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Looking Back: Preserving History One School At A Time
Today we're looking back to one of our most interesting and lesser known projects. It involves love, history, education and the beautiful plains of Virginia.
In 1998 MMD finalized construction on the Curry Morter Weekend Home in The Plains, Virginia. The property was special to the Curry family because it represented a halfway point during a particularly challenging time in their relationship. The couple worked in two completely different cities: one, in the Virginia Museum of Fine Arts and the other in the American Bankers Association in DC. During their search for a solution, they stumbled on to a rundown white building on a hill right in the middle of their commute. They decided to purchase and transform it into a private home soon afterward. The structure was once The Plains School at Foster Hill, a two-room schoolhouse for African American children before the desegregation of the 1960s. What began as a search for a new home now quickly became a mission to rescue a piece of history. The owners met Michael Marshall by happenstance but immediately learned that he was the perfect designer for this unique project.
"My father attended a one-room school growing up in Lynchburg. Times were hard, but there was a lot of love in those schoolhouses. Saving the better part of this one's history was like coming full circle," said Michael. "I tried to balance old and new. I tried not to erase the memory of what was here before but to enhance it with details historic to the house, adding modern counterpoints for today's living." MMD completely renovated the space. The design featured new bathrooms, kitchen, custom amenities, a stone fireplace and a porch bench designed by Michael himself. The original design intent was never abandoned; most of the original floorplan was kept intact and original materials where possible were salvaged, referencing a rich yet challenging past.
Read the original Washington Post article here.
2201 Wisconsin Ave., NW, Suite 305


The design, displaying jungle animals including a a cheetah, a monkey, and a toucan, was designed for young animal lovers. Teach compassion for animals and nature by giving this mat to a child. A percentage of proceeds from this design will be donated to Defensores de la Naturaleza. This non-profit based in Guatemala City, is the lead protector of biodiversity, clean water, and sustainable development in the country of Guatemala.


Various strategies had been used to create a growth mindset culture – a Will.i.am song, a Sesame Street 'power of yet' song, a story, words displayed on boards and referred to throughout the day, a focus on marvellous mistakes and 'mistakes are our friend'.
Children encourage each other to use the growth mindset vocabulary.
The learning zone diagram has allowed them to take more responsibility for their learning. Teachers created coloured cards to go with the zones, which has made children think about what they want to do next and be more independent.
Children are given time to collect what they need to complete tasks (e.g. a sand card, a number square).
If children are in a panic children have to think what they need to collect the resources.
The characters for the learning powers were displayed. Children designed their own characters for curiosity, cooperation and keeping going.
"I created a bunch of superheroes to represent a growth mindset then some villains to represent a fixed mindset. We did a lot of work on differences between what they say and do. The impact on children's learning has been amazing, as they have been inspired to be like a superhero. The children are willing to celebrate and share their mistakes. The learning environment has been more positive and less stressful.
Visualisers were used to share and celebrate mistakes.
Three teachers had tried lessons from the growth mindset book.
Children were less upset about making mistakes and not knowing the answer and attitudes have changed. Children were helping each other with more confidence and independence and more discussion.
All teachers had introduced a set of characters for learning dispositions with written stories. The learning pit and learning zones had also been used.


Natasha Devon, the recently appointed Schools Mental Health champion has been axed following her 'mad' criticism of the current testing regime.
"She's clearly mental," said Education minister Nicky Morgan.
"I mean, questioning Tory education policy? You've got to be mad to be doing that.
"This Government does not want some sort of fruit loop nutjob in charge of our kids' mental health.
Mr Morgan went on to confirm that the constant testing of children would continue.
"If anything they're not tested enough," said Ms Morgan, cackling a little.
"And if some children are too mentally weak to handle this, then perhaps they can go off and become doily-weavers, weed-pullers or, well, whatever Natasha Devon goes on to do next.
"The point is, society has no place for these weak-kitten losers like Miss Natasha 'Ooo-ooo tests are hard, life's so difficult, I might just go to bed and have a cry' Devon and children who buckle under a rigorous regime of constant grading and judgement.
"It's exactly because we don't want to set an expectation that under a Tory Government there will be any kind of compassion for people who simply can't handle it that we've axed Natasha and the whole concept of children's mental health.


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'''
Created on Apr 30, 2014

@author: rgeorgi
'''

# Built-in Imports -------------------------------------------------------------
import logging
from argparse import ArgumentParser

# Internal Imports -------------------------------------------------------------
from intent.igt.rgxigt import RGCorpus, sort_corpus

# XIGT imports -----------------------------------------------------------------
from xigt.codecs import xigtxml

PARSELOGGER = logging.getLogger(__name__)

def parse_text(f, xigt_path):

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    # 2) load the pos dict to help classify the gloss line ---------------------
    sort_corpus(corp)
    xigtxml.dump(xigt_path, corp)

if __name__ == '__main__':

    p = ArgumentParser()
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    args = p.parse_args()

    parse_text(args.input, args.output)

