text:
Sadana, Rashmi
Rashmi Sadana teaches anthropology and global studies at George Mason University. She is currently writing a book about how Delhi's new metro system is changing the city's cultural geography. Her ...
Sagan, Claire
Claire Sagan is an assistant professor of political theory at Vassar College. She is currently finishing her book, "Beyond Utopia," which engage temporality in our context of ecological catastrophes ...
Sager, Alex
Alex Sager is associate professor and chair of the Department of Philosophy at Portland State University. He is the author of Against Borders: Why the World Needs Free Movement of People (Rowman and ...
Saint-Amour, Paul
Paul Saint-Amour is Walter H. and Leonore C. Annenberg Professor in the Humanities at the University of Pennsylvania, where he teaches 19th- and 20th-century literature. He is the author of The ...
Saldaña-Portillo, María Josefina
María Josefina Saldaña-Portillo is professor of social and cultural analysis at New York University. She is the author of over 30 articles on revolution, subaltern politics, indigenous peoples ...
salters, j. n.
j. n. salters is a doctoral candidate at the University of Pennsylvania's Annenberg School for Communication studying race, gender, class, and sexuality in the contexts of visual culture, sex work ...
Samuel , Petal
Petal Samuel is a scholar of Afro-Caribbean literature and Caribbean anticolonial thought, politics, and aesthetics. She is currently an assistant professor in the department of African, African ...
Sanchez, Rebecca
Rebecca Sanchez is Associate Professor of English at Fordham University. Her interests include transatlantic modernism, disability studies, and poetics. She is the recipient of a 2015–16 AAUW ...
Sánchez Prado , Ignacio M.
Ignacio M. Sánchez Prado is the Jarvis Thurston and Mona van Duyn professor in the humanities at Washington University in St. Louis. His research focuses on Mexican literature, film, and culture and ...
Sanchez Sanchez, Alberto
Alberto Sanchez Sanchez is a PhD student in the Department of Architecture at UC Berkeley. A licensed architect in Spain, Alberto holds a MS in Historic Preservation from Columbia University and is ...
Sand, Jordan
Jordan Sand teaches the history of Japan at Georgetown University and writes widely on cities and material culture in East Asia. His own experiment in network thinking, titled "Gentlemen's Agreement ...
Sandhu, Sukhdev
Sukhdev Sandhu is an associate professor in the Department of English Literature at NYU, where he also runs the Colloquium for Unpopular Culture. He writes for the Guardian, Bidoun, and the Wire, and ...
Sandoval-Cervantes, Iván
Iván Sandoval-Cervantes is a cultural anthropologist from Ciudad Juárez, Mexico. He is currently an assistant professor of anthropology in the department of anthropology at the University of Nevada ...
Santiago, Victor M.
Victor M. Santiago was born and raised in Miami, Florida. He studied literature at Florida International University, and can be found drinking coffee at Books & Books in Coral Gables at the ...
Sanyal, Debarati
Debarati Sanyal is Professor of French at the University of California, Berkeley. She is the author of Memory and Complicity: Migrations of Holocaust Remembrance (2015) and The Violence of Modernity: ...
Sarewitz, Daniel
Daniel Sarewitz is professor of science and society at Arizona State University. He is editor in chief of Issues in Science and Technology and was a regular columnist for Nature from 2009 to 2017 ...
Sassen, Saskia
Saskia Sassen is the Robert S. Lynd Professor of Sociology at Columbia University, where she also co-chairs the Committee on Global Thought. Her books have been translated into 21 languages and ...
Sater, Maxwell
Maxwell Sater is a writer living in Colorado. He recently received his PhD in English literature from Rutgers University.
Sauder, Michael
Michael Sauder is a professor of sociology at the University of Iowa and a fellow at Max-Weber-Kolleg, Erfurt, Germany. He is the author, with Wendy Espeland, of Engines of Anxiety: Academic ...
Sayer, Mandy
Mandy Sayer won the Vogel Award for her first novel, Mood Indigo, two weeks after this interview took place. She has since published five works of fiction, and six works of non-fiction ...
Sayers, Nicola
Nicola Sayers recently completed her PhD at the School of Advanced Study, University of London. Her book, The Promise of Nostalgia: Reminiscence, Longing and Hope in Contemporary American Literature ...
Scarry, Elaine
Elaine Scarry teaches at Harvard University, where she is the Cabot Professor of Aesthetics and General Theory of Value. She is the author of The Body in Pain (1985), On Beauty and Being Just (1999) ...
Schaberg, Christopher
Christopher Schaberg is Dorothy Harrell Brown Distinguished Professor of English at Loyola University New Orleans. His latest book is Searching for the Anthropocene: A Journey into the Environmental ...
Schaffer, Talia
Talia Schaffer is a professor of English at Queens College, CUNY, and the Graduate Center, CUNY. She is the author of Romance's Rival: Familiar Marriage in Victorian Fiction (2016), Novel Craft: ...
Schechner, Karen
Karen Schechner is the senior Indie editor at Kirkus Reviews, and also an editor at Lambda Literary. She holds an MFA in Creative Writing from Sarah Lawrence College and is a member of the New York ...
Schlabach, Betsy
Betsy Schlabach is an Associate Professor of History and African & African American Studies at Earlham College. She obtained a Ph.D. in American Studies and graduate certificates of Women's ...
Schleifer, David
David Schleifer is vice president and director of research at Public Agenda, a nonpartisan research and public-engagement organization, where he conducts public-opinion research on health care ...
Schneider, Bethany
Bethany Schneider is Associate Professor of English at Bryn Mawr College. Writing as Bee Ridgway, she is the author of The River of No Return (2013), a time-travel novel that employs, among several ...
Schneiderman, Josh
Josh Schneiderman is completing a dissertation on the poetics of ephemerality in postwar American poetry at the Graduate Center of the City University of New York. He edited the 1955–56 ...
Schnepf, J. D.
J. D. Schnepf is an organizer of the Novel Theory seminar at the Mahindra Humanities Center and a lecturer in the History & Literature concentration at Harvard University, where she teaches 20th ...
Schrader, Stuart
Stuart Schrader teaches Africana studies and sociology at Johns Hopkins University. He is completing a book for the University of California Press on the domestic consequences of US overseas ...
Schrock, Andrew
Dr. Andrew Schrock is the founder of Aloi Research and Consulting, author of the book Civic Tech, and faculty at USC Annenberg. He researches communication and technology, particularly nonprofit ...
Schüll, Natasha Dow
Natasha Dow Schüll is a cultural anthropologist and associate professor in the department of Media, Culture, and Communication at New York University. She is the author of Addiction by Design: ...
Schwartz, Marcy
Marcy Schwartz is chair of the Department of Spanish and Portuguese at Rutgers University. She teaches service learning courses and leads reading programs with Hispanic inmates in local prisons ...
Scibona, Salvatore
Salvatore Scibona's first novel, The End (Graywolf, 2008), was a finalist for the National Book Award. He has been awarded a Guggenheim Fellowship, a Whiting Award, and an O. Henry Award; and he is a ...
Scott, Lwando
Lwando Scott, PhD, is a Next Generation Scholar at the Centre for Humanities Research at the University of the Western Cape. Lwando's research focus is on what he loosely terms "queering the ...
Seguín, Bécquer
Bécquer Seguín is an assistant professor of Iberian studies at Johns Hopkins University. His essays and criticism have appeared in The Nation, Slate, the Los Angeles Review of Books, and elsewhere.
Seidel, Kathleen Gilles
Kathleen Gilles Seidel is the author of 14 contemporary novels, which have won many romance-market awards, including two RITAs from the Romance Writers of America. She has a PhD in English Literature ...
Seidman, Naomi
Naomi Seidman is the Chancellor Jackman Professor of the Arts at the University of Toronto in the Department for the Study of Religion and the Centre for Diaspora and Transnational Studies. Her areas ...
Seikaly, Sherene
Sherene Seikaly is an associate professor of history at the University of California, Santa Barbara. She is the author of Men of Capital: Scarcity and Economy in Mandate Palestine (Stanford ...
Semaj-Hall, Isis
Isis Semaj-Hall is an assistant professor of Caribbean literature and pop culture in the department of Literatures in English at the University of the West Indies, Mona. As the Riddim Writer, she ...
Sen, Rinku
Rinku Sen is the president of Race Forward, a national racial justice organization, and the publisher of the daily news website Colorlines.com.
Richard Sennett writes about cities, labor, and culture. He teaches sociology at New York University and at the London School of Economics.
Serlin, David
David Serlin is Chair of the Department of Communication at the University of California, San Diego, and editor or author of several books including Replaceable You: Engineering the Body in Postwar ...
Serpell, Namwali
Namwali Serpell is a Zambian writer and associate professor of English at the University of California, Berkeley. Her first novel is The Old Drift (Hogarth, 2019).
Serquiña Jr., Oscar Tantoco
Oscar Tantoco Serquiña Jr. is a PhD candidate in theater studies at the University of Melbourne, where he is working on a dissertation that explores sites of speech study, training, and performance ...
Servon, Lisa J.
Lisa J. Servon is Professor and former dean at the Milano School of International Affairs, Management, and Urban Policy at The New School. She teaches and conducts research in the areas of urban ...
Seshagiri, Urmila
Urmila Seshagiri is Associate Professor of English at the University of Tennessee, where she teaches modernism, contemporary fiction, and postcolonial studies. She is the author of Race and the ...
Seth, Pyar
Pyar Seth is a doctoral student at Johns Hopkins University in the Interdisciplinary Humanistic Studies Program pursuing a joint track in political science and medical anthropology. Broadly, he does ...
Sethi, Aarti
Aarti Sethi is an anthropologist who works on the economic and social life of debt in rural India. Her current book project examines farmer suicides in Vidharba, central India. She has published on ...
Setiya, Kieran
Kieran Setiya is a professor of philosophy at the Massachusetts Institute of Technology, working mainly in ethics, epistemology, and the philosophy of mind. He is the author of a self-help book ...
