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Home / US, Greek companies to build Susah port in Libya worth $1.5 billion
US, Greek companies to build Susah port in Libya worth $1.5 billion
December 08, 2021 - 21:43
US-based Guidry Group has signed with Greek port construction company Archirodon Construction a Master Agreement for the design and construction of the $1.5 billion Susah Secure Port in Libya.
The group said on its website that the Susah Secure Port, conceived as a multi-use port, will be the deepest water port in Libya; the first [PPP] port project to be undertaken in Libya; the first port to be built to a globally competitive and efficient standard; and the largest port infrastructure investment by a US company in Libya's history.
The group added that the Susah Secure Port project is critical to the rebuilding of Libya and was recently endorsed by the Libyan Government of National Unity.
"It will provide a secure means of trade for international companies and governments and become a centre for economic development for Libya. The US private sector is very welcome in Libya. There is an expectation for greater US involvement in the development of Libya with the Susah Secure Port being the a first step in the right direction." The group said.
"In eastern Libya lies the major Port of Susah, located at about 240 Km east of Benghazi. The seaport in Susah serves as the main artery and entry port for goods into Libya by sea. A natural self-dredging port with a sea depth of 18 meters, the proposed newly developed Port of Susah will enable ships to offload their containers of goods with ease. The $1.5 billion port will be constructed in four-phases. The total development cost projection of the first phase of the project is approximately US$200M. It will primarily focus on container handling, grain handling and other bulk cargoes, general cargo and as a logistics base. The Susah Secure Port is critical to enable the Libyan economy to restart." The group explained.
The Chairman of Ports and Maritime Transport Authority in Libya, Captain Hassan Gwile, said Libya has had a dream since 2007 and it is now witnessing it really happen.
"We have a plan to develop a port in Susah that will be unprecedented and to the highest level of modern technology and functionality. We welcome the involvement of the US private sector in Libya and it can and should play a unifying role. We have signed a concession agreement with The Guidry Group. Mr. Guidry is an investor from the USA who believes in the future of Libya and its people. The development of the Susah Port will mark a milestone, not only in the Libyan economy, but in Libyan history, culture and mentality." He added.
The CEO of Guidry Group, Michael Guidry, said: "Together with our strategic partner Archirodon Construction, we now also move to commence and complete negotiations with a leading international port operator that will be appointed to operate the Susah Secure Port Project."
While the CEO of Archirodon, Denis Karapiperis said: "This is a major announcement for our company but more importantly, we think, for Libya. The Susah Secure Port project will provide a focus for economic development in the country and we are proud to be playing our part, along with the Guidry Group. Our involvement in developing port infrastructure in Libya, North Africa and the Middle East is long established and today adds another chapter to that story."
Susah Secure Port
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US policy of propping up moderate dictators and terrorists (as opposed to the "serious" dictators and terrorists) always seems to come back and bite them (and us).
One major debacle in the works is the US training and arming of PA terrorists policeman in Judea and Samaria (the West Bank) under the auspices of the skilled and very naive Gen. Dayton (last week in fact a PA policeman shot and injured 2 IDf soldiers before being taken down).
But a surprising article that appeared in Ha'aretz indicates that the US has aided Hezbollah in its battle against the Israel and the US.
As you probably have heard, Israeli spy rings in Lebanon have been captured.
These spy rings have apparently been involved in identifying and targeting Hezbollah terrorists. These spy rings may have identified missile locations. These spy rings may identified Hezbollah terror nests and hideaways in Lebanese towns and cities.
In short these spy rings helped eliminate Hezbollah terrorists that were terrorizing both the Israeli and Lebanese people.
But a tremendous number of these spy rings have been uncovered in the past 2 months.
It is well-known that the US has been supplying various Lebanese Internal Security Force with money ($1 billion since 2006), training and equipment.
This money, training and equipment was supposed to go to the fight against terror and Hezbollah.
It was these US backed, trained, and equipped security forces that uncovered the spy rings that were spying on Hezbollah.
Ha'aretz managed to link statements by the Lebanese government indicating that these US resources went specifically to capturing the Israeli spies that were targeting Hezbollah.
Hezbollah is expected to win major if not majority control in the upcoming June 6th elections.
Again, idiotic US foreign policy backfires on everybody.
Let's say the MOSSAD understood that the Lebanese were going to get "helped" by Americans. And, Americans can be "flushed out" by peppering about sophisticated equipment. And, making it seem that its a "spy ring."
What if there were just greedy arabs involved? Being set up.
No. I'm not kidding.
I just don't see why the Mossad would break with tradition, and set up something that involved a lot of people. In spy work you work alone. You're not involved with other family members; each one getting lots of money.
But what if that's the real story?
A RED HERRING.
If the Israelis didn't do anything at all the Americans would have been much more dangerous.
And, if I had to guess? Given that I know Ehud Barak dressed up as a woman, to get into Beirut. Where the Mossad ran a real operation; what would you call those stringers who "just supply data?"
It's possible America went looking for trouble. And, what was found? PLANTED. If you can "plant" red herrings.
Please remember that the biggest business in Lebanon is DRUG TRAFFICKING. (That's why there's sophisticated equipment hanging around.)
Not to overlook the hatred coming at Israel from the USA! From freaks who want to attack Israel, and who feel the media works wonders.
Gotta tell ya. I don't think the MOSSAD got flat-footed. (And, since there were a few arabs who made it to safety ... it's possible the people who mattered the most got a ticket out.)
When they end the international drug trade you'll end routes into countries where "spies" can collect information. Which they can also get looking just like tourists.

redpajama_set_name: RedPajamaCommonCrawl


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Сергей Сергеевич Лаппо-Данилевский (1868, Гуляй-Поле — 1957, Хельсинки) — русский композитор; сын государственного деятеля С. А. Лаппо-Данилевского; брат историка А. С. Лаппо-Данилевского; муж писательницы Н. А. Лаппо-Данилевской.

Биография
Родился  в селе Гуляй-Поле Гуляйпольской волости Верхнеднепровского уезда Екатеринославской губернии.

В 1887 году окончил Симферопольскую мужскую гимназию и поступил на математическое отделение физико-математического факультета Санкт-Петербургского университета, которое окончил в 1892 году. Службу начал в отделе земельных улучшений Министерства земледелия.

В 1898 году женился на Надежде Люткевич, которая приобрела позднее известность как писательница. Их брак распался к началу 1910-х годов.

В середине 1910-х годов вышел в отставку в чине надворного советника.

После революционных событий 1917 года поселился на своей даче в Куоккале; возглавил церковный хор местнойй церкви, с которым часто устраивал светские концерты, аккомпанируя исполнению арий из популярных опер на фортепиано. Входил в ближайшее окружение И. Е. Репина.

Преподавал частным образом музыку, а также математику в русской школе в Териоках. В связи с началом советско-финской войны в 1939 году был эвакуирован в Луси «в бывшей Санкт-Михельской губернии» недалеко от Хейнолы (его ценный архив и библиотека при этом были брошены и погибли).

Позднее переселился в Хельсинки, где жил частными уроками. Его поддерживали бывшие участники хора.

Умер 13 мая 1957 года в Хельсинки и похоронен на православном кладбище Никольского прихода.

В 1900-е годы он начал публиковать романсы на стихи И. А. Бунина, М. Ю. Лермонтова, Д. М. Ратгауза, А. К. Толстого, И. С. Тургенева, Ф. И. Тютчева, А. А. Фета, А. Н. Яхонтова, А. А. Апухтина и других поэтов; позднее он стал писать также церковную музыку.