redpajama_set_name: RedPajamaGithub


text: for All Web Develpers


Dr Norton's research and teaching interests are largely focused on the roles that historical narratives play in socio-cultural contexts. She is interested in how histories of liminal communities particularly those in conflict or post-conflict situations intersect with the construction of identities, interfaith interactions and the limits and ethical implications of historical representation. She looks at the processes and complexities of identity formation, conceptions of the religious other, and the political and social uses of narrations of the past. Much of her research is on early-modern Ottoman history, focusing on instances of cultural transfer and interaction among communities living in European and Mediterranean border areas. One of her most recent books explores Ottoman textual practices and literacy strategies and the role these have played in the construction of identities and imagination of political space through a detailed analysis of Ottoman and modern Turkish narrations of the sieges of Nagykanizsa castle: Plural Pasts: power, identity, and the Ottoman sieges of Nagykanizsa, (Abingdon: Routledge, 2017).
In 2013 Dr Norton organised a two-day symposium entitled The Lure of the Other: Religious Conversion in the Early Modern Mediterranean and Beyond. A volume of articles based on papers from the conference has now been published: Claire Norton (ed) Conversion and Islam in the Early Modern Mediterranean: The Lure of the Other (London: Routledge, 2017) In April 2006, she organised an international conference on "The Renaissance and the Ottoman World" in conjunction with the Warburg Institute, the School of Oriental and African Studies, and St Mary's University. Papers from this conference were published as a book: Anna Contadini and Claire Norton (eds), The Renaissance and the Ottoman World. (London: Ashgate, 2013).
Dr Norton also teaches and writes about the production and consumption of both institutionalised and vernacular histories, particularly the socio-political and ethical functions that different forms of past-talk have. She has written a number of articles and books on this subject including Liberating Histories (Abingdon: Routledge, 2018) and Doing History (Abingdon: Routledge, 2011). In June 2016 she organised a conference with artists, activists and radical archivists entitled Pasts without History: politics and the practical past and is preparing contributions from the conference for a special edition of the theory journal Rethinking History. She is currently writing about art as a form of past talk and how it has been used in anti-colonial strategies of resistance and as a means of discussing the ethical issues arising from migration.
Dr Norton is co-editor responsible for the Ottoman Empire in an AHRC-funded bibliographical history project Christian-Muslim Relations: A Bibliographical History 1500-1900 (CMR1900) and has edited a number of volumes arising from the project. She is also leading a project working with teachers and educationalists to produce teaching materials from the CMR1900 volumes.
She is also the co-academic editor for the journal Anatolian Studies and is on the editorial board of the journals Rethinking History and Studies in Religion.
Dr Norton has supervised PhD theses on British Mandate Palestine and is happy to supervise PhD theses on the theoretical and socio-ethical issues surrounding the production and consumption of history; Ottoman history, and Muslim-Christian interactions in the early modern period.
Liberating Histories (with Mark Donnelly) Abingdon: Routledge, 2018.
Plural Pasts: power, identity, and the Ottoman sieges of Nagykanizsa Abingdon: Routledge, 2017.
Conversion and Islam in the Early Modern Mediterranean: The Lure of the Other (ed.) Abingdon: Routledge, 2017.
Rönesans ve Osmanlı Dünyası (ed. with A. Contadini) Istanbul: Koç University Press, 2015.
The Renaissance and the Ottoman World (ed. with A. Contadini) London: Ashgate, 2013.
Doing History (with Mark Donnelly) Abingdon: Routledge, 2011.
Nationalism, Historiography and the (Re)Construction of the Past (ed.) Washington: New Academia Press, 2007.
"Thinking the Past Politically: Palestine, Pedagogy, Power," with Mark Donnelly, in Kalle Pihlainen (ed.) History in the World, (Abingdon: Routledge, 2017): 50-74.
"The Ottoman and Safavid Empires in the 17th Century," (with Reza Pourjavady) in Christian-Muslim Relations: A Bibliographical History, vol.10 "Ottoman and Safavid Empires (1600-1700) ed. David Thomas and John Chesworth, (Leiden: Brill, 2017), 1-19.
"Iconographs of power or tools of diplomacy? Ottoman fethnames," Journal of Early Modern History 20/4 (2016): 331-350.
"Thinking the Past Politically: Palestine, Pedagogy, Power," with Mark Donnelly, Rethinking History, 20/2 (2016) 192-216.
"'(In)tolerant Ottomans: polemic, perspective and the reading of primary sources," In Douglas Pratt, Jon Hoover, John Davies, John Chesworth (eds), The Character of Christian-Muslim Encounters: essays in honour of David Thomas (Leiden: Brill, 2015) 242-263.
"Liminal space in the Early Modern Ottoman-Habsburg borderlands: historiography, ontology, and politics," in Paul Stock (ed.), The Uses of Space in Early Modern History 1500-1850 (Palgrave Macmillan, 2015) 75-96.
"Sacred Sites, Severed heads and Prophetic Visions," in Anthropology of the Contemporary Middle East and Central Eurasia,2/1 (2014) 81-96.
"Being Tiryaki Hasan Pasha: the politico-textual appropriations of an Ottoman hero," in Marios Hadjianastasis (ed.),Frontiers of the Ottoman Imagination: Essays in Honour of Rhoads Murphey, (Leiden: Brill, 2014) 86-110.
"The siege, the book and the film:Welcome to Sarajevo (1997)" co-authored with Mark Donnelly, in A. L. MacFie (ed.) The Fiction of History (London: Routledge, 2014) 85-105.
"The Lords of Lewdness: imagining the 'other' in Ottoman fethnames [victory missives]" in Robert Born and Andreas Puth, (eds), Osmanischer Orient und Ostmitteleuropa (Stuttgart: Steiner Verlag, 2014) 281-299.
"Blurring the Boundaries: intellectual and cultural interactions between the eastern and western; Christian and Muslim worlds," in Anna Contadini and Claire Norton (eds), The Renaissance and the Ottoman World. (London: Ashgate, 2013) 3-21.
"Lust, Greed, Torture and Identity: Narrations of Conversion and the Creation of the Early Modern 'Renegade'" Comparative Studies of South Asia, Africa and the Middle East 29/2 (2009), 259-268.
"Erasing Oral Residue and Correcting Scribal Error: Re-interpreting the Presence of Mnemo-technical Practices in Ottoman Manuscripts in the Early Modern Period," in Rafal Wojcik (ed.), Culture of Memory in East Central and in the late Middle Ages and Early Modern Period (Poznan: Biblioteka Uniwersytecka, 2008), 27-42.
"Nationalism and the Re-Invention of Early-Modern Identities in the Ottoman-Habsburg Borderlands," Ethnologia Balkanica 11 (2008), 79-101.
"Conversion to Islam in the Ottoman Empire," Wiener zeitschrift zur geschichte der neuzeit 7/2 (2007), 25-39.
"Smack-Head Hasan: Why are all Turkic Superheroes Intemperate, Treacherous, or Stupid?" in Angela Ndalianis, Chris Mackie and Wendy Haslem, (eds), Super/heroes: From Hercules to Superman (Washington: New Academia Press, 2007), 263-274.
"Narrating the 'Yoke of Oppression': Twentieth-Century Hungarian Scholarship of the Ottoman-Hungarian Borderlands", in Claire Norton (ed.), Nationalism, Historiography and the (Re)Construction of the Past (Washington: New Academia Press, 2007), 185-198.
"Fiction or Non-fiction? Ottoman Accounts of the Siege of Nagykanizsa", in Kuisma Korhonen (ed.), Tropes for the Past: Hayden White and the History/Literature Debate (Amsterdam and New York: Rodophi, 2006), 119-130.
"The Remembrance of the Siege of Kanije in the Construction of Late Ottoman and Modern Turkish Nationalist Identities," Parergon21/1 (2004) 133-153.
"Crusade/Jihad as Propaganda" review article Holy Land Studies 9/1 (2010), 107-115.
"Terror and Toleration, East and West, Despotic and Free: dichotomous narratives and representations of Islam" review article Holy Land Studies 7/2 (2008), 221-228.
"Chronicling the Crusades," review article Holy Land Studies, 6/2 (2007), 201-208.
In Our Time Radio 4 (14th May 2009) the second Ottoman siege of Vienna (1683).
Dr Norton has given more than 50 conference papers - here is a selection from the past couple of years.
"Narrative Terrorists: Writing the right kind of Islam – the oppression of narratives of inclusion" Recognition, Inclusion and Other Practices of Oppression Tallinn University, Estonia 12-13 October 2017.
"Ottoman imaginations of Christian Reformation politico-religious schisms," Jews, Christians and Muslims in the Reformation Era, Nuremberg 19-21 July 2017.
"Constructing Conversion: stories of conflict and captivity," Conversion to/from Islam in the Balkans and beyond: Historical Comparative Perspectives, University of Sarajevo, 11-14 May 2017.
"Disinterested Arrogance, Extravagant Performance and Bombastic Rhetoric: Why Do We Still Think that the Ottomans Didn't Do Diplomacy?" at the Figuring Communities: Early Modern Literature, Form and International Law Symposium at University of Bristol 11th July 2016.
"Religious tolerance as a pragmatic strategy" series of two lectures at Cambridge Muslim College, Feb. 2016.
"They died on this day: 16 Azar, Ashura, 17.09.82 (Sabra-Shatila)," Ethos of History: Time, Memory and Representation, Sigtunastiftelsen University, Sweden, 10-12 Sept. 2015.
"Renaissance Ottomans" Lunchtime Lecture programme, National Gallery, London, 27th July 2015.


text:
eBook Health, Fitness & Dieting Complete Idiot's Guide To T'ai Chi & Qigong pdf epub fb2
Complete Idiot's Guide To T'ai Chi & Qigong by Bill Douglas pdf epub fb2
Author: Bill Douglas
Title: Complete Idiot's Guide To T'ai Chi & Qigong
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Publisher: Alpha Books/Pearson Ed. (1999)
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Complete Idiot's Guide To T'ai Chi & Qigong by Bill Douglas
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redpajama_set_name: RedPajamaCommonCrawl


I have many wonderful memories from attending KCSS both in and out of the classroom. I gained a deeper appreciation and respect for several subjects and teaching styles. My after school activities included intra-mural volleyball, dodge ball, jamming in the music room, fund raising through walk-a-thons, dance-a-thons, arm wrestling contests, and 50/50 draws. Plus playing in both the Symphony and the Concert Bands while deepening my appreciation for a wide variety of music also taught me quite a bit about mastery, relationships, team building and communications. Also while working on the Year Book I learned quite a bit about project management. Last and not least attempting (emphasis on attempting) to be athletic in the cross country, track and field and the rugby teams were all great experiences. The opportunity of increasing my fitness capacity and enjoying myself while doing it was a large gift that I gained from the KCSS Fitness Guru's that stays with me till this day.
After KCSS I attended Humber College. There I took a General Business program while I decided my future. After a year I switched and majored in Marketing. That investment in education served me well. I landed a career position with a major packaged goods firm before I graduated. Those relationship and organizational skills that KCSS helped me hone helped me build the business, coach staff and clients and my career. A real highlight for me was getting to travel and develop new business and land a high dollar volume account that helped us secure employment for others. It was a great journey through five positions in ten years.
I then founded an organization called Resiliency for Life. After sitting on several Not-for-Profits boards including the United Way, being the Executive Director for the Children of Chernobyl Quinte (Volunteer), the Non Government Organization Coordinator for Operation Parasol with the Red Cross (Kosovo Refugee's), developing and delivery a program on The Resilient Job Seeker in two colleges for 12 years, the issue of stress, behaviour, burnout and breakdown came up repeatedly as a large and very expensive issue at all levels of society including personal, family, organization and in the community.
Also because of my intense 7-year battle with two bouts of cancer, several treatments and an emergency life saving medical intervention I'd experienced first hand how under resourced and fractured our mental health system is for those experiencing life's big issues.
So, being bold I decided to focus on helping people of all ages become more resilient. It's been a very interesting 20 plus years since I started. It's taken me from Bermuda to Singapore and all over Canada. It's allowed me to do work with IBM where we developed a three hour video program for 10,000 staff, work with The Foster Parents Society of Ontario, and recently a major Canadian School board has hired me for a second round of consultations. The goal is our Imagine Yourself program will be come standard issue to all children and families. Each of us deserves the ability to have the skills and ability to have a greater sense of inner calm. It's a foundational skill set and a key to mental health and managing our behaviour.
Attending KCSS was a remarkable journey. I owe a large thank you to the staff; teachers and fellow students and more than a few parents who helped enriched my life then. Many thanks to those who took the time to offer the lesson(s) and ensure the lesson were understood! I'm very grateful for each of you. Thank you.


