text:
Fake Meat, Served Six Ways
Author: Joi ItoJoi Ito
WIRED/Getty Images
Around the time I turned 40, I decided to address the trifecta of concerns I had about climate change, animal rights, and my health: I went hard vegan. My doctor had been warning me to cut down on red meat, and I had also moved to a rural Japanese farming village populated by farmers growing a wide variety of veggies. They were delicious.
After a while, the euphoria wore off and the culinary limitations of vegan food, especially when traveling, became challenging. I joined the legions of ex-vegans to become a cheating pescaterian. (I wonder if this article will get me bumped off of the Wikipedia Notable Vegans list.) Five years later, the great Tohoku earthquake of 2011 hit Japan, dumping a pile of radioactive cesium-137 on top of our organic garden and shattering the wonderful organic loop we had created. I took my job at the Media Lab and moved to the US the same year, thus starting my slow but steady reentry into the community of animal eaters.
Ten years after I proclaimed myself vegan, I met Isha Datar1, the executive director of New Harvest, an organization devoted to advancing the science of what she calls "cellular agriculture." Isha is trying to figure out how to grow any agricultural product—milk, eggs, flavors, fragrances, fish, fruit—from cells instead of animals.
Joi Ito is an Ideas contributor for WIRED, and his association with the magazine goes back to its inception. He is coauthor with Jeff Howe of Whiplash: How to Survive Our Faster Future and director of the MIT Media Lab.
Art fans will remember Oron Catts and Ionat Zurr, who in 2003 served "semi-living steak" grown from the skeletal muscles of frogs as an art project called Disembodied Cuisine. Five years later, they presented "Victimless Leather" at MoMA in New York, an installation that involved tissue growing inside a glass container in the shape of a leather jacket. Protests broke out when the museum had to disconnect the life support system because the jacket grew too big.
Isha wasn't trying to make provocative art. We now have more challenging choices to make than simply whether to be vegan, pescatarian or carnivore, thanks to technology that has given us an explosion of meat-like products that run the ethical gambit in their production processes. She was and is trying to solve our food problem, and New Harvest is supporting and coordinating research efforts at numerous labs and research groups.
Civilians often clump the alternative meat companies and labs together in some kind of big meatless meatball, but, just like different kinds of self-driving car systems, they're quite distinct. The Society of Automotive Engineers identifies five levels of autonomy; similarly, I see six levels of cellular agriculture. Just as "driver assist" is nice, having a car pick me up and drive me home is a completely different deal, and the latter might not evolve from the former—they might have separate development paths. I think the different branches of cellular agriculture are developing the same way.
Level 0: Just Be Vegan
Some plants are very high in protein, like beans, and they taste great just the way they are.
Level 1: Go Alternative
As a vegan, I ate a lot of processed plant-based proteins like tofu that feel fleshy and taste savory. I call these Level 1 meat alternatives. Many vegan Chinese restaurants serve "fake meat," which is usually some sort of seitan, a wheat gluten, or textured vegetable protein like textured soy. It's flavored and has a texture similar to some sort of animal protein, say, shrimp. This kind of protein substitute is a meat alternative—a plant-based protein that starts to mimic the experience of eating meat. Veggie burgers fall into this category.
Level 2: Get Cultured
These meat alternatives are also plant-based, but they contain some "cultured" proteins that are produced using a new scientific process. Yeast or bacteria are engineered to ferment some plant substances and output products that mimic or even replicate the proteins that make a plant-based recipe taste, smell, look or feel more like meat. Impossible Foods' Impossible Burger falls into this category because its key ingredient is a protein called heme that is produced by genetically engineered yeast. Heme imparts "bloodiness" and "meatiness" to the plant-based burger-like base. This process relies on the industrial biotechnology and large-scale fermentation systems that are already used in the food industry. JUST's Just Scramble "scrambled eggs" uses a proprietary process to create a plant-based protein as well, combining processes used in the pharmaceutical business, food R&D labs, and chemistry labs.
