text:
As I have expounded on at length already: It was clear to me and my husband, within a couple hours of boarding this ship, that the apparent majority of the guests were Red Sox fans from Massachusetts. We didn't have to interview anyone to figure this out; we did not ask the cruise director, "Can you give us a demographic breakdown of who's traveling with you this week?" Simply walking around, we heard the nearly inimitable squawk of Massachusetts everywhere we went; and the Red Sox t-shirts, caps, and conversations were all around us. One evening I stepped into an elevator and there were a few people standing in there silently; the man against the back wall looked at me and said, "15-2 Sox!" (I think that's what he said. Frankly, it went in one ear and out the other.) I said as politely as I could, "Yes? I don't really follow the Red Sox." A woman on the wall opposite me said, laughingly, "A Yankees fan!" I grinned and said, "No, no. I'm from Connecticut and to be completely honest, I just don't give a crap about baseball." A woman standing to my right let out a whoop and held her hand up for me to high-five. "I did go to Fenway Park once," I admitted, "when my husband dragged me. But I read a book through the whole game." The man at the back wall looked chagrined and mystified, and everyone else in the elevator laughed.
It wasn't that there was no one on the cruise who my family could "match" with socially — but we were definitely outliers of some kind in this artificial community. As such, we did not socialize with others in any kind of organized way — there was no "hey, you all wanna go to Family Karaoke tonight?" or "How about we meet you at the outdoor chessboard on Deck 7 tomorrow afternoon?" No: we kept ourselves to ourselves, for the most part.
The Red Sox fan of our household is the least socially outgoing person of the three of us; the more outgoing adult member of the household (that would be me) doesn't give a crap about sports and uses sportsball games mostly as punchlines to comments either insulting to sports fans or marginally self-deprecating. This combination put us at a disadvantage on this particular ship. Nonetheless, my husband I enjoyed walking around people-watching. There was, for example, the time we were strolling through the atrium and saw a guy who was dressed, head to toe, including tips of hair, exactly like Rod Stewart ca. 1982. We smiled and walked on, waiting until we were a discreet distance away before we began to giggle and discuss "how weird do you have to be to be a guy in his late 60s walking around outfitted to look exactly like Rod Stewart?" We figured, "Benign loon"; agreed that he definitely added to the ambience of the place; and moved on.
The more time we spent hanging around the big public spaces, like the dining rooms and the pool areas, it became clear that most of the people in our age group were traveling in large packs — family reunion type situations, or the kind of thing where two or three families had banded together to do a huge group vacation. It was obvious to me and my husband that we would be spending a lot of time just the two of us, or just the three of us, with our daughter folded in, since we didn't have automatic friends on board. This was fine, but I did think it'd be nice to have someone else to talk to once in a while.
This did happen a few times. One fine morning when most people were on port excursions, my husband and I went to sit in one of the hot tubs and we spent a few minutes talking with a woman in her 60s from Massachusetts, who joined us after we'd been in the tub about five minutes. She told us that she was part of a very large group of travelers who were on the cruise to see a show being put on by a group of pop singer impersonators. "They've got a huge fan base where we live," she told us. "They're doing a show Friday night, you should go!" Apparently somewhere in central Massachusetts there's this crew of guys who get up regularly at various clubs and they do Rod Stewart concerts, Elvis Presley concerts, and one of them is, we were told, an excellent Mick Jagger. "That explains the Rod Stewart lookalike we walked past the other day," I said to my husband. "It also explains the Elvis I saw last night," he remarked. I said, hurt, "You didn't tell me you saw Elvis last night!" He said, "I guess it slipped my mind."
I met one woman, from Woonsocket, Rhode Island, who was traveling with one of her girlfriends. "Usually there's four or six of us who travel together," she told me. "We been doing this twice a year for years. This time it's just me and my one friend, and she's not coming out of our room — she's been in bed every day so far." "Is she sick?" I asked politely. "Nah, she's not sick, she's just got some problem, I dunno." The lady was having a terrible week because she'd thought she'd have company on the trip but in essence she was traveling solo. Talking to me was probably the most fun she'd had since she'd left Woonsocket, and that's really not saying much. I felt bad for her. That night I saw her from afar in the dining room and she was seated all alone at a two-top, eating and looking out the window very sadly. It was obvious that for some people, like the lady from Woonsocket, this was a vacation that was just a huge flop. There wasn't anything I could do to fix it but I did cross paths with her a couple more times, as the week went on, and I always stopped to chat with her. When I ran into her on Friday afternoon, I told her to go see the Legends show, happening that night, which it turned out she didn't know about. She seemed genuinely happy to have something to look forward to — besides getting back to Woonsocket, I mean.
The matter of "who you dine with" is apparently a big deal on most cruises. I've read Tina Fey's essay about going on a cruise many times, and she had a lot to say (pretty much all negative) about how it sucks to be on a cruise where you have to eat all your meals at an assigned table with assigned tablemates. David Foster Wallace's classic cruise essay "A Supposedly Fun Thing I'll Never Do Again" also talks about this phenomenon. One aspect the three of us really liked about the cruise we went on was that we didn't ever once have to sit at a table with anyone else. Call us anti-social snobs if you must; but we really wanted to just eat by ourselves. Our meals were the times when we re-grouped as a tight family unit: it was basically just like eating dinner at home, except, duh, I didn't have to cook and no one had to clean up afterward (except those getting paid to do so) and we didn't have cats yowling up at us trying to stick their filthy little paws into our chicken cutlets. (We did all miss our cats, to be honest, and spent a lot of time speculating as to what our cats might do if set loose in the dining room.) I think that for more extroverted people, the assigned-seats style of cruise dining might be a pleasant thing, novel and exciting. For us, it would have been utter fucking hell. In this very important sense, it is very clear to me (in retrospect; I hadn't really thought about it before we actually booked the trip, astonishing but true) that the "freestyle" cruise mode is the only way we can go, if we're going to travel this way. Otherwise, to be blunt, I think my husband will have a nervous breakdown. If he has to be charming to strangers for more than about three hours in a row, he gets too tired; to have to engage in that kind of thing, three meals a day, for 7 days, might kill him. I get it.
Our household motto might be something like "You don't annoy me too much, I won't annoy you."
There were a few mottoes, spoken or unspoken, of the majority of the guests on this ship. These mottoes were not second nature to us, since we are boring quiet people who don't wear shirts with obscenities printed on them. These mottoes were, roughly, in no particular order, "Party All the Time," "Speak Loudly and Carry a Big Drink," and "Don't Worry About How You Look." As a general rule, people traveling without children were either buzzed or downright drunk, regardless of the time of day, and this same population seemed to have little care for what we might call personal dignity. It astonished me to see the manners of dress (or lack thereof) people didn't mind putting out there. My qualms aren't based on prudishness but are obviously based on something we could attribute to, I suppose, class snobbishness or my own general sense that there is a way to present oneself and a way to never present oneself. The men on this ship were so sloppily attired, it left me at a loss. Married, as I am, to a man who basically cannot bring himself to wear shorts in public, on the grounds that it's undignified, if not downright slatternly, I've gotten used to a certain look on men to whom I stand in close proximity.
That look was hard to come by that week; proximity, easy. I saw a lot of men walking around in ill-fitting t-shirts, ill-fitting tank tops, both often printed with slogans and images not printable in a family paper. (My husband told me about some that he'd seen, horrified, and asked me, "Who wears these things in public? Who?" All I could say was, "Well, those guys do, I guess?") You can just imagine the sorts of shorts I saw all over the place. It was Thursday, I believe — the cruise was almost over — before I saw a man other than my husband strolling about the ship wearing pants and a button-down shirt. (He looked good.)
Where I live, there's definitely a lot of sloppy clothing, and God knows there are a lot of people who are not interested in being fashionable or stylish. Even so: it's clear that even without taking these things into consideration, there is a kind of decorum assumed, across this city, across ethnic, class, and other demographic lines, that just did not exist on this ship. I spend time in posh neighborhoods here, I spend time in seriously not-posh neighborhoods. I'm all over the damned place. I'm on foot, walking around all the time, I'm on buses, headed crosstown. I see every kind of person there is to see in this little city, and I'm telling you, the attire that was normal on this ship would be garnering some clucks of disapproval here in New Haven, regardless of neighborhood, socioeconomic status, or ethnicity. Now maybe, maybe it's true that if we took New Haven and said, "pack for a week-long cruise to the Bahamas" we'd wind up with some people who dressed the way these people on this cruise did. But in all seriousness: I don't think there would be nearly so many t-shirts with boob jokes on them. A few, maybe. But not this many.
Some of you may be wondering, "What did the Hausfrau wear on her vacation?" and the answer is, I wore pretty much exactly what I wear when I'm going about my business at home in the summertime. I wore a black cotton blend pencil skirt, black or grey t-shirts, and comfortable shoes (on this trip, mostly leopard print clogs). When it got chilly I put on a denim jacket. There was nothing at all shocking about what I wore, nor did I look sloppy or slatternly, thank you very much.
Much as my wardrobe did not change while I was on the ship, my basic behavior did not turn toward the particularly hedonistic, though I was politely urged to let my hair down many times. I had two drinks, on two separate occasions; this is the equivalent, on a cruise, of being teetotal. My husband had a few gin and tonics over the course of the week, a couple of beers. The majority of guests, however, were — and I really don't think I'm exaggerating — always walking around with some big tall drink in their hands, and I'm not talking about a Dunkin' iced coffee. When I noticed people swaying as they walked, I had to think about whether this was a question of sea legs or sobriety. It was, if I stopped to think about it too hard, a bit of a bummer. Men seemed to party harder than women, and have less sense of propriety overall, perhaps because they were partying so much harder. And I write all this, mind you, as someone who didn't spend time hanging out in the casino at night, or at any of the dance clubs or karaoke bars or anything like that. This was just me, a matronly type, skulking about the boat looking for places to read my book between the hours of, say, 8 a.m. and 8 p.m.
There was one time when my husband and daughter asked me to meet them for dinner at a restaurant and I wound up getting horribly lost on the ship and had absolutely no clue how to get to my desired location. There are maps and guides all over the place but the fact remains, fore and aft don't come naturally to me and given the multiple elevator banks on any given deck, it's easy to get confused and disoriented very quickly. Thus it was that at 7 p.m. I found myself weaving back and forth on the ship — stone cold sober, mind you — trying to figure out how the hell to get to this one restaurant that I thought I knew how to get to.
I mean, here's the thing about being on a cruise: your options are deeply finite. You can only go so many places on a ship, and it has a definite beginning, middle, and end. It's not like being on a lonely road someplace where you think, "Well, I'm in Springfield, if I keep riding I'll wind up in Northfield, that's not so bad, right?" No. You're on a ship. Eventually you will hit a wall or a railing and on the other sides of those walls and railings are ocean. So you will turn around and start over again.
Honestly, I think I spent twenty minutes circling around, walking through the casino (iccchh) and then thinking, "Aha, I've found it," heading confidently toward the right only to realize I had landed myself in a very dimly lit bar where people were gearing up to sing Aerosmith and Taylor Swift to the best of their abilities. I walked up half-staircases and down half-staircases and I went hither and thither and yon and I only found my family by the grace of good luck when they found me, actually, coming through the Photo Gift Shop, or whatever they call the place where you're supposed to drop wads of money on pictures of you and your family and friends having such an awesome time on your cruise.
"Where've you been?" my husband asked me.
"I have no fucking idea," I said truthfully.
Part of the problem, I suppose, is that we were not willing to pay whatever astronomical charges would be asked if we wanted to use our cell phones on the ship. Roaming charges, wifi fees, whatever: we were too stingy to rack up these charges. As a result, we could not communicate with each other in the manner to which everyone's accustomed nowadays. I couldn't text my husband saying "Jesus, I just got lost in a karaoke bar, how do I get to you?" and have him reply, "You moron, you go LEFT at the karaoke bar, then left again, and we are here." Not that my husband would ever text me telling me I'm a moron, that'd be deeply out of character.
No: for us to keep in touch with each other, we got in the habit of leaving handwritten notes — written on paper — on the bed in our cabin. "Gone to read and look at water," a note might read, "meet you at cabin at 12." "Meet you for dinner in Garden Cafe at 6." "Gone to return library book, back soon, 4 p.m." It was, to be honest, all very quaint.
It might be, I suppose, that everyone else is drinking so much because they can't find the people they're traveling with and they don't know what else to do with themselves, so they figure, "What the hell, I'll just go have a drink, Bob is sure to walk by eventually…."
Life on a cruise is, in a lot of ways, a throwback-to-the-year-1995 experience. For example, I met someone and became friends with them purely on the basis of chance. How often does that happen these days?
This was one of the Port Days, when most people scurried off the ship to go do wholesome things with their kids or to go get snockered on an actual beach somewhere. On this morning, my daughter went off to hang with whatever small number of kids signed up for the cruise kids' program that day, my husband went off to go read his book, and I went to get a pedicure at the cruise ship's spa. This would turn out to be an enlightening experience — I learned, a la the heroine in Rebecca Newberger Goldstein's first novel, The Mind-Body Problem, that I am not taking care of myself the way real women do*. I was seated in the waiting area filling out paperwork when a woman with greying-blonde wavy hair sat down across from me with her own little clipboard of paperwork. "Taking advantage of the massage special today?" she asked me conversationally. "Oh, no," I said, "I'm just getting a pedicure. That's more than enough excitement for me."
The woman chuckled and as we finished our paperwork we chatted. It turned out that she was from New York City, and had worked in publishing for many years. I said where I was from, in Connecticut, and that I'd been a bookseller for a long time, and she told me that her in-laws lived in my small city, too. It turned out we had quite a few overlapping life-elements — little interests, common tastes — and she said, "We should get together and have coffee sometime! Like we would if we'd met in real life." I agreed wholeheartedly, and we exchanged first names just as my name was called: it was time for me to enter the spa and become a new woman. Or get some newly painted toenails, anyhow.
I followed the petite salon staffer, a woman with perfect hair and nails, natch, into a room where there were a few of those big puffy vinyl-covered salon chairs lined up facing a bank of windows; I had a remarkable view of the Atlantic. I picked out my nail polish color and as I sat in the chair the beautician turned on the massage panel and the chair began to beat up my back. There must be people who like that sort of thing, but I really don't; however, I would have felt bad saying anything about it, so I let my back get mauled by the chair while the lady soaked my feet and clipped my nails and began to try to draw me out. It was clear to me immediately that this young woman was mystified by me: at the time I sat down in her salon, I did not already have polish on my feet. "How long has it been since you had a pedicure?" she asked suspiciously. "Maybe three years? Four years? It's been a while," I said. She examined my feet. "You have a lot of calluses," she scolded me. I tried to explain that I walk everywhere and as such my feet have calluses, but she would have none of it. She soaked my feet and worked on my nails and eventually took up a cheese grater to scrub at my feet. "That's a Microplane grater!" I said with amusement. "How do you know that?" she asked, looking at the device in her hand. I explained that I own several Microplane graters and that I use them in my kitchen. She seemed skeptical that a Microplane would ever be used for something other than removing calluses. "For grating cheese, or ginger, or chocolate," I explained. "They're very well-made." "Well," she said, scrubbing at my feet, "they are. And they are very easy to clean," she added pointedly. I watched as my dead skin piled up on the paper toweling at the foot of the puffy chair. It was vile, but also fascinating. She worked so hard, with religious zeal: she was obviously shocked and horrified by me, and mystified as to how an adult woman could not care about her feet this much.
Mind you, I feel like I take fairly good care of myself. And I do care about my feet; it's just that foot beauty isn't one of my highest priorities. I clip my nails and stuff like that! Other aspects of personal aesthetics rank more highly. My hair, I can assure you, is in great shape. Since far more people see my hair than ever see my feet, I really think I've got my priorities straight.
The beautician, having painted my nails, then tried to get me to purchase a number of expensive skin-and-nail-care products, none of which I considered for even a moment. I walked out of the salon with my new feet and as I walked past the waiting room I remembered the lady, let's call her Beverly, who I'd met an hour before. I paused, and then went up to the reception desk. "Hi," I said. "There was a blonde lady who was about to get a massage this morning, is she still around?" I explained that if she was, I'd like to leave a message for her. The staff established that she was, in fact, still on-site, and kindly gave me a piece of paper and a pen so I could write her a note. I scrawled, "It was nice to meet you — if you'd like to get in touch to have coffee sometime, here is my room number." I left the spa feeling cheerful. Even if our paths didn't cross again, I'd made a good-faith effort to make a new friend, and there'd be no hard feelings if she didn't get in touch (after all, time is limited, on a cruise); it seemed like a mitzvah, really, to even make the gesture. Also excellent: as it was only 10.30 in the morning, I had the rest of the day to loll about on lounge chairs reading.
I was ambling across Deck 12, thinking I would head back to the cabin to meet my husband and then we'd find our daughter and go have lunch, when I ran into Beverly, the blonde from the salon. Translated into my local vernacular, this would be like running into a new friend on Orange Street, the morning after meeting at a cocktail party at which you'd discovered that you've both been living in the neighborhood for six years, two blocks away from each other. In other words, it should have been inevitable, yet somehow it wasn't.
"I got your note!" she said happily. We compared notes on our mornings (unanimous positions: pleasant; though I imagine she enjoyed her massage more than I enjoyed having a cheese grater applied to the soles of my feet) and I said I was looking forward to having my family make fun of my toenails. "Speaking of which, I need to find my family," Beverly said. She had a vague idea of where her husband was, but her son and parents had gone off together and she was unable to locate them. "They've gotta be around here somewhere," I said. "The library? The games room?" "That's what I'm hoping," she said. She said she'd phone me after she conferred with her family about their plans for the next day or two, I said Fabulous, and off we went.
Late in the afternoon when my family convened in our cabin for the pre-dinner changing of clothes and so on (adding a sweater, changing shoes, going from bathing suit into shirt and pants), the phone rang. Everyone in the room froze. "Who could be calling us?" my daughter asked, real alarm in her voice. She had been led to understand, thanks to us, that phones were useless on the ship.
"I bet it's my new friend!" I said. Everyone looked at me with surprise: I'd made a friend? Who would phone me?
Sure enough, it was Beverly. "Hi!" she said. It was like a totally normal phone call from someone I knew, except it was happening on a ship, in the middle of the ocean, with a total stranger. My husband and child listened, bemused, as I made plans for an actual social occasion. "It's great that you made a friend," my daughter said when I got off the phone. "I made a new friend at my program today too."
My daughter, by far the most gregarious of the three of us, had made so many new friends by the end of her week on the ship that she could fill an autograph book with notes from them all. My husband — surprise, surprise — made no new friends, though, true to form, I'm not sure he cared or even noticed. I am now Facebook friends with Beverly, and we've had some amusing little exchanges online, and discovered that her husband knows a guy who used to live down the street from me, whose ex-wife is still a day-to-day friend of mine. I expect that if Beverly ever comes to town to visit her in-laws, she'll send me a Facebook message when she needs a break from family, asking, "You wanna meet for coffee while I'm in town?" and I'll say, "sure, there's a place about three blocks from your in-laws…."
We will, of course, exchange phone numbers, then, in case we need to text each other, and we will bring our acquaintanceship up to 2018 standards. But it will always have begun in an old-fashioned way. It's just a shame, really, that when we met for our breakfasts (bagel and lox for me, a croque madame for her) we couldn't really dress for the occasion the way it deserved — and we were, unfortunately, still surrounded by people wearing dopey baseball caps and t-shirts with crass slogans. We needed hats worthy of Rosalind Russell and Myrna Loy; we needed car coats and dress gloves.
Beverly, when you come to New Haven, we'll go shopping. I know just the place.
*there's a scene in this novel when Our Heroine goes to a salon and is told by the facialist that she's RUINING HER FACE by not using special skin care products and that using soap on one's face is a moral failing on a scale you cannot begin to fathom because it's so awful.
The Hausfrau Leaves Home: Traveling on a Ship, 2018
Oh Beautiful For Pilgrim Feet in Bright Blue Stripey Socks: or, A Spate of Sockloss Dilemma