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Unit at St Regis Residences gains $1.69 mil profit
By Charlene Chin / EdgeProp Singapore | September 29, 2021 5:05 PM SGT
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SINGAPORE (EDGEPROP) - The seller of a unit at St Regis Residences on Tanglin Road made the top gain of $1.69 million over the week of Sept 14 to 21. The 3,757 sq ft unit on the 10th floor was bought for $7.7 million ($2,050 psf) in April 2015 and sold for $9.39 million ($2,500 psf) on Sept 16. The seller therefore made a 22% profit, or an annualised profit of 3% over 6½ years.
Read also: Unit at 72 Grange makes $3.15 mil loss
The 3,757 sq ft unit on the 10th floor of St Regis Residences was sold for $9.39 million ($2,500 psf) on Sept 16 (Credit: Samuel Isaac Chua/ The Edge Singapore)
Located in District 10, St Regis Residences was completed in 2008 and has 173 units on a 999-year leasehold. It is a seven-minute walk to the upcoming Orchard Boulevard MRT Station on the Thomson-East Coast Line.
The second top gain made over the week — a 41% profit of $1.5 million — was at Rivergate, on Robertson Quay. The 1,894 sq ft unit on the 27th floor was purchased for $3.7 million ($1,953 psf) in July 2015 and sold for $5.2 million ($2,745 psf) on Sept 16. This means that the seller made an annualised profit of 6% over six years.
Rivergate, in District 9, comprises 545 freehold units and was completed in 2009. It is an 11-minute walk to the upcoming Havelock MRT Station on the Thomson-East Coast Line.
A unit sold at The Makena, on Meyer Road in District 15, made the third largest gain over the week, netting a 129% profit of $1.41 million for the seller. The 1,636 sq ft unit on the third floor was bought in November 2006 for $1.1 million ($668 psf), and sold for $2.5 million ($1,528 psf) on Sept 21. The seller therefore made an annualised profit of 6% over almost 15 years.
The Makena comprises 504 freehold units and was completed in 1998. It is a four-minute walk to the upcoming Tanjong Katong MRT Station on the Thomson-East Coast Line.
Having sold a unit at Reflections at Keppel Bay for $2.95 million ($1,770 psf) on Sept 21, the seller suffered a 22% loss of $827,000 (Credit: Samuel Isaac Chua/ The Edge Singapore)
On the other hand, the most unprofitable deal of the week was the resale of a 1,668 sq ft unit at Reflections at Keppel Bay in District 4. Having sold the property for $2.95 million ($1,770 psf) on Sept 21, the seller suffered a 22% loss of $827,000. The unit was purchased in August 2007 for $3.78 million ($2,266 psf). Over a holding period of 14 years, this translates into an annualised loss of 2%.
Reflections at Keppel Bay, on Keppel Bay View, comprises 1,129 units on a 99-year leasehold and was completed in 2011. It is a seven-minute walk to Telok Blangah Station on the Circle Line.
Check out the latest listings near St Regis Residences, Rivergate, The Makena, Reflections at Keppel Bay, Orchard Boulevard MRT Station, Havelock MRT Station, Tanjong Katong MRT Station, Telok Blangah MRT Station
https://www.edgeprop.sg/property-news/unit-st-regis-residences-gains-169-mil-profit
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Rivergate的单位获得382万新元的利润
Unit at Rivergate gains $3.82 mil profit
Unit at Marina Bay Residences turns in $5.47 mil profit
Wan ways to growing careers in real estate
PropNex bulks up, ready to seize bigger market share
Record $4.45 mil loss at Ritz-Carlton Residences
Unit at The Esparis on auction for $950,000
Residential transactions with contracts dated Dec 14 to Dec 28 [DONE DEALS]


Deal includes Nexstar's assumption of Tribune Media's outstanding debt.
Monday was a big day for Tribune Media Company (NYSE: TRCO). Nexstar Media Group (NASDAQ: NXST) agreed to buy Tribune Media's outstanding shares at $46.50 each in an all-cash transaction worth $6.4 billion. As part of the deal, Nexstar will take on Tribune Media's outstanding debt. The deal will be financed through Bank of America Merrill Lynch, Credit Suisse and Deutsche Bank. The boards of directors of both companies have both agreed to the deal which is expected to close in the third quarter of 2019, provided the acquisition agreement receives all the necessary regulatory approvals.


I don't know why Marlin uses the trigger shoe configuration that they do, it is very uncomfortable to use. If desired, I can straighten the shoe to make it fit your finger better. Then I round the bottom corners off, and finally remove the sharp edges on the left & right sides. Now you have a trigger that isn't a pain to use.