Level 3: Post-Vegan
Foods at this level are made of plant-based ingredients combined with cultured animal cells (as opposed to the products of bacterial fermentation). In other words, cells as ingredient, plants for mass. The animal cells provide the color, smell, or taste of meat, but not the substance. This relies on industrial biotech and large-scale cell-culture production methods already used in the pharma industry. Level 3 is the first level that requires going beyond the tools and the science already available in the food business.
Level 4: That's a Spicy Meatball
Level 4 alternatives are pure cultured animal cells like the products Memphis Meats and others are working on. The texture and shape of a real steak comes from the muscle cells that grow around the bones and otherwise self-organize into bundles of tissue. At Level 4, we aren't really dealing with sophisticated texture yet, so we're pretty much turning the cells we've grown into meatballs. (The difference between this and Level 3 is that most of the mass of the food here is animal cells, whereas Level 3 is mostly plant-based with cells sprinkled on top.)
Right now, the primary "media" for cell cultures is fetal serum (the most common type is harvested from cow fetuses), and it currently takes roughly 50 liters of serum and costs about $6,000 to produce a single beef burger. A key breakthrough needed to push us into Level 4 reasonably is figuring out a viable way of feeding cells using non-animal sources of energy. This will involve new science on the cell side and on the media side. And we need to better understand and reproduce nutrients and flavor molecules in addition to producing pure calories.
Level 5: Tastes Like Chicken
Now we get something actually like a chicken thigh or T-bone steak. This is the Jetsons' version that people imagine when they hear the phrase "lab-grown meat." It is very much the goal of the alternative meat effort, and no one has achieved it yet. Scientifically, this requires the kind of advanced tissue science that is currently being developed to allow us to swap failed organs in our bodies with replacements grown outside of our bodies.
A beaker full of animal cells doesn't give you the texture of a steak; with this technology, scientists can use 3-D scaffolding to encourage 3-D growth, and they can grow blood vessels in these tissues as well. We can even use plant-based materials as the scaffolding, but what we really want is for that scaffolding to also grow, which is how organs in our body grow. It turns out that research in regenerative medicine and tissue science is giving us a better understanding of how we might create the texture and scaffolding required to grow an actual kidney instead of just a petri dish full of kidney cells. Scientists have not really focused however, on the idea of deploying tissue science for food ... yet.
Level 6: ZOMG What Is This?
Tasty fake meat is exciting, but not nearly as exciting as the idea of a completely new food system with a diversity of inputs and completely new outputs—a completely new food science. Imagine augmented meat tissue with novel nutritional profiles, texture, flavor and other characteristics—in other words, instead of just trying to recreate meat, scientists develop completely new ingredients that are actually "post-meat."
Let me explain what investors and I find so exciting about all this activity. My dream, and Isha's dream, is that we figure out a way to make use of extremely efficient "energy harvesters" like algae, kelp, fungi, or anything else that can take a renewable energy source like the sun and convert it into calories. The idea is to figure out a mechanism to convert these organic stores of energy into inputs for bioreactors, which would then transform these calories into anything we want.
Scientists have made so many advances in terms of using microbes as factories (including fermentation) as well as in genomics, tissue engineering, and stem cells, that it's feasible to imagine a system that unleashes a culinary bonanza of nutritional, flavor and texture options for future chefs while also lowering the environmental impact of belching cows, concentrated animal-feeding operations, and expensive and energy-inefficient refrigerated supply chains. (The livestock industry uses 70 percent of all land suitable for agriculture, and livestock accounts for as much as 51 percent of greenhouse gas emissions.) Eating meat is one of the most environmentally negative things humans do. I can imagine a food supply system that is even more efficient than eating fresh plants, which still requires refrigeration: Move the materials and calories around in shelf-stable forms, and simply "just add water" at the end in the way that adding water magically spawned sea monkeys when I was a kid.
Such a food industry would also need to develop bioreactors—think bread machines with cell cartridges or breweries that make meat, not beer—that would intake the raw materials and spit out lamb chops. That feels like an engineering task to be undertaken once the cellular biology gets worked out.
So far, most of the investment in the companies trying to rethink meat has come from venture capitalists, and they are impatient. This puts the startups they underwrite under pressure to get products to market quickly and generate financial returns, and makes it highly unlikely that we'll get to Level 4 or 5 with VC-backed science alone. Basic research funding from philanthropy and government needs to be increased, and biomedical researchers need to be convinced to apply their expertise and knowledge to cellular agriculture.