Setter, Shaul
Shaul Setter is completing a PhD in Comparative Literature at the University of California, Berkeley. His dissertation examines the question of collectivity in texts written in and about ...
Seur, Carrie La
Carrie La Seur is a seventh-generation descendant of Montana homesteaders, an environmental lawyer, and the founder of the nonprofit legal organization Plains Justice. She practices law on behalf of ...
Seymour, Nicole
Nicole Seymour is an associate professor of English and affiliated faculty in Environmental Studies and Queer Studies at California State University, Fullerton. She is the author of Strange Natures: ...
Shaalan, Nora
Nora Shaalan is a writer and PhD student at Columbia University. Her work has appeared in the Oxonian Review and the Los Angeles Review of Books.
Shafaieh, Charles
Charles Shafaieh is a freelance journalist specializing in cultural criticism. A graduate of Columbia University, his writing has appeared in Slate, Music & Literature, and The Daily Beast. You ...
Shankar, Ravi
Ravi Shankar is Poet-in-Residence and Associate Professor of English at Central Connecticut State University; Chairman of the Connecticut Young Writers Trust; and Founding Editor of Drunken Boat. He ...
Shapira, Harel
Harel Shapira is an ethnographer and assistant professor in the department of sociology at the University of Texas at Austin. He is the author of Waiting for José: The Minutemen's Pursuit of American ...
Sharkey, Patrick
Patrick Sharkey is the author of Uneasy Peace: The Great Crime Decline, the Renewal of City Life, and the Next War on Violence, to be published in January 2018. He is chair of NYU's Sociology ...
Sharp, Deen
Deen Sharp is a codirector of Terreform, an urban research studio and advocacy group, and a postdoctoral fellow at the Aga Khan Program for Islamic Architecture at the Massachusetts Institute of ...
Sheehan, Lucy
Lucy Sheehan is a PhD candidate in English literature at Columbia University. Her dissertation examines the relationship between representations of slavery in nineteenth-century Britain and the ...
Shelton, Allen
Allen Shelton lives in Buffalo, New York, within walking distance of where Foucault resided during his time there. He was trained as a sociologist at a Southern land-grant university, though now his ...
Shepard, Meredith
Meredith Shepard is a postdoctoral associate at the Yale University Council on African Studies. She received her PhD in English and comparative literature from Columbia University. Her dissertation ...
Shermer, Elizabeth Tandy
Elizabeth Tandy Shermer is an assistant professor in Loyola University Chicago's history department. Her work on American political economy has appeared online, in scholarly journals, and in books ...
Sherwood, Normandy Raven
Normandy Raven Sherwood is a theater maker: playwright, costumer, director, performer. In addition to the National Theater of the United States of America, Normandy makes work with her band / theater ...
Shirane, Haruo
Haruo Shirane, Shincho Professor of Japanese Literature and Culture and chair of the Department of East Asian Languages and Cultures at Columbia University, is the author and editor of over 20 books ...
Shirky, Clay
Clay Shirky holds a joint appointment at NYU, as Associate Arts Professor at the Interactive Telecommunications Program and Associate Professor at the Arthur L. Carter Journalism Institute. He is the ...
Shirotori, Natsu
Natsu Shirotori is a writer and editor based in Tokyo, Japan. Her work can be found in NEUT Magazine, CINRA, i-D Japan, and elsewhere.
Shoshan, Malkit
Malkit Shoshan works at the intersection of design and activism. She is the founding director of the architectural think tank Foundation for Achieving Seamless Territory (FAST). FAST uses research ...
Shriver, Lionel
The author of numerous novels, Lionel Shriver received the Orange Prize for We Need to Talk about Kevin (2006), which was adapted into a film by Lynne Ramsay in 2011. Shriver deploys her sarcastic ...
Shrum, Robert
Robert M. Shrum is the Carmen H. and Louis Warschaw Chair in Practical Politics at the University of Southern California and author of No Excuses: Concessions of a Serial Campaigner (2007). A ...
Shure, Charles La
Charles La Shure is an assistant professor of Korean language and literature at Seoul National University. He is the translator of Young-ha Kim's Black Flower (2012) and Kim Namcheon's Scenes from ...
Siegel, Benjamin
Benjamin Siegel is an assistant professor of history at Boston University and the author of Hungry Nation: Food, Famine, and the Making of Modern India (Cambridge University Press, 2018). He is ...
Siegel, Jonah
Jonah Siegel is a professor of English at Rutgers University. He is the author of Desire and Excess: The Nineteenth-Century Culture of Art and Haunted Museum: Longing, Travel, and the Art-Romance ...
Silber, Maia
Maia Silber is a PhD candidate at Princeton University.
Simmonds, Alecia
Alecia Simmonds is an interdisciplinary scholar in law and history at the University of Technology Sydney and New York University – Sydney. She is the author of the award-winning book Wild Man ...
Simon , Bryant
Bryant Simon is a professor of history at Temple University. He is currently writing a history of the public bathroom in the United States.
Simon, Ed
Ed Simon is a staff writer at The Millions. His book An Alternative History of Pittsburgh (2021) is available from Belt Publishing. Pandemonium: A Visual History of Demonology (2022) will be ...
Simone, AbdouMaliq
AbdouMaliq Simone is senior professorial fellow at the Urban Institute, University of Sheffield, and Honorary Professor at the African Centre for Cities, University of Cape Town.
Singerman, David
Before he joined the University of Virginia as an assistant professor of history and American studies, David Singerman co-organized the progressive advocacy group Indivisible Charlottesville. He ...
Singh, Bhrigupati
Bhrigupati Singh is an assistant professor of anthropology at Brown University. He is the author of Poverty and the Quest for Life: Spiritual and Material Striving in Rural India (2015) and the ...
Sinitiere, Phillip Luke
Phillip Luke Sinitiere is a professor of history at the College of Biblical Studies, a predominately African American school located in Houston's Mahatma Gandhi District. A scholar of American ...
Sinykin, Dan
Dan Sinykin is an assistant professor of English at Emory University.
Sivaramakrishnan, Kavita
Kavita Sivaramakrishnan is a public-health historian of South Asia with a focus on the politics of health, medicine, and science in the global South. She is an associate professor of sociomedical ...
Skarpelis, A. K. M.
A. K. M. Skarpelis is a sociologist and postdoctoral fellow at Harvard University, where she is affiliated with the Reischauer Institute for Japanese Studies and the Weatherhead Center for ...
Slaughter, Justin
Justin Slaughter is a critic and journalist living in Brooklyn.
Slavet, Eliza
Eliza Slavet is the author of Racial Fever: Freud and the Jewish Question (Fordham University Press, 2009); she is currently working on a book on philosemitism.
Sligar, Sara
Sara Sligar is a novelist and a PhD candidate in English at the University of Pennsylvania. She specializes in 20th-century American fiction, film, and television. Her dissertation examines the rise ...
Sloane, Mona
Mona Sloane is a sociologist working on design and inequality, specifically in the context of AI design and policy. She is a senior research scientist at the NYU Center for Responsible AI, an adjunct ...
Smith, Vanessa
Vanessa Smith is a professor of English at the University of Sydney. Her most recent books are Intimate Strangers (2010) and, as coeditor, Mutiny and Aftermath (2013). Her current research uses ...
Smith, Matthew J.
Matthew J. Smith is Professor of Caribbean History at the University of the West Indies, Mona Campus, in Jamaica.
Smith, Lytton
Lytton Smith is the author, most recently, of While You Were Approaching the Spectacle But Before You Were Transformed by It (2013). He writes a monthly column on British poetry for the Los Angeles ...
Smith, Namara
Namara Smith is an associate editor at n+1 and a contributing editor at Public Books.
Smith, Caleb
Caleb Smith is a professor of English and American studies at Yale University. His books include The Prison and the American Imagination (Yale University Press, 2009) and The Oracle and the Curse ...
Smith, Terry
Terry Smith is an Andrew W. Mellon Professor of Contemporary Art History and Theory, Department of the History of Art and Architecture, University of Pittsburgh, and Distinguished Visiting Professor ...
Smith, Jackson
Jackson Smith is a doctoral candidate in American studies at New York University. His dissertation explores the politics of policing and spatial dimensions of urban inequality in Philadelphia through ...
Snorton, C. Riley
C. Riley Snorton is Assistant Professor of Communication Studies at Northwestern University, where his research and teaching focus on black cultural production and queer and transgender theory ...
Snyder, Katherine V.
Katherine V. Snyder is Associate Professor of English at the University of California, Berkeley, where her current work focuses on contemporary fiction, with a particular interest in post ...
So, Richard Jean
Richard Jean So is an assistant professor of English and Cultural Analytics at McGill University. He specializes in data science and computational approaches to the humanities, American literature ...
Solomon, Alisa
Alisa Solomon, a professor at Columbia University's Graduate School of Journalism, has written for The Nation, the New York Times, NewYorker.com, The Forward, American Theater, Theater, and TDR ...
Song, Min Hyoung
Min Hyoung Song is a professor of English at Boston College. He is the author of The Children of 1965: On Writing, and Not Writing, as an Asian American (Duke University Press, 2013) and Strange ...
Soni, Sandeep
Sandeep Soni earned his doctorate in computer science from Georgia Institute of Technology in 2021. His primary research is in using computational methods to model language change and social ...
Sorett, Josef
Josef Sorett is an associate professor of religion and African American studies at Columbia University, where he also directs the Center on African-American Religion, Sexual Politics and Social ...
Sorman, Joy
After writing the story of a butcher in love with a cow in Comme une bête (2012; Like a Beast), Joy Sorman published La Peau de l'ours (2014; The Skin of the Bear). This fable-like novel follows the ...
Sosa, Claudia Sofia
Claudia Sofia Sosa procrastinates by cooking, which is why she's now a great cook who struggles to write. She was born and raised in Caracas, Venezuela, and has since lived in New York, Chiang Mai ...
Soto van der Plas, Christina
Christina Soto van der Plas is an assistant professor of Hispanic studies at the University of California, Riverside. She has published in academic volumes on Latin American literature ...