text:
All the Time in the World: Remembering "On Her Majesty's Secret Service" on its 45th Anniversary
December 18, 2014 - 3:01 pm	| by	Michael Coate
"[T]he lasting impact of On Her Majesty's Secret Service is that it showed that a James Bond film could be made without Sean Connery in the lead role. The producers maintained that audiences came to the films to see James Bond, not necessarily the actor playing him." — Bruce Scivally
The Digital Bits is pleased to present this retrospective commemorating the 45th anniversary of the release of On Her Majesty's Secret Service, the sixth cinematic James Bond adventure and, most notably, the first not to star Sean Connery as Agent 007. [Read more here...]
As with our previous 007 articles (available here and here), The Bits celebrates the occasion with this retrospective featuring a Q&A with an esteemed group of James Bond authorities who discuss the virtues and shortcomings of On Her Majesty's Secret Service and why the passage of time has been particularly kind to this film more than any other in the long-running series. The interviews were conducted separately and have been edited into a "roundtable" conversation format.
Okay, let's (alphabetically) meet the participants….
Jon Burlingame is the author of The Music of James Bond (Oxford University Press, 2012; and recently issued in paperback with an updated Skyfall chapter). He also authored Sound and Vision: 60 Years of Motion Picture Soundtracks (Watson-Guptill, 2000) and TV's Biggest Hits: The Story of Television Themes from Dragnet to Friends (Schirmer, 1996). He writes regularly for the entertainment-industry trade Variety and has also been published in The Hollywood Reporter, Los Angeles Times, The New York Times, and The Washington Post. He started writing about spy music for the 1970s fanzine File Forty and has since produced seven CDs of original music from The Man from U.N.C.L.E. for the Film Score Monthly label.
Robert A. Caplen is an attorney and the author of Shaken & Stirred: The Feminism of James Bond (Xlibris, 2010). Based in Washington, DC, he practices antitrust and commercial litigation and has published numerous law review articles in leading academic journals. Shaken & Stirred: The Feminism of James Bond (which was quoted in Sir Roger Moore's memoir, Bond on Bond) is his first book. He is working on a follow-up book and can be reached via Facebook (www.Facebook.com/bondgirlbook) and Twitter (@bondgirlbook).
James Chapman is a Professor of Film Studies at the University of Leicester and is the author of Licence to Thrill: A Cultural History of the James Bond Films (Tauris, 2007). His other books include Inside the Tardis: The Worlds of Doctor Who—A Cultural History (Tauris, 2006), Saints and Avengers: British Adventure Series of the 1960s (Tauris, 2002), and (with Nicholas J. Cull) Projecting Empire: Imperialism and Popular Cinema (Tauris, 2009). Chapman is also a Council member of the International Association for Media and History and is Editor of the Historical Journal of Film, Radio and Television.
John Cork is the author (with Bruce Scivally) of James Bond: The Legacy (Abrams, 2002). He also wrote (with Maryam d'Abo) Bond Girls Are Forever: The Women of James Bond (Abrams, 2003) and (with Collin Stutz) James Bond Encyclopedia (DK, 2007). He is the president of Cloverland, a multi-media production company, producing documentaries and supplemental material for movies on DVD and Blu-ray, including material for Chariots of Fire, The Hustler, and many of the James Bond and Pink Panther titles. Cork also wrote the screenplay to The Long Walk Home (1990), starring Whoopi Goldberg and Sissy Spacek. He recently wrote and directed the feature documentary You Belong to Me: Sex, Race and Murder on the Suwannee River for producers Jude Hagin and Hillary Saltzman (daughter of original Bond producer, Harry Saltzman); the film is now touring festivals.
Bill Desowitz is the author of James Bond Unmasked (Spies, 2012; www.jamesbondunmasked.com; and updated for Kindle which includes a chapter on Skyfall and exclusive interview with Sam Mendes). He is the owner of Immersed in Movies (www.billdesowitz.com), a contributor to Thompson on Hollywood at Indiewire and contributing editor of Animation Scoop at Indiewire. He has also contributed to the Los Angeles Times and USA Today.
Charles Helfenstein is the author of The Making of On Her Majesty's Secret Service (Spies, 2009) and The Making of The Living Daylights (Spies, 2012).
Lee Pfeiffer is the author (with Philip Lisa) of The Incredible World of 007: An Authorized Celebration of James Bond (Citadel, 1992) and The Films of Sean Connery (Citadel, 2001), and (with Dave Worrall) The Essential Bond: The Authorized Guide to the World of 007 (Boxtree, 1998/Harper Collins, 1999). He also wrote (with Michael Lewis) The Films of Harrison Ford (Citadel, 2002) and (with Dave Worrall) The Great Fox War Movies (20th Century Fox Home Entertainment, 2006). Lee was a producer on the Goldfinger and Thunderball Special Edition LaserDisc sets and is the founder (with Dave Worrall) and Editor-in-Chief of Cinema Retro magazine, which celebrates films of the 1960s and 1970s and is "the Essential Guide to Cult and Classic Movies."
Bruce Scivally is the author (with John Cork) of James Bond: The Legacy (Abrams, 2002). He has also written Superman on Film, Television, Radio & Broadway (McFarland, 2006), Billion Dollar Batman: A History of the Caped Crusader on Film, Radio and Television from 10¢ Comic Book to Global Icon (Henry Gray, 2011), and the forthcoming Dracula FAQ. As well, he has written and produced numerous documentaries and featurettes that have appeared as supplemental material on LaserDisc, DVD and Blu-ray Disc, including several of the Charlie Chan, James Bond, and Pink Panther releases. He teaches screenwriting, film production and cinema history and theory at The Illinois Institute of Art–Chicago and Columbia College.
And now that the participants have been introduced, might I suggest cueing up the On Her Majesty's Secret Service soundtrack album and preparing a martini (shaken, not stirred, of course), and then enjoy the conversation with these James Bond authorities.
Michael Coate (The Digital Bits): In what way is On Her Majesty's Secret Service worthy of celebration on its 45th anniversary?
Jon Burlingame: On Her Majesty's Secret Service is without a doubt one of the all-time great Bond films. It's been fashionable for a long time to complain about it because of George Lazenby's one-shot take on 007, but that ignores the impressive accomplishments of the movie in every other respect, from script to direction to locations to music. It's still a masterpiece.
Robert A. Caplen: On Her Majesty's Secret Service is worthy of praise for imbuing the series with a more humanistic approach, depicting the vulnerability of James Bond as he falls in love with and mourns the death of Tracy di Vicenzo. While the film has garnered significant criticism, it endures and remains entertaining. And, with SPECTRE on the horizon in 2015, there is a possibility, unless I read too much into the SPECTRE teaser art, that OHMSS could experience a renaissance.
James Chapman: All Bond movies are worth celebrating, though On Her Majesty's Secret Service is a special case as it's unique in the Bond series. I think for a long time it was the black sheep of the Bond family, the one film in the series that was supposedly a failure. Let's put that one to bed straight away. OHMSS was a failure only in so far as it was less successful at the box-office than the previous four Bond movies; it was still one of the biggest-grossing films of 1970 and was the top box-office attraction in Britain. And when I looked at the critical reception when I was researching my book on the Bond movies, I found that, while the reception was mixed, it was no more mixed than the response to Dr. No—in fact, some critics thought it was an improvement on Thunderball and You Only Live Twice.
This is a cliché, but it's a film that improves every time I watch it. It's the closest of all the films to the source, and, while I don't think that fidelity to Fleming is necessary for a great Bond movie (viz. The Spy Who Loved Me or Skyfall), I think that a lot of the qualities I like in OHMSS are from the book. I'm glad they kept the ending, for example. In fact, I think it's the downbeat ending that was probably responsible for the film's lesser performance at the box-office than George Lazenby, who became something of a whipping boy after the event and carried the can for its supposed "failure." It's an old film industry adage that a happy ending doubles the box-office. As Molly Haskell said in her review of the film for Village Voice: "If you like your Bonds with a happy ending, don't go."
John Cork: Majesty's holds an almost magical significance for many Bond fans, particularly the fans of my generation. The cinematic Bond has always tread this fine line between absurdist spectacle, nearly mythic storytelling and this sense that there is something a bit more human going on at the heart of Bond than meets the eye. We can love Bond battling Dr. No in a nuclear reactor as fuel rods are melting down, but that is balanced by the cold resignation of Bond shooting Professor Dent and listening to Honey describe murdering the man who raped her. But just four and a half years later with You Only Live Twice, the human element had all but evaporated. Did we really care if Aki is killed? Sure, YOLT is a fun film—great score, lovely locations—but it lacks any of the soul of literary 007. Majesty's was a big, strange bet on Ian Fleming's Bond, and in so many ways (and fans will hate that I say this) it failed. It almost killed the Bond franchise. Yet, I would argue it stands shoulder to shoulder with Goldfinger as the most influential Bond film in the series. How this happened is a remarkable story.
After OHMSS aired on ABC, fans were outraged at the way the film had been re-cut for the two-night run, with voice-over from an actor who was clearly not George Lazenby. Those who remembered the film well were very vocal in defending the movie. Richard Schenkman, president of the James Bond Fan Club in the US confronted Cubby Broccoli about it personally in 1977. Cubby was again questioned about it publically at a retrospective at the Museum of Modern Art in 1979. There were soon two drumbeats that became constant in the fan community: one was about Kevin McClory's attempt to remake Thunderball, and the other was about how OHMSS was the forgotten, underrated Bond film, and how the things that made it great were the very things missing in the Roger Moore Bond movies of the 70s.
After the success of Moonraker, Michael G. Wilson became a much more important creative partner in the series, and he tried to bring the Bond series back to Fleming and very much to setting the clock back to 1970. If you think of For Your Eyes Only almost as a sequel to OHMSS, you will get the idea. There's Bond at Tracy's grave. There's Blofeld wearing the neck brace. The film is grounded in reality. Looking beyond that, we see the action scenes remind us of OHMSS—the skiing, the bobsled, the fight on a beach, the mountaintop lair. Before John Glen was tapped to direct the film, Eon reached out to Terence Young, who said no, and to Peter Hunt, the director of OHMSS. Hunt had other commitments and grave misgivings about going back to Bond at that point.
And after For Your Eyes Only, there is this continual battle over how much of the Fleming Bond is going to be present in the cinematic Bond, and, even more importantly, how that will be portrayed. The tone of Majesty's is a strong and direct influence on Licence to Kill. It played a big role in the development of The World Is Not Enough. The shadow of Majesty's permeates every bit of the Daniel Craig Bond films, and Eon's buy-out of McClory's rights ensures that the filmmakers can work with that part of Bond's literary history again.
Bill Desowitz: On Her Majesty's Secret Service is a landmark Bond movie in so many ways: the first without Sean Connery; the sole appearance by newbie actor George Lazenby; the first and only directorial effort of editor Peter Hunt; the most faithful Fleming adaptation; a return to the lean, mean espionage of From Russia with Love; the first movie centered on Bond and falling in love with Tracy, played engagingly by Diana Rigg (who left The Avengers); the best action in the snow in franchise history; the most haunting score by John Barry; and the most devastatingly tragic finale with the murder of Tracy by Blofeld and his assistant, Irma Bunt.