And, indeed, many labs that Isha is working with are working on the basic research. Some are focused on establishing cell cultures from agricultural animals; others are working to grow animals cells on plants by removing cells from the plants, replacing them with living muscle cells effectively using the plant as a scaffolding.
The work of Isha's small network of scientists reminds me of the early days of neuroscience, when there was almost no federal funding for brain research. Then, suddenly, it became "a thing." I think we're reaching that same moment for meat, as climate change becomes an ever more pressing concern; the health impact of eating meat becomes more clear; and our population approaches 10 billion people, threatening our food supply.
Most of the people currently supporting the cellular agriculture movement are animal rights advocates. That's a fine motivation, but figuring out a completely new design for the creation of food is going to take some real science, and we need to start now. Not only might it save us from future starvation, make a major contribution to reversing climate change, correct the antibiotic resistance armageddon, and help restore fish populations in the oceans, it might also unlock a culinary creative explosion.
1 Disclosure: After meeting Isha, I recruited her to be a Director's Fellow at the Media Lab where she is inspiring us with her work and her vision.
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This ring was designed as a 21st birthday present for Rosie. She wanted a peridot, her birthstone, and really liked the shape of the pear cut stones. We came up with a simple 9ct white gold ring with a straight 2mm wide band and a 8x5mm pear cut peridot in a claw setting. The band has a D shaped profile with the depth increasing slightly up to the stone.
A pair of bespoke sterling silver friendship rings.


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This information was printed from: www.cebc4cw.org/program/adolescent-parenting-program-app/
Adolescent Parenting Program (APP)
Teen Pregnancy Services
3 — Promising Research Evidence
Target Population: First-time pregnant and parenting youth aged 12 to 19 years old, and who must be enrolled in school or a GED-completion program and their children ages birth to 5 years old.
For children/adolescents ages: 0 – 5
For parents/caregivers of children ages: 0 – 5
APP provides support to first-time pregnant and parenting teens through intensive home visiting and peer group education. Each APP serves a caseload of 15-25 teens that may enter the program at any time during their pregnancy or after their child's birth. Participants in the program receive monthly home visits using either the Partners for a Healthy Baby or Parents as Teachers home-visiting curriculum, along with 24 hours of prescriptive group education with their peers. Supporting adolescent parents to prevent a repeat pregnancy, complete their high school education, acquire job skills, and improve their parenting skills helps them become self-sufficient and better able to support themselves and their families. It also establishes a strong, stable foundation upon which their child will be raised. By investing in teen parents today, APP strives to protect the future of two generations - the young parents themselves and their babies.
The goals of the Adolescent Parenting Program (APP) include:
Increase the self-sufficiency outcomes for APP participants by:
Increasing the delay of a subsequent pregnancy
Increasing graduation from high school with diploma or completion of GED
Increasing successful transition to adulthood including enrollment in post-secondary education, vocational training, or employment at a livable wage, and living in safe and stable housing after graduation from APP
Improve developmental outcomes for the children of APP participants by:
Increasing healthy births
Increasing incidence of appropriate discipline, of nurturing behavior, and of children who are well-cared for
Increasing age-appropriate physical, emotional, cognitive, and social development, including readiness for school success.
These goals are evaluated using the following outcome objectives:
Less than 3% of APP participants will experience a subsequent pregnancy while participating in APP.
Less than 5% of APP participants will drop out of school.
More than 65% of APP participants will plan to enroll in post-secondary education or training.
The essential components of the Adolescent Parenting Program (APP) consist of:
Home visiting services, using either the Parents as Teachers or Partners for a Healthy Baby curriculum.
Minimum of 1 monthly contact for at least one hour
Four of these twelve contacts must take place in the teen's home
Case management services to each participant through individualized goal planning
Peer group education sessions
Minimum of 24 hours of annual peer group education
Sessions organized based on a structured logic model
Sessions with 15-25 teen participants, with smaller sessions on particular issues not affecting all participants (e.g., breastfeeding education and/or support)
Community Advisory Council (CAC), which serves as a guiding body in the implementation of APP for each local program. Meets quarterly, and consists of representatives from at least five public and private community agencies, such as local health departments, public school systems, departments of social services, mental health services, local corporations, consumers and businesses, media, and other organizations that serve youth.