Примечания

Литература
Лаппо-Данилевский К. Ю. Семья А. С. Лаппо-Данилевского: истоки и традиции // Клио. — № 12 (84). — 2013. — С. 83—101.

Ссылки
 Корзун В. П. Творчество Сергея Сергеевича и Александра Александровича Лаппо-Данилевских в социокультурном контексте эпохи // Вестник Омского университета. — 2015. — № 1. — С. 143—146.

Выпускники Симферопольской мужской казённой гимназии
Выпускники физико-математического факультета Императорского Санкт-Петербургского университета
Надворные советники
Русские эмигранты первой волны в Финляндии
Родившиеся в Криничанском районе

redpajama_set_name: RedPajamaWikipedia


To understand the relevance of subnormal serum concentrations of IgG2, we measured IgG2 in serum of 575 healthy children and identified 11 with concentrations >2 SD less than the mean for age. The levels of IgG2 present were similar to those found in symptomatic children with IgG2 subclass deficiency associated with antibody deficiency. The 11 children ranged in age from 1 to 14 y (mean = 5.7). Detailed clinical information was available on 10 of the 11 children and each was matched for age with two controls. The median number of visits/y to the doctor for infectious illnesses was identical for the two groups (1.0). Nine of the children with subnormal IgG2 were followed for 1 to 5 y (mean = 2.3). All nine children had normal serum concentrations of IgA, IgGl, IgG3, and IgG4 but seven had persistently subnormal or low-normal serum IgG2 concentrations. One of these seven children also had a subnormal serum concentration of IgG, and one had subnormal IgM. Antibody responses to Haemophilus b polysaccharide vaccine were normal in five of six who were immunized. In vitro secretion of Ig by mitogen-stim-ulated peripheral blood mononuclear cells was measured in six of seven children with persistently subnormal or low-normal IgG2; five showed decreased secretion of IgG2, and two of the five also had subnormal secretion of IgGl and IgG3. An important implication of this study is that the subnormal concentrations of serum IgG2 found in infection-prone children are not a sufficient explanation for their increased susceptibility to infection. The healthy children with low serum concentrations of IgG2 differ from symptomatic children with subnormal IgG2 in that the former have otherwise normal serum Ig concentrations and have normal antibody responses to Hib PS vaccine. © 1990 International Pediatric Research Foundation, Inc.


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City suspends programming at public facilities due to coronavirus concerns, senior centers closed
Aaron Montes
Programs at city public facilities are suspended for the foreseeable future due to concerns of the spread of the coronavirus that has been deemed a pandemic by the World Health Organization.
Senior centers have also been closed but meals for seniors will still be available beginning March 17, according to a city news release. Hilos de la Plata Senior Center will only be operational for county workers who prepare food for county senior center distributions, it read.
"I was shocked to find it closed," said Luis Romero, who was sitting outside the South El Paso Senior Center. "I was told that I need to wash my hands a lot and different ways to say hello to someone."
Sports tournaments and programs for the youth and adults have also suspended.
"In the interest of protecting the public's health and safety from the evolving COVID-19 pandemic, the city of El Paso is suspending all special programming at parks, libraries, museums and other locations until further notice," the press release said.
A city spokeswoman said seniors who are regularly fed at senior centers will be able to pick them up even as the facilities will be closed.
More:El Paso coronavirus preparations: Here are the latest updates on COVID-19
"Programs and classes offered at aquatic centers, libraries, museums, recreation centers and the El Paso Zoo are suspended," the press release said. "Facilities will remain open but without programming."
El Paso public health officials have said that as the virus has spread, there has been a growing focus to protect older members of the public and individuals with preexisting conditions.
"Children aren't dying from this disease but our seniors are," said Robert Resendes, director of the El Paso City Health Department, during a press conference on Tuesday.
Aaron Montes may be reached at 915-546-6137; amontes@elpasotimes.com; @aaronmontes91 on Twitter.


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Mark Whitehead 30 October 2017
Leisure centres 'old and tired' due to underfunding, council chiefs warn
The Government will miss a chance to transform the nation's health if it fails to inject new funding into leisure infrastructure in the forthcoming Autumn Budget, councils have warned.
The Local Government Association (LGA) says most council-owned sports halls and swimming pools are at risk of becoming 'old and tired' as budgets are increasingly squeezed.
It says councils are just about managing to keep leisure facilities running but in many cases they are coming to the end of their lifespan.
In its Budget submission to Treasury the LGA is calling on the Government to introduce a £400m funding pot to pay for improvements to infrastructure for health and wellbeing.
It says Investment in leisure infrastructure would get more people physically active and help to tackle some of the major health issues facing the country such as obesity, diabetes and heart disease.
Cllr Gerald Vernon-Jackson, chair of the LGA's Culture, Tourism and Sport Board, said: 'Leisure facilities are the cornerstone of a physically and mentally healthy community and are used by thousands of families every day.
'They get people active and keep them fit and healthy, which in itself is a major long-term cost saving for the country as it prevents the need for treatment further down the line that in turn puts significant extra pressure on social care and NHS services.'
#Sport #Budget 2017


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I often begin my coaching sessions with a few ground rules, so my client and I share an expectation for what we are going to accomplish, then I ask a few broad questions to set the tone. In most cases, my very first question is "Why do you need a resume?" Thinking this is a trick question (after all, they've usually come to me to help them write a resume) lots of clients laugh, but when I press them for an answer, most come up with some variant of "Because without it, I can't apply to a job- duh!" People mistakenly believe that their resume is the be all, end all, of their job search. Well, I'm here to tell you: IT ISN'T.
It's true that you cannot successfully apply to most positions without one, but the amount of time a hiring manager or recruiter is likely to spend perusing the information contained within it is infinitesimal (really small). What I try to impress upon each of my clients is that a resume is simply the cost of entry. Not having a resume- or not having a very good resume- can absolutely submarine your candidacy, but having even a truly excellent resume is never going to win you the job immediately. This makes sense: though your resume serves an important function and there are certain conventions that govern the structure and content that should appear within its margins, there is absolutely no way that a single piece of paper (don't get me started on five-page resumes!) can capture the totality of your personality, motivations, appearance, and accomplishments. Instead, a resume is best viewed as a tool. It may be in good condition, it may be in disrepair, or it may not even be the correct tool for the task(/position). In any case, you need to perform work with it for it to be useful.
Think of your resume as a foundation. It represents the culmination of a significant exercise in time and thought, and should reflect your greatest strengths and career highlights. The purpose of your resume is to convey a specific notion to the reader; a central premise, if you will: that you're a brilliant scientist, that you have loads of creativity, that you have consistently worked above and beyond your job level, whatever… The details and examples you include should all align with this message and offer concrete examples in support of the main theme.
If you've engaged in this type of self-reflection and have a workable document, then the resume will essentially serve as short-hand for your memory. When you field questions pertaining to your work history or personal attributes, you can literally glance down at your resume and be reminded of specific examples of just such events. I've actually counseled clients to call the interviewer's attention back to bullet points in the text of their resume, while responding to a line of questioning. Above all, you need to stay on message.
Clearly, a resume can be worth a great deal, but only if it is treated as the basis of your job search- not the whole enchilada. What's more important is that you achieve clarity regarding your career aspirations and a recognition of what sets you apart from everyone else with similar experience. This will afford you confidence to pursue a position that matches your professional image.