Charles Helfenstein: It is the crown jewel of the James Bond series. Somewhat ignored and dismissed after its initial release, the film has enjoyed a well-deserved renaissance. It is a masterpiece, and those who ignore it just because of George Lazenby are missing out on something incredibly special…Ian Fleming's world perfectly captured on film.
Lee Pfeiffer: The stature of OHMSS among critics and the public has risen appreciably since the film was released in 1969. At the time, virtually any film that followed the Connery era would have been met with derision. The film was not judged fairly, though hardcore Bond fans seemed to like it. The fact that the film grossed far less than the Connery Bonds also added to the mistaken notion that it was a dud. Lazenby did himself no favors by announcing he was quitting the role after one film, so critics could be excused for predicting that the Bond era was over. Yet, it's precisely because of the oddball, one-off nature of the film that it resonates as one of the best entries in the series. Most of the credit has to go to Peter Hunt, who had edited the early Bond films. This was his directorial debut and it must have been a very sobering challenge for him to undertake a big-budget film with such high expectations. Hunt was determined to revitalize the series by thinking outside of the box. He correctly presumed that the series could not go any further into gadgetry and spectacle, especially in the wake of You Only Live Twice, which is a marvelous film but one that finally soured Connery completely in regard to playing 007. His criticism was well-founded: Bond was becoming a less interesting character and simply a catalyst for big action sequences. Hunt once told me that he felt by this point, Bond was simply a guy who presses a few buttons to utilize gadgets to get out of a jam. Hunt wanted to go back to the essence of Fleming's novels, and he succeeded admirably. OHMSS is a thinking man's Bond flick in the way that From Russia with Love was. There was a lot of tension during the making of the film. Hunt and Lazenby barely spoke. The producers, Broccoli and Saltzman, not only had troubles between themselves, but they were understandably upset that their new investment—George Lazenby—would not be doing another film. (It's the only movie where "James Bond 007" gets above-the-title billing instead of the lead actor. Why promote someone who was moving on from the role?) There was also controversy about the running time of the movie with some of the "suits" arguing that it needed to be cut. But Peter Hunt stood his ground. The film was still successful financially but not nearly as much as its predecessors. Yet, its qualities have only grown with time and people have taken a much more mature attitude evaluating its merits.
[On to Page 2]
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Native American Romance Series Trivia
Posted on January 21, 2021 by Ruth Ann Nordin
Since these books are interconnected, I thought I'd address them in one post.
This series started with a book that isn't in the series. That book was Meant To Be.
Old cover on the left; new cover on the right
I actually wrote Meant To Be to help me get better acquainted with the historical western mindset. I believe I wrote this in 2008 but published it in 2009. Back then, I knew I needed serious help feeling like I could take myself to the historic old west. People who criticize the Virginia Series have a valid point. Those books do come off as "modern". People suggested I just stick with contemporary romances, but I really wanted to write historical ones. I was determined to overcome this hiccup in my writing life. No amount of books or internet research was helping in this area. I needed to mentally and emotionally BE there. So I chose to write a story where I brought characters from the present to the past. In doing that, I was forced to see the past through their eyes. This method did the trick. Ever since then, I've had no trouble transporting myself back in time.
Anyway, Meant To Be primarily focused on Ted and Megan, but Cole was a secondary character. During the writing of this book, I realized Cole wasn't that bad and wanted to redeem him. So I gave him his own romance, but it was brief and pretty much glossed over for the sake of the main story. Because of this, I decided to write a story that focused on Cole and Penelope. This was how A Chance In Time came into existence.
While writing A Chance In Time, I came across a surprise character who pretty much showed up out of nowhere. That was Woape, and she was from the Mandan tribe in North Dakota. Woape was close to giving birth, and Penelope took her home to give her a safe place to live. When Woape gave birth, Penelope realized the father was white, and she assumed the worst (that Woape had been raped by a white man). But, as the author, I knew that wasn't what happened, and since I was never able to go down that rabbit hole in A Chance In Time, I decided to write Restoring Hope.
I began Restoring Hope with the idea that Woape ran away from marrying Citlali. She was going to marry a white man who was going to get her pregnant before dying. Gary was supposed to marry her to give her a safe place from Hothlepoya and his men who sought to harm her. They were supposed to have more of a marriage of convenience where neither was meant to fall in love with the other. That way when I killed him off, there wasn't supposed to be any emotional attachment to him. Then she was supposed to return to Citlali and fall in love with him. So the original plan was to kill Gary off for real. The problem was that the scenes with Gary kept going on and on, and the more time I spent with him, the more I liked him and didn't want to see him die. I was in a corner, though, because the events in A Chance In Time still had to take place. Woape was supposed to end up pregnant and at Penelope's home. That's how I decided to come up with the idea where everyone believes Gary died. That way, I was able to get Woape to leave town and meet up with Penelope.
In deciding to let Gary live, I could no longer pair her up with Citlali. So when she returned to her tribe, she rejected Citlali's offer for marriage. Thankfully, Woape's sister was there and happened to be secretly in love with him. I kind of felt sorry for the guy since he wasn't as bad as Woape made him out to be. He was just reserved with his feelings.
Before I could write Citlali's romance, though, I had to write about Gary's sister. Julia was an unintentional heroine. I introduced her in Restoring Hope, and she was intended to be the villain. She, however, didn't agree with me. She was just an older sister who felt as if she was unappreciated by her little brother. She had valid reasons for feeling the way she did, though her actions were wrong. The second part of Restoring Hope was basically about Julia rectifying her actions. It wasn't my intention to pair her up with Chogan. But I needed to get a way for her to find Woape and Gary, and Chogan was the only character I had on hand who knew how to get to his tribe. That's how Chogan got that role. Also, I couldn't make their journey a quick one. I needed time for Woape to have the baby at Penelope's and then return to her tribe. That's why I added in those scenes where Chogan taught Julia how to hunt. During the course of that, I realized I enjoyed writing more about Julia and Chogan than I did about Woape or Gary, so I spent more time with them as the book went on. I was originally going to end the story with Julia agreeing to marry Chogan when he proposed, but I decided I'd rather spend more time with them. That's how I decided to write a book that would focus on them. They are one of my all-time favorite couples in all of the stories I've done. So, in the end, I settled for Julia telling him no at the end of Restoring Hope. That way I could pave the way for Brave Beginnings.
When Brave Beginnings started, it was a year later (I believe), so some time had passed in the series. I needed to have Chogan and Julia cross paths. That's how Julia and her aunt ended up in Bismarck. And since the Mandan tribe was close by, they could naturally encounter one another. Well, the subconscious part of my brain decided to bring in Ernest, another man from Julia's past who had proposed to her (and she had said no to him, too). I had no idea where I was going with Ernest when I wrote the scene where Julia and Ernest come across each other at the bank where he worked, but I told myself to "trust the process" and went with it to see where things would go. I knew Julia couldn't end up with Ernest. She loved Chogan, and quite frankly, I did, too. So Ernest never had a chance. 🙂 But I did bring in Julia's cousin with the intention of pairing Ernest up with her. This, however, didn't happen because Ernest steered off course and became a bitter and spiteful character. It surprised me when I realized who he really was beneath his pleasant exterior. But I kept going to see where things would go. It led to Ernest doing everything he could to separate Julia from Chogan, and since I was enjoying writing about Julia and Chogan so much, I wasn't in any hurry to wrap their story up. As a result, Brave Beginnings ended up being the longest book I've ever written. It turned out to be around 116,000 words long. (On average, my books tend to be 60,000 words long.)
While writing Brave Beginnings, I was able to lay the ground work for Citlali's romance by showing that he did care about people but felt a responsibility to the tribe to be the future leader, and, as the leader, he had to rely more on logic than emotion in order to be objective in how he handled tensions that popped up among the people. What he needed was to find a balance between logic and emotion, and that was my goal for him in Bound by Honor Bound by Love. That book was more about him than it was about Onawa, but she was necessary in order to bring about this balance to his personality. My favorite part of this book was when he left the tribe to look for Onawa and then found her.
During the writing of this series, I ended up taking a trip to Bismarck to visit the Heritage Museum and a nearby old Mandan village. I also read a book published back in 1909. One thing that struck me the most in my research was how much the smallpox epidemic took its toll on the Mandan tribe. They struggled to increase the size of their tribe, but in the end, it didn't work out. Because of this research, the background for Brave Beginnings and Bound by Honor Bound by Love dealt with the way the characters struggled with the fallout from the smallpox epidemic. Bound by Honor Bound by Love ends with Citlali and Onawa having a son, so there was a happy ending for them, but the book also ends on a very sad note because he takes items important to the tribe to show to the white men who want to write a book about his tribe and their customs. (The book I read from 1909 was what inspired this idea in my story.) There was only one way this series could have ended because it's how history played out. I couldn't give Citlali a complete happy ending. His people were dying out. It was only a matter of time before there were no more full-blooded Mandans left, and he knew it. So that's why he shared everything he did with the white men who went on to publish a book based on what he told them. That was the only viable way he had of preserving the Mandan legacy. For the record, the last full-blooded Mandan died in 1971. I cry every time I think of the ending of this book. It was the hardest ending I've ever had to write.
I did make two videos from my trip to North Dakota. I'll share that in this post. (The videos are older and not the least bit professional, so please don't judge it on how it looks.)
These are models of what the earth lodges were like and how they lived in them…
This features items they owned (which are on display at the Heritage Museum) and pictures taken at the old Mandan village…