Child/Adolescent Services
Adolescent Parenting Program (APP)	directly provides services to children/adolescents and addresses the following:
Risk for delayed school readiness among the children of teen parents and risk for child maltreatment among teen parents
Adolescent Parenting Program (APP)	directly provides services to parents/caregivers and addresses the following:
First-time pregnant teen or teen parent
Risk of repeat teen pregnancy
Risk of dropping out of school
Risk of living in poverty
Risk of unhealthy relationships
Incidence of sexual abuse among pregnant/parenting teen girls
Risk for future IPV or domestic violence
Risk for reproductive coercion
Risk for child maltreatment among teen parents
Inappropriate parental expectations
Lack of empathy for children's needs
Reliance on corporal punishment for discipline
Oppression of children's independence
Services Involve Family/Support Structures:
This program involves the family or other support systems in the individual's treatment: Families and other support systems are involved in the teen's direct services at both home visits and group education sessions. For example, the father or mother of the participant's child may participate in home visits, or attend peer group education sessions. The participant's parents or guardians may also be involved in direct service encounters, as well as with any legal issues the teen may encounter (i.e., child custody).
At least one 60-minute contact per month. At least four of these twelve sessions must take place in the home.
Duration of the program varies by participant. Graduation from high school is the "end point" of the program. Depending on the age of the participant when s/he enters the program, duration could be anywhere from 6 months to five or more years.
Community Agency
Each APP has at least one full-time coordinator to provide home visiting services and facilitate peer group education sessions. If the coordinator's caseload exceeds 20 participants, it is recommended that an assistant coordinator be hired. For every 5 participants in the program beyond a caseload of 20, 10 additional hours of staff time are recommended to appropriately implement APP. Coordinators need adequate space to conduct peer group education sessions, either at their agency our through in-kind resources. Transportation issues are often reported by coordinators serving rural populations, and coordinators should consider renting passenger vans or subcontracting with a transportation provider to get participants to and from peer group education sessions. Coordinators also need their own means of transportation to conduct monthly home visits with participants.
Service providers must have a demonstrated history of working with at-risk youth and be trained in either the Partners for a Healthy Baby or Parents as Teachers home visiting curriculum. Staff must also complete at least 18 hours of professional development training annually, aimed at improving program outcomes.
There is a manual that describes how to implement this program ; but	there is not training available for this program.
There are no pre-implementation materials to measure organizational or provider readiness for Adolescent Parenting Program (APP).
There is no formal support available for implementation of Adolescent Parenting Program (APP).
There are no fidelity measures for Adolescent Parenting Program (APP).
There are implementation guides or manuals for Adolescent Parenting Program (APP)	as listed below:
The APP Manual covers all components of program implementation including: Staffing, fidelity to the home visiting models, process and outcome evaluation, community collaborations, and budget. It is available at http://www.teenpregnancy.ncdhhs.gov/docs/app/APP-PolicyManual-July2012.pdf.
Research has not been conducted on how to implement Adolescent Parenting Program (APP).
Sangalang, B. B., & Rounds, K. (2006). Differences in health behaviors and parenting knowledge between pregnant adolescents and parenting adolescents. Social Work in Health Care, 42(2), 1-22.
Type of Study: One group pretest-posttest
Age — 12-18 years
Race/Ethnicity — 65% Black, 26% White, and 9% Native American, Asian American, or other racial and ethnic groups
Gender — 100% female
Status — Participants were pregnant and parenting adolescent mothers.
Location/Institution: North Carolina
This article examined substance use, contraceptive behavior, and parenting knowledge among first-time pregnant and parenting adolescents enrolled in the Adolescent Parenting Program. Measures utilized include the Adult-Adolescent Parenting Inventory (AAPI-2) and the Knowledge of Infant Development Inventory (KIDI). Results indicated that after one year of program participation, pre- and post-test comparisons indicated improvements in contraception use and parenting knowledge, and increases in reported use of cigarettes, alcohol and other drugs among both groups. Adolescents who entered the program while pregnant experienced greater benefit than adolescents who entered the program already parenting. Limitations included lack of comparison group and possible bias due to self-selection into the program.
