.
More From Matthew Humphries
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Welcome to The Moment magazine online - Saturday 16th January 2021
Mayor James Palmer welcomes bids to build key Peterborough junction
Posted on Mon 19th August 2019 | Comments
Mayor of Cambridgeshire and Peterborough James Palmer has welcomed news that the Combined Authority's bids to dual the A10 between Cambridge and Ely and to build a new road junction to facilitate the new University of Peterborough, have been submitted to Government.
The Combined Authority, through the region's Sub-national Transport body, England's Economic Heartland, has applied to two pots of Government money.
The A10 dualling has been submitted to the Large Local Majors (LLM) roads fund, while the Peterborough junction scheme has been submitted to the Major Road Network (MRN) fund.
In addition, a separate bid to upgrade junctions along the A10, worth £37 million, was also submitted.
Dualling the A10 between Cambridge and Ely is a priority scheme as set out in the Combined Authority's 2019/20 Business Plan. The Combined Authority has agreed to carry out a strategic outline business case into dualling, moving the scheme further forward that it has ever been before. That work will continue regardless of the outcome of the bid to Government.
The £264 million bid to the LLM fund includes a projected start date for the A10 dualling of 2024, and completion in 2026. The junction schemes would be delivered from 2022/23 to 2025/26.
The bid for the A1139 junction in Peterborough will support the development of the new University of Peterborough on the Embankment site by providing better road access. It will also tackle what is already a congested road, recognising the city's significant anticipated future growth.
The preferred option for the University access scheme will provide direct access from the A1139 to Bishops Road, providing a shorter route into the site and relieving congestion at junction 5, on Boongate, at junction 39 and on St Johns Street. Economic assessment work indicates that the new junction option could achieve 'very high' value for money, with a high proportion of the benefits coming from reduced congestion.
The £24.3 million scheme would be projected to start in April 2023, completing a year later.
Mayor James Palmer said: "The Combined Authority is here to put Cambridgeshire and Peterborough in prime position to secure extra money from Government.
"There is a very strong case for the schemes we have put forward. In Peterborough, when fully developed, the new University will have capacity for up to 12,500 students and so new infrastructure is clearly needed. That, coupled with the economic and housing growth ambitions of the city, in which the A1139 will play a key part, means that the junction scheme to speed up journeys is much needed.
"We know that for the A10, dualling has been long on the local wish list, with journey times and congestion already causing frustrating delays and holding back our economy. With future predicted housing and business growth in the Cambridge to Ely corridor, the need for this upgrade couldn't be clearer.
"My job now as Mayor is to ensure that the new ministers at the Department for Transport are quite clear as to the importance of these schemes to the people and economy of Cambridgeshire and Peterborough. I will be lobbying hard ahead of an anticipated funding decision this autumn."
£700m worth of road investment priorities in and around the Oxford to Cambridge Arc have been submitted by England's Economic Heartland to facilitate growth in the region.
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The last month and a day The end of May and June brought lots of news and changes related to McMaster's programs
Shane Madill • Jul 6, 2017 • 0 comments • Basketball, FEATURES, Lacrosse, Sports, Volleyball
May 31 – Women's lacrosse
Brandan Sweeney, who served as an assistant coach with the McMaster men's lacrosse team since 2011, was named the head coach of the women's lacrosse team.
He formerly served as the head coach of Queen's team starting in 2004 while completing his master's degree. Winning the OUA Coach of the Year award in 2005, the first Gaels coach to win the honour, his success continued for multiple years there and for a season with the University of Washington.
After obtaining his PhD from Queen's in 2010, he returned to McMaster in 2011.
"It's been a decade since my last head coaching post at the OUA level, and I'm looking forward to the unique challenge that it brings," said Sweeney.
His priority and mindset seems to be centered on creating a positive student-athlete environment for his team to succeed in no matter what success might mean to them.
"For some, it's winning, and winning is ideal. But why do many people play? They play for the team-building and to learn and develop, and for many, that's part of their learning alongside their studies. We want to build a successful program where we learn how to be competitive and how to work hard, but also how to work as a team and develop those relationships and leadership capabilities."
He will also serve as the head coach of the Hamilton Bengals U19 girls field program.
June 12 – Men's volleyball
The men's volleyball team, defending OUA champions, added two new names to their staff. The first is Ian Eibbitt, who has served twice as the head coach of the Team Ontario U18 program and returns to the provincial staff in 2017 for the Canada Games. The second is Aytac Kilic, former Turkish national team player, who has nearly two decades of experience as a player and a coach.
"We continue to provide tremendous resources to help develop our student-athletes and help them reach their potential," said head coach Dave Preston.
June 19 – Women's basketball
It was announced that the women's basketball team would be participating in the Buddha Light International Association Cup tournament from July 25 to 30 at the Kaoshiung Arena in Taiwan.
Organized by the Fo Guang Shan Monastery, the tournament features eight women's teams and eight men's teams with representatives from the USA, Australia, France, Canada, Japan, Malaysia, the Philippines and China.
"Being exposed to very different styles of play from all the different countries will be exciting. I believe that as much as they will gain from the on-court experience, our team will also gain so much from the trip itself and being exposed to a different culture," said head coach Theresa Burns.
This comes one year after the men's basketball team participated in the men's tournament there and achieved first place.
June 23 – Nike
Glen Grunwald, the Director of Athletics and Recreation, announced a new partnership agreement for McMaster athletics with Nike. This comes after the five year exclusivity deal signed in 2012 that made McMaster the first Nike school in Canada. Local distributor T. Litzen Sports in Dundas will continue to be the main servicer of the agreement.
"It is crucial that we have the support of great corporate partners, and it doesn't get much bigger than Nike. We have done some amazing things over the life of this partnership, and I am confident even more is on the horizon," said Grunwald.
In addition, T. Litzen Sports is donating a new scoreboard with video capability for the Burridge Gymnasium. It will be installed in the fall in time for the start of the 2017-18 varsity sports season.
It was announced that the men's volleyball team would welcome the Ohio State Buckeyes team for two matches on Oct. 21 and Oct. 22. The last time they played was in Burridge Gym on Dec. 30, 2016 where the Marauders won the single match 3-0 (25-23, 25-16, 32-30).
Ohio State has won the last two NCAA national championships, and the Marauders have won the last five OUA titles. Since McMaster's first trip to Columbus in 2014, they have won three of the five matches played.
"I can't think of a better way to help prepare ourselves to compete for a National Championship in our own gym next March," said head coach Dave Preston.
Special thanks to Fraser Caldwell, Sports Information Director, Bill Malley, Media Coordinator, and the rest of the staff at the Department of Athletics and Recreation for the information and quotes for all of the dates featured.
What I learned while covering Mac sports
Shamiya transitions from athlete to wrestling coach
Quidditch Canada hosts 2019 National Championships at Mac
Author: Shane Madill
As a graduate of McMaster's Economics program and the Editor-in-Chief for Volume 88, Shane is a seasoned Silhouette contributor who formerly acted as an Opinion Editor, Online Editor, Online Reporter and Andy Volunteer. A man of many names and talents, his presence and work at The Silhouette is a constant reminder to "be the Shane you wish to see in the world."