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Home » Books » Collections of Essays » Even As We Speak » Up Here from Down There
When London Calls by Stephen Alomes, Cambridge
Billed as a senior lecturer in Australian Studies at Deakin University, Stephen Alomes, with his latest book When London Calls — subtitled 'The Expatriation of Australian Creative Artists to Britain' — has made a timely intervention in the perennially simmering local discussion about why the Australian expatriates went away and what should be thought about them by the cognoscenti who stayed put. As its provenance and panoply suggest, this is most definitely an academic work, but the reader need not fear to be dehydrated by the postmodernist jargon that threatened, until recently, to turn humanist studies in Australia into a cemetery on the moon. Instead, the reader should fear a different kind of threat altogether.
There was a time when Australian academics could be counted on for a donnish hauteur when it came to treating journalistic opinions relating to their subject. Alomes goes all the other way. Without knowing much about it, he loves the world of the media. If there is ever a Chair of Cultural Journalism at Deakin University, he could fill it the way he fills his reporter's notebook. He gets out there on the interview trail himself. Most of the big names he wants to talk to, if not already dead, don't want to waste any more of their lives giving soundbite answers to the kind of questions that their work exists to answer in full, but he has the professional pest's remedy for that. He either gives them short shrift or plugs the lacunae from his clippings file, in which, it seems, any British journalist's merest mention of an Australian expatriate's activities — especially if the opinion is adverse — is preserved like holy writ, and in which anything that even the most uninspired Australian journalist makes of the British journalist's opinion is carefully appended, the whole dog-eared assemblage being regarded by its assiduous compiler as a pristine Forschungsquelle out of which he may construct his own opinions by an elaborate system of cross-reference. This method seems particularly Swiftian in a book which nominally devotes itself to the proposition that Australia need no longer be in thrall to how its creative efforts are perceived in the mother country. Australia is a land mass of three million square miles and geographers have long debated whether it should be called a continent or an island. The bizarre spectacle of Alomes's self-cancelling thought processes should be enough to settle the discussion. It's an island all right, and it's flying like Laputa.
No doubt seeking to legitimize his gift for inaccurate precis, Andre Malraux recommended telling the kind of lies that would become true later. In Australia it is by now widely proclaimed among the intelligentsia that the era of provincialism is over. Would that it were true, but on the evidence provided by the mere existence of a book like this it isn't yet, and later might mean never if the facts aren't faced. One of the facts is that in Australia any discussion of the arts is likely to be bedevilled with politics. Another is that the politics are likely to be infantile. As opposed to the quality of the discussion, the quality of the arts is not the problem. With a size of population which only recently overtook that of the Ivory Coast, Australia has for some time been among the most creatively productive countries on earth. In the mortal words of Sir Les Patterson, we've got the arts coming out of our arseholes. Painters, poets, novelists, actors, actresses, singers, directors: our artists are all over the world like a rash, and the days are long gone when the stars who stayed away were the only ones we had.
Nobody now would be surprised to hear that the only reason Cate Blanchett left home was to get away from her more gifted sister. In Sydney a new Baz Luhrman lurks on every block, and Brisbane bristles with pret-a-porter Peter Porters. Alomeshas predicated his book on the up-to-date assumption that if Australia should happen to go on producing cultural expatriates, it won't be provincialism that they flee from, because there no longer is any. The way he says so, however, would be enough in itself to make any current expatriate think twice before coming home for anything longer than a brief incognito visit, and might well recruit new expatriates by the planeload.
On a world scale, the average cultural expatriate in the twentieth century took flight because if he had stayed where he was he would have faced death by violence. His average Australian equivalent has faced nothing except death from boredom. It might sound like a privileged choice until you find out how lethal the boredom can be. Try a sample sentence.
In this period groups and institutions were either offshore replications of Australian support organisations or precursors of official and unofficial Australian organisations.
To be fair, Alomes doesn't always succeed in being as unreadable as that. There are lingering signs that the once-excellent Australian school system has not yet fully given up on its initial aim of teaching pupils to write coherent prose. Apart from the use of 'manifest' as an intransitive verb ('Sayle's happy knack of being on the spot where things were happening manifested early') and a failure to realize that the adjectives 'new' and 'innovative' are too similar in meaning to be used as if they were different ('The film was innovative and new') he writes a plain enough English for someone whose ear for rhythm either never developed or was injured in an accident. There are whole paragraphs that don't need to be read twice to yield their sense. The question remains, however, of whether they sufficiently reward being read once, except as an unintended demonstration of the very provincialism whose obsolescence their author would like taken for granted.
The answer to the question is yes: just. Leaving his overall interpretation of them aside, the raw data are of such high interest that they inspire even the author to the occasional passage of pertinent reflection, some of it his own. He names the names of those Australians who came to London when that was still the thing to do. After World War II the tendency for the painters who went away to stay away became ingrained. Arthur Boyd, Sidney Nolan and Charles Blackman all made a life in England, even when their imaginative subject matter was drawn either from their memories of Australia or from the visits home they could make more frequently as they prospered. Alomesgives details of which painters resettled in Australia later in their careers, or else merely appeared to while maintaining their British base, and of whether their work was regarded as Australian-based or international. He occupies himself with the questions of domicile and national loyalty as if his subjects thought about these things then as hard as he does now. What seldom strikes him is the possibility that to stop thinking about such matters might have been one of the reasons they took off in the first place.
If Alomes had widened the scope of his book to include other destinations besides London, he would have had to deal, among the painters, with the problem posed by Jeffrey Smart, who, at the height of his long career, not only remains a resident of Tuscany but rarely paints an Australian subject even from memory. Smart had a clear and simple reason, freely admitted in his autobiography, for leaving Australia half a century ago. As an active homosexual, he had a good chance of being locked up. But his other reasons are of more lasting interest, and one of them was that he had no personal commitment to a national school of painting that depended on Australian subject matter. He knew everything about what the national painters had achieved, but he saw them in an international context. In short, he wasn't interested in nationalism.
The same can be applied to the musical luminaries here listed:
Richard Bonynge, June Bronhill, Charles Mackerras, Malcolm Williamson, Yvonne Minton, Joan Sutherland and so, gloriously, on. Alomes flirts with the idea that the performing artists — the instrumentalists especially — might have hindered the development of Australian music by leaving, but he doesn't follow up on the possibility that by raising the prestige of Australian music throughout the world they might have helped more than they hindered, simply by making a musical career seem that much more exciting to a new entrant. Postwar, the arrival of Sir Eugene Goossens raised the level of Australian orchestral music, but the departure of Joan Sutherland made Australia a planetary force in grand opera — like the extra shrimp that Paul Hogan later threw on the barbie. Our Joan's impact on Covent Garden resonated throughout the world.
The resonance reached Australia itself: when the winner of the Sun Aria Contest set out for England, she sailed on a ship that launched a thousand sopranos. The effect that the international prestige of our expatriates had on aspiring artists in their homeland is a big subject for our author to pay so little attention to. But he pays no attention at all to an even bigger subject. He notes that the prima donna assoluta got a rapturous reception on her 1965 homecoming tour but neglects to mention that her every record album was received with the same enthusiasm — quietly, in thousands of middle-class households. Throughout the book, he takes it for granted that the expatriate artists ran the risk of being out of touch with an Australian audience: not even once does he consider that they might have been in touch with an Australian audience in the most intimate possible way — through their art. He is keener to treat the whole phenomenon of expatriation as if it had a terminus a quo in the old colonial feelings of inferiority and a terminus ad quem in the now-imminent attainment of independent nationhood: because the stage at home was too small, gifted people needed to leave, and now that it isn't, they needn't. But the Sydney Opera House was already built when Joan Sutherland repatriated herself as a resident star, and although she was congratulated by music lovers for choosing to spend the last part of her career at home, she also had to cope with the patronizing opinion that her career must have been over, or she wouldn't have come back. She also faced persistent questioning — of whose impertinence Alomes seems not to be aware — about why she was not in favour of an Australian Republic. Nostalgia for Switzerland must have been hard to quell.
On the continuing problem of how a successful expatriate can make a return without being thought to have failed, Alomes could have been more searching, but at least he mentions it. The theatrical expatriates have always suffered from it most. They are all here, starting with Robert Helpmann before the war, and going on through Peter Finch, Bill Kerr, Leo McKern, Diane Cilento, Michael Blakemore, John Bluthal, Barry Humphries and Keith Michell. Michell is usefully quoted as telling a journalist 'the trouble is, when you go home, everybody says you're on the skids'. This is a handily short version of a Barry Humphries off-stage routine that he has been known to deliver to anyone except a journalist. Humphries relates that when he stepped off the plane on one of his early trips home, a representative of the local media asked him how long he planned to stay. When Humphries explained that he was back only for a few days, he was asked 'Why? Aren't we good enough for you?' For his next trip, he armed himself with a more diplomatic answer to the same question. When he said that this time he might be back for quite a while, he was asked 'Why? Couldn't you make it over there?'
Perhaps Alomes might like to use this parable in a later edition, although he is unlikely to get it confirmed by Humphries himself, who has already committed suicide often enough without handing the Australian press any more ammunition. Meanwhile Alomes reports a usefully rueful comment from the distinguished theatrical producer and film director Michael Blakemore, who apparently wondered whether his film Country Life — a retelling of Uncle Vanya in an Australian setting — might not have been better received in Australia if he had launched it in America and Europe first. Blakemore was really saying that the home-based Australian journalists did him in. Alomes might have made more of that, but true to his title he is more interested in the Australian journalists who went abroad.
The list starts with Alan Moorehead, who in Europe built a justified legend as a war correspondent before moving on to write his best-selling books about the Nile. Robert Hughes has several times paid tribute to Moorehead's influence as exemplar and mentor. Moorehead was a true heavyweight, but the pick of his many successors who took the road to glory in the Street of Shame form a by no means trivial list: Paul Brickhill, Sam White, Philip Knightley, Barbara Toner, Bruce Page, John Pilger and the explosively charismatic swagman Murray Sayle, he whose happy knack of being on the spot when things were happening manifested early. They all had that happy knack, and they all shared the conviction that wherever the spot was, it wasn't in the land where they were born. You would think that at least a few of the survivors might have gone home by now, if provincialism was really over, but among the big-name byliners no instance of a permanent return is here recorded. There are less illustrious figures whose sojourns in Fleet Street and subsequent repatriation are solemnly celebrated. No doubt they brought something home with them, but what they took away with them in the first place seems, on this reckoning, no great shakes, and one would have thought that their inclusion stretched the term Creative Artist pretty far. Two women who turned out yellow drivel for the British tabloids ('You can tell a man by his underpants') have their itineraries traced in detail, in keeping with Alomes's tendency, throughout the book, to count heads without caring about the size of hat.
A conspicuous example of that same tendency is Jill Neville, enrolled among the expatriate writers. By a rough calculation she gets three times as much space as Patrick White. No doubt she had a magnetic personal attractiveness. Unduly given to the bad journalistic practice of name-checking his way through networks as if that did something to illuminate the individuals caught up in them, Alomes makes much of Jill Neville's role in Peter Porter's life and in the circle that formed around Charles Blackman and Al Alvarez in Hampstead. Alvarez wasn't Australian but he liked Australians. His recent book Where Did it All Go Right? shows how much he liked Jill Neville. If not precisely a femme fatale, she certainly had the knack of making grown male intellectuals fight like schoolboys. By the time I met her, she had been brought low by illness and the familiar cumulative effects of a career in which literary ambitions do not fulfil themselves, to an extent that makes the income from ordinary journalism matter significantly less. To be trapped in Grub Street and sick too is a hard fate. But even in the early grip of the cancer that took her away, Jill Neville still had charm. The question was whether she had any talent. My own assessment would be that she more or less did — her fiction, without being incandescent, retains something better than documentary value — but Alomes doesn't say whether she did or she didn't. He just parades her along with all the other expatriates as if she had the same rank, and pays her more attention than almost any of them because she happened to know so many of them personally.