Length of postintervention follow-up: None.
Sangalang, B. B. (2006). Teenage mothers in parenting programs: Exploring welfare outcomes during early transition to parenthood. Families in Society: The Journal of Contemporary Social Services, 87(1), 105-111.
Type of Study: Nonequivalent control group design
Number of Participants: 1549
Race/Ethnicity — Control Group: 77.1% Black, 18.4% White, and 4.5% Hispanic; Comparison Group: 63% Black, 31.1% White, and 5.9% Hispanic
This article compares welfare participation and economic well-being among teenage mothers who received case management services from the North Carolina Adolescent Parenting Program (APP) with a comparison sample of teenage mothers. Information on receipt of welfare cash assistance was obtained from state databases. Results reported no significant association between APP participation and the likelihood of longer welfare dependence of more than 36 months. Limitations included non-randomization of subjects and possible selection bias.
Sangalang, B. B., Barth, R., & Painter, J. S. (2006). First birth outcomes and timing of second births: A statewide case management program for adolescent mothers. Health Social Work, 31(1), 54-63. doi:10.1093/hsw/31.1.54
Type of Study: Retrospective nonequivalent control group design
Race/Ethnicity — Program group: 70.2% Black, 23.8% White, and 5.9% Hispanic/Other; Comparison group: 48.4% Black, 42.5% White, and 9.2% Hispanic/Other
Status — Participant were pregnant and parenting adolescent mothers.
This study examines the impact of the Adolescent Parenting Program (APP) on prenatal care utilization, birthweight, gestational age, and time until second birth for a sample of first-time pregnant and parenting adolescents, compared to a sample of pregnant and parenting adolescents not enrolled in the APP program. The measure utilized was the Adequacy of Prenatal Care Utilization (APNCU) Index. The groups had similar rates of prenatal care use. Results indicate participation in APP, however, was associated with an increased likelihood of normal birth weight and full-term birth. Results also indicated adolescents ages 12 to 16 in the APP group also delayed second births significantly longer than the non-APP group. Study implications point to case management and direct services provided by social workers and health service professionals as instrumental to helping adolescent mothers achieve favorable birth outcomes and postpone subsequent births during adolescence. Limitations included the lack of randomization and possible bias due to self-selection.
Length of postintervention follow-up: Not specified.
Gruber, K. J. (2012). A comparative assessment of early adult life status of graduates of the North Carolina adolescent parenting program. Journal of Child and Adolescent Psychiatric Nursing, 25, 75-83.
Race/Ethnicity — 27 African American, 2 Hispanic, 2 White, and 4 Biracial
Location/Institution: Greensboro, North Carolina
This study examined the effectiveness of the North Carolina Adolescent Pregnancy Prevention (APP) program. Graduates of the NC AAP were compared to a sample of adolescent parent peers identified by the graduates. Measures include Parenting Sense of Competence Scale, the Parenting Opinions Questionnaire, and the Student Life Satisfaction Scale, a subset of the Multidimensional Students' Life Satisfaction Scale, the 10-item Rosenberg Self-Esteem Scale and the Young Female Parent Life Status Assessment Form. Results indicated that NC AAP graduates were on a more positive life course: greater primary responsibility for housing and utilities, greater higher education enrollment, more job stability, and greater focus on career goals. Limitations include small sample size, non-randomization of participants, and comparison group not from the same population pool.
No reference materials are currently available for Adolescent Parenting Program (APP).
Audrey Loper, MPH, MS
Agency/Affiliation: North Carolina Department of Health & Human Services
Website: www.teenpregnancy.ncdhhs.gov
Email: audrey.loper@dhhs.nc.gov
Date Research Evidence Last Reviewed by CEBC: September 2016
Date Program Content Last Reviewed by Program Staff: April 2014
Date Program Originally Loaded onto CEBC: March 2013

redpajama_set_name: RedPajamaCommonCrawl


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Kayla Serrano: More to the Story
Taylor Harrington 7/29/2021 9:37am EST
We sat down with author Kayla Serrano to discuss her new novel, Unwritten Crimes.