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Review: 'Muppets Most Wanted' is Funny But Nothing Special or Unique
by Jeremy Kirk
The Muppets are back. Again. It only took one motion picture after their triumphant return to the big screen, but the bloom is definitely off the rose when it comes to what makes the Muppets special. Muppets Most Wanted brings back much of the same creative team behind 2011's The Muppets, but something is missing. The wide variety of jokes are in there, everything from pratfalls to the best "Wocka Wocka" punchlines Fozzie Bear can muster, and the slew of cameo appearances is still on full force. And yet Muppets Most Wanted ultimately comes off as a cash-grab slapped together to keep this Muppet train a-rollin. At least they don't start this one with a song all about the greatness of sequels. Oh, wait. They do.
That song about sequels hits right at the start, so immediately after the 2011 film ends that "The End" still shines amidst fireworks in the sky. But, since everything in the Muppet's world is about showbiz, all those dancers, die-hard fans, and even Jason Segel and Amy Adams - paid actors as we discover - have gone home, and Kermit the Frog and the gang are left to wonder what's next for them. Cue the sequel song.
Also cue Ricky Gervais as the appropriately named Dominic Badguy. Posing as a talent agent, Badguy convinces the gang to take their show on the road, a European tour that will hit all the major cities of the old world. In actuality, Badguy is working for Constantine, the world's number one criminal and most dangerous frog. As chance would have it, Constantine looks exactly like Kermit, and a quick switch puts the criminal mastermind in charge of the variety show while our favorite frog gets sent to a Siberian GULAG. It's not that intense, though. No place can be that dangerous with Tina Fey as a guard and Jemaine Clement, Ray Liotta, and Danny Trejo as song-and-dance-happy inmates.
Those names make up just a small batch of the cameos on display in Muppets Most Wanted. Christoph Waltz, Tom Hiddleston, and Salma Hayek are a few more in the international flavor the film is going for. But cameos in a Muppet movie are as much a staple as the Muppets themselves. It's not as if this element to the Muppet franchise has ever been the most creatively handled, and seeing James McAvoy pop up for two seconds as a UPS deliveryman is just awkward. A few, though, are both creative and funny, chief among them being Josh Groban, also as a GULAG inmate, locked in a box for much of the film.
Like the cameos in these films, the jokes have always been about law of averages. Throw as much at the audience as you can, and some of what hits them might stick. Muppets Most Wanted is, for the most part, harmless fun. But unlike 2011's The Muppets, which strove both for winning over a younger audience while also feeding the nostalgia of age-old Muppets fans, this film is strictly targeted at that younger audience. Little moments of creativity seep in here and there. See the Swedish Chef parodying Bergman's The Seventh Seal for an example of that, but the majority of laughs here aim for the broadest target possible.
A key element that completely works involves Ty Burrell taking on a French accent as an Interpol agent hot on Constantine's heels. Burrell's agent teams up with Sam the Eagle, here an agent for the CIA, and the buddy-cop potential of this pairing makes it the best choice Muppets Most Wanted makes. Unfortunately, like much of the rest of the film, it never quite lives up to that potential. Somewhere in that bloated, 110-minute runtime they could have developed that subplot more than Burrell's character taking way too much downtime. Still, no matter how annoyingly kid-friendly his accent is, Burrell is always a plus.
When all is said and done, that's the column where Muppets Most Wanted cruises by. The jokes have always been a little cheesy with the Muppets, but that was forgiven due to the genuine heart they always brought. Even Muppets from Space made you feel a little something for Gonzo. This movie aims for nothing but the funny bone, and, to its credit, a jab or two get through. That and the cameos - always a fun time in Muppet movies - are more than enough to make it worthwhile for the typical kids' movie that it is. You can't help but wonder, though, where that magic and uniqueness went. They probably went home with Jason Segel.
Jeremy's Rating: 6 out of 10
Follow Jeremy on Twitter - @JeremyKKirk
Find more posts: Review
Well to be fair that pretty much sums up most movies!
Jimmy Love on Mar 21, 2014
So they were just milking the franchise...
DAVIDPD on Mar 21, 2014
Production-line Muppets.
cobrazombie on Mar 24, 2014


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Home/Kavkaz/Karpov Barred From Seeing Kasparov
Karpov Barred From Seeing Kasparov
Former world chess champion Anatoly Karpov was turned away when he tried to visit and offer moral support to his old rival, Garry Kasparov, currently in detention for his role in an anti-Kremlin protest Saturday.
Kasparov is serving a five-day sentence at a city detention facility for leading a Dissenters' March in central Moscow. City Hall had given permission for a rally but had barred demonstrators from marching. He is due to be freed on Thursday.
Karpov tried to visit Kasparov on Tuesday, but he was turned back by police, said Kasparov's spokeswoman, Marina Litvinovich.
"Karpov is a member of the Public Chamber and has the right to visit those detained," Litvinovich said. "All the same, they would not let him in. Karpov must have been seeking to extend moral support or see the conditions in which Kasparov is being held."
Karpov became one of the Soviet Union's most influential public figures after Soviet leader Leonid Brezhnev personally branded him the "Chess King" when the young grandmaster became world champion in 1975.
Ten years later, his reign was over when he lost the title to Kasparov, who confessed eventually that by defeating Karpov he was also challenging the old communist system and fighting for a new, democratic Russia.
On Tuesday, the two men's different political views seemed to matter little.
"A person is in trouble. Of course I'm not indifferent to that," Karpov told Radio Free Europe/Radio Liberty. "In Russia right now we have, what, four world chess champions? And, of course, the fate of any one of them is important to other chess players, both in Russia and abroad."
Karpov told the radio station that he must have spent more time at the chessboard with Kasparov than with any other player, including a grueling match that went on for four months.
"Generally speaking, I don't share his political views, but that's something different," he said. "I didn't come here to support him politically."
Amnesty International added its voice Wednesday to others that have already condemned Kasparov's arrest.
"Amnesty International considers [Kasparov] to be a prisoner of conscience and calls for his immediate release," the rights group said in a statement titled "Russian Federation: Systemic Repression on Eve of Elections."
Meanwhile, opposition supporters, including Union of Right Forces member Boris Nemtsov, held a rotating solo picket Wednesday at city police headquarters on Ulitsa Petrovka demanding Kasparov's release; under Russian law, a one-man picket does not qualify as a demonstration needing permission.
Members of the vehemently pro-Putin youth group Nashi, however, encircled one of the picketers, Alexander Novikov, pretending to be his supporters and prompting police to arrest him.
A Nashi activist also was detained.