text:
filmAll Sections
Paul Greengrass quits new Bourne film
Ben Child
# Action and adventure films
# Matt Damon
# Paul Greengrass
# The Bourne Ultimatum
Decision of British director of The Bourne Supremacy and The Bourne Ultimatum to not return throws future of spy franchise in turmoil
Paul Greengrass has quit work on the fourth instalment in the Jason Bourne series, a move that casts doubt on the future of a franchise once tipped to rival the James Bond movies.
Greengrass confirmed his departure yesterday in an official statement through studio Universal after the news was broken by the Playlist blog earlier in the day. The future of star Matt Damon in the franchise is also said to be uncertain.
Universal's statement went out of its way to rubbish claims of a dispute between Greengrass and the studio. It also suggested that the director's departure did not necessarily spell the end for the Bourne franchise, though industry watchers may see things differently. Greengrass's involvement is thought to be crucial because he oversaw the series' two most recent instalments, 2004's The Bourne Supremacy and 2007's The Bourne Ultimatum, both of which were huge critical and commercial successes. The British director also has the backing of Damon. If both men refused to work on the fourth Bourne movie, the franchise would appear to be in serious trouble.
"Jason Bourne existed before me and will continue, and I hope to remain involved in some capacity as the series moves on," said Greengrass in the statement. "You won't find a more devoted supporter of the Bourne franchise than me.
"I will always be grateful to have been the caretaker to Jason Bourne over the course of The Bourne Supremacy and The Bourne Ultimatum. I'm very proud of those films and feel they express everything I most passionately believe about the possibility of making quality movies in the mainstream.
"My decision to not return a third time as director is simply about feeling the call for a different challenge. There's been no disagreement with Universal Pictures. The opportunity to work with the Bourne family again is a difficult thing to pass up, but we have discussed this together and they have been incredibly understanding and supportive. I've been lucky enough to have made four films for Universal, and our relationship continues."
According to Playlist's original report, Greengrass's decision to depart was fuelled by his disappointment over Universal's alleged failure to consult him over its hiring of a new writer to work on the movie, which had been scheduled for release in 2011. Joshua Zetumer was reportedly given the task of penning a "parallel screenplay" due to concerns that official scribe George Nolfi, who co-wrote Bourne Ultimatum, had his hands full with his directorial debut, The Adjustment Bureau.
Playlist's article suggested that Universal and Greengrass were also at odds over another matter – the film-maker's current project, Iraq war thriller Green Zone, also starring Damon, had gone considerably overbudget, costing the studio $150m (£90m).
Ben Child is a Guardian film writer and the blogger behind The Week in Geek
Bourne on the fourth with Matt Damon and Paul Greengrass
Star Matt Damon and director Paul Greengrass are to reunite on a fourth Jason Bourne film, following disappointing receipts and reception for Jeremy Renner/Tony Gilroy outing
16, Sep, 2014 @8:47 AM
Peter Bradshaw reviews The Bourne Ultimatum
Peter Bradshaw: The Bourne franchise delivers more entertainment-bangs for your buck than anything else comparable.
Peter Bradshaw
Peter Bradshaw: Relentlessly ridiculous, and relentlessly enjoyable action romp.
Jason Bourne review – Matt Damon back in fun but forgettable action revamp
Paul Greengrass and his star have upped the tech and chucked in references to Snowden, but it's basic Bourne that remains most persuasive
26, Jul, 2016 @7:00 AM
DVD: The Bourne Ultimatum
Rob Mackie
14, Dec, 2007 @11:37 PM
Rental and retail: A crisply efficient conclusion to the Bourne trilogy, in which our anti-hero discovers, along with the rest of us, who he really is and how he came to be what he is
07, Dec, 2007 @10:27 AM
Bourne again: Ben Affleck confirms Matt Damon and Paul Greengrass will team up for fourth time
Star and director's decision to work together on new Bourne project throws Jeremy Renner's offshoot into doubt, writes Luke Holland
Luke Holland
10, Nov, 2014 @3:35 PM
Film of the week: The Bourne Ultimatum
Philip French: The Bourne denouement leaves Matt Damon, 169 stuntmen and the audience exhausted.
Philip French
Why I love … Jason Bourne's frantic chase through Tangier
The tense dogfight between hitman and spies in the third Bourne film, deftly handled by director Paul Greengrass, is powerful enough to restore your faith in action movies
Paul MacInnes
Matt Damon and Paul Greengrass: 'We'll never say never again'
The writer and star had such a terrible time making The Bourne Ultimatum they vowed to quit the series. So why did they change their minds?
Andrew Anthony