Spahr, Juliana
Juliana Spahr is a poet and a scholar. Her most recent book is Du Bois's Telegram: Literary Resistance and State Containment (Harvard University Press, 2018).
Spaide, Christopher
Christopher Spaide is a PhD candidate in English at Harvard University. His essays and reviews have appeared in Boston Review, the New Yorker online, and Slate.
Spain, Daphne
Daphne Spain taught in the Department of Urban and Environmental Planning in the School of Architecture at the University of Virginia for 30 years. During that time, she wrote multiple articles and ...
Spanakos, Anthony Peter
Anthony Peter Spanakos is Associate Professor of Political Science and Law at Montclair State University. He has been a Fulbright visiting professor (Brazil, 2002; Venezuela, 2008) and is co-editor ...
Jeff Sparrow is a writer, broadcaster, and editor. His books include No Way but This: In Search of Paul Robeson (2017), Money Shot: A Journey into Porn and Censorship (2012), Killing: Misadventures ...
Speltz, Mark
Mark Speltz is an author and public historian who researches and writes about civil rights–era photography, vernacular architecture, and Wisconsin culture and history. Currently a Senior Historian ...
Spencer, Rochelle
Rochelle Spencer is author of AfroSurrealism: The African Diaspora's Surrealist Fiction (Routledge, 2019) and coeditor, with Jina Ortiz, of All About Skin: Short Fiction by Women of Color (University ...
Sperling, Joshua
Joshua Sperling teaches film and literature at Oberlin College. His first book, A Writer of Our Time: The Life and Work of John Berger (Verso, 2018), has been translated into Korean, complex and ...
Spigner, Nicole A.
Nicole A. Spigner is an assistant professor of African American literature and culture in the English and Creative Writing Department at Columbia College Chicago. Her book project "Niobe Repeating: ...
Spiotta, Dana
In Eat the Document (2006; recently translated into French by Élodie Leplat), the novelist and Guggenheim Fellow Dana Spiotta tells the story of Mary Whittaker, a militant anti-Vietnam activist ...
Spivak, Gayatri Chakravorty
Gayatri Chakravorty Spivak is University Professor, and a founding member of the Institute for Comparative Literature and Society, at Columbia University.
Spry, Adam
Adam Spry (White Earth Ojibwe) is a PhD candidate in English literature at Columbia University. His dissertation examines transnationalism in Ojibwe writing and thought.
Srinivasan, Ragini Tharoor
Ragini Tharoor Srinivasan is an assistant professor of English at Rice University, where she works on contemporary Asian American and South Asian Anglophone literatures and cultural theory. She has ...
Sriram, Aditi
Aditi Sriram's writing has appeared in The Guardian, The Atlantic, Guernica and other publications. She lives in New York City and teaches at SUNY Purchase. Read about her mother and similes ...
Stadler, Gustavus
Gustavus Stadler is the author of Woody Guthrie: An Intimate Life (Beacon Press, 2020) and Troubling Minds (University of Minnesota Press, 2006). His writing has appeared in Al Jazeera, Social Text ...
Staff, The Editorial
The editorial staff of Public Books.
Stan, Corina
Corina Stan is an associate professor of comparative literature at Duke University. She is the author of The Art of Distances (2018) and of essays published in The Point, Aeon, LA Times, and other ...
Stanage, Ronald
Ronald Stanage grew up in the bleak shadow of a neighborhood bomb manufacturing facility. With nothing much to do beside doodle on napkins and play the banjo, his only connection to the outside world ...
Stanley, Eric A.
Eric A. Stanley is a President's Postdoctoral Fellow in Communication at the University of California San Diego and is the editor of Captive Genders: Trans Embodiment and the Prison Industrial ...
Stanley, James P.
James P. Stanley is a media scholar and theater artist and a founder of the National Theater of the United States of America, with whom he works a as a writer, director, designer, and performer. In ...
Steer, Philip
Philip Steer teaches English at Massey University in New Zealand. His research focuses on the intersections of literary culture, economics, and environments in colonial New Zealand and Australia. He ...
Stein, Jordan Alexander
Jordan Alexander Stein teaches at Fordham University and tweets @steinjordan.
Stein, Ulrike
Ulrike Stein is an economist. Since March 2010 she has been head of the Economic Policy Advice and Model Simulation unit at the Hans-Boeckler Foundation Macroeconomic Policy Institute. She holds a ...
Stein, Joal
Joal Stein is a writer, independent curator, and strategist investigating spatial and social power through contemporary culture—working across art, architecture, poetry, planning, and social ...
Stein, Arlene
Arlene Stein is a professor of sociology at Rutgers University, where she directs the Institute for Research on Women. Her latest book is Unbound: Transgender Men and the Remaking of Identity ...
Steinberg, Justin
Justin Steinberg teaches Italian literature at the University of Chicago and edits the journal Dante Studies. He is the author of Accounting for Dante: Urban Readers and Writers in Late Medieval ...
Steinberg, Amanda Hannoosh
Amanda Hannoosh Steinberg is the visual resources librarian for Islamic art and architecture at the Harvard University Fine Arts Library and a scholar of medieval Arabic popular literature. Her ...
Steinitz, Rebecca
Rebecca Steinitz is a literacy consultant in Boston-area urban high schools. She writes regularly about books and sundry topics for The Boston Globe, The Women's Review of Books, The Rumpus, The ...
Stephan, Megan
Megan Stephan is a continuing lecturer in the Department of English and serves as faculty coordinator for Writing in the English Majors and the Professional Writing Minor at the University of ...
Stephen, Lynn
Lynn Stephen is Philip H. Knight Chair, professor of anthropology, and graduate faculty in Indigenous, Race, and Ethnic Studies at the University of Oregon. Her research centers on immigration ...
Stephens, Michelle
Michelle Stephens, professor of English and Latino and Caribbean studies at Rutgers University, New Brunswick, is the author of Skin Acts: Race, Psychoanalysis, and the Black Male Performer (Duke ...
Stephenson, Sam
Sam Stephenson's next book, Gene Smith's Sink, will be published in August by Farrar, Straus and Giroux. A North Carolina native and longtime resident of Raleigh-Durham-Chapel Hill, Stephenson ...
Stern, Simon
Simon Stern is Associate Professor of Law and English at the University of Toronto. He is co-editor (with Nan Goodman) of the Ashgate Research Companion to Law and Humanities in Nineteenth-Century ...
Stevens, Mitchell L.
Mitchell L. Stevens is professor of education and (by courtesy) sociology at Stanford University, where he also co-leads the Stanford Pathways Lab. He is the author of Creating a Class: College ...
Stevens, Hallam
Hallam Stevens is an associate professor of history at Nanyang Technological University in Singapore and Associate Director of the NTU Institute of Science and Technology for Humanity. His research ...
Stevens, Benjamin Eldon
Benjamin Eldon Stevens is co-editor of Classical Traditions in Science Fiction (2015) and the author of Silence in Catullus (2013) as well as essays on the classics, linguistics, the history of the ...
Stevenson, Christina
Christina Stevenson earned her PhD from UC Santa Cruz. She is currently revising her dissertation, "The Politics of the Room: Sexuality and Subjectivity in the Modernist Text," for publication.
Stieber, Chelsea
Chelsea Stieber is an associate professor of French and francophone studies at the Catholic University of America. She is the author of Haiti's Paper War: Post-Independence Writing, Civil War, and ...
Stimpson, Catharine R.
Catharine R. Stimpson is University Professor at New York University and Dean Emerita of its Graduate School of Arts and Science. Her most recent book is Critical Terms for the Study of Gender ...
Stofle, Corine
Corine Stofle is a PhD candidate in the French Department at the University of California, Berkeley. Her interests include Franco-Caribbean literatures and matters of humor and race.
Stovall, Natasha
Natasha Stovall is a clinical psychologist in New York City working with adults, adolescents, and children. Her essays and cultural criticism have appeared in the New York Times, the Village Voice ...
Streeter, Ben
Ben Streeter has written for World Literature Today, the Modernist Review, and the Honest Ulsterman. He is a graduate student at George Washington University and an editor for the Pew Charitable ...
Stroh, Lauren
Lauren Stroh is a writer and visual artist based in New Orleans, LA where she is currently working on an undergraduate degree in Cultural Studies at Loyola University New Orleans. She has just begun ...
Struhl, Abigail
Abigail Struhl is a graduate student in the English department at the University of California, Berkeley. She edits the Public Streets series for Public Books.
Stryker, Susan
Susan Stryker is Director of the Institute for LGBT Studies and Associate Professor of Gender and Women's Studies at the University of Arizona. She is founding co-editor of TSQ: Transgender Studies ...
Subramaniam, Banu
Banu Subramaniam is professor of women, gender, and sexuality studies at the University of Massachusetts, Amherst. Author of Ghost Stories for Darwin: The Science of Variation and the Politics of ...
Sugrue, Thomas J.
Thomas J. Sugrue is a professor of social and cultural analysis and history at New York University, where he also directs the NYU Cities Collaborative. His eight books include the Bancroft ...
Sullivan, Mecca Jamilah
Mecca Jamilah Sullivan, PhD, is the author of the short story collection Blue Talk and Love (2015). She is an assistant professor of English at Bryn Mawr College.
Sultan, Niv M.
Niv M. Sultan is a writer based in New York and a former Public Books editorial intern.
Summers, Brandi Thompson
Brandi Thompson Summers is an assistant professor of African American studies at Virginia Commonwealth University. Her research and teaching focus on race, urban aesthetics, media, and visual culture ...
Sundiata, Ibrahim
Ibrahim Sundiata is emeritus professor of African/Afro-American studies and history at Brandeis University. His interests are social justice in comparative perspective as reflected through the prisms ...
Surkis, Judith
Judith Surkis is an associate professor of history at Rutgers University and specializes in modern European history, with an emphasis on France and the French Empire, gender and sexuality, and ...