Previous Russia will not take foreign interference: Putin
Next Gov't Likely to Publicize Contents of N. Spy Case


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News / Publications Media Center Releases / Advisories 2022
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USW Supports Section 232 Deal with UK
Contact: Jess Kamm Broomell, 412-562-2444, jkamm@usw.org
United Steelworkers (USW) International President Tom Conway issued the following statement today in response to the announcement that the United States and the United Kingdom reached an arrangement on Section 232 relief measures:
"The USW supports the 232 arrangement between the United States and the United Kingdom announced today as an important step in addressing systemic problems like illegal dumping and global overcapacity that threaten the vitality and future of our steel and aluminum industries.
"Our union backed the 232 relief measures from day one. They helped spur investment, production and job creation in the steel and aluminum sectors.
"The 232 arrangement with the United Kingdom leaves the overall structure of the 232 relief measures in place while imposing tariff rate quotas. It will allow us to work together with an important trading partner and end retaliatory tariffs, while continuing to recognize the national security importance of the steel and aluminum sectors.
"The arrangement also takes important steps to limit third parties seeking to take advantage of our markets by shipping their products through the United Kingdom with minimal transformation. This includes strict 'melted and poured' requirements for steel and a 'smelted and cast' requirement for aluminum that precludes inputs from Russia, Belarus and China from being utilized and then allowed in under the tariff rate quota.
"Just as significantly, the U.S.-U.K. arrangement will require annual audits to ensure the Chinese-owned company British Steel is not receiving preferential financing from the People's Republic of China and will help stem the Chinese Communist Party's attempts to use companies around the globe as its agents.
"The administration is making important progress as we work to limit unfair trade and create demand for the products our members make every day. From robust infrastructure investments to negotiating thoughtful arrangements with the EU, Japan and now the United Kingdom, President Joe Biden is helping create good jobs and foster strong domestic industries."
The USW represents 850,000 workers employed in metals, mining, pulp and paper, rubber, chemicals, glass, auto supply and the energy-producing industries, along with a growing number of workers in health care, public sector, higher education, tech and service occupations.
Recent Releases / Advisories
Steelworkers Ratify Four-Year Contract with U.S. Steel
The new contract features a lump sum bonus, improves wages by more than 20 percent over its term, increases pensions, includes an additional holiday and makes improvements to both active and retiree healthcare. Click to read more...
USW Ratifies Contract with Allegheny County
More than 200 of our members overwhelmingly ratified a four-year contract with Allegheny County today that not only dramatically enhances their wages and working conditions but advances the cause of justice. More...
USW, USFL Announce Tentative Agreement
Today we're proud to announce our union has reached tentative agreement with the United States Football League (USFL) on a new contract for roughly 350 players, setting a clear, viable path for season two and beyond. More...
Philadelphia Museum Workers Seek Election to Join USW
About 70 workers at the Eastern State Penitentiary Historic Site today filed for a union election as they seek to join us and gain a greater voice at one of the region's most important cultural sites. More...
USW: WTO's Section 232 Decision Just Plain Wrong
Our President Conway weighed today on reports that the World Trade Organization (WTO) believes that actions the United States took in 2018 under Section 232 of U.S. trade law violate its rules. Our statement...
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Heather M. Palmer
Energy Legal Blog
Utilities & Transport
New York High Court Upholds Local Bans on Hydraulic Fracturing
On June 30, 2014, the New York State Court of Appeals, the highest court in the state, held that municipalities can effectively "zone out" oil and gas operations by passing zoning ordinances that ban oil and gas production activities, including hydraulic fracturing, within municipal boundaries. The court rejected claims that the state's Oil Gas and Solution Mining Law (OGSML) preempts efforts on behalf of local authorities to ban hydraulic fracturing operations.
In 2011, the Town of Dryden, New York banned hydraulic fracturing by passing a zoning ordinance that prohibited "all activities related to the exploration for, and the production or storage of, natural gas and petroleum." Norse Energy challenged the ordinance, arguing that the Town of Dryden lacked authority to prohibit natural gas exploration and extraction activities because the OGSML preempts local zoning laws that curtail energy production. The lower court concluded there was no evidence of express or implied preemption in the OGSML.
In May 2013, an appellate panel of the New York Supreme Court affirmed the decision of the lower court, holding that local municipalities have the power to enact zoning ordinances that ban "all activities related to the exploration for, and the production or storage of, natural gas and petroleum within its borders."
The Dryden case was heard with a similar case between the Town of Middlefield, New York and Cooperstown Holstein Corporation ("CHC"). In 2011, the Town of Middlefield adopted a zoning ordinance prohibiting "oil, gas and solution mining and drilling" within its boundaries. CHC brought an action to set aside the zoning law, claiming that it was preempted by the OGSML. As in the Town of Dryden case, both the lower court and the appellate court upheld the legality of the zoning law.
In its June 30th decision, the New York State Court of Appeals considered the power ceded to municipalities in New York under their home rule authority and whether the text of the OGSML includes any provisions that preempt zoning ordinances that ban oil and gas activities in the state.
The court distinguished between local laws that purport to regulate the actual operations of oil and gas activities (which are preempted by the OGSML) and zoning ordinances that restrict or prohibit certain land uses within town boundaries (which are not). In the court's view, the zoning laws at issue were directed at regulating land use generally and did not attempt to govern the details, procedures or operations of the oil and gas industry.
While the court recognized that the local bans would undeniably have an impact on oil and gas businesses and individual landowners in Dryden and Middlefield, the court found that the plain language of the OGSML, the statutory scheme, and the legislative history did not support preemption. The court affirmed the decisions of the appellate courts.
The dissent points out that the "zoning ordinances of Dryden and Middlefield do more than just regulate land use, they regulate oil, gas and solution mining industries under the pretext of zoning." By creating a blanket ban on oil and gas activities within their boundaries, the dissent noted that these towns were going above and beyond zoning and, instead, regulating those industries.
The court's decision in the Dryden and Middlefield cases will have a significant impact on future development of the New York Marcellus Shale. Although the State of New York placed a moratorium on hydraulic fracturing in July 2008, any future attempts to lift the moratorium could prove irrelevant in light of this ruling. With as many as 170 municipalities enacting bans or moratoriums on hydraulic fracturing and more expected to follow, absent a change in the OGSML, future oil and gas development in the state is at risk.
© 2023 Bracewell LLPNational Law Review, Volume IV, Number 182
Heather Corken offers clients in-depth environmental regulatory knowledge and experience in energy-related environmental issues. As a partner in the environmental strategies group, Heather helps energy, petrochemical and pipeline companies and private equity firms that are seeking guidance on environmental compliance and the allocation of environmental liabilities in mergers and acquisitions.


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Leapin' Lizards!
Luke Y. Thompson July 19, 2001 4:00AM
A third Jurassic Park movie was of course inevitable, given that the second shattered box office records. (It also shattered the conventional notion that any movie starring Jeff Goldblum, Julianne Moore, and a bunch of dinosaurs had to be at least somewhat interesting.) But when you have one of the hottest box office properties of all time, isn't it worth taking a little time to craft it? Just because you know it can only be better than The Lost World, do you have to rush it through production, start shooting without a script, cut corners on the visuals, and then not even bother to promote it until about a month before it's released? The first Jurassic Park was an event that even folks who normally stay clear of movie theaters knew about; ask the average man on the street, and chances are he may not know there's a sequel currently in theaters.