The Bigfork Inn pub features the chalet-style architecture of the rest of the structure.
The new owners of the Bigfork Inn have changed the appearance of the dining room slightly with black tablecloths.
Since the Bigfork Inn came under new management in July 2018, the most visible change is the addition of black tablecloths in the dining room.
Languein, Francois Zanni and a few other partners now own the landmark structure on the north end of Electric Avenue that has played a big role in the history of Bigfork.
The current building, with its rustic wooden beams and Swiss chalet exterior, was rebuilt after a fire during the latter years of the Depression. Originally called the Bigfork Hotel, its name changed in 1972 to the Bigfork Inn.
Honoring the history of the building and its place as a Bigfork social hub is a big part of the mission for the new owners, Languein said.
Bob and Suzie Keenan were instrumental in shaping that history. The Bigfork couple owned and operated the inn for 37 years altogether. They purchased the property in 1982, and as the years went by, added the library, the "red room," the balcony and deck, and phased out the hotel portion as the restaurant business expanded. The business was leased-to-own by another party from 2006-11, but the Keenans took over again in 2012.
Bob Keenan said the time had come to sell the inn.
"Thirty-seven years was enough," he said.
His long career as a Montana state legislator made his decades in the restaurant business even more challenging. He is currently Republican president pro tempore of the Montana State Senate, and served in the senate from 1999-2007 and the Montana House of Representatives from 1995 to 1999.
Despite the stresses, the decision to part with the Bigfork Inn was still an emotional one, Bob said. The property served both as the Keenans' livelihood and family home for many years.
Keenan said he is confident the business he and his wife nurtured for so many years is in good hands.
Zanni has been part of a number of Flathead Valley restaurant ventures, at different times running The Docks in Lakeside, the restaurant at Blacktail Mountain Ski Area, and the former North Bay Grille in Kalispell. He is currently the general manager at Silver Star Steak Company in downtown Helena, where he will continue working through this year's legislative session before making the move to Bigfork permanently.
Zanni tapped Languein, who was working as a manager at Silver Star, to join him in ownership of the Bigfork Inn. Languein, an Oregon native, has been in the restaurant and hotel business for 16 years, with five of those in management. He was part of the team that opened the Broadwater Hot Springs restaurant in Helena a few years ago, working as general manager for a year and a half before returning to Silver Star.
Languein moved to Bigfork in June and learned the ropes with the Keenans before they left the establishment in his care. He put in long days to make it through the frantic summer season.
"The first months were busy and exciting, but I thrive on chaos," he said.
Now that Bigfork is in its off-season lull, Languein said he'll have time to pursue some ideas for the inn.
The marketplace is expected to be a place for coffee, pastries and other to-go breakfast and lunch items. Languein envisions summer customers grabbing beer or wine and pastries for spending the day out on the water.
A more extensive wine list might also be part of the Bigfork Inn's new model.
As far as alterations to the food menu, certain dishes seem to be non-negotiable with customers, Languein said. The Cajun shrimp pasta, the crispy duck and the schnitzel are Bigfork Inn favorites.
Under its new owners, the Bigfork Inn has already made a return to one tradition. After years with no live music, Montana Lite now plays classic jazz, blues and standards on Friday and Saturday evenings for listening and dancing.
Taking over the running of a venerable establishment like the Bigfork Inn was a little intimidating, Languein said.
He said a grand opening celebration that will include all the owners is planned for late spring.
For more information, visit bigforkinn.com .


The apartment 'Il Mulino' is on the ground level of Ca' Pisani and it can be accessed through a separate iron-gated entrance. It has a beautiful private and relaxing sunbathed terrace which overlooks the garden and the valley and which has a direct access to Ca' Pisani's shared swimming pool. The interiors show an exclusive architectural design with attention to details. From the front door one enters into a bright living room which opens into the terrace and into a separate dining area with a specially designed dining table. The kitchen is very stylish with modern stainless steel appliances.
The master bedroom opens on the terrace and has a double bed, a walk-in-closet, and a desk with wireless internet access. The second bedroom has 2 single beds, a stone wall with a built-in bookshelf and satellite TV. Wi-Fi access is available. The bathroom has stone walls, a modern shower, a large sink, a WC, a bidet and a washing machine.
From Nice. Take the A10 to Genova and come off the motorway at Imperia Ovest. After leaving the motorway turn left and follow the signs towards San Lorenzo al Mare eventually on your right you find the turning for Civezza.
Weekly rental is from Saturday to Saturday – check in between 4-8 pm, check out by 10 am (although this could be adjusted subject to prior agreement).
Price includes: mains water, electricity, gas bed linen towels & final cleaning.
price includes: mains water, electricity, gas bed linen towels.
is 40 euro per week.
The main town of Imperia is a short drive away and here you can take in the general atmosphere of Liguria with its fishing ports and street markets and of course the extremely good 'ice cream' parlours.
Civezza is surrounded by olive groves and there is plenty of local olive oil on sale not to mention locally grown fruit and vegetables on sale in the village shops.Civezza,is small picturesque village in the hills overlooking Imperia. Civezza offers its visitors plenty of recreation with its bar, ristoranti and small shops.
There really is something for everyone within this enchanting region of Liguria.There is a beach for all tastes within only a short drive. Closest is San Lorenzo 4km.


About one year ago, Saab signed a contract with Airbus to become a supplier for the A350-1000. The first parts have now been produced and Saab is gearing up for assembly and delivery.
The agreement between Saab and Airbus includes the design, development and manufacturing of the flap support structures and fairings for the Airbus A350-1000 for the entire duration of the programme. The A350-1000 is the longest-fuselage version of Airbus' all-new family of widebody jetliners, measuring nearly 74 metres from nose to tail.
When the A350 XWB (extra wide body) agreement was signed between Saab and Airbus, it marked a breakthrough with yet another Airbus platform for Saab, confirming the company's competitiveness as a global supplier to the commercial aviation market. Saab also supplies the A320 programme, producing ailerons and the A380 programme, producing the mid and outer leading edges.