The story follows Arielle, an accomplished author, on a cross-country move that leads her to a small beach town in Rhode Island. Knowing no one in this new place, Arielle quickly finds herself with a stalker. What was meant to be a peaceful break has suddenly turned into a nightmare as she questions everyone around her and wonders if the stalker is a new stranger in town or someone from her past.
Kayla's writing pulls you in from the first page and has you racing to the finish, only to find yourself begging for more!
Kayla, before we get into Unwritten Crimes, I just want to know about your journey a little bit. How did you first get into writing?
Goodness, I have to say it was years ago, I was living in Texas, let's say fourth or fifth grade, maybe. My English class had a little competition of who could write the best one-page story and you'd have to get up in front of the class and share it with everyone. Well, instead of one page, I wrote eight or nine pages, which is a lot for a fourth-grader. It was a thriller, and my classmates loved it, my teacher loved it, and I really enjoyed the process. It took off from there, and ever since then, I've been writing short stories and novels. I even enjoyed writing papers for school, believe it or not. So I'd have to say it's been a long time in the making.
That's incredible. Did you go to school for writing?
Somewhat. I went to Ohio Dominican University for a while and I changed my major a lot because I was told, you know, "You're not going to be able to make a living as a writer." So I started off with communications and I loved it. I think that definitely helped me be the writer that I want to be now, but it wasn't until I went and got my master's at Tiffin University that I studied Creative Writing. That really helped shape how I write and craft my skills. I really enjoyed it.
That's very cool. How do you get into the proper headspace to write?
It definitely feels like I have to lock myself away. It's kind of strange. I am very particular and I can only write at night. I have to be completely alone, whether it's locked in a room, or all by myself in the apartment. Sometimes I wait until my boyfriend goes away for the weekend to visit his friends to write. I cannot be interrupted. I don't like it. I will stay up all night and write until the sun comes up and then I'm done until the sun sets again.
That's just when the wheels start turning.
That's where I feel most inspired. I like to focus on thrillers. My next book is going to be a supernatural, scary type of book. So I really like to get in that headspace and you know, trick myself into feeling like somebody is watching me so I'm scared. People probably think I'm crazy.
We're all a little crazy. When you're writing these books and developing these characters, do you pull from your own life?
Absolutely. In Unwritten Crimes, I pulled a lot of variety of characters traits from people I know and from myself. There are a few things in there that unless you really know me, you wouldn't know it is actually pulled from my life. I definitely have to include some of that because that's what makes it my writing, but I don't want the book to be "Oh, that's definitely this person." I don't want people to pick up on that and think I'm writing about them because that might be a little creepy, but yeah, there are definitely certain aspects of the book that I pulled from my own life.
Would you like to see Unwritten Crimes be turned into a film?
I would die if any of my books become movies! I think that would be so cool. I took a lot of screenwriting classes in college so when I'm writing, I can also see the picture. It's definitely in the back of my head, which is a struggle because sometimes I have to steer away from screenwriting and focus more on novel writing, which is entirely different.
Have you ever done screenwriting?
I have. I've written a few scripts, but I've never sent them off to anyone. I feel like my future is more in writing books than writing scripts, although if someone approaches me, I'm not going to hesitate. I would definitely do it.
Growing up, what authors were you pulled to?
Definitely JK Rowling, of course. CS Lewis, Stephen King. As a kid, Stephen King was my jam and he still is, which is why a lot of people think I'm totally weird. I was a 12-year-old reading Stephen King books. That was definitely me, and I binge-read those books like crazy. Then, you know, sprinkle in some random authors here and there because I definitely have always been interested in checking out indie authors who may have published a few books on their own.
That's really fun. What advice would you give to a young author that maybe wants to choose this as their path?