But just because Jurassic Park III has several obvious flaws, that doesn't mean it's a complete waste. For one thing director Joe Johnston, who previously made even the most benign animals seems frightening in the kids' horror flick Jumanji, has loaded the film with some truly malevolent beasties. While The Lost World one-upped the T. rex simply by introducing more of them, Johnston digs up the spinosaurus, the largest carnivorous dinosaur known to exist and bona fide king of the jungle badasses, as proven early in the film by the fact that it snaps a T. rex's neck. Although you'd suspect that such a creature must have been invented for the movie, it is based on real fossils, but because no complete spinosaurus has ever been found, there's room for creative license. It's unfortunate that the TV spots have repeatedly displayed the creature's look; the film's slow revelation of it is very nicely done.
Johnston has also performed a valuable service for fans of Michael Crichton's books: He finally stages the pterodactyl sequence from the first book, and it's worth the wait. For the sake of visuals, there's some creative fudging here -- the giant pteranodons used in the film are generally believed nowadays to have had feathers, been smaller, and more or less looked like large pelicans, while these are massive leathery reptiles with a taste for human flesh. Not that it really matters, since, um, dinosaur cloning isn't exactly based upon reality either.
It's almost a shame that the movie has to have a script at all, but once again the studio suits have decided they need to be some kind of reason for people to get trapped on an island full of dinosaurs yet again -- as if anyone cares. At least scribes Peter Buchman, Alexander Payne, and Jim Taylor have the decency to treat this film like a real sequel, and pick up where the first film left off. (This is more of a proper sequel to Jurassic Park than The Lost World ever was.) Dr. Alan Grant (Sam Neill) has broken up with Ellie Sattler (Laura Dern) and is hard-pressed to get people interested in his fossil research anymore, since the existence of real live dinosaurs is more fascinating. (Jeff Goldblum's Ian Malcolm is glibly written off with the remark, "Seems like the guy was kinda high on himself.") So, not ten minutes after he has uttered, "No force on earth or in heaven could get me on that island," he's back on the island, hired by alleged entrepreneur Paul Kirby (William H. Macy) and Kirby's ex-wife (Téa Leoni) on the pretense of an adventure flight over the island. In fact the Kirbys are looking to rescue their son, Eric (Trevor Morgan), who may have landed there following a parasailing mishap involving some really fake bluescreen effects.
That's enough plot. The rest is a series of set pieces, as Grant and the Kirbys (who soon reconcile as a couple -- nothing like the threat of being torn apart by lizards to rekindle the ol' marriage flame), along with various other characters so disposable they might as well be wearing red Star Trek uniforms, make their way to safety through dangerous terrain, stalked by the spinosaurus, pteranodons, and of course those old favorites, the velociraptors.
While the script has some nicely humorous moments that are mostly unexpected (Grant has a dream in which a dinosaur talks to him; Paul Kirby refers to the spinosaurus as the "tricycloplotz"), it frequently shows its seams. The ending in particular is weak and abrupt, involving a character suddenly knowing something that he explicitly did not know before, apparently as a result of sheer dumb luck. At times it feels as though the characters and the dinosaurs are actively trying to ignore the script; when certain items are established for use later on, the payoff is so ho-hum that one wonders why they bothered. (The exception is a neat cell phone gag, which is on a par with the rearview mirror gag in the first film.) Other items appear as if they're being set up for later payoff but are then completely ignored, notably the secret origin of the spinosaurus and a big beaker of tyrannosaurus urine that serves no purpose beyond its being urine and therefore inherently funny. And the raptors seem to be inserted just because of some kind of contractual obligation; their menace swiftly wears thin (or maybe it's because a ten-year-old girl kicked their butts with gymnastics moves in the last film).
At its best Jurassic Park III is eerily similar to some of the more recent dinosaur-themed video games on the market. Scenes set in an abandoned science facility could have been taken straight out of Capcom's Dino Crisis. And a sequence in which a character must jump across several stone pillars protruding high from a body of water and immersed in mist are a direct crib from the N64 hit Turok. It should be noted that, like those games, this film may not be suitable for very young viewers: One scene in which a child is nearly pecked to death by baby pteranodons is particularly likely to inspire nightmares.
Contact: Luke Y. Thompson
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Society of the Cincinnati
Alida's legacy
Champion-McAlpin
Discover the architectural details of the Harper Fowlkes House. Link
Preview our artwork, paintings and sculpture. Art
Learn about the interiors, antiques, fabrics and design. Link
Find out about becoming a volunteer or docent at the Harper Fowlkes House. Link
If you are enthusiastic about architecture, history and love to meet people, then we would like to meet you. Please drop us an email at HF Mail
The History of the House's ownership, starting with the prominent Champion-McAlpin Family.
The history of the Harper Fowlkes House follows a long and fascinating journey through time and families.
The story begins with the original design by Irish Architect, Charles Cluskey. Cluskey had worked on the McAlpin plantation, the Hermitage, about two miles down the Savannah River, in the 1830's assisting with the building products that were being manufactured by slaves for Savannah's antebellum homes. These products included the famous Savannah gray brick, a millworks, and a foundry for wrought iron making.:
• Stephen Gardner, a local shipping magnate, had hired Clunky to design his high style Greek Revival home on Orleans Square, and began construction on the house in 1843. But Mr. Gardner had financial problems, so he sold it to his brother John, who then sold it to Aaron Champion in June of 1843 in order to recoup his losses. Aaron Champion was living on Perry Street across from the House at the time, and he continued with the construction and moved into the House many years later.
• Aaron Champion's only child, Maria Sophia, married James W. McAlpin, and lived at the Hermitage Plantation, using the House on Barnard Street for entertaining. "
• When Champion died in 1881, the property was left to his son-in-law, to be held in trust for his daughter and their children: Aaron, James W. Jr., Henry, Mary, and Maria.
• Maria Sophia Champion McAlpin died on September 18, 1890, and in 1895 the siblings sold their interest in the House to their brother, Henry.
• Henry's first wife died, and his second marriage in 1895 was to Isabel Wilbur if Philadelphia. father-in-law Elisha P. Wilbur paid off a $15,000 mortgage on the House and then gave it as a wedding present to Henry and Isabel.
• Isabel renovated the House in 1895 to accommodate her 5 Irish servants with a top floor addition. The staircase was moved from adjacent to the dining room to the back of the house, thus enlarging the dining room, and the addition of the top floor included a Mansard roof, and increased the value of the property by $6,000.
• Isabel died in 1905, and Henry McAlpin died in April 1931; his third wife Mary Auza McAlpin and daughter by his first wife Claudia McAlpin Whitney were left equal shares of the property, but a dispute arose concerning the estate to sell the property, Trust Lot 26 and the house, to settle the estate in 1938.