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The Center Holds in France
In the run-up to the first round of the French presidential elections comparisons were drawn invariably between ideological bedfellows Donald Trump and National Front leader Marine Le Pen. But the rise of the centrist Emmanuel Macron also shares some similarities with Trump's capture of the White House — at least when it comes to having the skill to fire up an army of enthusiastic volunteers, many of whom had not previously been active in politics.
Macron's rise — he topped the poll in yesterday's first round featuring eleven candidates — is an object lesson for Europe's centrist politicians in how to combat the populism of the right. The continent's centrists of both left and right were quick to congratulate Macron, with even the German government throwing caution to the winds and wishing him luck in the second round of voting.
Chancellor Angela Merkel's official spokesman Sunday wished Macron "all the best" and the German Foreign Minister, Sigmar Gabriel, also hailed the results putting Macron ahead of Le Pen. "I'm sure he will sweep away the far-right, right-wing populism and the anti-Europeans in the second round," Gabriel said in a Tweet.
Like Trump, Macron has never been elected to anything. The 39-year-old former investment banker and briefly socialist economy minister — he was appointed to the post by outgoing French President Francois Hollande — has gone from being a rank outsider to the favorite to win the French presidency in the run-off next month against Le Pen.
Naysayers dismissed Macron's bid when it launched as a "champagne bubble" that would quickly burst. It hasn't. In less than a year the progressive maverick, who bills himself as "neither left nor right," has rapidly built up his party En Marche! (Onwards!). It now boasts 250,000 members — twice the size of France's establishment Socialist Party.
Since 1958, when the Fifth Republic was established by French wartime leader Gen. Charles de Gaulle, no independent candidate without electoral experience, has come near to securing the Élysée Palace.
Macron may be chalk to Trump's cheese when it comes to ideology: he's pro-globalization, pro-free trade deals, pro-EU and welcoming of immigrants. But like Trump and Europe's populist right-wingers, Macron has benefited from rising public anger toward the establishment party machines. Macron on the campaign trail promised a "democratic revolution" to upset a hidebound French political system and has been every bit as dismissive of the old party dogmas as Le Pen.
When challenged on his government inexperience in the wake of the terrorist shooting on the Champs-Elysées last week, Macron parried that he'd prefer not to have any, judging by the ineffectiveness of experienced politicians in France in recent decades.
Much of his campaign has been built on the excitement of his followers as well as his own character. They have flocked to stadium rallies and organized thousands of small-scale gatherings at cafés and bistros around the country to debate policies and to engage doubters.
Regardless of whether the reforms they push are for more free trade and deregulation or protectionism and nationalism, those who position themselves as outsiders benefit from public disdain of the elites, as both Macron and Le Pen did on Sunday, humbling the country's established parties of left and right. But whereas Le Pen's challenge comes from the nationalist fringe, Macron has mounted a populist insurgency from the center of French politics.
In France, the establishment parties went to their radical wings to pick their presidential contenders, leaving Macron an opening in the middle. His supporters may be different from Trump's — they are more white collar, metropolitan and educated — but like Trump's followers they, too, have grown tired of the old party dogmas that have failed to provide stability and security.
"In France, Britain, the Netherlands, Austria and the U.S. the same people — blue- and white-collar workers, intermediate occupations and farmers — are joining the populist revolt," according to Christophe Guilluy, author of The Twilight of Elite France (Le crépuscule de la France d'en haut). "The rift between the global market's winners and losers has replaced the old right-left split," he argues.
Macron's electoral trick has been to persuade enough of the losers — mainly white-collar but to a greater extent than predicted blue-collar voters as well — that he has some pragmatic policies that will provide answers to the challenges facing France, from streamlining the pension system, freeing many households from housing tax and reducing government charges and fees and cutting back on regulations and bureaucratic red tape.
Now in the second round two very different stark views will be presented for voters to pick from: Macron's more inclusive and cheerful view of a France that has the confidence to remain open to Europe and trade and welcomes new immigrants and those already in the country, and a more traditional view of France presented by Le Pen that points to rampant globalization as a danger to the country's culture, jobs and security.
Victory will largely be determined by how France's traditional working-class casts its vote.


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Danielle and Colin – Fernie Mountain Wedding – BC Wedding Photographer.
Amelia – Sleepy Newborn Session – Winnipeg Newborn Photographer.
Kaiden – Lifestyle Newborn Session – Winnipeg Newborn Photographer.
Isabelle – Lifestyle Newborn Session – Winnipeg Newborn Photographer.
Melody and Chris – At Home Maternity Session – Winnipeg Maternity Photographer.


Have you heard about the German Amiga podcast called BoingsWorld? It has been running for quite a while and on the 19th of February 2017 episode 84 was aired.
Have a good one and thanks for visiting my blog.


Fall Into Relaxation This Month!
Feeling stressed out with the upcoming holidays? Give Reiki a try! There are so many benefits to Reiki! It will relax, restore and re-energize you!
For the month of November, enjoy our special promotion of $65 for a one-hour session of Reiki.
Don't forget about treating your hands and feet to some pampering! We are promoting our Shellac manicures and pedicures this month. Shellac is half nail polish and half gel. It is applied like nail polish, has incredible shine and is less damaging to the nails than gel nails. Shellac lasts between 7 and 14 days.
We know you have a choice in the salons you go too and we want to thank you for your continued business and loyalty. Without you there is no us! We are wishing everyone a very happy and enjoyable Thanksgiving!


Apartment Cozy flat in small center is conveniently situated in Martiros Saryan Street 6th floor, 24A in Yerevan only in 417 m from the centre.
Travellers can use such services: indoor lift, car park, special non-smoking rooms, convenient airport transfer, internet services. Pay attention that payment for the accommodation and amenities is possible only in cash.
For your comfortable accommodation is offered only one room type - apartment. Lodgers at the hotel have facilities such as refrigerator, dining table.


I think all of the awesome examples of before and after re-upholstery jobs on Design*Sponge have got me feeling over confident. but...I just pulled a Victorian looking bench out of the garbage, something similar to the above photo, only mine is covered in the cheapest, ugliest, most faded, blue velvet fabric.
Just an idea but check around for some classes or something - in Sydney we have an community college that run classes. Than you just use your chair as your project and can get lost of help and guidance as you go.
I just worked wonders on our dining chairs with a staple gun and some etsy upholstery fabric.
I say go for it. And share pictures.