redpajama_set_name: RedPajamaCommonCrawl


text:
Patriotic Fund
— DIVIDER —
China and V4 countries
Polish-Czech Forum 2022
Russia Monitor is a review of the most important events related to Russian internal and external security, as well as its foreign policies.
Israeli Prime Minister Arrives In Russia For First Talks With Putin
Russian President Vladimir Putin hosted new Israeli Prime Minister Naftali Bennett in Sochi for talks in which these two focused on what their countries had in common. It was an important meeting for the Israeli official. Bennett is seeking to keep cordial ties Putin and Netanyahu had maintained for many years. A bridge between the former prime minister and his successor is Minister Zeev Elkin, an Israeli specialist in Russia affairs.
SOURCE: KREMLIN.RU
The two officials met for their first face-to-face talks since Bennett took office. Earlier they had held two phone conversations. Before leaving for Sochi, Israeli officials agreed to recognize tourists vaccinated with Russia's Sputnik V shot as immunized and allow them to enter the country without requiring quarantine, a move pushed by political leadership ahead of meeting between Bennett and Putin. The meeting was scheduled for two hours but it lasted five hours. Both leaders were joined only by Minister Zeev Elkin and a Russian translator. In the past, Elkin, a native Russian speaker, also accompanied Benjamin Netanyahu in his meetings with Putin to provide translation and advice. A top specialist in Russia affairs among Israeli officials, Elkin is a bridge between the two countries. However, he was not the only one to arrive in Sochi. The Israeli delegation also included national security adviser Eyal Hulata, General Avi Gil, and foreign policy adviser Shimrit Meir. The contentious issue was the war in Syria and Iranian entrenchment in the country. Putin told Bennett that the pair had "many problematic issues" to discuss, but also many "points of contact." Moscow sides with Bashar al-Assad and Iran, but has for years allowed Israel to attack targets in Syria. Nonetheless, Moscow has been at odds with Israel, saying the latter country did not communicate its plans for Syria. Yet the two parties do not have the same interests when it comes to Iran's nuclear program. In addition, Moscow provides support to Palestinian organizations. Nonetheless, Netanyahu forged friendly relations with Putin, based on seeking accord where possible and avoiding clashes elsewhere. At the Sochi meeting, Putin praised trade with Israel while Bennett talked about the Red Army's contribution to defeating Nazi Germany and the importance of Russian-speaking Israelis.
If content prepared by Warsaw Institute team is useful for you, please support our actions. Donations from private persons are necessary for the continuation of our mission.
All texts published by the Warsaw Institute Foundation may be disseminated on the condition that their origin is credited. Images may not be used without permission.
Tags: diplomacyIranIsraelNaftali BennettrussiaSochisyriaVladimir Putin
Warsaw Institute
Office: Wilcza St. 9, 00-538 Warsaw, Poland
Warsaw Institute new idea for the region
ANALITICAL ARTICLES
© 2022 Warsaw Institute | All rights reserved. | Privacy policy


October 24, 2016 Leave a Comment This post may contain affiliate links.
I've talked many times before on my blog about our struggle to stay pregnant before our first daughter was born. It was around that time that I really became aware of everything I put into and on my body. My husband and I had seen all the specialists before finally going to see a naturopath. We started eating healthier, and we started choosing more natural products with less chemicals to use on our skin and in our home.
It became a top priority.
Did you know that babies are exposed to an average of 232 toxic chemicals while in the womb?
Chemicals found in our deodorants, shampoos, makeup and other products that we use everyday find their way into our bloodstream and can pass onto our growing baby. I feel like today, more so than when we were first trying to get pregnant years ago, that people are becoming more conscious of what goes in our body and our skin. One of our favorite brands to use – Tom's of Maine harnesses the power of nature for a more naturally effective way to care for yourself and your family.
Do you check the ingredient list for every product you bring into your home?
The easiest way to start choosing more natural products is to start reading labels. Find products that have simple ingredients. Ingredients that you know what they are and what purpose they serve.
Tom's of Maine natural deodorant contains no aluminum, artificial fragrances or preservatives and no petrochemicals. The main reason we switched to using their deodorants.
It's important to note that when you are switching to a natural personal care product for the first time, that you give your body some time to adjust. If your body is used to a conventional product, you might need a little time to adjust to a natural formula free of chemicals and artificial ingredients.


text:
Les «  » sont la période de croissance et d'insouciance de l'Amérique des années 1920. La dénomination est souvent traduite par « années vrombissantes » ou « années rugissantes ». Ce phénomène n'épargnant pas l'Europe, il est désigné par les termes « années dorées » en Grande-Bretagne et en Allemagne (respectivement «  » ou «  » et «  ») ; en France on parle des « années folles ». L'expression anglo-saxonne est dérivée du terme anglophone Roaring forties (quarantièmes rugissants) qui désigne en anglais les zones de tempête des quarantièmes degrés de latitude sud.

Ces différents termes désignent une même réalité, réalité dans laquelle les États-Unis font figure de « modèle » qui se serait par la suite diffusé en Europe. Ces prémices d'une « hégémonie culturelle » américaine manifeste la position dominante des États-Unis sur la scène internationale au lendemain de la Grande Guerre.

Cette période, qui commence effectivement à la fin de la Première Guerre mondiale et dont l'épilogue est souvent tragiquement associé à la crise de 1929, est définie comme une décennie de changements majeurs, d'évolutions et de prospérité aux États-Unis, aussi bien sur le plan économique, que culturel ou sociétal. 1919 a ainsi été désigné comme « l'an premier du siècle » par John Dos Passos. Toutefois, l'Amérique des années 1920 c'est aussi, en périphérie de ce phénomène dominant, une Amérique « du refus », une opinion publique divisée sur ses valeurs, une prospérité excluante.

La prospérité économique

Une deuxième Révolution de l'Amérique
Les  sont caractérisées par une forte prospérité économique qui se décline dans différents domaines et grâce à des facteurs multiples. On a souvent caractérisé ces années de « deuxième révolution industrielle » pour les États-Unis. Ainsi, le taux de croissance annuel moyen des États-Unis sur la période 1919-1929 est de 4,2 %. C'est une réelle augmentation quantitative qui a lieu, puisque le PNB des États-Unis passe de 78,9 milliards à  de dollars dans cette même période. Cette hausse du taux de croissance s'explique en partie par une hausse de la productivité des facteurs de production à cette époque, cette productivité s'expliquant elle-même par de grands progrès techniques.

Les États-Unis sont le théâtre d'innovations techniques et d'avancées scientifiques. Ainsi, la productivité des États-Unis augmente par exemple, grâce au remplacement de la vapeur dans les usines par l'énergie électrique : ainsi, de 1914 à 1930, le pourcentage d'entreprises utilisant l'électricité plutôt que la vapeur passe de 30 % à 70 %. À cela s'ajoute de profondes réorganisations structurelles. Frédéric Winslow Taylor développe dès 1911 les tenants de son modèle de production dans . L'objectif est de décomposer les gestes de l'ouvrier pour les rendre plus efficaces et rapides. Le taylorisme comme structure organisationnelle du travail est ainsi généralisé dans les industries dans les années 1920. L' « organisation scientifique du travail » de Taylor est ensuite complétée par la « chaine de production », mise au point par Henry Ford, qui, grâce à la mécanisation, met au point un processus de production en « chaîne de montage », alliant ainsi la méthode de Taylor et les progrès de la mécanisation.