Start immediately. When I was younger, I always wanted to be a writer, but I thought I had to hit certain milestones first to actually do it. I thought I had to go to school for writing, I thought I had to do internships, I thought I had to reach out to traditional public publishing companies. You don't have to do that anymore. You don't have to take that path in 2021. You can literally do it on your own on Amazon, and that is what makes it so amazing, especially in this craft, because people always say 'I've always wanted to write, but I don't know what to do'. Well, the first step is to write, and then after that, you just kind of figure it out. There's an amazing writing community you can find on Facebook and other social media platforms that will help you figure out what your next step should be. You can weigh out your options that way. I would definitely say just start writing and don't stop.
That's such good advice for anybody that's looking to get into writing or anything creative, really. Just put your foot in the fire and go with it.
Absolutely! You can't let your fear keep you from doing it, otherwise, you'll never get it done.
Can you give us a synopsis of Unwritten Crimes?
It's about a young woman whose life starts to crumble inside and out and she makes the decision to travel halfway across the country to restart her life, take a break, while still working on her career very lightly. She meets some amazing people and she's really liking where her life is going at this point. She's found her new type of heaven if you will, but as she starts to get settled into her new home, strange occurrences start to happen. She spends the rest of the time there trying to figure what's going on, who is doing this and is also trying to save her own life because no one else is going to help her. I think it's definitely a very powerful story of reaching out to people for help if you need it, but that ultimately, you're the only one that can help you.
It's a true page-turner. The way you write is very clear and very thought-provoking. I always like to ask this question. Where do you see yourself in the next five years both in your personal and writing journeys?
I definitely want to see myself have a much bigger following. I want to have a few more books come out. I already have two ideas that are in the works right now, so I'm super excited about that. Quite frankly, from the people who have read Unwritten Crimes so far, they're hoping there's a sequel.
That would be amazing! I'm dying to know what happens next! Everybody really needs to check out Unwritten Crimes! How can people find the novel?
It is currently on Amazon and Barnes and Noble in paperback, and the ebook just launched yesterday. I'm super excited. Hopefully, it'll be coming to iTunes soon, too.
Congratulations to you! How can people follow you personally to know when you're putting out new work?
I have Instagram at @KaylaSerranoBooks, and then of course FaceBook and Twitter. I do have an author page coming out soon, too.
Listen to the interview here and everywhere podcasts are available!:
Originally from Edison, New Jersey, Taylor won the 2005 "Middlesex County Caring Award", and hasn't stopped caring since. When she is not writing or hosting More to the Story, Taylor can be found chasing her two mutts around Athens, Ohio where she currently resides with her husband. Moving to Appalachia has made a huge impact on her life, and she can't wait to share some of her stories, laughs, and (mis)adventures with you!
*25% of all income made by Confessional Magazine via donations and elsewhere goes directly towards Felicia Merritt's journey with Multiple Sclerosis. Support the Magazine: https://paypal.com/ConfessionalMagazine
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Home » Topic: community
Films about community
Recently AddedBy TitleBy Popularity
Do Not Resist
Craig Atkinson2017
Do Not Resist documents, from the perspective of the police, their view of the social unrest following the shooting and killing of Michael Brown by police in Ferguson, 2014, against a backdrop of the routine and escalating use of military tactics and high-powered weaponry by local police forces throughout the United States in the past two decades. Military equipment deployed throughout the Middle East returns home to be used against the citizenry. Local police recruitment and training is awash in military commandments backed by views of escalating 'righteous' violence and sadism. Meanwhile curfews are imposed, along with frivolous drug raids and incessant racial profiling. The voices of concerned citizens ignored. What is the cultural and technological trajectory here?
How to Let Go of The World
Josh Fox2016
How to Let Go of the World and Love All the Things Climate Can't Change travels the globe, from New York City to the Marshall Islands and China, to meet with people who are committed to reversing the tide of global warming. The film examines the intricately woven forces that threaten the stability of the climate and the lives of the world's inhabitants.
The Age of Loneliness
Sue Bourne2016
The premise of The Age of Loneliness is of how our communities and indeed lives have been completely subsumed by capitalism, leaving us alone in tiny units, solitary. Screen culture and technology is often blamed, but this is more an extension of a larger problem. The Age of Loneliness is exacerbated by this culture making us feel like we have no purpose. How many of us know our neighbours? How many of us even know the land where we live? How has this been destroyed, usurped? What of the nuclear family? With single parents in numbers like never before and families spanning across the globe, all of this poses much larger questions about paternity and the dominant model of relationships. Consumerism and commodification also plays a central role—make note of the screens, computers, TVs and dating websites in the life of the lonely. What's the common thread here? The Age of Loneliness is a film that spans generations, and can function as a call for all of us to reconnect with each other and the places we live for real. To turn away from the spectacle and instead build a better world, with purpose, meaning, friends and real community.