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Iran Hardliner Threatens Saudis With 'Shocking' Response
Saudi Arabia should be on the lookout for Iran's new "shocking decision" if it does not stop support for U.S. sanctions against Tehran, says Hossein Amir Abdollahian, a former Iranian diplomat currently working as a special assistant to Iran's Parliamentary Speaker Ali Larijani.
Amir Abdollahian, who is widely known as the man who determines Iran's foreign policy about the Arab world, did not elaborate on what he called "Tehran's new and shocking decision."
However, he added in a Twitter post that "Time is running out for the continuation of dirty Saudi – Emirati – Israeli policies," and warned Saudi Arabia to stop supporting the United States' "economic war" against Iran.
If #Saudi rulers do not stop aiding & abetting the #US in its economic war against #Iran, they must wait for its new & shocking decision. The clock is ticking so fast for the continuity of Saudi-#Emirati–#Israeli dirty policies. pic.twitter.com/8oSljzVBPT
— H.amirabdollahian امیرعبداللهیان (@Amirabdolahian) June 4, 2019
The Rouhani administration removed Amir Abdollahian, a hardline former diplomat and the Iranian Foreign Ministry's Director-General for Arab and African affairs from his post in 2016, but since then, he has continued making radical comments and offering hardline policy options about the region.
His dismissal from the Foreign Ministry angered Iran's hardline media which accused the Rouhani administration of having removed Amir Abdollahian from his post at the request of the Persian Gulf littoral states.
The hardline media also charged that Rouhani has weakened the "axis of resistance" in the region by removing Amir Abdollahian.
This is not the first time Amir Abdollahian makes radical comments about Saudi Arabia, but his new remarks came shortly after Saudi Arabia, the United Arab Emirates and scores of Arab leaders pointed fingers at Iran accusing it of involvement in attacks on oil shipping in the region.
It is reasonable to say that when the government removed Amir Abdollahian, he was given his current advisory role as a way to isolate him but his views remain popular among hardliners and the Revolutionary Guard leadership. In that sense, his comment about Arab Gulf states probably reflects the desires of the hardliners.
Meanwhile, an Israeli state-run TV channel claimed that it was the Israeli secret service that informed the United States of Iran's involvement in the four explosions in Fujairah in the United Arab Emirates.
Two UAE oil tankers, as well as a Norwegian and a Saudi vessel were damaged in the attacks.
Saudi Arabia which has vowed to boost its oil output to make up for the shortages resulting from the absence of Iran and Venezuela in the oil market, hosted three summits last week in Mecca, where tens of politicians and heads of states from Arab and Islamic countries condemned Iran for its "destabilizing intervention" in the region.
According to pro-reform Etemad newspaper, Iran's president and foreign minister were invited to Mecca by the secretariats of the Persian Gulf Cooperation Council (GCC) and the Organization f Islamic Conference (OIC) but the two officials refused to go to Saudi Arabia as King Salman who had extended invitations to all the leaders of OIC, GCC and Arab League, did not invite Rouhani and Zarif.
Etemad wrote in a commentary that the way the meetings in Mecca were planned, the contents of the speeches delivered and the meetings' final statements showed that Saudi Arabia and some of its partners were mainly focused on attacking Iran.
The commentary noted that the statements released at the end of the Arab League and the GCC summits were totally focused on attacks on Iran and its allies, with "the most radical tone inconsistent with diplomatic standards."
Cover photo: Iran's former Deputy Foreign Minister-Hossein Amir-Abdollahian.
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pushing sound studies into the red since 2009
Tag Archive | NBC
by Josh Garrett-Davis
in American Studies, Article, Cultural Studies, Curation, History, Identity, Indigenous Studies, Listening, Politics, Race, Radio, Recording, Sound Studies
Over the next few weeks, Sounding Out! is proud to offer a new Thursday series spotlighting endangered radio archives across the United States, the kind of resources whose recognition and preservation could not only change media history, but also how we conceive of media history – and the voices that belong in it.
Our writers are part of an effort that is historic in its own right, the Radio Preservation Task Force (RPTF), part of the National Recording Reservation Plan at the Library of Congress. Over the past six months, under the guidance of Christopher Sterling (George Washington University) and Josh Shepperd (Catholic University), the RPTF has drawn together more than 120 faculty researchers and advisors from across the country who in turn have spread the word to create a network of more than 270 archives that hold recordings of broadcast radio, with the goal of creating a national inventory of finding aids and encouraging preservation and modernization through digital access.
If you've got archival broadcast radio that can't be got online and maybe nobody even knows about — in any format or genre, national or local, high-powered or low, commercial or college, in a display or a shoebox – then we want you.
The coming months will see a second campaign of archive recruitment – I've taken on a role as Network Director to help coordinate that – as the RPTF rolls out a new working association with the American Archives of Public Broadcasting and gears up for a conference at the Library of Congress in early 2016, for which radio historian Michele Hilmes will be the Program Director.
Drawing on this vast effort, SO! will be bringing you stories of gaps in the record, voices we've long missed and need to recover, and some we are in danger of losing for good. We begin with a post by Josh Garrett-Davis, a PhD Candidate at Princeton University pursuing unique research into the long-unrecognized and uncatalogued history of Native American broadcasting.
Pursuing that history requires hard work and persistence; it also requires reimagining what counts as an archive in the first place.
— Special Editor Neil Verma
Despite dire poverty across most of the archipelago of semi-sovereign Native American land often called "Indian Country," radio receivers had become a normal part of life there by the Great Depression. For example, as contemporary publications and later memoirs and oral histories reveal, after work hours in the camps of the Indian Emergency Conservation Work program (the Indian CCC) from northern Minnesota to the Southwest and the West Coast, many men and women listened to the wider world—even following Admiral Richard Byrd's broadcasts from as far away as Little America, Antarctica.
Listeners, yes. But when did Native people take up the means of production, so to speak, and generate broadcasts themselves? In his history of Native radio, Signals in the Air, Michael C. Keith quotes several sources suggesting little sustaining programming existed until the first Native-owned and -oriented station appeared in New Mexico in 1972. As a sort of internal colony of the United States, Indian Country heard only imperial broadcasts for half a century. The "right to establish their own media in their own languages" in addition to "access to all forms of non-indigenous media without discrimination"—as described in the U.N.'s 2007 Declaration on the Rights of Indigenous Peoples—arrived remarkably late, and are still not fully granted to Native people. Quite recent are the 53 stations catering to Indian communities, and vital national programs like Native America Calling.
But Native people did speak and sing over the airwaves in earlier decades. In some cases a direct or indirect archive even exists, and undoubtedly more will emerge as radio archives more generally are preserved and cataloged through efforts such as the Radio Preservation Task Force of the National Recording Preservation Plan. The trouble is that the cumulative archive of early Indian radio has not been identified as a valuable record or really as a coherent archive at all, perhaps due to compounded misconceptions of radio as an inconsequential documentary record, and of American Indians as technological naïfs. In this post I call attention to the scattered fragments of this archive, which should be recognized as an important heritage for the recent progress in Indigenous media, echoing the various ways Native people seized limited opportunities once broadcast technology appeared.
Here is an initial attempt to quilt a few of those pieces into a pattern:
Widespread broadcasting started at about the same moment—the 1920s—as the first agitation toward tribal political sovereignty in the (constrained) twentieth-century sense. In March 1925, the Cayuga statesman Levi General, who held the ceremonial title Deskaheh, delivered an address from a Rochester, New York, studio. As transcribed in the Haudenosaunee (Iroquois Confederacy)–produced book A Basic Call to Consciousness, he began, "Nearly everyone who is listening to me is a pale face, I suppose," and went on to appeal to those palefaces for Iroquois sovereignty on land that, like his radio signal, straddled the Canada–U.S. border (18). He urged his listeners to write to representatives in both governments and "ask them to tell you when and how they got the right to govern people who have no part in your government and do not live in your country but live in their own" (22). General certainly grasped the democratic and transnational possibilities of the new medium as he spoke directly to the citizens of two newcomer nations and plainly described to them a Haudenosaunee sovereignty that must have seemed radical.
Around the same time, the Yakama/Cherokee singer Kiutus Tecumseh (aka Herman Roberts) used his celebrity to perform on radio stations across the country, adding political commentary on Indian policy between songs. Often the songs he performed were Indianist compositions by non-Indian composers; Tecumseh was, in historian John Troutman's words, "'playing Indian' with a pointed, political message" (250). Ojibwe bass singer Chief Roaring Thunder (aka George LaMotte), meanwhile, performed on KVOO from Tulsa in the 1920s, as mentioned in the contemporary press.
So far no audio transcriptions of any of these pioneering broadcasts have turned up, though in the 1970s the publication Akwesasne Notes produced a reenactment of General's address and sold it on reel-to-reel, cassette, and cartridge.
"Soapsuds and Will Rogers" by Flickr user Granger Meador, CC BY-NC 2.0
One Native radio voice of whom an audio archive remains is the humorist Will Rogers (Cherokee). Historians Lary May and Amy M. Ware have convincingly argued that Rogers espoused Cherokee values—which informed his communitarian politics—and sometimes advocated directly on Native issues. Part of the task of creating and preserving an Indigenous media archive is to recognize Rogers's place in a genealogy: He united oratory like Levi General's with the vaudeville sensibility of Kiutus Tecumseh and Chief Roaring Thunder. (Rogers could also stand in for a number of mainstream performers whose Indian heritage was not widely recognized, from Lee Wiley to Hank Williams to Jimi Hendrix.)
World War II brought about vast changes in Indian Country, including increased exposure on the air. Great numbers of Native people served in the war effort—notably, in terms of radio, the Navajo and Comanche "code talkers." But back home, the first sustained radio program, aptly named the Indians for Indians hour, began in 1941 on WNAD in Norman, Oklahoma. Don Whistler (aka Kesh-Ke-Kosh), the first Sac and Fox chief elected under the reforms of the "Indian New Deal," created the show as a model of participatory programming and (fortunately for later generations) recorded more than a hundred programs on acetate discs before he died in 1951. Indians for Indians, which served and drew performers from perhaps twenty tribal communities and several Indian boarding schools in Oklahoma, persisted in various forms until the 1980s. The only show available online is one from 1976.