Cette révolution industrielle touche particulièrement plusieurs domaines, mais l'industrie automobile est souvent présentée comme représentative de la période, comme un secteur en pleine expansion et caractéristique de ces . Henry Ford a une influence majeure durant ces années, que ce soit par les innovations techniques dont il est l'initiateur ou par sa fameuse voiture, la Ford T, symbole de l'American Way of life et de la «  » des années 1920. Cette voiture démontre le bond quantitatif de la production américaine : en une vingtaine d'années, il s'en est produit environ 15 millions d'unités. On trouve une grande variété de constructeurs (Dodge, Studebaker, Willis), qui ont une tendance à la concentration, une tendance qui semble être le deuxième trait caractéristique de cette prospérité économique des États-Unis des années 1920.

La concentration économique
L'économie des  est marquée par un réel mouvement de concentration des entreprises. Ce mouvement est lancé dès 1919 dans des secteurs tels l'acier ou l'automobile, malgré le nombre des , comme le Sherman Act de 1890. Si on observe la concentration dans le secteur automobile, on voit qu'en 1929, il ne reste plus que 44 constructeurs, et que les trois constructeurs que sont Ford, General Motors et Chrysler assurent 80 % de la production des automobiles. Si en 1919, les lois antitrust empêchent la concentration des entreprises, dès le début des années 1920, la concentration se renforce. Les Républicains, au pouvoir à partir de 1920, favorisent ce phénomène, disposant de la bénédiction de la Maison-Blanche et de la Cour Suprême. Herbert Hoover, ministre du commerce puis Président à partir de 1928, favorise la concentration : il encourage la création de grandes corporations sur la base d'un regroupement par métier. C'est la création de grands holdings et l'ère du «  ».

Certains, rétrospectivement, souligneront le caractère « factice » de cette prospérité, comme John Kenneth Galbraith a pu le faire remarquer dans son livre La Crise économique de 1929 ; cette prospérité apparente, cette « Seconde Révolution industrielle », cette ère du progrès technique, de la productivité, cette ère de la croissance prenant effectivement fin tragiquement avec la crise de 1929.

Une société nouvelle

Urbanisation et urbanisme
Les Roaring Twenties sont marquées par un phénomène d'urbanisation croissante et relativement précoce de la société américaine. En effet, dès 1920, aux États-Unis, la population urbaine est supérieure à la population rurale comme en atteste le recensement de la population de 1920 ; ce chiffre ne sera atteint en France qu'en 1931, par exemple. Cette urbanisation profite majoritairement aux grandes villes. Toutefois, on assiste également au développement de banlieues (appelées suburbs) autour des villes-centres. Cet étalement urbain (« urban sprawling ») est aussi encouragé par le développement d'infrastructures routières, l'équipement des ménages en téléphones et en automobiles. Les Roaring Twenties voient alors l'apparition de vastes zones « métropolitaines ». Ces nouvelles zones résidentielles voient arriver le « confort » d'une vie moderne : avec l'électricité et un début d'équipement électroménager entre autres.

Le centre-ville est aussi le théâtre de grandes mutations. L'urbanisme change la physionomie des villes américaines : c'est le développement des gratte-ciels (skyscrapers). Les premiers gratte-ciels sont apparus à Chicago dans les années 1880. La construction de ces hauts immeubles a cessé lors de la Première Guerre mondiale, mais reprend de plus belle au cours des années 1920. L'exemple le plus frappant de la présence de ces gratte-ciels est la ville de New York, où ces derniers, en nombre, forment littéralement les bordures des rues. Ces bâtiments, caractérisés par la juxtaposition d'étages, de l'ordre d'une quarantaine en moyenne, peuvent atteindre des sommets. Ainsi, le Chrysler Building a détenu un an le record de hauteur avec ses 77 étages et ses , avant d'être dépassé en 1931 ; avec l'inauguration d'un tout nouveau gratte-ciel, également à New York, l'Empire State Building, haut de 86 étages et de .

Consommation de masse et publicité
Les Roaring Twenties sont marquées par le développement d'une consommation de masse et l'avènement de la publicité. L'aisance matérielle devient à la portée de tous ou, du moins, un idéal à atteindre. Ces phénomènes sont en grande partie explicables par la hausse du pouvoir d'achat des ménages américains, elle-même résultat d'une hausse des salaires, le salaire moyen ayant augmenté de 26 % sur la période des années 1920. Les entreprises vont effectivement avoir tendance à adopter des politiques hauts salaires, à l'image de Henry Ford. L'idée est que ces hauts salaires vont venir stimuler la demande de biens et donc entraîner en retour une augmentation de la production, Henry Ford déclarera à ce sujet que « Ce n'est pas l'employeur qui paie les salaires mais le client ».

La consommation de masse va de pair avec le développement de la publicité. La publicité apparait dans cette société américaine en réponse à un souci économique évident : écouler la production, trouver des débouchés. À travers la publicité, dont le but est d'attirer vers « son produit » les consommateurs, les vendeurs se livrent à une concurrence impitoyable. On assiste à la création de nouveaux "besoins" de consommation. La publicité est l'outil clé de cette création : la part de la publicité dans le PNB américain passe de 360 millions de dollars en 1890 à plus de 3 milliards en 1929. Cette publicité trouve de nombreux supports : elle peut occuper jusqu'à 2/3 des journaux et magazines et se place comme leur principale source de revenu. Elle s'impose rapidement sur d'autres supports comme les ondes radiophoniques dites TSF (Transmission sans fil). Ainsi, la diffusion de musique est régulièrement entrecoupée de messages publicitaires. Cette publicité a un impact d'autant plus fort qu'en 1929, on compte 10 millions de poste de radio aux États-Unis. Les messages publicitaires sont de plus en plus élaborés, les publicitaires font désormais appel à des psychologues pour adapter et affiner leurs messages médiatiques. Les campagnes publicitaires se développent de plus en plus à l'échelle nationale. Les publicitaires expérimentent de nouveaux designs et cherchent des photographies toujours plus réalistes pour convaincre le consommateur. Ainsi, les publicitaires travaillent à la construction de nouveaux « besoins » : faisant intervenir à cet effet témoignages, ou célébrités de l'époque. Ce développement de la publicité participe d'une nouvelle « idéologie du business» qui prend forme pendant la période.

Une carrière à l'image de ce succès est celle d'Edward Bernays, neveu de Sigmund Freud, souvent considéré comme le fondateur des relations publiques. Si ses théories sont régulièrement décriées comme une « manipulation de l'opinion publique », il est largement sollicité dans le milieu économique et politique. Ainsi, il prend par exemple en charge la campagne publicitaire de la marque de cigarette Lucky Strike, en prenant appui sur les principes développés par la psychanalyse.

La femme américaine des années 1920

La littérature et le cinéma véhiculent l'image d'une nouvelle femme américaine des Roaring Twenties : la « Flapper », traduit en Europe par l'émergence de l'image de la « Garçonne ». La « Flapper », symbole de la femme affranchie, a les cheveux et les vêtements courts. Elle fume en public, brave la prohibition et se maquille. Elle sort et danse le charleston, le black bottom ou le Lindy. Des actrices comme Norma Talmadge, Alice Joyce, Clara Bow ou Louise Brooks sont des incarnations du genre.

Les femmes commencent à vivre dans des foyers équipés d'un plus grand confort, simplifiant considérablement le travail domestique. Les années 1920 esquissent un début de libération des mœurs : recul de l'âge moyen de mariage, augmentation des divorces ; sans pour autant menacer directement l'institution du mariage et le schéma familial traditionnel : « le home est toujours le fondement de la société américaine ».

Le Travail ou la Maison ? C'est la question qui se pose aux femmes des années 1920. En fin de période, en 1930, elles sont  sur le marché du travail. Finalement la population active féminine varie faiblement sur la période. Les femmes occupent en général des activités nécessitant un faible niveau de diplôme et à niveau de responsabilités peu élevé : travaux domestiques et de service, ouvrières peu qualifiées, employés de bureau… Les salaires féminins demeurent en outre largement inférieurs aux salaires masculins. En 1929, pour le même travail, une ouvrière gagne  à l'heure contre 62,5 pour un ouvrier. Les femmes sont encore considérées sur le marché du travail comme offrant une main d'œuvre dont la concurrence est déloyale, discours que la Grande Dépression après la crise de 1929 ne fera que renforcer. Certains hommes, employés, patrons, magazines féminins luttent pour leur retrait de la vie économique américaine.

À défaut d'une parité salariale, les femmes obtiennent gain de cause en termes de parité politique : en 1919 le  amendement accorde aux femmes le droit de vote aux élections. L'amendement est ratifié par les trois quarts des États Américains en . Elles votent pour la première fois aux élections présidentielles et législatives de . La présence des femmes à des postes politiques se développe mais reste minoritaire et anecdotique : Rebecca Felton siège deux heures au Sénat en 1922 en remplacement. En 1931, la première femme sénateur est élue. De 1920 à 1932 : quatorze femmes ont siégé à la Chambre des représentants. « Ma » Ferguson et Nellie Tayloe Ross sont élues gouverneurs respectivement du Texas et du Wyoming.

Inégalités sociales: les oubliés de la prospérité
La frénésie collective et l'optimisme des années 1920 tendent à faire oublier que les inégalités sociales existent et perdurent. Inégalités géographiques déjà, avec l'existence de « régions déprimées » comme les Appalaches ou la Nouvelle-Angleterre qui subit le coup de la concurrence des États du Sud dans le domaine de l'industrie textile. L'interdiction du travail des enfants n'est pas tout à fait acceptée ou du moins en partie violée. La peur du chômage reste un souci majeur pour la population. La « nouvelle ère » (New Era) laisse sur le banc de touche de nombreuses fractions de la population américaine : Noirs, immigrés récents, Farmers endettés : ce sont les « forgotten men » de la prospérité. Sur la période, 60 % des ménages disposent de revenus inférieurs au revenu minimum indispensable. À Roaring Twenties certains préfèreront alors l'expression « Tawdry Twenties »  littéralement « années tape-à-l'œil » pour signifier le caractère artificiel de cette prospérité qui ne laisse à voir que la profusion de biens et de services que seules les fractions dominantes de la population peuvent s'offrir .