• Alida Harper Fowlkes purchased the property through an auction held by Citizens and Southern National Bank in October of 1939. She bought the house for $9,000. An oral history interview stated that it was noted on Alida's mortgagee papers they stamped "WOMAN" across the top.
• After Alida purchased the House she went into the Antique business and filled it with her favorite purchased antique and family pieces. She was able to buy the two mirrors and consoles in the double parlor from the McAlpin Estate for $200, and also the House came with the six gasoliers made in Philadelphia that Alida electrified herself when she was told it could not be done. Alida also purchased an early American Grandfather Clock from Claudia McAlpin, about a year after the moved into the House, and put it right back in the hall where it had always been before.
• Alida died on January 18, 1985. Her will left the property to be held in trust to the Society of the Cincinnati in the state of Georgia. This is an organization of gentlemen who are direct descendants of George Washington's officers during the Revolution. Alida's brother William E. Harper Jr., and late father William E. Harper were Society members.
In 2014 the great-great-grandson of Aaron Champion donated a portrait of Aaron Champion to the House, and it proudly hangs in the front double parlor. The McAlpins continue to be members of the Society of the Cincinnati, and enjoy the House during Society social functions. Occasionally the House is visited by members of the McAlpin family, and it is enjoyable for the tour guides to hear their stories. We are hoping to renovate the top floor and include some McAlpin family furniture, to honor them and their time in the House.
© 2021 The Harper Fowlkes House


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An experiment put to practice
6. January 2017 AoA
Interview with Cordula Andrä, ZEGG Centre for Experimental Cultural and Social Design
ZEGG stands for Zentrum für Experimentelle Gesellschaftsgestaltung – Centre for Experimental Culture and Social Design. It is an intentional community living in the small town of Bad Belzig, an hour away from Berlin. ZEGG has existed for more than twenty years since its foundation in 1991 and reinvented itself more than once over the years.ZEGG's press coordinator Cordula Andrä kindly met us on a sunny fall afternoon in their garden, which feeds the community and their guests to fifty percent with organic vegetarian food, the rest is bought from organic farms and producers. Two white chairs are blinking in the sun under one of the trees, inviting us to sit down and start our conversation about ZEGG, its intentions, goals and activities.
Cordula, do you like living here?
Oh yes, I do! I don't know how much you know about ZEGG, but you might have heard some of the rumours…
You mean, such as everyone running around naked making love with everyone?
Yeah, and ZEGG being a sex sect with a guru, I heard these rumours before I came here… But when I came here for the first time, I realised it's not like that at all. There is no guru, the community is organised democratically and in flat hierarchies. We do experiment in the field of love, relating and sexuality, but that is not the only focus of the community. It might have been different in its early years when the founder Dieter Duhm was still around. He was perceived as some kind of leader, even though he left to Portugal to found Tamera1 in the beginning of the 1990s. But ever since his departure, ZEGG focused on finding ways of organising without the need for a strong leader.
Why did he leave?
I don't really know. I think that one big issue was the bad reputation of the community. They received a lot of negative attention from the press. This prevented them from having a positive effect on the outside world, which was one of their main ideas. I guess it needed him to leave to be able to start all over again. In Tamera, they learnt from their mistakes and used an entirely different Public Relations (PR) strategy for many years — the topic of free love was not brought forward at all.
(We start walking towards the ZEGG area to visit some of the buildings and get a coffee and cake from the village pub ('Dorfkneipe'), while continuing our conversation)
How does ZEGG present itself to the outside world?
We present ZEGG in a self-confident and solid way. In the beginning, there used to be ideology and dogmatism, but ZEGG has changed and became a tolerant place that is open towards different ways of living. It is not focused on one topic only. Ecology is one big theme, but also other important things in life are considered, such as how to live and work cooperatively, finding out everybody's individual needs and dreams together. And the love and relationship issue is also important. I find that very comforting.
We try to show only what there really is, no more and no less. It seems to work.
If you could put it in one sentence: what is ZEGG today, what is its vision?
I'd describe it as an experiment put into practice. We also have it in our name, ZEGG Centre for Experimental Culture and Social Design. We constantly try to find new ways of socialising, living ecologically and making a livelihood out of it. What makes it special is that we try to bring all of these social areas together instead of separating them.
What is special are the connections between, for example, our seminar centre and community life, where our seminars and courses are interwoven with our lives. Here, you can see our restaurant and guest house where we have around 14000 people staying overnight each year, so it's going quite well. In summer, we put up tents and we can host around 300 people per night, in winter we can host around 100 to 120 people per night.
Where do your guests come from?
From all over Germany, also from Austria and Switzerland and other parts of the world. During summer, people can come here to work and support us, so we have many young people from all over the world. ZEGG is quite popular and famous in the 'community scene'.
What do you think has made it last for so long?
That's a good question! Somebody else just recently asked me the same thing. I think there are many layers to it. One important thing is the balance between our business and the community. They are very interrelated. The community owns the business. Many community members work in the seminar centre, such as the kitchen, the guest house, giving seminars, organising festivals and so on. The community on the other side is our social form, dealing with the more personal questions. So there are conflicts between the two naturally. But the business never took over the community and vice versa, the community never ran down the business. It is vital to keep both things alive, to be able to have a stable financial basis for our social experiments.
Another thing is that we don't always have the same people living here, people come and go, but usually they do not stay for the rest of their lives. Together with the lively exchanges we have with our guests, we never end up seeing only the same faces every day.
So people don't come here to stay?
No, usually not for a lifetime. We are around eighty adults now, and there are maybe ten or fifteen of them who have been around for very long or from the very beginning.
We were talking about why ZEGG still exists…
Right. Well, running our business has actually also led to a lot of disagreements and discussions. Many think it is taking over too much and would like to separate it more from our community life. It can be quite stressful at times with seminar participants running around your backyard every weekend, even if you don't have to deal with them personally, they move around the same spaces as you, arrive, leave, and ask, and so on. Public and private spaces are strongly crossing over into each other, which can be strenuous at times. So we are planning new housing in the community area, so that there is more privacy for community members.
You said you were organised in flat hierarchies before – what exactly does that mean, how do you organise yourselves now?
Basically, we have two structures: one is dealing with our business, for which we have been using a holacratic model2 for around three years. It is a sociocratic3 form of governance that emerged from the integral scene in the United States.4 It is a new form of management, but also a philosophy.
If there is a tension between or within co-workers, it is considered an impulse for action and becomes central topic for a meeting. Tensions are seen as something positive. We try to separate the factual from the emotional. The system is flexible and agile to allow immediate solutions without being too worried about possible failures. A sort of trial and error system to tackle problems. Nothing is irreversible. Therefore, risks can be taken much more easily.
Our business is organised in teams that are each responsible for an area of activity, such as the garden team. In the management team representatives from each circle come together to decide about larger issues.
The other structure is the communal one, where the whole community comes together once a week to decide about social issues such as housing, how we socialise, who moves into the community and other such questions. This works as a plenary.
And how do people live?
Most live in shared flats, just a few live by themselves and those are mainly the older ones.