Sussman, Charlotte
Charlotte Sussman is Associate Professor of English at Duke University. She is the author of Consuming Anxieties: Consumer Protest, Gender, and British Slavery, 1713–1833 and Eighteenth-Century ...
Swift, Daniel
Daniel Swift's most recent book is The Bughouse: The Poetry, Politics, and Madness of Ezra Pound (Farrar, Straus & Giroux, 2017). He teaches at the New College of the Humanities in London.
Szetela, Adam
Adam Szetela is a visiting fellow in the history department at Harvard University and an associate lecturer in the English department at Curry College. His recent work appears in the Los Angeles ...


text:
What do Major Arcana cards represent?
What do Major Arcana cards represent? Major Arcana cards are also known as Trump cards. Beginning with "The Fool" at zero, and ending on "The World" at 21, the Major Arcana represent the Fool's Journey as he learns lessons along his path.
What tarot cards represent the Greek gods?
The Tarot Root — Major Arcana and the Gods and Goddesses🌙
The Fool➡Uranus. Egyptian: Harpakhered, Bes, Shu.
The Magician➡Mercury. Egyptian: Ptah, Thoth.
High Priestess➡Moon. Egyptian: Isis (as priestess), Khonsu.
The Empress➡Venus.
The Emperor➡Aries.
The Hierophant➡Taurus.
The Lovers➡Gemini.
The Chariot➡Cancer.
What culture does tarot come from? Tarot decks were invented in Italy in the 1430s by adding to the existing four-suited pack a fifth suit of 21 specially illustrated cards called trionfi ("triumphs") and an odd card called il matto ("the fool").
What deities are associated with the Wheel of Fortune? In addition a representation of the god Anubis is seen rising with the wheel on the right side, while the snake-like Typhon descends on the left. On the wheel, alternating with the letters T-A-R-O are the Hebrew letters י-ה-ו-ה, usually transliterated as YHWH (Yahweh – Hebrew for God).
What do Major Arcana cards represent? – Additional Questions
What deity is associated with the star?
ASTRAIOS (Astraeus) was the Titan god of stars and planets and of the art of astrology.
What deity is associated with the high priestess?
The High Priestess archetype is associated with the story of Persephone, who withdraws into the underworld/inner world each year, causing the Winter and Fall season in her descent.
Who is the Norse god of wealth?
Njǫrd, Old Norse Njǫror, in Norse mythology, the god of the wind and of the sea and its riches. His aid was invoked in seafaring and in hunting, and he was considered the god of "wealth-bestowal," or prosperity. He was the father of Freyr and Freyja by his own sister.
What is the Greek god of wealth?
Plutus, in Greek religion, god of abundance or wealth, a personification of ploutos (Greek: "riches").
Who is the Chinese god of money?
Caishen, Wade-Giles romanization Ts'ai Shen, also called Cai Boxing Jun, in Chinese religion, the popular god (or gods) of wealth, widely believed to bestow on his devotees the riches carried about by his attendants.
Who is the Egyptian god of wealth?
Horus or Heru is the Egyptian deity and the national god of Egypt. Horus is the god of wealth, power, strength, universe, and prosperity. Horus is the child of the son of Osiris and Isis. He is believed to be the supreme power of the universe.
Who is the main Celtic god?
A quick overview of the major Celtic Gods and Goddesses
Main Celtic Gods
Main Celtic Goddesses
1. Dagda 1. Badb
2. Cú Chulainn 2. The Morrigan
3. Lugh 3. Medb Queen of Connacht
4. Cernunnos 4. Danu
Who is the god of success?
Ganesha is the best-known and most widely worship God in the Hingu religion. With the head of an elephant and a pot-bellied body of a human being the depiction of Ganesha is known worldwide. Known to bring success, knowledge, wisdom and wealth he is one of the five prime Hindu Deities.
Who was the titan of intelligence?
In Greek mythology, Coeus (/ˈsiːəs/; Ancient Greek: Κοῖος, Koios, "query, questioning" or "intelligence") also called Polus was one of the Titans, one of the three groups of children born to Uranus (Sky) and Gaia (Earth).
Which Greek god is wisest?
Metis, the Titan associated most closely with wisdom and the mother of Athena, whose name in Ancient Greek described a combination of wisdom and cunning.
Who is the god of knowledge?
Athena is often considered to be the best Greek goddess of all the gods and goddesses. She is known as the goddess of knowledge, wisdom, crafts, civilization, and justice. Out of all the gods and goddesses, Athena's advice was sought after the most.
Who is the most powerful Greek god?
Who is the oldest known god?
Inanna is among the oldest deities whose names are recorded in ancient Sumer. She is listed among the earliest seven divine powers: Anu, Enlil, Enki, Ninhursag, Nanna, Utu, and Inanna.
What is the prettiest goddess name?
Aphrodite was the most beautiful of all the Goddesses and there are many tales of how she could encourage both Gods and humans to fall in love with her.
Who is Zeus afraid of?
The answer is simple: he was afraid of making Nyx angry. This story is unique because Zeus usually is not afraid of angering the other gods or goddesses.
Kratos fought Zeus furiously and managed to deliver several powerful blows, as he stated he would kill Zeus for his actions. Enraged at his defiance, Zeus unleashed his full might on the vengeful warrior in the form of a deadly electrical storm. Kratos stabs Zeus with the Blade of Olympus.
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redpajama_set_name: RedPajamaCommonCrawl


The Bureau of Safety and Environmental Enforcement (BSEE) has been the authority for regulatory standardization and enhancement for the oil and gas exploration and production activities in the Outer Continental Shelf (OCS) since 2011.
In recent years, the BSEE Safety Inspection Program section has been developing a risk-based approach to augment these inspections. The new approach enables BSEE to focus on more targeted inspections, as based on historical data and information from the industry. The program will focus on analyzing inspection and Incident of Noncompliance (INC) data to identify trends and areas of concerns, develop risk profiles, prioritize inspection programs and protocols, and transfer knowledge and findings to the industry through safety alerts. This is envisioned to be a progressive and proactive approach to minimize any unforeseen incident by identifying and managing common issues leading to failures.
Lack of proper maintenance and testing, and/or lack of documentation on the frequency and results of inspections.
Safe Work Practices do not fully cover pressurized welded enclosures and are not available to offshore personnel.
Multiple job safety analyses had potential non-compliances with 30 CFR 250.1911 or 250.1928.
Lack of training and/or evidence of training of personnel in gas detection.
Development and implementation of daily and weekly inspection protocols to check for common gas releases based on incident data from flotation cells, thief hatches and produced water treatment units.
Documentation of inspection/test date, personnel information along with a signature, serial number or another form of equipment identification/verification number and a description of the inspection/test.
Review of OCS facilities to ensure all area classification signs are properly marked and the potential hazards are identified.
Review of all safe work practices to ensure they reflect current practices and are available to all personnel involved in operations.
Verify training of personnel in the work practices and develop training material through original equipment manufacturer participation, if needed.
Proper planning prior to lifts should include review of drop zones, identification of safe zones while the lift(s) occurs and verification of that all participants are trained in the work practices to perform the lifts and perform inspections.
Loads should be verified to be centered, balanced and secured prior to initiation of the lifts.
It is anticipated that this risk-based approach will continue to be developed by BSEE as they look at further targeted assessment areas. In this way, it is ultimately expected that operators will eventually be guided towards a strategy that requires the use of common risk-based practices across all aspects of integrity program management for OCS structures and their associated process equipment.


text:
Song Review: Mamamoo – Aya
Posted on November 3, 2020 by Nick 52 Comments
Since debut, Mamamoo's sound has changed quite drastically. Looking back, I think the turning point was 2018's Starry Night, which went on to become a big hit for them. From that point on, most of their title tracks have rejected the big vocal moments that characterized their first few years. In their place is a sultrier appeal to trends. But, I can't help but long for past glories, and new single Aya just rubs that in.
In many ways, Aya feels like a sequel to Hwasa's solo track Maria. Yet, this time the producers have forgotten the hooks. Aya is oddly amelodic. Sure, the girls are singing – sort of. But, the song flits from one line to the next without any real purpose. I feel like I've used the words "sing-talk" often this year, and Aya is a great example of what that approach sounds like. So much of the track is composed of random vocalizations, interspersed with the occasional refrain. It's not enough to maintain interest, and forces the girls into a very affected performance. Gone are the crisp harmonies and power vocals of their best work, replaced with a kind of mealy-mouthed singing that sounds as if they're swallowing all their words. I don't get it.
Aya doesn't really have a chorus, either. In its place is an underwhelming instrumental drop, which feels rehashed from too many other songs. It lands with a thud. The track would be better off harnessing some of the energy from its percussive finale, which is jarring and messy but at least has a pulse. Instead, Aya remains underwhelming all the way through, which is not something I'd expect from one of the industry's hottest groups.
Tags: k-pop, kpop, mamamoo, rating 6, review. Bookmark the permalink.
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52 thoughts on "Song Review: Mamamoo – Aya"
Mr. Simple says:
This is really an example of style over substance. Tons of uses of beautiful cultures, nice aesthetics, interesting concept, and then forgot to pour the budget into the song.
This somewhat reminds me of Jennie's Solo but even less cohesive and more all over the place.
Dingga all the way.
Btw Nick it seems the link to Starry Night was to Momoland's.
Thanks for catching that! (and verifying that people actually click on those links 😉
Election day today… I'm so stressed I'm amazed I could even form coherent sentences when writing this review!
mymagoogle says:
omg, and the worst part is that we won't know anything for another 9 or 10 hours at the least, if not for hours and hours more, until then just all nerves and idle talk. I've already stress eaten all of my halloween candy (and the kids ate theirs so I can't steal from them), I vow not to start drinking until at least 5pm, I tried several piano rain asmr youtube videos which somehow made me more stressed. So now its Forestella KBS marathon videos, earbuds unplugged, volume 11, singing at the top of my lungs, because the kids have an all asynchronous day so I don't have to worry about bandwidth and noise.