I have listened to most of the extant shows from the first decade—which are not endangered except insofar as they have been ignored—and it is a remarkable institution that adopted Will Rogers's humor and brio while also foreshadowing the vibrant Native radio networks of today.
Archives are more scarce from elsewhere in Indian Country, but traces endure in archives and history books: The renowned Chiricahua Apache artist Allan Houser performed on the air in New Mexico as "the Apache Kid." In the 1930s and '40s, students from Santa Fe Indian School and Flandreau Indian School performed on radio shows in Santa Fe and Omaha, respectively. I have not found any recordings of any of these instances, but a few audio archives suggest transcriptions yet to surface: A Tuscarora farm family can be heard singing "By the Waters of the Minnetonka" on Major Bowes and His Amateur Hour on NBC in 1935. NBC also covered an American Indian Exposition and the Flagstaff All-Indian Powwow in the '30s, which gave Native singers and speakers a national hearing. A non-Indian couple recorded Hopi and Zuni singers on an unidentified station in 1955 and 1956 from Parks, Arizona, a tape which was dubbed by an anthropologist and deposited in the Archives of Traditional Music at Indiana University.
There must be many other fragments, and we can hope that broad efforts like the Radio Preservation Task Force—as well as archival efforts originating among Indigenous organizations like Native Public Media, Koahnic Broadcast Corporation, Native Media Resource Center, and Vision Maker Media—could turn up records of them.
Marshall McLuhan once wrote ominously of the "tribal drum of radio" leading the masses to totalitarianism. But that message, like the medium itself, could be interpreted in a much more constructive sense. When we gather together the early history of Native radio and assemble the intertribal quilt proposed above, the product seems to squarely refute the racial logic McLuhan implied. We may find instead that Indian people themselves recognized right away the importance this "drum" could and would have for maintaining vibrant language, musical, and oral traditions in the face of colonialism.
The Red Power movement is generally thought to begin with the occupation of Alcatraz Island in 1969–71. Part of that action was the Santee Dakota poet and activist John Trudell's creation, "Radio Free Alcatraz" on KPFA in Berkeley, California. We might hear these programs (preserved in the Pacifica Network's archives) as heralding a new era of reservation stations and media advocacy by Native people. We could also hear them as descending from efforts—still unrecognized and uncatalogued—by Native innovators over the previous half century.
Josh Garrett-Davis is a PhD candidate in history at Princeton University. His dissertation, "Resounding Voices: American Indians and Audio Technology, 1890–1969," examines Native American use of phonograph and radio technology from the earliest ethnographic and commercial phonograph records to the founding of Indian-run labels and radio shows in the mid-twentieth century. He is the author of Ghost Dances: Proving Up on the Great Plains (Little, Brown, 2012), and a member of the collective M12, which promotes and creates art in rural places.
REWIND! . . .If you liked this post, you may also dig:
A Tribe Called Red Remixes Sonic Stereotypes— Christina Giacona
Chicana Radio Activists and the Sounds of Chicana Feminisms — Monica De La Torre
Radio de Acción: Violent Circuits, Contentious Voices: Caribbean Radio Histories— Alejandra Bronfman
Featured Image: Navajo Code Talker Memorial — Window Rock (AZ) August 2013, Flickr User Ron Cogswell.
Special thanks to Daniel Murphy for the RPTF Logo.
by nkhverma
in Aesthetics, American Studies, Archival, Article, History, Information, Listening, Liveness, methodology, Performance, Place and Space, Radio, Sound, Sound Studies, Theory/criticism, Time, Tune In to the Past, Voice, Writing
Radio's "Oblong Blur": Notes on the Corwinesque
Miguel Covarrubias, untitled iIlustration to "Radio I: A $140,000,000 Art," Fortune (May, 1938).
Editor's Note: Today, Neil Verma kicks off our summer series "Tune In to the Past," which explores the life and legacy of radio broadcaster Norman Lewis Corwin, the "poet laureate of radio" who died last summer at the age of 101. Corwin, pictured in the icon to the left with actress Peggy Burt around 1947, passed too quietly into the ether–as, unfortunately, has too much of radio history. Sounding Out!'s three-part exploration of his legacy by radio scholars Verma, Shawn VanCour (July), and Alex Russo (August) not only gives his work new life (and critique), but also speaks to the growing vitality of radio studies itself. As I mentioned this past March in my round-up of the 2012 Society of Cinema and Media Studies conference, radio scholarship is on the rise–a Radio Studies Special Interest Group was established at SCMS this year, reaching a critical mass–and scholars are finding new and innovative ways to approach radio's unique silences. We are proud over here at SO! to broadcast the future of radio studies by helping you "Tune In to the Past" this summer, so get ready for an array of voices–living and dead, textual and aural–spirited debate, and great sound history, in both senses of the word. So don't touch that dial. –JSA
Norman Corwin in 1973 (Source: Arrowcatcher, Wikimedia Commons)
"I am a Dead Sea Scroll," Norman Corwin, in an interview with writer Tom Lewis, 1992.
Rising to prominence in the 1930's, radio dramatist Norman Corwin (1910-2011) aired a body of work of unsurpassed variety, reaching audiences upwards of sixty million with plays that range from "The Odyssey of Runyon Jones," about a boy searching the afterlife for his beloved dog, to One World Flight, for which Corwin visited 17 countries seeking voices of peace. Often compared to such figures as Eugene O'Neill and Walt Whitman, Corwin was known for seventy years as the "Poet Laureate" of radio, an unofficial title invented for him and impossible to confer on another. I interviewed Norman for my book Theater of the Mind (University of Chicago Press, 2012). These remarks derive in part from those conversations.
In June of 1947, New Yorker writer Philip Hamburger published a profile of Norman Corwin, then already recognized as a distinguished radio dramatist. From Pearl Harbor to V-J Day, Corwin had staged daring plays to mark Allied milestones and earned frothy praise from the likes of Carl Sandburg, who called Corwin's V-E Day show "On a Note of Triumph" one of the "all-time best" American poems.
Such acclaim was not universal. That same broadcast drew scorn from historian Bernard DeVoto, who called it a "mistake from the first line" full of "pretentiousness" and "bargain-counter jauntiness." Like many others, DeVoto and Sandburg reacted to Corwin's habit of excess by mimicking it. Hamburger's profile caught that same bug. Billing itself as "The Odyssey of the Oblong Blur," Hamburger tells a gauzy story of Corwin's older brother building him a crystal set out of a box of Quaker Oats, and relates tall tales of Corwin's artistry, like the time he spent two days trying to simulate the sounds of depth charges. And not only did Hamburger write the profile as a radio play, but he wrote it in the style of Norman Corwin.
What is that style, exactly? Thoughts on that question have been surprisingly minimal. When Corwin died last fall, commentators celebrated his life (see here, here, here and here), but the memorials lacked precisely the sense of scale to which both Sandburg and DeVoto responded. There was no voice to speak of Norman in a "Corwinesque" manner, in part because the man probably outlived more likely eulogists than anyone else in the history of broadcasting. Had he not outlasted them, Corwin would have been mourned by the avuncular elders of midcentury liberalism, like his friends Edward R. Murrow and Carl Sandburg or admirers Robert Altman, Walter Cronkite and Studs Terkel, any one of whom could have written a loving burlesque in Corwin's voice.
But no one did, and no one can, not now. Who would get the joke, anyway? Collective experience of Corwin's sound is passing out of living memory. Yet this very elapsing "afterlife" of the radio age, I feel, lends new richness to the question of the Corwinesque, an aesthetic that needs clarification both to give full credit to the man behind it, and, in a larger sense, to show how a theory of sound experience can "happen" at the twilight zone of collective human memory.
So what was "the Corwinesque" around 1947? What is it nowadays? What might it become in the future? In this post I'll consider both the nature of the "Oblong Blur" and the methods we've tried to bring its ongoing odyssey into focus.
Philip Hamburger's New Yorker profile, with illustration by A. Birnbaum
A High Wireless Act
In its profile, The New Yorker poked fun at how Corwin made unreasonable demands of sound (e.g. "Music: a universal theme, oscillator beneath, denoting pain of the world and bigness thereof, fading") and let childish literary tactics run amok, as when the audience is called "Sons of a Sun spinning sadly through space." In his era, Corwin's penchant for such overwriting was an unavoidable aesthetic issue.
Corwin's work was widely understood as a challenge to technicians and actors just for the sake of it. In the script for "New York: A Tapestry for Radio," for example, a date scene contains this befuddling note: "Music: Love on brownstone stoop at three in the morning after an evening at the RKO Proctor Theater and a long walk in the park. It sustains, behind." In "The Undecided Molecule," meanwhile, we learn of a particle that refuses to select his destiny before "The Court of Physiochemical Relations." Here are some of many tongue-twisting lines in verse:
https://soundstudies.files.wordpress.com/2012/06/clipa.mp3
I'd argue that Corwin's writing is impressive here precisely because it's so easy to botch in delivery. The style spotlights its own overworked literary calisthenics, saying: look at me trying so hard I might blow it.
In this way, the Corwinesque names a connection between the soaring and the buffoonish, a link that a contemporary called his "frontier spirit." Thanks to this spirit, even when the prose was purple, the defect came across as that of an innovator. To keep that up, Corwin had to innovate constantly. That's why his plays took on so many other forms – the letter ("To Tim and Twenty"); the lecture ("Anatomy of Sound"); the pageant ("Unity Fair").
So one key to the Corwinesque was to walk a high wire without a net, another was to say so. Nothing confirmed both better than a fall. I'd wager many listened for a lousy line or overdone tune as part of the pleasure of it all. Indeed, it may be incorrect to evaluate Corwin's aesthetic as poetic; think of the Corwinesque as broadcasting rather than writing, and its liabilities come across as dares.
If that is correct, then the "high wire act" of the Corwinesque relies on a kind of listening-for-risk that's hard for us to do now, because we can't listen to Corwin's work new, or live. One deep aspect of the Corwinesque of the 1940's – the possibility, even anticipation, of artistic failure, up above an enormous audience out there in the dark – seems lost for good.
Coalition and Collation
But in another way, the Corwinesque is only possible to grasp now, at the safe remove of the digital era. Today it's easy to listen "distantly" to classic radio through formats that allow us to pause, rewind, categorize and remix vast amounts of golden age audio in a way that was impossible in 1947. By doing so it becomes clear that what we call the "Corwinesque" drew on a broad vocabulary of radio dramaturgy, a way of "talking about" time and space that characterized many programs of that time.