Do most people also work here or elsewhere?
I'd say around fifty-fifty. Half of the people work here and most of the people who live here have a mixed model, making a living with seminars whilst doing something else on the side, such as permaculture or gardening. Some people even work in Berlin or as web-based freelancers. In fact, it's not so easy to earn money around here. It's a topic of discussion, not only around here, but also in the surrounding region. Wages are low and jobs are short.
I wondered whether there are alternative currencies and economic models around here…
Yes and no. In the beginning we had a model that said: everybody contributes what they can and in return they can eat and sleep here. That model didn't work out. After some years ZEGG was almost bankrupt and debts were piling up, so they started to develop a model based on hours. You get paid according to the hours you work. Everyone earns the same hourly wage, no matter whether it is for working as a managing director or as a cleaner.
Regarding self-sufficiency, we have our own energy supply, the garden produces fifty percent of our fruit and vegetable consumption. So to some degree, we are self-sufficient. It was never our goal to be completely self-sufficient though, definitely not!
How does the ZEGG community perceive the outside world – as us and the outside, or us with the outside?
In the past years, we've been doing a lot of networking in the region on both economic and social levels. For example, we buy our eggs locally, employ local craftsmen and so on. ZEGG has opened up a lot in the past years and has therefore become more integrated in the surrounding region. A lot more than in the beginning when it was perceived like some sort of alien element. Shortly after its opening the first negative articles started to appear, so one can imagine what people's common opinion looked like.
The other day, a Social Democratic Party (SPD)5 politician who had always been always against us paid us a visit. We had invited him because we wanted to show him our positive attitude. He used to work on the premises at the time of the German Democratic Republic (GDR), so he could tell us some stories about the history of our grounds. We actually do a lot to achieve better relationships with local stakeholders.
Did you ever try to collaborate on projects with policy-makers and politicians? It could be quite interesting for them to get inspired by your small-scale experiments…
Yes, we did indeed! For example, the city was interested in our energy concept. We installed a very modern eco-efficient heating system and they asked us for our plans.
The other day, we had a very interesting visit by a lady from the region who said she had always wanted to visit our community for years since her children go to the same school as some of ours. She said that ZEGG people are always so friendly and positive, so our special social and communicative skills don't go unnoticed by our neighbours and people around.
How do you deal with all the interest from visitors and the press?
Well, it's nice that people are interested. The only thing I find annoying is that many press reports end with the final message: "Kind of nice what they do, but I could never imagine anything like that for myself, and it would never work for the whole of society." Mostly, people pigeonhole community members as some wild-haired hippies who don't know what they are doing.
For us, of course it's still the sort of feedback which makes us question what we are doing for the rest of the world. Why do we have to do our own little thing outside of society, why not within? It's a constant field of tension. For many years I worked for the green party's parliamentary group, and at some point I really started questioning where societal changes actually happen. My own experiences in mainstream society led me to the conclusion that it's the small citizen initiatives and NOT the policy-makers who make new things happen I wanted to be part of such a group to experience, feel and become part of something tangible, even if it's a little weird or crazy, without having to be concerned about eligibility for the next election.
I really love ZEGG's name – Zentrum für Experimentelle Gesellschaftsgestaltung – because it includes the term 'experiment'. You don't pretend to know it all. It's an ongoing experiment and it's OK to fail and try again. It leads me to another term included in your name: design. (With our work), we try to expand the common understanding of what design can be. Design as a transformative process that includes all as agents, similar to Beuys' notion of the social sculpture6 which sees society as a piece of art that can be sculpted together in 'designerly' ways. Do you think there is any way to scale up existing structures and ways of organizing that came out of the many years of experimenting and designing?
Well, I don't think ZEGG can be transferred directly to larger society. There is this new buzzword that seems to come up in each interview, social innovation. But actually it's a justified and very good question. There's a lot of social innovation within ZEGG. I started wondering how our cultural techniques can be applied elsewhere. We are now just beginning to question our practices and learnings to find out how that could work.
I'd be curious to learn more, there is so much potential in small communities. One important part for ZEGG's resilience over the years has been our culture of self-reflection and conflict resolution. Every conflict is considered to have many layers; as I said before, personal and factual layers need to be separated to resolve a conflict constructively. In resolving a conflict together, everybody's opinion needs to be accepted as part of the collective intelligence. There are no personal fights between two individuals, everybody is part of the whole system. Resolutions come into being through the collective exchange of ideas and statements.
Non-violent communication is one of our basic philosophies for the way we communicate. What we use a lot is ZEGG-Forum,7 a method of group communication that was created here in ZEGG. It is very popular with other communities already. Most communities and people-driven initiatives fail due to people-driven conflicts that are impossible to resolve.
There are a lot of interesting approaches such as co-design and design thinking methods to tackle problems creatively together with many people. It's interesting how these different methods can support such co-creative processes which are democratic in their best case scenarios. How can each voice be heard?
Of course, not everybody can always be happy with every solution. But it helps to let go of certain things when you realise there are people enthusiastic for something, Why not just let them do it and put trust into them? I am happy to let go of certain things. Together it's less work and leads to better outcomes because people are passionate and feel like they are doing something meaningful for the general good. To be part of a larger thing bearing the same philosophy creates the social glue so necessary for a well-functioning community.
Are you planning to live in ZEGG for a long time?
Definitely, I still want to stay here for some more years. The way people treat each other, the way people communicate genuinely and the way people deal with their emotions is very distinct and comforting. The roles people have to switch between back-and-forth constantly in larger society is replaced by a general very open-minded authenticity that adds a lot to one's quality of life.
Transparency seems to make people take over more responsibility for their actions; in larger society, it could be applied to the effects and functions of social media and the internet with all its positive and negative effects. How does transparency work in ZEGG?
Yes, transparency does link to responsibility for actions. Also, people often hide aspects of themselves that are very beautiful. I think a lot of emotional and personal depth is lost if we don't deal with our inner selves and feelings. This is one of the main qualities of living here, besides the organisational structures here and other things. And part of the social innovation in ZEGG.
How do you communicate internally?
Mostly, we just talk to each other directly. Otherwise, we usually use emails or our physical post boxes. Cell phones are not so popular around here. I'd really love to have an intranet for ZEGG, which was just recently begun by an enthusiastic new community member, so let's hope that we get this functioning. But let me show you another important place for us…
We arrive at the postal room, where a black board and other walls display meeting reports, notices, adverts, open calls, a gift table with unused stuff free to take… We continue our walk to the 'university', the biggest common room where seminars are held. Cordula provides me with a pile of informative and inspirational print material.
Thanks Cordula!