At some point I will go on a field trip and get gas in the car for the first time in a month, because apparently we all should do that today in case of … … in case of something, what?
I am also avoiding Facebook and my other favorites news sites like the plague today. There is NO NEWS until 9pm NYC time.
I barely slept last night. Thank god for work to force my mind off of it for a few hours.
shin says:
stay safe folks living in the US
I will be sending wishes from across the ocean. Take care of yourself and don't get too stressed.
Discount Seungmin says:
And me. Hope things end up well over there..
thetraveler96 says:
Sending hugs from Spain!
chris_m says:
From the looks of the video I was hoping for an "Egotistic 2.0". I absolutely love this song. Unfortunately "Aya" isn't what I hoped it would be. The video looks great and all but I would wish that there would be a catchy melody that goes along with it.
PHLOXINVAR says:
That last bit was actually very nice but the rest is just very posturing? I like listening to some of the vocals but it's very unmemorable.
It's like the girl-boss version of Shadow Play by PinkFantasy with the same kind of attitude except at that song had hooks. That song got me listening for days compared to Aya of which I can't even muster to listen to more despite the interesting outro.
Sorry. Accidental reply, this website has too many sensitive buttons on mobile.
rachelkingle says:
I agree, the "beat drop" chorus is disappointing. That flute isn't special enough on it's own, and it was already in the intro, so hearing it as the main thrust of the chorus is underwhelming. The breakdown in the latter half generated some interest for me, but not enough to make up for the lackluster song.
As for the music video, there was a confusing mix of styles among the outfits. Solar was rocking a unibrow, though, good for her.
I don't know when Mamamoo started using too much vocal fry, but this song is clearly well past that point. The last 30 seconds are interesting. The first 3 minutes are okayish.
I noticed that, too! I suppose it's an attempt to sound more sultry, but I much prefer their confident belting in older songs.
Miles Johnson says:
This looks and sounds like a KARD video/song.
Ethankatie2 says:
Ooh yea I got some Bomb Bomb vibes during the MV!
Vit Duarte says:
They sampled a song from my country (Brazil), oh well… I actually really don't like that. I'm so tired of this mindset of doing an "exotic" concept and mishmashing every single type of culture into one, brazilian funk with arabian beats and plus many other cultures into one, like they don't matter or aren't distinguished enough…
For those who want to see:
The song feels a bit empty until that tho.
tc2015 says:
I love MAMAMOO, whether it be their catchy asf choruses or captivating vocals. Great examples would be gogobebe, ego, or even hip. With AYA, I kinda found myself underwhelmed and couldn't even bear to finish the MV 😦
Zainab says:
I agree completely. This is so not the Mamamoo we need.
mnetisshit says:
Wasn't expected this at all. Thus is not what I wanted tho. All my faves this year didn't brought something good for me. Itzy,3ye,everglow,twice,BP nd now Mamamoo. I expected mmm to save this month for me but they didn't. I think they need to change their producers now.
I also actually expected something like HIP. I wish we can get that old sound from them back – egotistic, you are the best, decalcomainie.
tharifathir04 says:
You don't like LA DI DA?
tt says:
Couldn't agree more. I don't like Maria but dear god it's a master piece compared to this. Really sad.
Gabriel Tan says:
SO, STRUCTUALLY, this is pretty bolt and have some potential, BUT… if the actual material stuffed in the scaffolding is terrible then it is kind of terrible, which it totally is. Need to introduce legislation to ban MAMAMOO from anything latin
xdoublestar says:
Who at RBW chose this as title when Travel was RIGHT THERE
cyberfinal says:
Aya is a confusing song for me. The first time I listened to it, I thought it was a bit slow. The structure of the song confused me, and I couldn't find the chorus or hook. And I really wanted them to stop it with the pan flute. Generally, I was overwhelmed. My second time listening to it, when I was going through the rest of the album, was that this song surprisingly does work. Once I got over my initial surprise, the song is pretty good and I love the instrumentation on it. My third time listening to it was for their comeback stage in which I completely understood why they chose it as their title track.
Overall, I would say it is a bold choice for a title track. It is a song that takes a bit of time and it's not really an earworm but it is extremely powerful despite that. At this point, the only thing that can be expected from a Mamamoo song is that it won't be like any other song they have released. Given that, I am really sad that Chuck wasn't chosen as the title (it was a three way tie between Dingga, Aya, and Chuck for title). It sounds like Decalcomanie and they really flex their vocals in it. Honestly, one of their best b-sides.
108 Ent (108ent.blogspot.com) says:
It is an okay track, not blowing me away, but my score would be higher than yours. I may review it soon.
Oh FYI it is still me, just a new email which does not have a wordpress account 🙂
Edit, it has just gotten worse in subsequent listens.
Okay, here is the review 🙂
https://108ent.blogspot.com/2020/11/review-mamamoo-aya.html
Kurama (@Kuarama) says:
The last Mamamoo's song I liked, was AOA's version of Egotistic.
alexatherobot456 says:
Same, that performance was a masterpiece.
C. Obleman (@MCobleman) says:
it's funny cause I've been on a Mamamoo tear lately, listening to all their stuff…and they reward me with this
Mires says:
As a big Mamamoo fan, i felt dissapointed.
But at least b-side "Chuck" is really good. Reminds me to Decalcomanié, and the Mamamoo i love.
maia lawliet says:
I agree. Chuck is good!
Medea says:
You know when there's a TV show you really love but the writers start to mess it up? That's how I'm starting to feel about Mamamoo, and it makes me sad. This was disappointing.
I agree with MEDEA the writers have started to mess up.
So far looking at the big third-generation girl groups right now, they all seem to have peaked in 2019.
TWICE, The Fancy and Feel Special releases were largely popular and most people liked them. After that More and More had largely mixed opinions and Can't Stop Me is good but not like the 2019 releases.
RED VELVET, Had a great year in 2019 with the Reve Festival, but Wendy got injured so they couldn't promote Pshyco, arguably their most popular title track. With irene´s ¨scandal¨ and the new SM girl group, their future is up in the air.
BLACKPINK, Maybe they haven't ¨peaked¨, since are still releasing popular music and just came back with a successful album. But they are a BIG third-gen girl group so I had to put them.
Mamamoo, Starry Night in 2018, and gogobebe/ HIP in 2019 were big hits but instead of using their 2019 momentum they put out solo music and came back as a group a year later with THIS… I don't know?
We just have to wait for their next comebacks to see if they are really peaking.
If they are, I think we are going to see solos from TWICE and we are already getting that from BLACKPINK.
i don't really follow fan metrics, but from a musical preference (heavily subjective, it's personal taste after all!) standpoint, Twice's I Can't Stop Me was a huge fave, and a more than suitable follow up to Feel Special! so i wouldn't say that they've peaked haha
agreed though, it'll probably be prudent to speculate after their next comeback haha
I do very much like I Can´t Stop Me personally but objectively Twice´s 2019 releses are ¨better¨.
Also, I Can´t Stop Me is a follow up to More and More, not Feel Special.
My first time listening to Aya was overwhelming and confusing because there were so many different elements in this song. However, I'm used to feeling that way about the songs that end up growing on me hugely. And I have to say that personally, in regards to that, this one did not disappoint.
I really love Aya, the subtle melody, the poetry behind the lyrics, Mamamoo's gorgeous voices, the structure of the song which I find pretty original, the different elements that are added to it in different layers like a painting, and the surprising ending which reminded a bit of the unexpected turns that "Shinnanda/It's Fun" takes.
Listening to it again and again, I feel like I discover/pay attention to new details every time and this makes me find the song even more enjoyable and interesting.
In addition, Mamamoo is also a group that is very good live and from the one performance I've seen so far, this song is complex enough in its construction to allow them to play with the melody, the rythm, etc. on stage …
Although this might be taking the complete opposing view compared to you and the rest of the comment section, I'd say this song is definitely a win for me! 😀
:/ says:
this song is so bland and yet it's soaring on melOn anyway 😭 sigh lol
melonlord12 says:
That's why I never check the Melon Chart anymore, the majority of the songs in the top 50 are pretty bad.
Seems Mamamoo was too focused on the style, trying to do cultural appropriation again and looking as "exotic" as possible rather than on the actual song. Then again, that's pretty much what they'd been doing since Hwasa decided to present herself as the equivalent of latina/black woman in kpop. Yes, I'm salty.
The last song I genuinely liked from the was Yes I Am. Since then, it's pretty much been downhill.
It feels like Mamamoo and the producers just have a book with all the "exotic poc" musical stereotypes and decide every comeback what new generic sound to try. Now, we got generic Middle Easter/North African flute. Words cannot describe how excited I am for what new jarring sound we'll be getting next.
Stevie (@stevie7314c) says:
But then again, are you really qualified to say it's cultural appropriation? or are you just a salty white person trying to be edgy and politically correct? Because aside form the musical aspect of the song, what I've seen is most people that are native from said countries which the sounds were sampled from are defending them and is actually cultural appreciation especially those from the Middle East).
And the mini album is called 'Travel' so I don't get this labeling of them as 'exotic' when they're trying to showcase different sounds to achieve what the album is supposed to convey. And since when was sampling and using generic architecture and clothing cultural appropriation? Unless you're from any of the cultures that Mamamoo portrayed then you just look like a salty, white SJW that just wants to drag another artist just for the sake of it.
Oolong says:
I love Mamamoo but I'm honestly kinda disappointed with this song. Their pre release Dingga was better imo. The concept and mv are so cool but unfortunatly the song itself isn't something I'd put on my playlist.
naty says:
comparing it to dingga, dingga (and most of their recent songs) know what they want to achieve and don't do anything that out of the ordinary with it, but that's what works! AYA includes a lot of interesting visual and lyrical concepts, (i thought the unibrow and the representation of other cultures was really nice) but meshed together, they just end up falling flat. i love mamamoo, they've been my favorite group for a long time. i love their constant versatility, and they almost reinvent themselves with every album they put out, but i hope they don't start focusing too much on visuals like they did in AYA
When I first listened to Aya, it sounded like they were toying with it, like it's in the air and they don't know if they should drop it or make it float. The song also sounded like it didn't know how to end itself. I'm not a music expert, but that's definitely how it felt to me at first listen. It wasn't much of a cohesive sound to me. However, after continuous listens to Aya, it's starting to bite me. I would rate it a good 7/10. I think it's much better than Dingga because I find Dingga something I would easily get sick of? I also don't think Dingga won't stick around longer, too. Vocals-wise, the song is underwhelming. I would've liked to hear stronger vocalizations from Mamamoo like the way they did in their past songs.