Culture des Roaring Twenties

Musique

Les Roaring Twenties sont « l'ère du Jazz », du blues, du ragtime, du spiritual Gospel et du Swing. Le trompettiste Louis Armstrong, le cornettiste King Olliver, les clarinettistes Jimmie Noone et Johnny Dodds, le pianiste et chef d'orchestre Duke Ellington sont élevés au rang de stars de ces nouveaux genres musicaux inspirés des chants des esclaves Noirs. Le « style Nouvelle-Orléans » fait fureur aussi bien dans les populations noires du sud du pays en exil économique au Nord que dans les populations blanches huppées. Cette émergence d'une « culture noire » revisitée ne remet pas en cause pour autant le climat de ségrégation sociale et raciale à l'œuvre dans cette Amérique des années 1920. Cette « ère du jazz » qui fait fureur parmi les jeunes, ne fait pourtant pas l'unanimité. Vue comme le déclin de la décence des plus jeunes, accompagnant des danses où les jeunes femmes ne sont plus chaperonnées, les générations plus anciennes voient ces nouveaux musiciens comme des « dégénérés ».

Cinéma
Les années 1920 aux États-Unis correspondent au début de l'âge d'or Hollywoodien. On peut dès lors parler d'« Industrie Hollywoodienne » : Hollywood produit 700 films par an et inonde le marché mondial : les trois quarts des films diffusés à l'étranger sont américains en 1926. C'est l'époque de la création et du développement de grandes « Companies » : des sociétés de production cinématographique : Paramount (1912), United Artists (1919), Warner Brothers (1923), MGM (1924). Hollywood devient véritablement le centre du cinéma muet. S'il se développe, c'est aussi grâce à un marché intérieur florissant : le cinéma devient une pratique culturelle de masse : le territoire est équipé de près de 192 000 salles en 1929. En 1930, 80 % des Américains déclarent aller au cinéma une fois par semaine. Les films de Charlie Chaplin, star du cinéma muet, comme La Ruée vers l'or en 1925 connaissent un franc succès.

Arts et Littérature
La peinture américaine des années 1920 surfe sur le réalisme et le naturalisme avec des artistes comme Edward Hopper ou Charles Burchfield.
La sculpture se prend de mégalomanie et de gigantisme avec le lancement du projet du Mount Rushmore National Memorial en mars 1925 dans le Dakota du Sud : il s'agit de sculpter dans la roche les visages des pères de l'Amérique : George Washington et Abraham Lincoln (qui seront par la suite rejoints par Théodore Roosevelt et Thomas Jefferson). Un projet fou qui doit s'étendre sur une surface de plus de  : projet dont est chargé le sculpteur Gutzon Borglum.

La littérature des années 1920 est profondément marquée par l'évènement de jeunes auteurs qui formeront la « Lost Generation » : la génération perdue. Leurs ouvrages traduisent les doutes et la perplexité de cette génération ; Des auteurs comme Théodore Dreiser, Sherwood Anderson, Francis Scott Fitzgerald, King Lardner, Erskine Caldwell, James Branch Cabell en sont des éminents représentants. John Dos Passos et Ernest Hemingway développent dans leurs livres l'idée d'un dégoût de la guerre. Sinclair Lewis obtient le Prix Nobel de Littérature en 1931 avec « Babbitt » publié en 1922.
En 1925, Gatsby le Magnifique de Francis Scott Fitzgerald devient l'un des romans symbole de cette époque : il décrit de façon assez réaliste une société américaine entre faste et illusions, frénésie et hypocrisie.

L'Amérique du refus
Dans l'opinion américaine des Roaring Twenties s'affrontent cependant des systèmes de valeurs opposés : d'un côté la prospérité, le plaisir, la libération des mœurs, le progrès social ; de l'autre, l'appel de certains groupes de pressions pour un retour à des valeurs plus traditionnelles autour de la morale protestante, de l'ordre social, du travail et de la famille. Ce double mouvement canalise toutes les contradictions de cette période : entre bond en avant et retour en arrière.

Le rejet de "l'autre" et de la modernité

L'Amérique des années 1920 se recroqueville : l'aspiration à une « Amérique aux Américains » se diffuse dans la société. Cet « américanisme » se manifeste dès le lendemain de la Grande guerre (Great War) avec la « peur des rouges » (red scare). Le bolchévisme, l'anarchisme, le syndicalisme sont considérés comme un danger pour le modèle américain et ses valeurs et, à ce titre, sont réprimés. Les pouvoirs publics encadrent pour ne pas dire empêchent l'action des syndicats et notamment l'IWW - Industrial Workers of the World- créé en 1905 et dont les membres sont surnommés les « wobblies ». Les grèves de 1919, et notamment celles de Seattle en  sont interprétées comme une manifestation de la « subversion rouge ». L'amalgame entre « rouge » et « étranger » est total dans l'opinion américaine et la crainte d'un « virus bolchévique » se double souvent d'un racisme marqué à l'égard des Italiens, des Européens de l'Est, des Russes et des juifs. En 1920 le Chicago Tribune écrit par exemple que « le bolchévisme sert d'instrument aux juifs pour conquérir le monde ». L'affaire « Sacco et Vanzetti », deux anarchistes italiens, condamnés à mort en 1921 pour un double meurtre dans la banlieue de Boston, manifeste de l'état de ces tensions raciales et idéologiques.

L'américanisme et le nativisme des années 1920 se manifestent également par la mise en place de lois d'immigration et de quotas spécifiques. La peur d'un afflux d'Européens en exil pour s'échapper d'une Europe en ruine pousse le Congrès et le Sénat à l'adoption de nouvelles législations plus strictes. En  il est décrété que, sur la base d'un recensement de 1910, des quotas seraient imposés établissant des flux d'immigration à hauteur de 3 % pour chaque nationalité (excepté les nationaux d'Amérique Latine). Dès 1924, avec le Johnson-Reed Act, l'immigration est totalement refusée aux Asiatiques. On utilisera désormais un recensement de 1890, base à partir de laquelle l'immigration sera autorisée pour un quota de 2 % par nationalité. Ces lois, par leur caractère restrictif, manifestent le repli identitaire des États-Unis dans les années 1920, une première dans l'histoire d'un pays fondé autour des vagues d'immigration successives.

Les années 1920 marquent également le retour en puissance et l'apogée du Ku Klux Klan. Pour André Siegfried il s'agit du retour de la « forme la plus aiguë d'un nationalisme protestant ». Le nouveau Klan est initié par le colonel William J. Simmons en 1915. Si son idéologie est encore largement tournée à l'encontre des populations noires et juives, l'organisation est aussi marquée par un fort anticatholicisme et son action se tourne vers la promotion des valeurs WASP- White Anglo-Saxon Protestant- comme en témoigne le nouveau slogan du Klan « Native, White, Protestant ». Les « klansmen » forment un réseau national extrêmement hiérarchisé et dont les pratiques sont fortement ritualisées : vocabulaire spécifique, cérémonies secrètes, surnoms et langage secret. Leur nombre devient pléthorique atteignant, à son apogée entre 4 et 8 millions de membres en 1923-1924 et beaucoup plus encore de partisans. Les grandes manifestations du Ku Klux Klan à Washington en  témoignent de l'importance retrouvée de cette organisation ultra-conservatrice et aux méthodes violentes.

Le « combat des anciens et des modernes » s'empare également de la question de l'enseignement. Le « procès du singe » en 1925 embrase l'opinion publique : un professeur, John Thomas Scopes est victime d'une action légale pour avoir enseigné à ses élèves les théories de l'évolution en biologie. Le procès oppose deux avocats qui deviendront les porte-paroles du progrès scientifique d'un côté, du fondamentalisme religieux de l'autre: Clarence Darrow sur les bancs de la défense et William J. Bryan à l'accusation.

La prohibition : échec d'une solution radicale
Le  amendement de , complété par la Loi Volstead du  consacre la victoire de la Prohibition. La fabrication, l'achat, la vente et la consommation de boissons alcoolisées à plus d'un degré sont désormais prohibés. La prohibition de l'alcool est portée par des motivations tant éthiques et morales que scientifiques (question de santé publique) et économiques. Le passage de la loi est le fruit d'un travail acharné de propagande et de lobbying de « ligues de tempérance » comme l'Anti Saloon-League. La société américaine se divise alors en deux camps : les « dry » (secs) prohibitionnistes et les « wet » (mouillés) anti-prohibitionnistes. Mais, assez rapidement, se met en place une vaste entreprise de contournement de la règle. La consommation d'alcool mondaine se développe dans les fameux « speakeasies », bars clandestins souvent déguisés derrière des noms de fausses associations. Les « bootleggers », contrebandiers de la prohibition organisent un véritable commerce souterrain de l'alcool. Ces bootleggers sont organisés en mafia et en gangs la plupart du temps italiens ou irlandais. Ils contrôlent non seulement le trafic d'alcool mais ont aussi la mainmise sur le trafic de drogue, la prostitution ou les jeux d'argent dans les grandes villes. Le plus célèbre de ces « bootleggers » demeure Al Capone personnage emblématique du crime organisé dans le Chicago des années 1920 et 1930. Ce gangstérisme est très peu réprimé par les pouvoirs publics qui vont même jusqu'à y prendre part et s'y corrompre. Ce climat de clandestinité explose parfois au grand jour lors de règlements de compte meurtriers comme à Chicago ou Philadelphie en 1928 et 1929.

La prohibition se révèle donc être un échec cuisant : finalement, elle a provoqué une montée de la criminalité et des actes de délinquance, choses qu'elle était pourtant supposée anéantir. Face à ce constat, les démocrates, de retour au pouvoir, font adopter finalement en  le projet du XXI amendement, qui abroge le , et sera finalement ratifié le . C'est alors la fin de la « noble expérience » (Herbert Hoover), une parenthèse révélatrice d'un paradoxe inhérent aux Roaring Twenties : celui d'une société partagée entre valeurs puritaines et libération des mœurs.

La fin des Roaring Twenties
La crise de 1929 commence dès le , le « jeudi noir », c'est le début de la plus grande crise financière du  aux États-Unis : le Dow Jones, indice des valeurs industrielles de la bourse de New York perd 21 points en une heure seulement. Mais c'est le « mardi noir » (Black Tuesday), le , que l'indice s'effondre de manière encore plus brutale, puisqu'il perd de nouveau 45 points. Du fait de la dynamique économique des années 1920, les américains avaient fait de nombreux placements, et la spéculation foncière s'est largement développée. Se forme ainsi une bulle financière, du fait de l'écart entre la valeur des placements et leur valeur réelle, bulle qui explose ce fameux « mardi noir » et va entrainer une crise bien plus importante, aussi bien au niveau industriel, que social et politique. L'entrée des États-Unis dans ce qui deviendra la « Grande Dépression » du siècle, marque la fin de cette ère nouvelle, de cette parenthèse dorée semée de contradictions. C'est sûrement après la crise que le terme « Roaring Twenties » est inventé, pour désigner de manière nostalgique la période passée, mais les traces des premières utilisations du terme sont difficiles à trouver.