All images: CC Katharina Moebus
1 Tamera is a 'peace research project' and intentional community located in Portugal. Their goal is to develop and create a model for a future society free from hatred, lies, violence and fear. More info: www.tamera.org
2 Holacracy is a system of organising in which authority and decision-making are distributed throughout self-organising teams rather than being concentrated at the top of a hierarchy'. Source: Wikipedia, http://en.wikipedia.org/wiki/Holacracy
3 'Sociocracy is a system of governance using consent-based decision-making among equivalent individuals'. In a wider sense, sociocracy means the rule by the "socios," people who have a social relationship with each other. Source: Wikipedia, http://en.wikipedia.org/wiki/Sociocracy
4 The integral scene is based on integral theory as promoted by Ken Wilber, a 'theory of everything' that aims to synthesise the best of pre-modern, modern and postmodern reality. The growing subculture is also referred to as "Integral Culture" or as "Cultural Creatives" by Paul H. Ray. Source: Wikipedia, http://en.wikipedia.org/wiki/Ken_Wilber and http://en.wikipedia.org/wiki/The_Cultural_Creatives
5 SPD stands for the Social Democratic Party in Germany (Sozialdemokratische Partei Deutschlands), which is one of the two major political parties in Germany along with the conservative CDU/CSU.
6 'Joseph Beuys was a German Fluxus and performance artist as well as a sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His work is grounded in concepts of humanism, social philosophy and anthroposophy, culminating in his "extended definition of art" and the idea of the "social sculpture", for which he claimed a creative, participatory role of every citizen in shaping society and politics. He is regarded as one of the most influential artists of the second half of the 20th century'. Source: Wikipedia, http://en.wikipedia.org/wiki/Joseph_Beuys
7 More info: www.zegg-forum.org
Designing with(in) a community: Sharing insights gained through practice
Written by: AoA
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International Cricket
The cricket wrap: Peter Handscomb smashes ton as Australia declare on 538/8, and other top stories
Former India skipper Sourav Ganguly said it was 'too early' to speculate on whether he would be the next BCCI president.
Jan 04, 2017 · 09:23 am
William West / AFP
The big story: Peter Handscomb impresses with 2nd Test century
Peter Handscomb brought up his second Test century to help Australia declare their first innings at 538/8 on the second day of the third Test in Sydney on Wednesday.
Resuming on 365/3, Australia lost Matt Renshaw, who could add just 17 runs to his overnight score of 167.
Handscomb stepped up for the home side and led them past the 500-run mark. He was dismissed for 110 after dislodging the bails while trying to play a shot towards deep point.
Other top stories:
Former Indian captain Sourav Ganguly tempered talks about him taking over the Board of Control for Cricket in India by stating that "it's too early" to speculate on his next move. Ganguly has been talked about as one of the frontrunners to succeed Anurag Thakur as BCCI chief.
Sri Lanka were bowled out for 110 as Kagiso Rabada and Vernon Philander took four wickets apiece as South Africa dominated proceedings on day two of the second Test at Cape Town.
Kane Williamson's unbeaten 73 steered New Zealand to a six-wicket win over Bangladesh in the first T20 in Napier. Along with Colin de Grandhomme he took his side past 141 with a loss of four wickets.
Mumbai captain Aditya Tare and Abhishek Nayar's solid stand along with the lower-middle order chipping in with crucial knocks powered their team past Tamil Nadu's first-innings total. Once the primary target of 306 was achieved, Mumbai's lower order took the lead past 100, and left Tamil Nadu in despair.
Kolkata Knight Riders have named former Indian seamer Laxmipathy Balaji as their new bowling coach for the 2017 IPL. He replaces Wasim Akram, who said "professional commitments and time constraints" had prevented him from being with the team this year.
All-rounder Mona Meshram lost her spot in India's 14-member squad for the upcoming Women's World Cup Qualifier matches, which will be played in Colombo from February 3. She was the only player who was dropped from the squad that played West Indies in November last year.
Australia vs Pakistan
Sourav Ganguly
Interview: 'Take reviews out of players' hands, cricket needs a separate DRS-trained umpire'


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Love Quinn: 5 Fast Facts You Need to Know
By	Maria Vultaggio
Updated Jan 18, 2020 at 10:17pm
Getty "You" star Victoria Pedretti is pictured at the 2019 MTV Movie and TV Awards at Barker Hangar on June 15, 2019 in Santa Monica, California. She portrays Love Quinn on Season 2 of "You."
This article contains spoilers for Season 2 of the Netflix series "You."
Love Quinn is the new character on Season 2 of Netflix's You. Played by The Haunting of Hill House star Victoria Pedretti, Love is a kind widow who bakes to ease her anxiety, has a close group of friends and looks out for her troubled twin brother Forty. She is also the only person in the series who has been able to match the brutality of serial killer Joe Goldberg, portrayed by Gossip Girl alum Penn Badgley.
Like his previous infatuation with Guinevere Beck (Elizabeth Lail) in Season 1, Joe soon becomes obsessed with Love when he moves to Los Angeles to escape from his ex-girlfriend, Candace Stone (Ambyr Childers).
Joe uses his dangerous charm to insert himself into a woman's life yet again. What he doesn't know is that Love also has a penchant for stalking. It could be the perfect relationship, except for a dark twist: Love is capable of committing the same caliber of brutal crimes as Joe.
There's another problem for Joe on Season 2. Candace changes her name to Amy Adam and seduces Forty in an attempt to get closer to Love, who she fears could become Joe's next victim. It turns out to be a grave decision for Candace. After escaping Season 1 alive, she's murdered by Love in a plot twist that left viewers stunned.
She does this to protect Joe, but murder is not a trait he admires in a partner. After seeing her for who she really is, Joe might have killed Love himself had he not found out about her pregnancy.
In a warped happy ending, Joe and Love decide to cover up their crimes, get married and start a family together, but the psychological thriller leaves us on yet another cliffhanger. The final episode teases that Joe might have his eyes set on the new neighbor.
Here's what you need to know about Pedretti's character, Love:
1. Love Wants to Be the Pure Woman Joe Fell in Love With
GettyActress Victoria Pedretti is pictured during day 3 of Argentina Comic Con 2018 at Costa Salguero on December 09, 2018 in Buenos Aires, Argentina.
Love doesn't want to see herself as a murderer, even if she killed her childhood nanny, Candace and Joe's neighbor, Delilah, who knew about one of his murders.
Love presents herself as the unassuming widow who works in a grocery store, meditates and tries to mend the fractured relationship with her mother. That's the person she wants to be.
"I think she wants to not have all this fucked-up-ness in her life, but she didn't choose that, to a certain extent. In the same way, Joe didn't choose that [life], we are very aware of the person he wants to be," Pedretti told Elle in a December 29 interview. "But I think she wants freedom. She doesn't want to be tied down by judgment, and these ideas about image that were hammered into her head growing up."
2. If We're Comparing Murderers, Pedretti Says Joe is Worse
GettyActress Victoria Pedretti wipes away a tear at day 3 of Argentina Comic Con 2018 at Costa Salguero on December 09, 2018 in Buenos Aires, Argentina.
It might be delusional, but Love murdered women to protect the men she loves. Unlike Joe, her killings were never premeditated, Pedretti argues.
Joe was never defending anyone except his own fantasies. He started with the planned murder of Beck's ex Benji and went on to kill at least eight people over the course of two seasons.