Damn. I seem to be the only one who's got a different ear here. Kind of hesitant to post this. I hope nobody fights me. I'm soft. :<<
No one will fight you! We're a (mostly) kind bunch 🙂
Amani says:
I wrote a whole essay trying to join this wonderful discussion but lost half of it 😐
I've been a fan for mamamoo for like .. 3 years.
And I like to say I know my way in music since I always had my headphones on and listen to more than 4 cultures.
Let's have Justin bieber as an example for a sec here,, either you like him or not he has a great voice and he's a good singer.
And no matter how much I hate that ridiculous song "yummy" it was a commercial hit.
And that's what mamamoo is doing they started as a vocalists that gained the Korean public love.
But come 2018 they released this really good and critically excellent song called wind flower that barely charted or even mentioned in broadcast.
That is an example of how the music industry became today.. musical innovation and vocals aren't the tools for success unfortunately.
Whith gogobebe/HIP (which are my least favourite btw) there were little to no vocalisations in the song but they become the most successful.
My point is artists don't choose to go through the trendy way .. they do it to get the public recognition.
And in my opinion mamamoo is good in balancing their art with their promotion when you see their entire album.
Travel is upbeat song with high notes all throughout the song.
Dingga is this fun song where you can listen to their distinct colours (I don't know how to explain it tbh)
Good night is a ballad that shows how good singers they're
And diamond and chuk , I really can't explain them they're these "casual" song but every time you listen to you get amazed by it.
AYA; I kept it last because it's the center of this discussion (which I thoroughly enjoy btw) and I want to dissect it to explain my point exactly and not be misunderstood.
The first listen:
I was really confused between listening to music or watching the video,, also I was amazed by the different elements and instruments used in this song … but overall didn't catch my breath.
I had this reaction (and even more underwhelming) in HIP so I didn't judge until I put my best headphone , closed my eyes and listened thro spotify..
VOCALS:
Comparing it to their last commercial successes this is the most difficult song.
Low registers are very hard to females it may appear easy for the listener but once you try to sing it you'll know how hard of a song is this.
You can listen to the first verse of hwasa and concentrate on the range of notes she sang , she goes throughout the scale with her voice .. solar is using a distinct low notes with the vibration of her larynx (which I personally love).
PRODUCTION; the production here I see it like a canvas (reggae,acoustic guitar,flute,low precaution drums,and I guess brass with electronic instruments) to use that in one song even if it was overwhelming if it the beat appeared wholesome then it deserve a recognition and applause in my opinion.
But here I see a message because mamamoo have 4 different personalities with 4 different artistic views but still exist harmoniously.
On top of that they're using AYA to imprint their (performer artists) picture
You can step back and see that ,, with their "pre-gogogbebe" carrier they used to be the talented vocal group (which is what GB want in korea)
With ggbb and HIP they imprinted the trendy picture where hip was literally everywhere.
AYA is like their next chapter of MAMAMOO THE PREFORMER even if we saw it before this song in term of production and elements have a great potential.
as a fan of them I never missed the "old" mamamoo they always include songs that showcased their vocals and talent (because some artist have vocals but not all of them know how to use it) and I still listen to all of their discography without getting tired of it.
In term of ARRANGEMENT; I can see why they used this kind of arrangement because when the song ends in an exciting segment you would want to listen to it more ,, but with this song you need to give it some listens to be actually addicted to it.
And I wouldn't know that if I wasn't a fan but they basically said they used this song to show a good performance more.
Lastly I always consider MAMAMOO as an artist with different sides to them and different interpretation to their music (and not the usual concept of kpop) because whenever I listen to a song of them called I MISS YOU I know their talent should be compared to adele or Dua or any other global artist.
For me music isn't just a title song it's the music innovation used the actual message behind it and how the singer can deliver it.
Also WINDFLOWER was their wake-up call since they heavily invested in their art but ended up being barely charting or mentioned by the broadcast and interviews.
All artists now have the right to go the trendy path because they won't make it otherwise.. I can name alot who used this method and twice is one of them even I didn't follow them I'm so happy with can't stop me because finally I could see their talent and vocal abilities.
I hope the industry goes back to the time where only talent and innovation are the definitives of success
I guess I just wrote a longer review, but I felt that it's needed to exactly state my opinion since I never saw some actually dissect the song and try to see what's behind "another kpop song "
HAO says:
Dear Amani,
I am glad that you write this behalf of mamamoo's fan. It's true that this song doesn't really did its work at first but if one tries to listen it from travel to the end (the whole mini album).. its somehow connected.. I think its the same for Oh my girl Yooa's album. I like how they actually unfold their stories through the album but not just hit one punch with just a song…
Anyway thank you for your review once again. Have a nice day ahead!
I'm glad I'm not the only one who had similar thoughts about Aya! It's difficult to find any actual discussion about the music on places like Youtube and Twitter…
My honest first reaction when I heard/watched Aya was that it felt disjointed. The slow pace of the majority of the song with the flute, heavy bass and vocal fry; the bridge with its return to their usual peppy vocal style and light guitar, then the fast-paced funk section at the end just felt mashed together. I spent most of the time on the first watch wondering when the fast beat that we saw in the teaser was going to come in, a little disappointed that it's only in the last minute because that's the best part of the song imo and it needed MORE of that. I like the way they extended it for their Monologue performance, still feel they could have done more with it though.
The mishmash of cultures in the MV also feels disjointed, but I don't hate it. Sort of Indian, sort of Arabian. As a Middle Easterner it doesn't bother me; it's a pop music video, I don't expect any deep cultural analysis within it, and there's nothing outright offensive to me. I'm also not sure if I'm disappointed that they didn't use the Hindi(?) sample they had in the teaser, there were a lot of Indian fans that were over the moon to see their culture represented but I'm not sure it would have worked with Aya as it is.
I'm coming to this release as someone who never really listened to K-pop (or even pop in general) before finding Hip in May this year. Stumbled upon a fancam on Twitter and I was hooked, had that track on repeat for a solid week. Super catchy tune, engaging video and memorable choreography – it was always going to be hard to top. The songs on Travel aren't *bad* by any means though, they're decent pop tunes that have grown on me and made their way into my playlist.


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Movie Trailer Monday: Brave
July 17, 2011 November 22, 2019 by Lisa
Not too long ago, I lamented the lack of strong heroines in children's movies, citing Harry Potter's Hermione Granger as a rare example and sidekick (although a great one) to boot. A few days ago I found out about an upcoming release from Pixar titled BRAVE. The official synopsis:
Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. In Brave, a new tale joins the lore when the courageous Merida (Kelly Macdonald) confronts tradition, destiny and the fiercest of beasts. Merida is a skilled archer and impetuous daughter of King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: massive Lord MacGuffin (Kevin McKidd), surly Lord Macintosh (Craig Ferguson) and cantankerous Lord Dingwall (Robbie Coltrane). Merida's actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it's too late.
Initially conceived and slated to be directed by Pixar's first female director, Brenda Chapman has since been replaced by Mark Andrews. Still, Merida is the first female main character in a Pixar movie.
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Illustrated beginner's guide to using netCDF operators (NCO) command line tools
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Aug 23, 2018 at 10:06 p.m.
The netCDF (network Common Data Form) file format is increasingly used to store and manage multidimensional scientific data. Although netCDF files offer multiple advanced features and functionality in their own right, workflows that involve netCDF files can be intimidating for new users due to their binary format. There are several methods to manage netCDF file data including via libraries in programming languages such as Fortran or Python. However these methods require knowledge of the programming languages as a prerequisite. Other user-interface applications such as Panoply, NetCDF Explorer, or ArcGIS have functionality to access, view, and in some cases modify or create netCDF files. Another tool to manage netCDF files is the netCDF operators (NCO). NCO is a set of command line tools developed and maintained by the original creators of the netCDF file, the Unidata program at the University Corporation for Atmospheric Research. As such NCO tools are highly optimized and flexible, allowing a myriad of netCDF workflows. This html-based tutorial aims to demystify basic functionalities and syntax of NCO commands that are useful for analysing netCDF scientific data. The tutorial contains multiple examples that focus on scientific data (e.g. climatic measurements or model output) analysis including code snippets, explanations, and figures. Specifically, part 1 covers basic concatenation and averaging of single and ensemble record variables using the ncrcat, ncecat, ncra, and ncea commands respectively. Part 2 builds on part 1 and focuses on basic and advanced uses of the weighted-averaging command ncwa. Examples of other common NCO commands including breif desctiptions on how to download or install the package, and tools for netCDF visualization are also included in the tutorial. Although the tutorial is not in depth, as it does not explicitly cover all the NCO commands nor all of their options, it is a good starting point as many other NCO commands follow similar syntax and conventions.
Volk, J. (2018). Illustrated beginner's guide to using netCDF operators (NCO) command line tools, HydroShare, http://www.hydroshare.org/resource/4b5a903a02e64b078d5a581a010f45a4


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The Business Valuation is a process and a set of procedures used to estimate the economic value of a stakeholder's interest in a business. Valuation is used by financial market participants to determine the price they are willing to pay or receive to affect a sale of a business.To determine the value of any business, the reasons for and circumstances surrounding the business valuation must be taken into consideration.
Price is not the same as Value- the Value of a business, by whatever business valuation method it is obtained, is not the selling price of the business.
Value varies with Person, Purpose and Time- the Value is a subjective term and can have different connotations meaning different things to different people and the result will not be the same, should the context or time changes.