Notes et références

Voir aussi
 Années folles en France

Bibliographie

Ouvrages généraux
-

Ouvrages et romans contemporains à la période
 Sinclair Lewis, Babbitt, Bantam Classics, 1998 [1922].
 Francis Scott Fitzgerald, Great Gatsby, Scribner, 2004 [1925].
 André Siegfried, Les États-Unis d'aujourd'hui, Armand Collin, 1927.

Années 1920
Histoire des États-Unis au XXe siècle
Entre-deux-guerres
Boom économique
Chrononyme

redpajama_set_name: RedPajamaWikipedia


1. HS R. caps Sacred to the memory of Mr. Thomas CARR, miller late of this parish who departed this life December 17th 1857 aged 80 years.
2. An Irish cross of Aberdeen granite, on a base of black and red granite, highly polished. Railed – all capitals In loving memory of Herbert Samuel SHORE of Queen Court in this parish who departed this life June 28th 1889 aged 35 years.
3. HS To the memory of Mr. John FORDRED of this parish who departed this life the 24th of September 1800 aged 42 years. Also of Elizabeth his wife who died the 14th of April 1832 aged 77 years. A wish a feather, a thiefs a rod, an honest man's the noblest work of God.
4. HS Fat childs face, glory around, 2 sculls, trumpets Here lies interr'd the body of William COVERLET of this parish. He died November the 5 1748 aged 50 years. She died January the 6 1860/9 aged 54 years (sic). They had issue 4 children and left 2 surviving viz William and Elizabeth.
5. HS 2 sculls and hourglasses Here lyeth the body of Mary wife of Edward FOREMAN of this parish. She departed this life January the 14th 1761 aged 73 years.
6. HS To the memory of Joseph JOACHIM late of the Town of Faversham who departed this life the 9th of September 1780 aged 61 years.
7. HS To the memory of Susanna wife of Joseph JOACHIM of the Town of Faversham who died the 16th of October 1781 aged 59 years.
8. HS In memory of Mr. John JOACHIM citizen, upholder of London youngest son of Joseph and Susannah Joachim died the 4th of February 1805 aged 59 years.
9. Ledger evidently removed from inside the church – arms rubbed Within this vault are deposited the remains of James FLINT esq. of Judd House in this parish who died the 8th August 1790 AET 68.


text:
Q: how to change the format of React DateTimePicker while displaying time on our webpage in react functional component I am new to react could you please through this.
Image of output of date and time
If you see image I am getting output or is being displayed date and time as 2023-01-13T22:54:00.000Z. but I want to display the date and time in this format as 20 Jan,5:25 PM.
 <DateTimePicker onChange={(value)=>setValue(value)} value={value} />
const [value, setValue] = useState(new Date());
I have above for using dateTime picker.
The another problem I am facing is when make onChange={e=>setValue(e.target.value)} when I am trying to select date I am getting blank page so I didn't use it.
Sometimes in scenarios I am unable to pick date.
I want a date and time picker where a user can pick his own date and time but In a single input and save them and also to display on screen as per the format.
   const [value, setValue] = useState(new Date());
  const months = ["Jan","Feb","Mar","Apr","May","June","July","Aug","Sep","Oct","Nov","Dec"];
   `var day=value.getDate();
// let name = months[value.getMonth()];
// var string = day + ' ' + name;
// var hours=value.getHours();
// var minutes=value.getMinutes();
// var ampm = hours >= 12 ? 'PM' : 'AM';
// var string2 = hours + ':' + minutes + ' ' + ampm;
// const clock=string+','+string2;`

I tried this but it is displaying the current date and time and keeps updating as time changes.
So I thought may be the value is not yet updated to see change in this.
  `<p><span style={{fontSize:12}}>{item.value}</span></p>`

I am using a mapping function in order display elements.
I tried to add methods like getdate and getmonth in the above  tag but it is not working and I am getting a blank page.
could you please help me with this issue so that I can get the above format and display datetime which is picked by user only.
I also tried to use HTML date and time picker but I am unable to format to this 20 Jan,5:25 PM.
and the main feature I want is to be able to pick date and time through one input and display it in above mentioned format which is user picked one and do not update.
Could you please help me this.

A: You can use moment.js to format data and time.
import moment from 'moment'

function MyApp() {
  const [value, setValue] = useState(new Date());

  return (

      <DateTimePicker onChange={setValue} value={value} />

{moment(value).format('d MMM,h:mm A')}

 );
}

Hope this will solve your problem. You can pass the format that you want as an argument to format function. You can find more details in here. https://momentjs.com/docs/#/displaying/

redpajama_set_name: RedPajamaStackExchange


Are you dreaming about beautiful, plumped and hydrated skin with no downtime? At MAE Plastic Surgery and Transcend Med Spa we discovered a way to really enhance our treatments to give our patients the most exceptional results.
By adding a dermaplane to the beginning of the Transcend Facial we first exfoliate away any hair and dead skin to really give a clean surface for treatment. By doing this there is nothing blocking the path for the HydraFacial, so it is able to give even better, more hydrated results!
HydraFacial MD is the world's leading, cutting-edge technology for non-invasive, multi-step skin rejuvenation. It combines advanced hydradermabrasion, chemical peels, automated pore extractions, and a powerful application of serums rich with antioxidants, peptides, and hyaluronic acid. HydraFacial MD is suitable for all different kinds of skin types and heals a wide range of issues instantly without any downtime or discomfort.
Transcend Facials are great for every day as well as big events! Skin products are more effective and make-up application is flawless, making this an ideal treatment to make you photo ready!


Lighting designer Leonard Delgado and the team at Meeting Services, Inc. were looking to move away from conventional fixtures on a large user conference event and found their new light in Elation Professional's full-featured Artiste Picasso™ LED moving head.
On a staircase special the designer highlighted award winners by zooming the Picasso all the way out. Two high side Picassos would swing into position with one center-positioned fixture shooting down onto the staircase. The designer admits he kept a few Fresnels as backups as the Artiste Picasso was a new fixture for him, but says he didn't have to use them.
Part of Elation's award-winning, theatrical-grade Artiste series, the 23,000 lumen Artiste Picasso houses a 620W Cool White LED engine and advanced optical system for a powerful, crisp output and extremely uniform field of light. A total of 24 units were employed on the user conference, which, Delgado says, was a reduction in the number of lighting fixtures used compared to previous user conferences. Sixteen fixtures were spread along a long truss positioned over the audience with three units each on a side truss and one unit each on side finger trusses positioned over the audience.
When comparing the 2018 user conference with the event a year earlier, Delgado also says there is an obvious difference in the quality of light. "The Picasso look is a lot cleaner, a lot smoother," he says. "The faces look a lot clearer and don't look as pale." According to Delgado, client staff concurred, saying that the show looked a lot cleaner compared to the harder conventional lights of years past.
Delgado also helped design the rigging and projection for the user conference and was even drafted to drive one of the semi-trucks to the show when a driver was needed. Once there, he served as lighting board operator for the event, which was driven by two M-Series M1 lighting consoles networked together running nine universes through optical fiber. Lighting assistants were Christian Rufus and Ben Shaw.
As with the rest of the country, San Diego in the 1940s saw unprecedented growth and technological advancement. Meeting Services, Inc. (MSI) was born out of this newfound prosperity, providing audio and lighting equipment to local companies. Over the years, as San Diego's industry and tourism expanded, MSI did as well, expertly designing and installing state of the art sound systems for the smallest corporate meetings to the largest conferences, conventions, trade shows, fundraisers, sporting events, artistic performances, and political speeches. Today MSI offers a complete line of event production, technological support, and equipment rental services, and continues to ensure the success, efficiency, and productivity of our clients' special gatherings, large and small, around the block and around the world.


Forensic linguistics: How did it all begin?
Note that none of the sessions will involve needlessly explicit details about the legal cases under examination but that, overall, some of the topics may be distressing for sensitive audience members. Discretion is therefore strongly advised.
Registration - Sorry this event is now fully subscribed.
Forensic linguistics is a relatively new sub-area of linguistics. It can in, some sense,be traced back to Jan Svartvik's 1968 study of the so-called Evans Statements,the statements made by Timothy Evans to the police, following the tragic murder, in 1949, of his wife and little daughter. We will look in some detail at the language used by Evans and at the arguments put forward by Svartvik in favour of the establishment of this exciting novel branch of linguistics. In preparation for the session, you may want to watch the 2016 BBC miniseries Rillington Place or the classic 1971 film 10 Rillington Place.
In 2005,19-year-old Jenny Nicholl tells her parents that she will be staying at a friend's house that night, and leaves the house. She never returns. In the following days, family and friends receive texts from her phone telling them that she has decided to run away. Her parents are immediately suspicious and report her missing. As the investigation gathers momentum, however, police are faced with a chilling question: did Jenny write the texts sent after she left? Or were they, as the police are beginning to suspect, the work of a killer? In this session, you will analyse real life data taken from Jenny Nicholl's murder trial. Your goal: identify the author of the suspicious text messages.
How good do you think you are at spotting a liar? Are you bang-on every time or are your sleuthing skills in need of some work? In this session, you will learn about the psychological processes that occur when we lie and how it differs depending on the size of the lie and who we are lying to. You will learn about research that has been carried out into how we can detect liars based on their linguistic choices. For example, liars tend to use fewer first person pronouns when they are speaking, tend to pause more often and tend to beat around the bush more than someone who is telling the truth. Finally, you will learn about some of the problems with lie detection and see for yourself just how difficult it is to catch a liar.
How would you feel if cheese was being banned? Or, if you found out that Kendal Jenner was a shapeshifting lizard? Angry, annoyed, shocked? These are all examples of fake news stories, news stories that are intentionally false to appeal to people's emotions. Fake news stories are becoming more and more popular because of social media and it can sometimes be difficult to tell the truth from the fakes. This session will be a fully interactive fact checking demonstration to show you how to use different resources to verify or debunk claims on the internet and how to develop your critical and analytical abilities so you can help stop fake news in its tracks.