The matter of talent becomes an embarrassment when Alomes gets to what he calls the Megastars, because if he can't talk about what they have to offer, then he can have no reason for being interested in them apart from their celebrity. The usual four suspects are rounded up. Robert Hughes gets fleeting treatment because he settled in New York instead of London. Germaine Greer, Barry Humphries and myself are worked over at length. I wish I could say I felt flattered to be included, but flattened would be more like it. Ian Britain started this Gang of Four caper with his book Once an Australian, which at least had the merit of crediting his individual subjects with a vestigial inner life that might yet survive somewhere inside the airless perimeter of their fame, in the same way that the presence of water on Mars cannot yet be ruled out. Britain was able to contemplate that his chosen specimens might have become famous for something — if only their way of putting things — rather than just through wanting to be famous. But Alomes has gone beyond that. With his innovative and new filing system, he has no need to form a personal estimation of anything that his Megastars might have actually done. He can just trawl through the press coverage.
Let me start by getting myself out of the road as quickly as possible. I only wish our author had done the same, but it all goes on for pages. A detailed case study is built up of what Alomes calls a 'professional Australian', smarming his way upwards in the capital city of imperialism by shamelessly peddling his colonial identity to con the Poms. For all I know, and in spite of its plethora of factual errors, this dossier fits the culprit: it takes a saint to be sure of his own motives. All I can say in rebuttal, if not refutation, is that I can't remember the Poms being as easy to con as all that. Even for Rolf Harris, the didgeridoo and the wobble-board weren't enough by themselves: he had to sing. And as far as I can recall after almost forty years, I had to compose a few ordinary, unaccented English sentences before I could get anybody's attention. My freckles were already fading fast, and putting zinc cream on my nose would have looked like frost-bite.
If it was conceited of me to expect some attempt at assessing the way I write — if only to demonstrate how I worked the scam — such an attempt was the least to expect when it came to the case of Germaine Greer. If you leave out her way of putting things, all you are left with is the things she puts. Her various attitudes have been shared at one time or another by many, and there might even be some who share them all. Perhaps somewhere, gathered around some dusty well, there is a group of women farsighted enough to perceive that clitoridectomy is a breakthrough for feminism. But it would be even more amazing if they could write. Germaine Greer can write, often amazingly. Her distinctiveness is in her style, where all she feels, observes and believes adds up to a passion. It might be better if it added up to a position, but it would take a fool to deny its power, and a dunce to ignore it. Alomes ignores it. Instead, he applies his method. What she said to the media, or what the media said she said, is sedulously quoted. The contradictions and anomalies that emerge are marvelled over, as if consistency had ever been among her virtues. Deep thoughts that various mediocrities have thought about what she thinks are duly shuffled into a heap, which you would have to set fire to if you hoped for any illumination. But at least obfuscation is not the aim. In the case of Barry Humphries I'm afraid it is. The stuff about him is a scandal.
A serious fellow even while he was alive, the avant-garde novelist
B. S. Johnson once informed a table and the people sitting around it — I was one of them, so I can vouch for this — that he did not admire Shakespeare, because real people don't talk in verse. Showing similar powers of insight, Alomes is able to detect that Dame Edna Everage, Sir Les Patterson and others among Barry Humphries' range of stage zanies do not correspond to any actual people in our country's now advanced state of development. He further concludes that Humphries' international theatrical success is therefore damaging to Australia's image abroad. When Ian Britain favourably reviewed this book for the Melbourne Age, the strictures placed on Humphries were too much even for him, and he tried to point out the obvious: that Humphries' fantastic characters were found just as entertaining by an Australian audience as a foreign one. More could be said on those lines, but I doubt it would be enough to convince Alomes, who is too hipped on his idea of the 'cultural cringe' (a term he employs interminably) to let go of the possibility that large sections of the Australian audience look up to Humphries precisely because he looks down on them. Alomes wouldn't put anything past the middle class. Like many Australian soft-option academics who fancy themselves as radical political thinkers, he resolutely refuses to grasp that a middle class is the first article a liberal democracy manufactures, and the last it can do without.
Of all the people in the book, Humphries is the one to whom the term Australian Expatriate Creative Artist applies most, and of whom its author knows least. You would never guess from what is written here that Humphries, throughout his career, and in addition to commanding a mandarin prose that integrates the wild inventiveness of the Australian idiom at a level beyond the reach of even his brightest critics, has devoted tireless energy to the study, rediscovery, preservation and furtherance of Australian music, literature, painting and architecture. Humphries is learned on a world scale, but his learning began at home, and always goes back there. An expatriate he might be, but a patriot he has always been. Everyone knows that, except Alomes and the dunderheads in his filing system, prominent among whom is Dan O'Neill, described as (and this is Alomes talking, not Sir Les) 'literature scholar and radical academic at the University of Queensland: In 1983 Radical Dan apparently asked lrsquo;How much longer can this curious ritual last, a Londoner with quick uptake, retentive memory and verbal flair coming over here on a regular basis, to tear the living fang out of us for being "Australian"?' I love that 'verbal flair': obviously a very compromising thing to be caught in possession of, like a bottle of anabolic steroids. Not all of the names brought in to help lynch Humphries are ciphers. One of them belongs to the gifted playwright David Williamson, whose towering presence in this shambling rank of irascible homunculi is enough to prove that Alomes's book is a more serious matter than it might appear, although never in a way that its author might like to think. Williamson is quoted as calling Humphries 'a satirist who loathes Australia and everything about it'. As it happens, Humphries is a difficult customer in real life and there are things about his stage act that some of us find difficult too. I wouldn't like to be in the first three or four rows when Sir Les is propagating rancid zabaglione from the dilapidated cloaca of his mouth, and I have always sympathized with the country wife in the fifth row when Dame Edna asks her what she had to do to get the pearls. Without question there is an implacable animus boiling somewhere behind the personae. But to discern in Humphries 'almost a total hatred of Australia' (Williamson again, apparently) takes something more than a lack of humour. It takes nationalism, which is where we get down to the nitty-gritty.
For any free nation, an upsurge of nationalism is something it needs like a hole in the head. The holes are usually provided by whatever force emerges victorious from the resulting turmoil, and the heads by its innocent citizens. If the history of the previous century taught us anything, it taught us that. But one of the charms of the Australian intelligentsia is that the generality of its members aren't bound by an historical context. Unfortunately they aren't informed by one either, a deficiency which makes innocence less cute when it comes to politics. When the Australian Republican Movement gave itself a name, it was merely naïve in supposing that the concept of an historically predetermined Bewegung would fail to arouse bad memories. But there was nothing naïve, and much that was nasty, in the ARM's collective fondness for wondering whether Australians who questioned its visionary mission were quite Australian enough.
Beginning with the discovery by Paul Keating that Australia's destiny was to Stand Tall, it was suggested, with progressively increased intensity all the way to the eve of the recent referendum, that anyone who believed otherwise was guilty of standing short. Nationalist rhetoric was off and running like one of those bush fires that burn down whole states. It was too late for anyone to say, without risk of being fried to a crisp in the media, that Australia already was a nation: that it had thrown off the shackles of British imperialism even before the federation of its constituent states; and that it was much envied in a world which had seen many other nations with older names smashed to pieces and forced to start again — or, like Argentina (a country directly comparable to Australia up until the end of World War II), remaining intact only at the cost of being consumed with grief as their natural blessings, social cohesion, public benefits and civil rights were irrevocably frittered away in one constitutional crisis after another.
It was too late for anyone except the Australian public, who declined to vote for the republican proposal as it was put to them, and might well do the same again even if the proposal is different. It should be evident, indeed, that unless all the proposals are the same — i.e. unless there is an agreed republican model — then the republic will remain merely a nice idea, like a popcorn mine or the Big Rock Candy Mountain. Personally I hope that the republicans can agree on a model: firstly because we might need it — the Royal Family might decide to give up — and secondly because, during the necessary discussion, the intelligentsia will be obliged to examine what it did wrong last time, and might reach the salutary conclusion that its propensity for questioning the loyalty of its ideological enemies came home to roost.
Whether a wise expatriate should come home to roost is another question, especially if he has been tagged as a conservative. But it probably wouldn't matter much if he stayed away. I called Alomes's book 'timely' because in the debacle of the lost referendum it should teach his fellow savants, simply by its grotesque example, that the nationalist line of thought, especially when applied to culture, is a busted flush. But I fear it could still take many other books to teach them that the ideal of cultural autarky has always been a pipedream, in whatever country the pipe is smoked. Heine, without whom German poetry would be cut in half, spent two thirds of his life in Paris. He was sheltering from repression and prejudice, but Thomas Mann, even after Hitler's death, never came home to Germany, because he doubted whether Germany was ready to come home to him. Stravinsky operated on the principle that Russia went with him wherever he went, which was everywhere except the Soviet Union. Picasso was Spain in spite of Spain, and for James Joyce the condition for returning eternally to Ireland in the circulating river of his work was never to set foot there again.
An artist is the incarnation of his country, wherever he might happen to hang his hat. And as for those countries that have never had direct experience of what tyranny, repression or officially imposed obscurantism are, they have always exported cultural figures as copiously as they have taken them in. Why William James stayed in the United States and his brother Henry never came home is a question open to a hundred answers, but sensibly the Americans long ago gave up on wondering which of them did their country the bigger favour, because it became evident that they both belonged to their country only in the sense that their country belonged to the world.
A nation's culture either joins it to the world or it is not a culture. Although Australians should try to be less impressed with the size of their country on the map, and remember that it contains far fewer people than Mexico City, they are right to be proud of how large their little nation looms in the world's consciousness. The expatriates have played a part in that. It might not be the biggest part, or even a necessary one — Les Murray got the whole of the modern world into his marvellous verse novel Fredy Neptune without ever leaving home for long — but they have certainly played a part. Which is not to say that a nation's expatriate Creative Artists need always be thought of as ambassadors, or think of themselves that way. The place they came from, even if it is the first thing in their hearts, might be the last thing on their minds, and they might remain convinced that they came away only to commit what Françoise Sagan once called the crime of solitude. But if they commit it with sufficient grace, their homeland will claim them anyway, in the course of time.
(TLS, 26 January, 2000)
I could write a book about Australian nationalism, and have recently been plagued by a nightmare in which I actually have to. In the nightmare I occupy a cell in the old Long Bay gaol, an institution now happily disestablished, but which in my youth was still playing host to the most hard-to-hold recidivists in New South Wales, including, off and on, the notoriously elusive Darcy Dugan. A small man who could make himself smaller to wriggle between iron bars, Dugan got himself into the language by getting himself out of any form of incarceration the screws could devise. There was a prison tram, a windowless steel box on wheels, which used to take criminals back and forth from Long Bay to the court in Paddington. It once left Long Bay with Dugan inside it and arrived in Paddington without him. He was next seen in Queensland. From the top of the hill near my house I could look across Botany Bay to Long Bay gaol and wonder whether Dugan was still there. He made me feel better about school, but I was well aware even then that I lacked his talent. In my nightmare, there is no getting out of the cell. (Scratched into the wall about five feet from the floor is the rubric 'D. Dugan was hear breefly'.) The screws want to see a fresh thousand words at the end of each day or they won't feed me. No outside exercise is permitted.
On the other hand, any visitor is allowed in. Gough Whitlam shows up. He demands to see my references to him. I show him the one about his habit of quoting verbatim from the Almanach de Gotha being somewhat anomalous for a professed Republican. He replies with a long exposition of the Bowes-Lyon family tree. Representatives of the Australian intelligentsia arrive. They tell me how shameful it was that our diplomats once had difficulty explaining to President Suharto of Indonesia why our Head of State did not live in Australia. They do not tell me if the Indonesians had any difficulty explaining why every occupant of their administrative structure above the level of receptionist was called Suharto and half the economy was in Switzerland. Paul Keating arrives to read the bits about him. He calls me a maggot for suggesting that he lowered the tone of parliamentary discourse by calling anyone who questioned his Republican policies a maggot. My cell is full. So is the corridor. I will never get my book finished, but I am not allowed to stop writing it. Stephen Alomes arrives, wanting to know why I tried to nuke his book before it could get out of the silo. I tell him this is why: because I didn't want to spend the rest of my life here, compelled to make sense of a subject with the same ontological status as the man who shagged O'Reilley's daughter.
Darcy Dugan arrives, weighed down with chains. An Australian journalist recognized him in Vancouver.