Transaction concludes at Negotiated Price- Valuation is dependent on buyer and seller expectations and subsequent negotiations and the Transaction happens at negotiated price only.
Valuation is hybrid of Art and Science- Valuation is more of an art and not an exact science. The art is of Judgment and Science is Statistics.
– It is used in mergers and acquisitions to assist business owners in determining value of the business or maximise value when considering a sale, merger, acquisition etc.
– When a company goes for Initial Public Offering (IPO), for generating capital for its business. Valuation is done to evaluate fair value of such a stock.
– Voluntary assessment – for the management to know the true worth and fair value of the business, for internal management purpose as well for future decision making.
• Book Value Method- It is based on the balance sheet review of assets and liabilities;Book value is also the net asset value of a company, calculated as total assets minus intangible assets (patents, goodwill) and liabilities.
• Replacement Cost Method- It is based on current set up cost of a plant of similar age, size and capacity. A replacement cost is the cost to replace an asset of a company at the same or equal value, and the asset to be replaced could be a building, investment securities, accounts receivable or liens. The replacement cost can change, depending on changes in market value of the asset and any other costs required to prepare the asset for use.
• Liquidation Value Method- It is based on estimated realizable value of various assets.Liquidation value is the total worth of a company's physical assets when it goes out of business or if it were to go out of business. Liquidation value is determined by assets such as real estate, fixtures, equipment and inventory. Intangible assets are not included in a company's liquidation value.
Generally, the Net Asset Value reflected in books does not usually include intangible assets enjoyed by the business and are also impacted by accounting policies which may be discretionary at times. NAV is not perceived as a true indicator of the fair business value. However, it is used to evaluate the entry barrier that exists in a business and is considered viable for companies having reached the mature or declining growth cycle and also for property and investment companies having strong asset base.
One important aspect to remember is that this method is to be avoided while calculating the valuation in sole proprietorship since it is difficult to separate the assets that were used for personal and business purposes.
The Income based method of valuations are based on the premise that the current value of any business is a function of the future value that an investor can expect to receive from purchasing all or part of the business.
• Discounted Cash Flow Method (DCF)- DCF expresses the present value of the business as a function of its future cash earnings capacity. In this method, the appraiser estimates the cash flows of any business after all operating expenses, taxes, and necessary investments in working capital and capital expenditure is being met. Valuing equity using the free cash flow to stockholders requires estimating only free cash flow to equity holders, after debt holders have been paid off.
This approach catches the future business potential of a company and is very prevalent in the service industry. Also, this method is often considered the best method to evaluate a business.The nature of the calculations used in here, analysis make it more properly suited for use in evaluating certain types of industries or companies. DCF analysis is designed to give an evaluation of a company's current value, commonly designated as "net present value," by projecting its future free cash flows, or profits.Larger and more firmly established companies with fairly steady growth histories to use as the basis for projections of future growth are better suited to evaluation by DCF analysis.
• Capitalization of Earning Method- It determines the value of an organization by calculating the net present value (NPV) of expected future profits or cash flows. The capitalization of earnings estimate is determined by taking the entity's future earnings and dividing them by the capitalization rate (cap rate). This is an incomevaluation approach that determines the value of a business by looking at the current cash flow, the annual rate of return and the expected value of the business.
Here d stands for Discount Rate and g stands for Growth Rate.
The capitalization of earnings approach helps investors determine the potential risks and return of purchasing one company rather than another to decide which may offer the best value for the investor's money.
In this method, value is determined by comparing the subject, company or assets with its peers or transactions happening in the same industry and preferably of the same size and region. This is also known as Relative Valuation Method.
Market Multiples of Comparable Listed Companies are computed and applied to the Company being valued to arrive at a multiple based valuation.
If the typical takeover premium is 20%, what is the ABC Company's value in a merger using the comparable company approach?
This technique is mostly used for valuing a company for M&A, the transaction that have taken place in the Industry which are similar to the transaction under consideration are taken into account.
• Collect information on recent takeover transactions of comparable companies.
• Calculate multiples for comparable companies (e.g., P/E, P/CF).
• Estimate takeover value based on multiples.
Estimate the value of the MNO Company using the comparable transaction analysis, giving the cash flow multiple 70% and the other methods 10% each. Pl refer below for calculation.
The other mode of valuation here is comparable transaction analysis is the EV-to-EBITDA multiple. EV is enterprise value and EBITDA is earnings before interest, taxes, depreciation and amortization. EBITDA is usually measured on an LTM (last twelve months) basis. A comparable transaction approach is generally used in conjunction with other valuation techniques.
Difference between the comparable transaction analysis and the comparable company analysis- The company analysis uses comparables that are similar but that may or may not be involved in M&A. The comparable transaction analysis uses multiples only of recent transactions of comparable companies.
Market Value Approach – The Market Value method is generally the most preferred method in case of frequently traded Shares of Companies listed on Stock Exchanges having nationwide trading as it is perceived that the market value takes into account the inherent potential of the Company.


It is now common knowledge that the U.S. economy has, in recent years, been experiencing extremely uneven developments. While the financial sector has been enjoying enormously high rates of growth, the real sector is mired in stagnation or dismal growth rates. Accordingly, while the financial oligarchy is reaping the lion's share of this fantastic growth of asset-price inflation, the overwhelming majority of citizens are suffering from the systematically declining standards of living.
For example, a recent report by the Federal Reserve Bank shows that while aggregate national wealth in the U.S. rose by $1.49 trillion during the first quarter of 2014, the real economy (as measured by GDP) actually contracted by 1 percent—according to the Department of Commerce, the decline in GDP was actually 2.9 (not 1) percent. In a similar report, the Financial Times recently noted that household wealth as a whole is up 43 percent since the depths of the economic slump in 2008, despite the slow or nonexistent recovery in the labor market and an actual decline in median household income, down 7.6 percent since 2008 .
This obvious and growing gap between the rise of financial wealth in the absence of real growth is, of course, explained by the fantastic asset-price inflation of the past several years—a financial bubble bigger than the one that burst in 2008. Of the $1.49 trillion increase in the national wealth in the first three months of 2014, some $361 billion were due to stock price appreciation while $758 billion were due to real estate inflation. Not only has the stock price bubble largely benefited the wealthy, who disproportionately own the major bulk of stocks, but also "the increased home values were concentrated in the mansions of the super-rich, not the modest homes of working people." According to figures published by Redfin, a real estate group, from January through April 2014, "sales of the top 1 percent of US homes, those priced at $1.67 million or more, have risen 21 percent, while sales of the remaining 99 percent of homes have fallen 7.6 percent" .
Secondly, since players in the financial sector are no longer constrained by regulatory restrictions on the types and quantities of their investment, why would they look or wait for borrowers from the real sector (who, as just mentioned, have plenty of cash of their own), instead of investing in the more lucrative field of speculation? Not surprisingly, as the regulatory constraints have been gradually removed in the past several decades, financial bubbles and bursts have become a recurring pattern.
Indeed, not only do Wall Street banks and other beneficiaries of monetary policy use the nearly interest-free money for speculative investment, but also increasingly real sector corporations divert more and more of their profits to speculation instead of production—they seem to have come to think: why bother with the messy business of production when higher returns can be garnered by simply buying and selling titles. The lure of speculative profits, greatly facilitated by the extensive deregulation of the financial sector, is obviously strong enough to induce capital to abandon manufacturing in pursuit of higher returns in the financial sector. This steady transfer of money from the real to the financial sector is the exact opposite of what monetary policy-makers—and, indeed, the entire neoclassical/mainstream economic theory—claim or portray to happen: flow of money from financial to the real sector.
Capital flight from the real to the financial sector, and the divergence between corporate profitability and real investment were highlighted in an article by Robin Harding that was published in the Financial Times of July 24, 2013. Headlined "Corporate Investment: A Mysterious Divergence," the article revealed that, in the past three decades or so, a "disconnect" has developed between corporate profitability and real investment; indicating that, contrary to previous times, a significant portion of corporate profits is not reinvested for capacity building. It is diverted, instead, to financial investment in pursuit of higher returns to shareholders' capital. Prior to 1980s, the two moved in tandem—both about 9% of GDP. Since then, and especially in the very recent years, whereas real investment has declined to about 4% of GDP, corporate profits have increased to about 12% of GDP! .
Portraying asset-price inflation as a monetary tool of economic stimulation, policymakers in the United States and other core capitalist countries are no longer averse to creating financial bubbles; as such bubbles are viewed and depicted as fueling the economy through demand enhancement effects of asset-price appreciation. Instead of regulating or containing the disruptive speculative activities of the financial sector, economic policy makers, spearheaded by the Federal Reserve Bank since the days of Alan Greenspan, have been actively promoting asset-price or financial bubbles—in effect, also further enriching the rich and exacerbating inequality.
Aside from issues such as social justice and economic security for the masses of people, the idea of creating asset-price bubbles as vehicles of economic stimulation is also unsustainable—indeed, destructive—in the long run: financial bubbles, no matter how long or how much they may expand, are ultimately bound by the amount of real values that are produced (by human labor) in an economy. Proxies of the financial oligarchy at the helm of economic policy making, however, do not seem to be bothered by this ominous prospect as they have apparently discovered something akin to an insurance protection scheme that would shield the market and major financial players against the risks of financial bubbles.
Randall W. Forsyth of Barron's likewise points out, "Greenspan always contended that monetary policymakers can . . . clean up the after-effects of the bust—which meant reflating a new bubble, he argued." It is obvious that this policy of effectively insuring financial bubbles would make financial speculation a win-win proposition, a proposition that is aptly called "moral hazard," as it encourages risk-taking at the expense of others—in this case of the 99%, since the costs of bailing out the "too-big-to-fail" gamblers are paid by austerity cuts. Knowing that "the Fed would bail out the markets after any bust, they went from one excess to another," Forsyth further points out. "So, the Long-Term Capital Management collapse in 1998 begat the easy credit that led to the dot-com bubble and bust, which in turn led to the extreme ease and the housing bubble" .