Consider Corwin's famous attempts to glorify the "common man" – farmers, G.I.s, factory workers – by drawing their voices to a sonorous space and national coalition, indeed by making these two imaginary sites mirror and rationalize one another. Perhaps the paramount example is "We Hold These Truths," which celebrated the 150th anniversary of the Bill of Rights only days after Pearl Harbor. In that broadcast, we hear Americans of the revolutionary period (widows, blacksmiths, politicians) speak from a series of shallow locations in a quick succession, and a similar group in the present (workers, Okies, businessmen, mothers), as a way of building mystical union through time.
A visual representation of the "kaleidosonic" from the 1939 broadcast "Americans All, Immigrants All"
This style has had many names. Historian Erik Barnouw likened it to painting, calling it a chance to "splash quickly over a large canvas," while actor Joseph Julian called it a "telescoping montage." Variety's radio editor Bob Landry suggested that it resembled cantata. When I interviewed him, Corwin said that it was like writing music; elsewhere he spoke of a kind of "horizontal" drama, or mosaic form.
In my book, I employ another word: "kaleidosonic." In kaleidosonic radio, we segue from place to place, experiencing shallow scenes as if from a series of fixed apertures, thereby giving time periods expressive existence. That can be contrasted with what I refer to as the "intimate style," in which the listener is attached to a character who moves through deep scenes, as a way to give space expressive existence. A good example of the latter is Corwin's American in England series, in which the horizon of wartime is shaped by a proximal relation to a surrogate narrating entity "nearby." Here's a representative episode:
https://soundstudies.files.wordpress.com/2012/06/clipb.mp3
Today, listening broadly, it becomes clear that neither of these styles belongs to Norman exclusively. For other uses of the kaleidosonic, consider the works of Stephen Vincent Benét, Orson Welles' "The War of The Worlds" or Cavalcade of America. For examples of the "intimate style," listen to Brewster Morgan's "A Trip To Czardis," or any "first-person" style play from The Mercury Theater on the Air. What made Corwin special was how he made these styles complimentary. The opening of "On a Note of Triumph" is a good example:
https://soundstudies.files.wordpress.com/2012/06/clipc.mp3
In six minutes, we go from a kaleidosonic sequence of songs and crowds to an ordinary G.I. overseas asking questions intimately. This connection between the context and the individual, between the nearby and the simultaneous, is Corwin's way of letting space and time merge together vividly.
It is that capability, I contend, that underlies and secures Corwin's glorification of the common man, who is really Corwin's public aestheticized. In 1939, Archibald MacLeish wrote, "The situation of radio is the situation of poetry backwards. If poetry is an art without an audience, radio is an audience without an art." Corwin intuited what MacLeish didn't understand: in radio, the audience is the art.
And just as airing a coalition of voices was an epistemological act that reinvented those it depicted in 1945, our use of a new collation of recordings today redraws the parameters of what those sounds might mean, amplifying latencies, superficialities, and entwinings hitherto inaudible.
A Dead Sea Scroll
By 1947, Corwin's dedication to the "little guy" was out of vogue. It seemed seditious to red-baiters, phony to leftists, and compromised to critics – The Nation's Lou Frankel wrote of One World: "It is as if the late John Barrymore decided, without warning, to play Hamlet in pantomime." On this point Hamburger's profile pivots from hagiography to satire, including a series of goofy verses voiced by a "Chorus of One Hundred Little Guys from Everywhere in the World" and a grouchy monologue by the "Common Man," complaining that Corwin talked past him, advising "you ought to think about what the words mean before you use them."
Norman Corwin in 1947 (Credit: Los Angeles Times)
That reminds me of another coda, this one in Corwin's 1944 play "Untitled." The play concerns a dead soldier named Hank Peters, who speaks as he lies "fermenting in the wisdom of the earth." The monologue concludes this way:
https://soundstudies.files.wordpress.com/2012/06/clipd.mp3
Death is a patriotic act, a metaphysical state, but also a restless moral energy bearing down on life, a thing standing in requirement of its vindicating narration. Perhaps this feature of the Corwinesque will ring especially true as classic radio continues to exist in its ongoing pseudo-immortality. Now that Corwin reposes in his own acre of undisputed ground and his voice circulates ghostlike in clouds of data, our question may be what ontological relation we ought to have with that voice, and those of other dead social visionaries, who really do keep on advising us after death, and will go on echoing after we're gone.
But the Corwinesque isn't just about how the dead "speak" to the living, long the ruling conceit in the theory of sound recording. It is also about another enigma: how the dead listen to us, an audience eavesdropping, in hiding, taking notes on an old scroll in a lost language.
Neil Verma is a Harper-Schmidt Postdoctoral Fellow at the University of Chicago, where he teaches media aesthetics. Verma works on radio and its intersection with other media, and has taught subjects including film studies, sound, art history, literature, critical theory and intellectual history. His book, Theater of the Mind: Imagination, Aesthetics, and American Radio Drama, is published by the University of Chicago Press.
by amandakeeler35
in Archival, Article, History, methodology, Radio, Sound, Sound Studies
Early cinema scholars are faced with statistics that suggest that possibly eighty percent of moving pictures produced in the first thirty years of their existence are lost—that is, they were thrown away because they were no longer profitable, or destroyed through fire or overuse. Likewise, radio historians researching early radio programming formats are confronted with a daunting inability to listen to many of the programs we write about. What does it mean to write about sound without being able to listen to the sounds firsthand? Where can radio scholars like myself track down sound in other places besides recorded media? Must we have to access "the sound itself" in order to be able to write about and understand it? While missing or incomplete sound archives in some ways narrow the depth and breadth of the historical inquiries possible, I find that these gaps of "no-sound" open up other possibilities for examining the material that does remain, in the form of station records, document archives, and programming notes.
For example, my research examines the discourse around the multifaceted campaigns for the classroom and living room educational use of (old) new media, specifically film in the 1910s, radio in the 1920s, and television in the 1950s. Often I find that the discourse around proposed and actual programs details their content quite specifically, including how these shows planned to address their audiences. But sometimes what I am looking for is a paper trail of sorts that will help me visually recreate the missing audio of these lost programs.
Judith Waller in the mid-1920s
In this regard, as I delved into the events around early radio and education, I became interested in Judith Waller, whose "accidental" radio success began in Chicago in 1922 as programming manager at WMAQ and continued as the Educational/Public Service Director for NBC's Central division. At WMAQ in the 1920s, Waller helped craft a number of educational programs, including a joint venture between the Chicago Public Schools that successfully connected city-wide special exhibits and the Chicago Daily News into an audio/visual/experiential learning experience.
However, by the 1930s Waller had grown disillusioned with "educational radio." In 1934 Waller gave an address titled "Achievements of Educational Radio," where she spoke of her "pessimism" at what she felt was the lack of accomplishments and advancements in education by radio. She felt that most listeners were "frankly bored" by educational radio and that it only appealed to those who wanted to "appear to be very highbrow before their friends and associates." One of her chief complaints was that many educational programs were "usually a dull and stupid reading of a prepared geography, history, or arithmetic lesson." Besides further experimentation, she suggested a name change, from "educational" radio to "public service" broadcasting. This superficial remedy seemed like an ideal first step in reclaiming the types of programs that had elements worthy of larger audiences, but that had largely been ignored. This name change did little to suggest, however, any actual changes that might benefit the construction of educational programming.
I use this example for the sheer fact that I would very much like to listen to these "dull" programs in order to examine what Waller perceived to be their fatal flaws. Now, some of the programs that Waller created and produced do still exist. The University of Chicago Round Table, for example, was a popular public service program Waller worked on for many years—which has an extensive archive of transcripts, although not recordings. In terms of other educational programming, some of the more prominent commercial network programs like the American School of the Air appear to have some availability. The programs I am interested in hearing, however, used the radio, a program guide, the newspaper, and local city events to weave an intricate educational lesson. Were programs like this, so seemingly well crafted and specifically engineered, really as "boring" as Waller lamented? Would it be clear to me, as a listener nearly a century removed, that there are clear issues or faults with their presentation of educational lessons? Or would Waller's problems with these programs stem from more complex issues, involving her own personal ideals of what education by radio constituted and how it should be conceived?
Robert M. Hutchins, Floyd Reeves, and John McCloy record The University of Chicago Roundtable, November 26, 1944
Regardless of the answerability of these questions, they are still worth thinking about in order to understand as much as possible about these missing programs in the context of their "no-sound" status. Not having these sounds to refer to forces us to pose different questions, while tougher to address, that force us to look beyond the audio text to understand what exactly about these programs produced their contemporary reactions. Reading what Waller wrote may supplant the need to hear these programs, but it does not necessarily replace our innate curiosity about them.
The discourse around these "no-sound" programs gives historians a particular reception, in this case, a critical perspective from one radio producer. However, Waller's public disavowal of educational radio cannot speak to the private consumption of these programs, which may or may not have produced the same negative reaction. Really, then, the Waller example suggests two avenues of inquiry, both equally difficult—a full understanding of what these programs sounded like and contained, and how other listeners felt about them. At the very least, a record of these programs and a selected set of reactions lives on in the print media that avidly reported on and debated so many facets of radio programming.
Waller's book, Radio: The Fifth Estate (1946)
Sate a little of your curiosity and hear Waller speak in this October 2000 re–broadcast of a 1948 interview she gave on the early days of WMAQ, from broadcaster/historian Chuck Shaden's "Those Were the Days" radio program.
Amanda Keeler (Ph.D., Indiana University, 2011) is a Visiting Assistant Professor at Bucknell University. She teaches courses in film and media studies. Her current research focuses on historical emergent film, radio, and television; media history; media industries; and contemporary television.