This last weekend started with the news that Brennan Manning - author, speaker and cheerleader for 'the furious love of God' - has died. It had been a long illness and a slow descent, but the truth about Manning is that even in the prime of his life, he was aware of the frayed nature of humanity.
That didn't make him morbid or morose. It made him real and it made him brave. Take a look and a listen to him hurtling through the story of The Giving Tree and you'll hear a man who understands both the extent of human brokenness and the overpowering love of God.
All of which makes me wonder: in these days of proclamation and pitch perfect presentation, could the world of worship make room for more voices like Manning's? Are you hearing any?


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Prokop Hugo Toman (31. srpna 1902 Roztoky – 20. června 1981 Praha) byl český právník, výtvarný a literární kritik, bibliofil a operní pěvec.

Životopis
Stejně jako jeho otec, vystudoval Právnickou fakultu na Univezitě Karlově (1925, JUDr.) a dějiny umění (1955–1960) na Filozofické fakultě Univerzity Karlovy (prof. J. Květ, J. Pešina, J. Neumann).

Dílo
Psal do odborných časopisů články o různých umělcích (mj. o Bohuslavu Martinů). Byl vydavatelem bibliofilských edic Trianon a Protos. S otcem spolupracoval na dodatcích k jeho slovníku o výtvarných umělcích. Jeho všestranný talent dokládá i fakt, že se úspěšně věnoval opernímu zpěvu.

Je pohřben na Olšanských hřbitovech v Praze, ve stejném hrobě se svým otcem.

Spisy
 Hovory s knihami a lidmi, Praha : vlastní náklad, 1934 – bibliofilie
 Láska ke knize, Praha : vlastní náklad, 1948 – bibliofilie
 Zdenka Braunerová : Popisný seznam grafického díla, Praha : SNKLU, 1963
 Bohuslav Martinů očima výtvarníků, Polička : Městská lidová knihovna v Poličce, 1965
Spolupráce s Prokopem Tomanem na Dodatcích k třetímu, rozšířenému vydání:
 Nový slovník československých výtvarných umělců díl III. – Dodatky, Praha : Tvar, 1955
 5. vydání, Praha : Ivo Železný, 2000,

Odkazy

Reference

Literatura
 Lubomír Slavíček (ed.), Slovník historiků umění, výtvarných kritiků, teoretiků a publicistů v českých zemích a jejich spolupracovníků z příbuzných oborů (asi 1800–2008), Sv. 2, s. 1527–1528, Academia Praha 2016,

Externí odkazy

Čeští spisovatelé
Čeští výtvarní kritici
Čeští historikové umění
Čeští právníci
Narození v roce 1902
Úmrtí v roce 1981
Pohřbení na Olšanech
Muži
Úmrtí v Praze
Úmrtí 20. června

redpajama_set_name: RedPajamaWikipedia


The program isn't limited to military solutions, the secretary said. He stressed the need for whole-of-government approaches to the problems of violent extremism. "In this particular region we'll work through the Trans-Saharan Counter-Terrorism Partnership to prevent the spread of violent extremism," he said.
"They've seen some efforts, for example, by ISIS to move to Libya," Mattis said. "You saw us push them on their back foot in January," he said, referring to a strike conducted by two B-2 Spirit bombers on two ISIS training camps in Libya.
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Why It's So Hard To Make A Law against Revenge Porn [Collision Course #3]
Hello and welcome to the third issue of Collision Course, a newsletter about tech policy, consumer pr
By Tommy Collison • Issue #3 • View online
Hello and welcome to the third issue of Collision Course, a newsletter about tech policy, consumer privacy, and the future. This issue is about revenge porn, why it's hard to legislate against it, and how we might do so in the future.
A man, a plan, a sext, a lawsuit, Panama!
With basically all of us carrying around internet-enabled cameras (excuse me, smartphones), I'm surprised we don't hear more about revenge porn, or sharing someone's intimate photos and videos without their consent.
Often, these photos are consensually taken and shared in the course of a relationship, and then shared more widely, either by accident or by a jilted ex-partner looking to embarrass and damage their ex's personal and professional life.
Sharing such pictures can also be dangerous: many of the photos hosted on IsAnyoneUp.com, a now-defunct site that hosted a huge number of revenge porn photos, also included information about the person's name, location, and social media. Revenge porn often overlaps with harassment and stalking.
The most recent case I've been following is Kathryn Novak, an Arizona student who shared intimate photos with her boyfriend in the context of a long-distance relationship. The boyfriend, who was a member of a fraternity at the University of Central Florida, shared those photos with other students at the university, and added them to a secret Facebook group maintained by fraternity members called Dog Pound, "where fraternity brothers routinely posted electronic video and images of their sexual 'conquests.'"
Novak is suing her ex-boyfriend, the fraternity, and four fraternity members, seeking $75,000 in damages and a permanent injunction against the videos and images being shared further.
That doesn't change the fact that the images are out there. Revenge porn and intimate photos are a notoriously tricky area of law, and many state laws banning it have been struck down for one reason or another.
So – why is it so hard to make a law against revenge porn?
1. It's virtually impossible to take the images and videos down.
It's the internet. Everyone links to, shares, and copies content. People save things to their hard drives.
Sarah Jeong, a journalist at the intersection of law and technology, says it best:
"Any anti-harassment strategy that focuses on deletion and removal is doomed to spin in circles, damned to the Sisyphean task of stamping out infinitely replicable information."
— Sarah Jeong, The Internet of Garbage.
2. Laws are hard.
It's very difficult to make a law criminalizing revenge porn that only criminalizes what we think ought to be criminalized.
California's 2013 anti-revenge porn bill only criminalized images taken of someone else. How many intimate photos are selfies? Over 80 percent, says the Cyber Civil Rights Initiative.
Arizona passed a law in 2014 that criminalized the sharing of nude photos of another person — a law with implications far, far beyond revenge porn. The same law would have criminalized the Pulitzer-winning "Napalm Girl" photograph from the Vietnam War, photos of the abuse at Abu Ghraib, or images of mothers breastfeeding.
Another reason these sorts of laws are thorny: sometimes the relationship is legal, but taking photos isn't. A man in Cleveland could face 15-30 years in prison on child pornography charges: when he was 20, he took intimate photos of the 17-year-old he was dating at the time. The relationship was legal (Ohio's age of consent law is 16), but federal law states that it's illegal to take or possess explicit images of someone under 18. Laws are hard, yo.
3. Sexts are sometimes in the public interest
In 2016, Anthony Wiener (who resigned from Congress in 2011 after accidently tweeting a lewd picture of himself), made the news again when a different sext of his appeared in the New York Post, with his toddler son in the bed beside him.
Whether we like it or not, intimate photos are sometimes in the public interest. Considering that Anthony Wiener once harbored ambitions of being mayor of New York (and the fact that Wiener is currently serving a prison sentence for a third sexting scandal — this time sending obscene material to a minor), information about his sexting habits is of relevance to the public.
Any revenge porn law, then, needs to be immune to the Anthony Wieners of the world trying to get such photos taken down because they're politically undesirable. Plus, any law shouldn't criminalize the New York Post for publishing the photos.
(Thought experiment: is Anthony Wiener the victim of revenge porn? Dan Savage, who writes probably the most famous sex and relationship advice column, says yes.)
Bonus round: what might an eventual revenge porn law look like?
Before going into hypotheticals: victims today can make a variety of civil claims for restitution — Kathryn Novak, who I mentioned at the top of this piece, is suing her ex (and the frat) for invasion of privacy, intrusion, intentional infliction of emotional distress, and negligence. It's not perfect, but it's not as if there no avenues exist.
Contrary to what I used to think (and much of what's written), I don't think revenge porn is a First Amendment issue — at least not in practice. Taking and sharing photos is protected free speech, and I don't think it's the hill anti-revenge porn activists should die on.
What I think has merit: I can imagine attacking revenge porn on another flank: linking it to online harassment and cyber-stalking more generally, or fighting it using privacy and breach of confidentiality laws. Remember that, despite all the controversy, Hulk Hogan won his sex tape case against Gawker on invasion of privacy laws.
And so, as it with most things, it comes down to how well we can draft a law. I'm confident that eventually, we'll get it right.


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Tony McLean, Chief Executive Officer
Tony has more than 35 years investment and financial management experience. He has held a number of senior roles in large multi-national companies and from 1992 to 2001 was Chief Executive of the Australian Shareholders' Association (ASA). Tony has featured regularly in all the major Australian newspapers and other publications and for many years he was a columnist for The Australian.
With the assistance of the Australian Stock Exchange and the ASA, Tony established deListed in 2002 to provide comprehensive coverage for shareholders of suspended, delisted and failed companies. In 2009 deListed became part of Investogain Pty Limited which is owned and managed by Tony and Brendan Birthistle.
Brendan Birthistle, Executive Director
Brendan has twenty years relevant experience as principal, sole owner and responsible manager of Connaught Consultants which operates in the field of financial planning. Previously Chairman of the Australian Shareholders' Association and CEO of Rayners. Non-executive Director of a successful, listed company and a Director of several successful private companies.
Anna Lee, Administration Manager
Anna is an accountant and economist and has previously held senior accounting positions in industry. She has been with deListed since its inception in 2002 and brings her considerable investment and taxation experience to our mission. Anna assists with and advises on most of our development activity and in particular, manages our investment, administrative and accounting functions.
deListed and InvestoGain are largely the result of voluntary effort. We welcome input and updates from investors, company officers, insolvency practitioners, regulatory bodies, registries and others to admin@delisted.com.au.


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