I love chocolate mousse! The smooth and creamy texture is irresistibly satisfying. I created this raw/gluten free mousse tart that will give you that warm and fuzzy feeling of Christmas in every bite!
The almond and hazelnut based crust has a hint of some popular holiday spices… nutmeg, ginger, cinnamon, and cloves with a touch of sea salt to merry the flavors.
The filling is easily prepared in a food processor. The sweetness comes from a date paste that is made with dates and water that complements the raw cacao perfectly. The best part is the filling sets within a short hour so you don't have to wait too long to indulge. However, you can make it days ahead if needed.
The tart is delicious as is but if you want to make it extra special there is an optional whipped cream topping. I attempted to make it dairy free by using coconut milk which is definitely an option, but I prefer using heavy whipping cream instead. If you choose to go the coconut milk route, be sure to refrigerate a can of coconut milk until cold before using.
The tart will feed plenty and will yield enough for second servings.
Tis the season with this smooth decadent no bake chocolate mousse dessert!
Prepare Filling: Place all ingredients for the filling in a food processor and blend until smooth. Pour mixture in the cooled crust and chill overnight.
Optional – Prepare Coconut Sugar Whipped Cream: Chill the bowl of a stand mixer and the whisk attachment in the freezer for 15 minutes. Place coconut sugar, heavy whipping cream and vanilla extract in the bowl and whisk until stiff peaks form, about 4-5 minutes. Transfer mixture to a piping bag and refrigerate until used.
Slice and serve with desired amount of whipped cream and a dash of cinnamon.


cantenay carrots, aubergine, courgette, spinach and pine nuts.
Polenta, pumpkin seed pesto and egg yolk.
Creamy risotto with a choice of 2 fillings.
Slow roast Ox cheek in a rich red wine gravy, on creamy mash.
Served with crispy buttery skin on a bed of rich ricotta gnocchi and roast mixed vegetables.
Breaded breast of chicken with a sweet fruity curry sauce and served with coconut rice.
macaroni in a smoked cheddar sauce and any 2 fillings of your choice with garlic sourdough.
Chorizo, proscuitto, pastrami, bacon, Stornoway black pudding, haggis, pepperoni.
with roast veg and dressed salad.
Smoked Bacon, iceberg lettuce and roast tomato.


The Toronto Real Estate Board (TREB) and the Ontario Real Estate Association (OREA) are fighting a City of Toronto proposal that would increase land transfer taxes on homebuyers.
59 per cent of Torontonians oppose including Land Transfer Tax increases in the city's strategy to balance its budget.
67 per cent of Torontonians support increasing the Land Transfer Tax rebate for first-time buyers to reduce the amount of tax that first-time buyers are required to pay.
58 per cent of Torontonians oppose changing the city's Land Transfer Tax policy to add an additional 0.5 per cent to the value of a home between $250,000 and $400,000.
"City Council should be trying to make home ownership more attainable, not less. These poll results show that the last thing Torontonians want is for City Hall to put up another obstacle to achieving their dream of home ownership, especially in a city where we should be trying to make housing more affordable," says Larry Cerqua, TREB president.
TREB says the proposed changes being discussed would add an additional 0.5 per cent of tax on all buyers. For repeat home buyers purchasing an average priced home, this would mean a seven per cent increase of $750 on top of the $11,000 that they already pay to the city. For first-time buyers, it would mean a 6.5 per cent increase of $475, "or, at best, the status quo, if the current rebate is not adjusted higher than what is currently being proposed," says TREB.
Toronto City Council will set its final budget in February.


text:
The Room \ Indoor Fireworks [LTMCD 2405]
Indoor Fireworks is the first album by Liverpool group The Room, originally released in April 1982. Produced by the band with manager Dave Kitson, the set includes popular singles Things Have Learnt to Walk That Ought To Crawl and In Sickness and In Health.
This expanded remaster also includes a trio of single b-sides as well as with six live tracks recorded in Vancouver on the band's first American tour in July 1981, where they were joined by guest keyboard player Eric Drew Feldman, of Captain Beefheart's celebrated Magic Band.
The CD booklet features liner notes by frontman Dave Jackson.
1. No Dream
2. Escalator
3. Rewind
4. Chatshows
5. This Party Stinks
6. Heat Haze
7. Conversation
8. Things Have Learnt To Walk That Ought To Crawl
9. Candle
10. Bated Breath
12. Dreaming of Flying
13. The Whole World Sings
14. Waiting Room
15. Conversation (live)
16. Escalator (live)
17. Heat Haze (live)
18. This Party Stinks (live)
19. Fever (live)
20. In Sickness and In Health (live)
Available on CD and digital (MP3). To order please select correct shipping option and click on Add To Cart button below cover image, or else contact LTM by email for other payment options.
MP3 options
UK £9.99 GBP Europe £9.99 GBP Rest of World £9.99 GBP
"Dark 1982 epic that convincingly tows the line located somewhere between Joy Division and Echo and the Bunnymen" (Magnet, 03/2005)
"Still sounds like a hip and stark adjunct to the cool alternative sounds that came outta Liverpool post-punk. Vulnerable, zingy and intelligent" (Whisperin' & Hollerin' 04/2005)
"A record in keeping with the glum, post-punk noises of the early 1980s" (Leonard's Lair, 04/2005)
"Fans awaiting a new Echo and the Bunnymen album - or better yet, hoping a hitherto undiscovered old one is unearthed - your prayers have been answered. Belated reissue by a much-lauded band" (Record Collector, 6/2005)
NO DREAM (BEST OF) (LTMCD 2369)
IN EVIL HOUR + CLEAR! (LTMCD 2416)
INDOOR FIREWORKS (LTMCD 2405)
BENNY PROFANE
DEAD COWBOYS


Within an electric grid, timing is everything. "It's not how much power you use, it's when you use it," says Mary Ann Piette, who directs the Demand Response Research Center at Lawrence Berkeley National Laboratory. The biggest benefits of adjusting demand come with automation. Piette and her colleagues have spent nine years developing standards for how utilities communicate with buildings' controls. Each state must adopt standards individually, but researchers this year are agreeing on grid specifications that all states can share, easing widespread adoption. Piette says, "With minimal retrofit to controls, today's buildings can provide a significant reduction to their peak electric loads." Shifting load by just a few minutes can make a crucial difference—for example, temporarily dimming warehouse lights by 10 percent. Such technology can lower prices and reduce the need for new transmission lines and power plants.


text:
Travis and Donna Mitchell – Born To Build
"Born to Build" has become a popular catchphrase in the building industry but a true statement for Travis Mitchell.
Travis Mitchell is a third generation home builder that may have had his path set in DNA from the early 1950's. His grandfather, Lee Ridout, was a very successful home builder in the Garland, Texas area in the 1950's and 1960's. With a record of over 150 traditional style custom homes, his name and the quality of his work can be seen in the lasting beauty of these homes today.
A Texas native, at the young age of five, Travis Mitchell moved with his mother and father to the Canyon Lake area where they settled and lived in a home built by his father, Ron Mitchell. Ron Mitchell was the first "Mitchell Custom Homes" that built in and around the Canyon Lake area. His specialty was the "home on stilts" as Travis described it at a young age.
These lake houses were designed to be built on steep hillsides with sprawling decks and many windows to take advantage of the spectacular view of the relatively new Canyon Lake. Ron took his young son Travis with him to job-sites where he picked up blocks of wood for an allowance and learned what it meant to work hard. This work ethic was instilled in Travis by his father at an early age and continued on through various years of summer work at his dad's job sites.
Building Experience
After completion of high school, Travis moved with his family to Las Vegas in 1989, where he got his first job at the age of 18 working on the high rise Rio Hotel and Casino. From groundbreaking to opening day of the twenty two floor first tower and casino, Travis was a union carpenter's apprentice learning all aspects of commercial construction. Travis attended the University of Nevada Las Vegas but also stayed in the carpenters union and worked on the Santa Fe Hotel and Casino and two new North Las Vegas schools. After three years of commercial construction and part time school, Travis realized building was his niche and continued on with a family tradition.
Installation for Builders Square
In October of 1993, Travis decided to return to his home in Texas. Travis' uncle, Martin Mitchell, was the head of the installed sales program at Builders Square in San Antonio. With his help Travis became an installer for not only Builders Square but Home Depot as well. With over 400 installs per year for the next three years Travis gained experience in scheduling his own jobs and more customer interaction and relations than he could ever imagine.
Assistant Construction Management
In 1995, Travis began to pursue his passion of working on new homes and started interviewing local home builders. In January of 1996 Travis was hired as an assistant construction manager with a local San Antonio home builder. After six short months Travis moved up to lead construction manager of the fastest growing production builder in the nation at the time.
Learning More About Custom Homes
With much experience in fast pace multiple closings of production homes Travis wanted to gain experience in a more custom environment. 1998 is when Travis made the move to another locally owned San Antonio home builder. This time things were done on a bit slower pace with fewer homes built per year that were more semi-custom. This company's policy and attitude was much more geared to quality building and customer satisfaction.
With many thoughts of going on his own in January of 2002 Travis felt like he had the experience, knowledge and the drive to start his own company. The only missing ingredient in the master plan was financial backing. Travis had a great business plan for a community to build in, ideas for a model home, and the security of a building in a location that was hot on the market with intense advertising, marketing, and building longevity.
Starting Millenium Homes
Travis found his financial backer and began Millennium Homes, as an equal partnership, building the first model home right behind the land sales office in Mystic Shores. Over the next five and a half years Travis had participated in over ten builders fairs as Millennium Homes built over 35 houses just in Mystic Shores alone. Millennium Homes built many other homes in and around the Canyon Lake, Bulverde, and Spring Branch area.
Based out of Mystic Shores, Travis had grown Millennium Homes to require a sales and construction staff to help him operate the company and eventually grew the need for a much larger second model home that was completed in December of 2004. In January of 2005, Travis became Vice President of Millennium Custom Homes, LLC as his partner assumed the role of President and continued his duties as an office administrator.
Even though Millennium Homes, a company Travis had started with from ground zero, had become very successful in its own right and gained a reputation as being a quality builder, Travis began to feel like the newly restructured company had taken a direction away from what he originally set out to do. Over the history of Millennium Homes, Travis had learned a great deal about business and how to run it. Travis developed systems of internal management and quality control to better the company. After five and a half years Travis realized that with his financial backer, and once equal partner, now having majority ownership of the company, that he had once again hit the glass ceiling with what he could accomplish in the home building business.
Starting Mitchell Custom Homes, LLC
In early June of 2007 Travis Mitchell stepped down as Vice President of Millennium Custom Homes, LLC, took a step back, regrouped his thoughts and desires for building, and began his own new company as a sole proprietorship. Mitchell Custom Homes, LLC was up and running in less than a month.
Travis Mitchell has gone back to his roots of when he first started and is now stronger than ever with his revitalized building philosophy. Aside from being more price competitive, Travis has realized that a big part of a person's decision in selecting a builder comes from having a very strong and personal builder/client relationship during the entire planning and building process.
Travis Mitchell has a great variety of completed homes for viewing in Mystic Shores, Vintage Oaks, Las Brisas and many other communities around the New Braunfels and Canyon Lake areas. Since all of the Mitchell's homes are truly custom built, they vary in style of architecture, size, features, and price range.
Travis Mitchell consistently has two to four homes at different stages of construction to show his potential clients. This view of a pre-finished home sets Mitchell apart from his competitors by demonstrating energy saving features and building techniques, the use of top of the line building materials and pride in his work shown by a neat and tidy job site and full attention to every detail. Travis fully believes that what's behind the walls such as plumbing, heating and air systems, and insulation are just as important as the cabinets, counters and flooring. "Your home has to not only look and feel comfortable inside but work well and last for years to come. With many of my customers on the brink of retirement, providing a new home to my buyers with low energy bills and little maintenance is top priority." says Travis.
Mitchell Custom Homes, LLC has completed over 50 new homes in New Braunfels, Canyon Lake, Hill Country area since June of 2007. As a custom home builder, many of Travis Mitchell's custom homes can be found in prestigious neighborhoods such as Mystic Shores, Vintage Oaks and Havenwood. A sophisticated yet historically authentic new model home was completed in the heart of New Braunfels, TX in early Spring 2012.
Donna Mitchell
Donna Mitchell heads up not only the design of the new Mitchell Custom Homes, LLC model in New Braunfels but the total makeover, interior finish, and revitalization of the quaint Spanish Villa that began in 1937. Travis and Donna have selected a unique historical home resting on a double lot near downtown New Braunfels to be the showplace for Mitchell Custom Homes. Clients will be able to visit and marvel at the creative work of both Donna and Travis.
The expansion of this home included adding 2400 additional square feet, a large four car garage with guest cabana and total re-vamp of the existing home including all mechanical, electrical, plumbing and finish out. While retaining the existing Spanish Villa architecture of this home, the double in size renovation to the property will mesh with modern energy efficiency, updated finishing and character.
"I could never pull this off without the help of my wife Donna who is also my business partner" says Travis. "Most of my clients don't realize that behind the scenes my wife runs our office with weekly payroll, diligent upkeep of contractor's insurance, key advertisement coordination, and much more. Most of all Donna is the glue that binds our goals and hard work into the rock solid company we have today. I continue to rely on her each year to make the right choices in business, treating people fairly and running a company with honesty and integrity in an industry that is sometimes associated with a degree of deception."
Learn More About Mitchell Custom Homes, LLC
Mitchell Custom Homes, LLC may not be the builder for every client but for those looking for someone to guide them along through the entire process from developing house plans, to staying in a budget, to personally overseeing the entire construction process, to move in, Travis Mitchell of Mitchell Custom Homes is the right choice.
Mitchell Custom Homes, LLC is an approved builder with some of the most reputable lending institutions. If financing is required, Travis regularly works with the following banks and lenders:
Dani Hensley of Moody Bank (830) 743-9871
Eric Couch of First Commercial Bank (830) 625-2468
Elaine Longmire of Jefferson Bank (830) 608-2216
James Long of Prosperity Bank (830) 626-8627
Please give any or each of these lenders a call to receive a good faith estimate of terms, interest rate, and closing costs.
It is essential to recognize the characteristics which will allow you to hire an essay writer essay service with high quality. There are numerous options for choosing a reputable essay writing company, but there are key things to remember when making your choice. Here are some of them:


text:
Q: What's the best way to output optional information to the screen of a console application, throughout the entire program? I'm creating a console program where the user has the option of making the output more verbose when the system processes their requests.
There will always be an output, but the verbose output would be an additional set of printing to the screen.
Making the output more verbose is a setting that they can change. It corresponds with a class variable.
Right now, verbose outputs are printed by using if statements throughout the entire program (essentially "if verbose output is on, print this statement"), but I feel like they are taking up too much space, and could be formatted better.
At the end of the day, I suppose it doesn't matter, but I am inexperienced when working on large programs. Is there a better way than using a slew of if statements related to a class variable?

A: Choose a logging framework for your favourite language and configure it programmatically at startup; among other things, it will provide log levels (thresholds) to discriminate between verbose and non-verbose log entries, allow you avoid boilerplate code like if statements and class variables and provide better formatting.


Pre-Construction. To be built. Modern, Magnificent and Minimalist… Crafted to make the most of an oversized site just off Palma Sola Bay this ultimately unique new construction is like nothing you've experienced. Designed to present the future of custom coastal homes this fine property features: Maximized Water Views from all living spaces…a Kitchen the family chef will Love with quartz counter tops, BI Coffee maker, center island cooking station, breakfast bar, Walk-In Pantry, Solarium, and balcony perfect for enjoying a morning cup of Joe and gentle breezes off the Bay. The full sized dining space is perfect for meals with family or friends. A generous gathering room faces northwest and offers a "window wall" to view spectacular sunsets nightly. The main floor guest ensuite features a full bath and is just the right size for guests that won't overstay their welcome. The third floor Master Suite boasts a luxury bath with steam shower, huge closet and a private balcony overlooking the water. An office / den just off the master is the ideal space to work from home or work after getting home and a third floor Family / Bonus room is perfect as a home theatre and offers access to a Balcony looking southwest where you can enjoy a glass of wine after a "tough" day. Built to the HIGHEST construction standards and with the option of an elevator this incredible custom home is one you won't want to miss. Contact us soon and be involved with color selections and additional features specific to your desires. Call today and get started with your new tomorrow!!!


text:
Match Review - FINAL Junior Champ 07 "Centre of attention"- Mayonews 23/10/07
Centre of attention
Colm Cafferkey led by example as always
Edwin McGreal
IT'S fully half an hour after John Boyle's final whistle and the last three remaining Achill players make their way towards the tunnel. Brothers Donal and Colm Gallagher, and Colm Cafferkey, are positively beaming and it's hard to see the smiles disappearing any time soon.
For Cafferkey, who has consistently been one of Achill's best players, Sunday's victory was one that he must have thought at times would never come their way. Their location on the periphery of Ireland has had major implications for the islanders in terms of players living away. But this year Achill approached the season with a renewed vigour.
"We always knew we were capable of it," the centre-half back told The Mayo News, "but for a club like Achill, with so few fellas living at home, to be able to get the momentum together and get to a county final and finish the job is a huge achievement.
"We're hoping to build on it like Achill teams maybe haven't in the past," he added. "We knew from underage teams that we always had the talent. It was just a matter of organising it and getting it right on the day."
Get it right they certainly did as Achill bossed the county final from pillar to post. This was their chance and they took it. "We've a lot of big characters in that team, a lot of leaders all over the place, and when the game is in the melting pot those fellas come to the fore," explained Cafferkey. "We really showed that today. We were up for this game and there was going to be nothing to stop us."
However, the Achill dynamo did acknowledge that the build-up to the game was hard on Islandeady. The tragic death of Brian Collins (a first cousin of manager Tony and midfielders Peter and Johan) last week was something that Cafferkey admits must have been tough on the vanquished side.
"I don't want to take away from our win but I know they've a funeral to go to tonight. I just think that maybe Islandeady didn't leave their best out on that pitch today and I think that they're a better team than they showed."
This is Cafferkey's ninth season playing junior with Achill. It was immediately obvious that Sunday's win, and its corresponding ascendance to the Intermediate grade, is something the man who runs the well-known Ted Lavelle's Pub in Cashel, is extremely grateful for.
"Out of those nine years, for eight of them we haven't even come close to a county final so to finally get some recognition, to get so many people out to support us and realise the kind of talent we have and the effort we're putting in, is brilliant."
And now there is the enticing prospect of Intermediate football next year. As far as Cafferkey is concerned, Sunday's success can be the start of something.
"We're Intermediate next year and hopefully we can build on it the way that teams like Kiltane, who might have the same problems with fellas living away, have built on it and kept their senior status," offered Cafferkey. "We'll hope to keep our Intermediate status next year and hopefully push to senior in the next few years. Now that we have the momentum we can keep it going."
Article taken from, and copyright of the "Mayo News" 23rd October 2007.


"EMERSON FANS BUILT TO LAST"
Oscillating 3 Speed (runs correctly on all speeds).
9" Brass Blades and brass hardware have been highly polished on a buffing wheel.
Motor windings have been resealed and received NOS style (new old stock) cloth covered wiring that has been solder connected.
New line cord is NOS style cloth covered wiring and has a new early style reproduction plug.
Base dimension is 6" across, and has new felt on the bottom to protect your furniture.
All of the machine screws have been replaced with brass or have been polished.
Smaller size makes it convenient to move from room to room.
Perfect for a small room, kitchen or bedroom.
Ready for another 90 years of service!
Emerson made many of these fans in their 12" and 16" models, but the 10" models such as this one were not produced in abundance and have become increasingly harder to find. Herbert L. Parker became the president of Emerson Electric and Manufacturing Company in 1892. He patented his new "Scalloped Parker Blade" on Set. 12, 1899. There is a stamped insignia on one of the blades to this effect. This 3 speed oscillating fan has a single bearing motor, which became a hallmark of Emerson fans. Emerson guaranteed that after lubricating your fan, excess oil would never run out of the bearing, onto the spinning blades and spraying the room with oil. Before then, all fans of this period would commonly spray oil after being lubricated, hence damaging furnishings and clothing. This was a revolutionary claim which brought about many devoted customers of the pre-air conditioning era.


Did you know that the Dana Medical Library has a virtual dissection table called an Anatomage Table? This Table is an advanced visualization system for anatomy education that uses touch screen capabilities. Just recently updated with the latest software, the Table's screen is designed to fit a life-sized image of the human body. Images can be manipulated to show different anatomical sections with the ability to rotate and view the body or part from all angles. Layers of the body can be removed, certain sections isolated, and cross-sections made, all with pinning, labeling, and color-coding capabilities, among many other functions.
Professors and students have the ability to save a manipulated image for teaching purposes, examinations, or presentations. The Table provides curriculum-based tools, import/export capabilities, and an extensive archive of virtual images: full body and regional, CT scans, Histology, and case studies. The Table also has projection capabilities when hooked up to a separate computer and screen system.
If you are interested in learning more and exploring the uses of the Anatomage Table, please contact Kate Bright to set up a training session. Trainings show you the basics for use of the Table. Once you receive training, your name will be put on the permission list at Dana's Main Desk. Then you can drop in and use the Table anytime the library is open and the classroom available. Or you can reserve the room ahead of time by contacting Kate.