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Demon Slayer: Kimetsu no Yaiba - The Movie: Mugen Train
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When a virus threatens to turn the now earth-dwelling friendly alien hybrids against humans, Captain Rose Corley must lead a team of elite mercenaries on a mission to the alien world in order to save what's left of humanity.
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A hardened mechanic must stay awake and maintain an interstellar ark fleeing the dying planet Earth with a few thousand lucky souls on board... the last of humanity. Unfortunately, humans are not the only passengers. A shapeshifting alien creature has taken residence, its only goal is to kill as many people as possible. The crew must think quickly to stop this menace before it destroys mankind.
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After SpongeBob's beloved pet snail Gary is snail-napped, he and Patrick embark on an epic adventure to The Lost City of Atlantic City to bring Gary home.
In late 1967, a young orphaned boy goes to live with his loving grandma in the rural Alabama town of Demopolis. As the boy and his grandmother encounter some deceptively glamorous but thoroughly diabolical witches, she wisely whisks him away to a seaside resort. Regrettably, they arrive at precisely the same time that the world's Grand High Witch has gathered.
Tanjirō Kamado, joined with Inosuke Hashibira, a boy raised by boars who wears a boar's head, and Zenitsu Agatsuma, a scared boy who reveals his true power when he sleeps, boards the Infinity Train on a new mission with the Fire Hashira, Kyōjurō Rengoku, to defeat a demon who has been tormenting the people and killing the demon slayers who oppose it!
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This is the imported user page of user Dohnutman, Dohnutman on wikitravel.org/en. All contributions that this user had made on Wikitravel up until August 2012 were imported. The imported revisions of this contributor are labelled as "(WT-en) Dohnutman".
Read more about the Migration from Wikitravel.
I was born and raised in California, (Bay Area) and moved to Boston, Massachusetts to attend college. Met my wife and never moved back….
California Delta – a.k.a the Sacramento-San Joaquin River Delta - Very hard area to photograph but a very fascinating landscape full of levees (most of the area is 15 feet above sea level with some areas below sea level) , draw bridges, walnut grooves, and vineyards.
Palo Alto – a.k.a. "Shallow Alto" cause of the high yuppie and student populations, but still a neat city to explore.
San Francisco – love "the City" even though it can be a huge tourist trap.
Hawaii – Aloha! Also scoffing at you Cape Cod beaches!!
Framingham – The reason Framingham is the largest "town" in MA is because they refuse to change the designation to city!
United States National Parks – I have a buddy whose mission is to see all the NPS parks by 2010. I hope to join him on some of those adventures.
The Caribbean & the North Atlantic – Scoff at you Cape Cod beaches!! Yes the water really is that blue, the sand that white, and heat that hot!
Future Caribbean Trips on the Radar – Going to *try* to see 1 to 3 islands a year.
The regions of the South Pacific [Oceania] – Yep - Scoffing at the Cape Cod beaches as well!!
The countries of Mediterranean Europe – Also Scoffing at the Cape Cod beaches as well!!
This page was last edited at 15:36, on 10 September 2012 by Wikivoyage anonymous user 127.0.0.1. Based on work by Wikivoyage users (WV-en) ImportBot and (WT-en) Dohnutman.


 MKV to Samsung - How to Play MKV on Samsung Galaxy S2/S/S4/S3?
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