 As cited in Ismael Hossein-zadeh, Beyond Mainstream Explanations of the Financial Crisis (Routledge 2014), p. 16.


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Seven Songs For A Long Life
Directed by Amy Hardie
UK, 2015, 82 min, in English
How did it happen? A movie about six hospice patients which you just want to keep watching! Funny, touching and passionate in their enjoyment of life, this film surprises with its use of song. A great score by Mark Orton leads us through one of the key issues of our age: medicine has recently changed our relationship with fatal disease: we can now live for years, rather than months, after a terminal diagnosis. Sometimes. How do we cope with this uncertainty? The documentary cast are quirky, wry front-runners in a journey that we will all face.
"Incredibly moving."


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Smith is a male given name. Notable people with the name include:

 Smith D. Atkins
 Smith Ballew
 Smith Barrier
 Smith W. Brookhart
 Smith Dharmasaroja
 Smith Dun
 Smith Ely Jr.
 Smith Hart
 Smith H. Hastings
 Smith Hempstone
 Smith Hickenlooper
 Smith Ely Jelliffe
 Smith Joseph
 Smith E. Lane
 Smith Larimer
 Smith McPherson
 Smith Nickerson
 Smith Newell Penfield
 Smith Thompson
 Smith Mead Weed
 Smith Wigglesworth
 Smith D. Woods

redpajama_set_name: RedPajamaWikipedia


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Is it impeachment if Speaker Pelosi doesn't say so?
by: MARY CLARE JALONICK and LISA MASCARO, Associated Press
Posted: Sep 12, 2019 / 12:25 AM EDT / Updated: Sep 12, 2019 / 06:54 PM EDT
FILE – In this Oct. 27, 2018 file photo, President Donald Trump speaks to reporters in Indianapolis. An AP-NORC Center poll released on Thursday, Sept. 12, 2019, finds Americans are most unhappy with Trump on his handling of climate change. (AP Photo/Andrew Harnik)
WASHINGTON (AP) — Bristling over the "I" word, House Speaker Nancy Pelosi stopped short Thursday of saying the House is ready to launch an impeachment investigation of President Donald Trump , even as Judiciary Committee Democrats set the stage to do just that.
Pelosi has been a moderating force in her divided caucus, as liberals push to impeach and centrist Democrats are wary of fixating on Trump. She's been consistent in her restraint. But in having it both ways, opening the door to impeachment while not leading the charge, she was giving space for different opinions but leaving Democrats with a mixed message .
By approving ground rules for impeachment hearings Thursday, the Judiciary Committee sparked the questions anew.
"If we have to go there, we'll have to go there," Pelosi said Thursday about the impeachment investigation. "But we can't go there until we have the facts."
Pelosi cut off repeated questions on the topic during her weekly press conference. She said she was done discussing it.
"People are impatient about it," she conceded. "We can't go any faster than the facts."
She said, "We're still on the same path."
The approach from Pelosi and her leadership team comes as the Judiciary Committee pushes ahead with its first impeachment hearings this fall, backed by more than half the House Democrats who want some sort of an investigation.
Trump told reporters he's not concerned about the impeachment planning, calling it an "embarrassment" to the country. Asked if he believes Pelosi is scared of impeaching him, Trump said: "I don't think she's scared of anything. I think she's a smart woman and I think she knows exactly what she's doing."
Judiciary Committee Chairman Jerrold Nadler says there's no uncertainty about what his committee is doing: It's an impeachment investigation, no matter how you want to phrase it.
As the committee voted Thursday to approve guidelines for impeachment hearings, Nadler promised an "aggressive" fall schedule, starting with next week's public session with Trump aide Corey Lewandowski.
"Some call this process an impeachment inquiry. Some call it an impeachment investigation. There is no legal difference between these terms, and I no longer care to argue about the nomenclature," Nadler, D-N.Y., said earlier as he opened the meeting.
"But let me clear up any remaining doubt:The conduct under investigation poses a threat to our democracy. We have an obligation to respond to this threat. And we are doing so."
Impeachment has divided Democrats who control the House, a split that is becoming even more pronounced ahead of the 2020 election as the party measures the weight of its oversight responsibility with the mood of public opinion.
Democrats on Nadler's committee, including some of the most liberal members of the House, have been eager to move forward with the process. But moderates, mostly first-term lawmakers who handed their party the majority in the 2018 election, are concerned about the committee's drumbeat on impeachment especially in districts where Trump remains popular.
Given those divisions, Nadler and Pelosi have been talking about impeachment very differently. While Nadler has been clear that his committee is moving ahead, Pelosi is reluctant to mention the "I" word.
In private meetings, Pelosi has urged caution and told the caucus that the public isn't there yet on impeachment.
At the same time, Pelosi has quietly signed off on the committee's moves and said Thursday she supports its work.
She said Thursday that when she travels the country, "people are saying it's good to be careful about how we proceed."
Outside groups that spent the month of August flooding lawmakers' telephone lines and showing up at town hall meetings to push impeachment find Pelosi's approach out of step with the party's priorities.
"It's just an absurd position," said Zac Petkanas, a Democratic strategist and president of Defend the Republic, a messaging group around the issue. He is a former campaign aide to Hillary Clinton.
Petkanas said the "discombobulation of some of the leadership messaging is disappointing," but not a blow to the efforts to push Judiciary Committee Democrats to act. "It kind of doesn't even matter what she calls it, they're doing the thing."
The confusion was highlighted this week as leadership split on what to call what was happening. Majority Leader Steny Hoyer, D-Md., indicated to reporters that there was not an impeachment investigation — and then issued a clarification saying the House is not considering one "at this time." The caucus chairman, Rep. Hakeem Jeffries, D-N.Y., tweeted that committee adopted the resolution for the "IMPEACHMENT INVESTIGATION."
Ahead of the committee vote, several freshman lawmakers met with Nadler on Wednesday and expressed concerns about the path ahead. Hoyer's office had encouraged them to raise their questions.
"It's sucking the air out of all the good stuff that we're doing, so that's our concern," said Florida Rep. Donna Shalala, who attended the meeting.
As soon as the committee voted Thursday, the House GOP's campaign committee began singling out Democratic freshmen who voted for the resolution, warning they will "pay dearly for this decision at the ballot box."
With Democrats divided and the 2020 campaign ahead, it's unclear whether the impeachment process will ever move beyond the committee's investigation.
The Republican-led Senate is unlikely to convict Trump and remove him from office.
The GOP's House leader, Rep. Kevin McCarthy of California, a close ally of Trump, said there's "no reason' to move forward with impeachment. "This is not something to play with," he said.
Still, the committee has persisted in advancing the issue, keeping questions swirling about Trump's actions in office. Its work is also intended to bolster the Democrats' lawsuits against the Trump administration to force witness testimony and documents as the White House has repeatedly blocked both.
The committee says the resolution approved Thursday is similar to the approach taken at the beginning of the impeachment investigations into Presidents Richard Nixon and Bill Clinton.
The first hearing scheduled under the new impeachment rules is with Lewandowski, the former Trump campaign manager, on Sept. 17 over questions of obstruction of justice. According to special counsel Robert Mueller's report , Trump asked Lewandowski to deliver a message to then-Attorney General Jeff Sessions requesting that he limit Mueller's inquiry.
The committee also intends to hold hearings as it is investigating the spending of taxpayer money at the president's hotels and properties and hush money payments Trump made to kill potentially embarrassing stories about alleged affairs.
Nadler said all of those investigations will inform the decision on whether to move ahead and vote on articles of impeachment.
Republicans expressed their frustration with the entire process.
Georgia Rep. Doug Collins, the top Republican on the panel, said the committee "has become a giant Instagram filter … it's put in there to look like something, but it's really not."
Associated Press writer Darlene Superville in Washington and Matthew Daly in Baltimore contributed to this report.
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by LAURIE KELLMAN, Associated Press / Jan 21, 2020
WASHINGTON (AP) — Senators like to float above messy politics in what's known by some as the dignified "upper chamber," home of Congress' cooler heads and lofty rhetoric.
But as a court of President Donald Trump's impeachment, the Senate beginning Tuesday might seem more like the economy cabin of an oversold flight on an especially tense, mandatory work trip.
by RICARDO ALONSO-ZALDIVAR, Associated Press / Jan 21, 2020
WASHINGTON (AP) — Alarmed by a deadly new twist in the nation's drug addiction crisis, the government will allow states to use federal money earmarked for the opioid epidemic to help growing numbers of people struggling with meth and cocaine.
The little-noticed change is buried in a massive spending bill passed by Congress late last year. Pressed by constituents and state officials, lawmakers of both parties and the Trump administration agreed to broaden the scope of a $1.5 billion grant program previously restricted to the opioid crisis. Starting this year states can also use those federal dollars to counter addiction to "stimulants," a term the government uses for methamphetamine and cocaine.
by ALEXANDRA JAFFE, Associated Press / Jan 21, 2020
DES MOINES, Iowa (AP) — Steve Sovern had low expectations for a recent event he hosted to support Elizabeth Warren's presidential campaign. Iowans are legendary for expecting to meet White House hopefuls in person — multiple times — and the candidate wasn't going to be there, represented instead by California Rep. Katie Porter.
"Surrogates are usually not much of a draw," Sovern said.
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Sophisticated and elegant, Bonnie Christine's collections are delicate and nostalgic, creating beautiful prints that are organic and romantic, transcending time and brightening up the past.
You'll find new fabric collections released with Art Gallery Fabrics twice a year.
Bonnie's collections can be explored below. More details and purchase information for each collection can be found at the bottom of their pages.


More than 8,000 of the 10,000 full- and part-time workers at Foxwoods Resort Casino and MGM Grand received $500 annual bonuses Tuesday.
But the bonuses were less than those awarded in past years and only were distributed to hourly workers, not salaried employees.
Foxwoods spokeswoman Sandra Rios described the bonuses as a "generous act" on behalf of the tribe.