"I don't think any of the behavior she presents, the murderous kind, is premeditated," Pedretti told Bustle in a December 26 interview. "It's always out of this very animalistic need to protect."
"I think that she actually is protecting him," she continued. "He never actually is protecting anybody."
3. Did Love Lie About Her Pregnancy?
GettyVictoria Pedretti is pictured at SiriusXM Studios on January 06, 2020 in New York City.
Some people aren't convinced that Love is really pregnant with Joe's baby, PopBuzz wrote, citing a popular fan theory. She only told Joe about her pregnancy when she thought he was going to kill her. The move saved her life, but it might have just been a tactic to reel Joe back in.
After Joe and Love breakup in the series, she briefly dates her ex-boyfriend Milo Warrington. Joe catches them hooking up through his telescope, so there are some who think Milo is the real father of the baby.
Another theory claimed Love might have used in-vitro fertilization to become pregnant. In a flashback, fans see Love and her late husband fighting about having children. While she feels comfortable taking money from her parents to help start a family, he doesn't want to. The theory claims she used her family's money to become pregnant and then telling Joe he's the father of the child.
4. She Doesn't Think Anything She Has Done is Wrong
GettyVictoria Pedretti is pictured at the Netflix FYSEE Event for "Haunting of Hill House" at Raleigh Studios on May 21, 2019 in Los Angeles, California.
Love doesn't feel remorse for her killings and only sees how the deaths of the people she murdered will benefit her life and the people she cares about. She feels justified in her actions.
First, she killed their au pair when she found out she was sexually abusing her twin brother. Then she killed Delilah and Candace so the family she always wanted would not be ruined.
"I think that this woman is so deeply in her delusions that she feels so right in everything she's doing," Pedretti told Bustle. "She's breaking apart people's lives, destroying people's families. She's not thinking about that, she's just thinking about herself."
5. Love Doesn't Kill Anyone in the Book
Victoria Pedretti is pictured at the Netflix FYSEE Event for "Haunting of Hill House" at Raleigh Studios on May 21, 2019 in Los Angeles, California.
As noted by PopBuzz, Season 2 of You is based on Hidden Bodies by Caroline Kepnes. However, Love's character in the TV series and the book are very different.
In Hidden Bodies, it's Joe who murders Delilah and Forty. He drowns Love's twin brother in a hot spring in the Nevada desert because he doesn't want Love to be smothered by him anymore. In the Netflix series, Forty is fatally shot by Detective David Fincher and Love kills Delilah.
In the book, Candace doesn't exist. Instead, Joe escapes New York to get away from Amy, the girl Candace pretends to be in the series.
Ultimately, the book and TV series end the same. Even after Love finds out about everyone Joe has killed, except Forty, she accepts him and wants to start a family together in suburbia.
5 Fast Facts, Netflix, TV
Love Quinn is the new character on Season 2 of Netflix's You.


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Police repression against gays at the Street 13 concert
Thread starter Sandokan
DP Veteran
Los Angels, USA
Political Leaning
Slightly Conservative
Police repression against gays at the Street 13 concert concerthttp://www.cubanet.org/CNews/y2010/marzo2010/26_N_4.html
Havana, Cuba, 26 of March,2010 (Aliomar Janjaque Chivaz, Cubanet/index) – Police agents struck and arrested 16 young homosexual, and other 7 had to be hospitalized due to the blows inflicted by the agents. This took place during the concert of the Puerto Rican duet Street 13 in the stage of the so call Anti-imperialist Tribune, in Havana.
"The 7 young gays were taken care of because of severe injuries, in the Calixto García hospital", said David Veliz, 19 years old, technical student and fiancé of Alfaro Dallan Rímel, 18 years old, who suffered the fracture of two ribs on the left side, at the hands of the police.
"That happened to them for been queer…, for been queering in front of us", said a police, with badge number 243211, referenced to the dancing way of the homosexuals who were struck and arrested at the concert.
"The homosexuals will be condemned by disrespect, attack and public scandal" said an official of the police station to Maribel Zúñiga, mother of the twins Abel and Abraham Acosta Zúñiga, 17 years old gays, who are part of the group of 16 struck and arrested.
Zúñiga, said that the police acted in a "wild and abusive" way, talking about to the way in which the 16 years minor Amílcar Sed was handcuffed, in spite of his painful shouts, because they have fractured the wrist of his right hand.
For 50 years under Fidel Castro regime, Cuban gays have been subjected to widespread repression and government crackdowns. Gays couldn't have the slightest gay mannerisms, without exposing to incarceration and inhumane treatment.
Catz Part Deux
Redneck Riviera
Castro's pretty much always been an asshole.
Castro regime is once again launching a campaign against homosexuals, specifically directed at transvestites. The police warn you not to dress as a woman and if you do so they apply a public hazard law with which the regime judicial system can penalize you with up to four years in prison.
No public activism is allowed to Cubans LGBT persons, they will be throng in jail if they dare to try. The gay scene in Havana is under increase police harassment.
It isn't new for those that know Cuba, the existence of official abuse of the gay community by the police. During the Street 13 concert young gays were dancing to the music, a normal thing to do in a concert, nothing illegal, no reason for the police to attack and arrest them. This is a serious problem, the abuse of gay rights by the police enforcing government policies.
Round up of homosexuals after the Street 13 concert
Noticias/Cuba_Recogida de homosexuales tras el concierto de Calle 13
Havana, Cuba, 26 of March,2010 (Aliomar Janjaque Chivaz, Cubanet/index) - "At dawn on Wednesday, after the concert of the Puerto Rican duet Street 13, the police forced a large group of gays, close to 300, gathered in the malecon, to leave the place", said to this reporter a passer-by, Lidia Zanganá.
"The police parked 12 patrol cars and expelled the gays from the malecón wall. Anyone that would fall behind or wouldn't move, was push into the patrol cars and carried to the station", said Daiquel Guerrero, a 22 years old gay.
The larger round up took place when the police trucks arrived. They asked for identity cards and pack us up like dogs, pushed us and told us all kinds of insults. We were beaten for fun, They beat us and laughed, and tore the transvestite wigs," Guerrero added.
The methodical oppression of homosexuals that exist under certain Marxist regimes in the world today is vicious. The systematic persecution of gays under Castro's regime has by now become endemic.
Here are some quotations from the report in Granma, the official daily organ of the Communist Party of Cuba, on the First National Congress on Education and Culture regarding Homosexuality:
"An in-depth analysis was made of the preventive and educational measures that are to be put into effect against existing locusts, including the control and relocation of isolated cases and degrees of deterioration . . . it was resolved that for notorious homosexuals to have influence in the formation of our youth is not to be tolerated on the basis of "artistic merits" . . . homosexuals should not have any direct influence on our youth through artistic and cultural activities. It was resolved that those whose morals do not correspond to the prestige of our revolution should be barred from any group of performers representing our country abroad. Finally it was agreed to demand severe penalties be applied to those who corrupt the morals of minors, depraved repeat offenders and irredeemable antisocial elements."