Kelly Nyks2016
Disobedience glances a new phase of civil disobedience movements to stop climate change by profiling some actions that are being taken throughout the world, led by regular people. Civil disobedience and direct action are at the centre of stopping the rich and powerful from destroying the planet—we actually have to stop them. Disobedience shows that profound shifts are required to deal with the climate crisis. The calling on how to act is up to you.
No Measure of Health
Jessica Hutchison2014
No Measure of Health profiles Kyle Magee, an anti-advertising activist from Melbourne, Australia, who for the past 10 years has been going out into public spaces and covering over for-profit advertising in various ways. The film is a snapshot of his latest approach, which is to black-out advertising panels in protest of the way the media system, which is funded by advertising, is dominated by for-profit interests that have taken over public spaces and discourse. Kyle's view is that real democracy requires a democratic media system, not one funded and controlled by the rich. As this film follows Kyle on a regular day of action, he reflects on fatherhood, democracy, what drives the protest, and his struggle with depression, as we learn that "it is no measure of health to be well adjusted to a profoundly sick society."
American Commune
Nadine Mundo, Rena Mundo Croshere2013
In 1970, 1,500 hippies and their spiritual guru Stephen Gaskin founded a commune in rural Tennessee, United States. Members gave over their life savings, grew their own food, delivered their babies at home and built a self-sufficient society. Raised in this alternative community by a Jewish mother from Beverly Hills and a Puerto Rican father from the Bronx, filmmakers and sisters Rena and Nadine return for the first time since leaving in 1985. As well as facing their past after years of hiding their upbringing, they chart the rise and fall of America's largest utopian socialist experiment and their own family tree. The nascent idealism of a community destroyed, in part, by its own idealism is reflected in the personal story of a family split apart by differences. American Commune finds inspiration in failure, humour, and most surprisingly, that community values are alive and well in the next generation.
Jehane Noujaim2013
The Square follows the anti-government protest movement in Egypt through the eyes of six very different activists, starting in Tahrir Square in 2011, up until the 2013 coup d'état. The film follows the activists on a life-changing journey through the euphoria of victory into the uncertainties and dangers of the current military rule, where everything they fought for is now under threat or teetering in the balance. The Square becomes an immersive experience, transporting the viewer into the intense emotional drama and personal stories behind the revolts. It is an inspirational account of people asserting their rights, struggling against multiple forces—from a brutal army dictatorship willing to crush protesters with military tanks, to a corrupt Muslim Brotherhood using mosques to manipulate voters; a struggle unfinished, unfolding.
Grasp the Nettle
Dean Puckett2013
Two years before the Occupy movement sprang forth in New York, a small group of land-rights activists occupied a piece of disused land in west London to create an "alternative model of moneyless, sustainable living" which they labelled, the Eco-Village. Echoing the dynamics of hippy communes in the United States decades earlier, Grasp the Nettle follows the often bewildering and even amusing actions of this group through many moments of idyllic beauty, as they use local trees and recycled rubbish to build small homes, go dumpster diving, build a manually operated shower and compost toilet, create a local seed bank, and help distribute dumpstered sandwiches to the city's homeless. But the Eco-Village quickly becomes something other than just an idealistic experiment in political protest. It begins to attract vulnerable people who already live on the margins of society and need help: the homeless, the unemployed, alcoholics, the mentally ill. Some of them are invited to stay, but others cause a ruckus and harm the group. Tensions spark as the community grapples to deal with the increasing chaos while trying to stave off the fast-approaching prospect of eviction, through the ideologies of withdrawal, dropping out, freemanism and spirtuality. Grasp the Nettle is hence a valuable reflection of the efficacy of this type of Wandervogel-style activism, where lack of goals and support infrastructure, a diverse array of internal conflicts and horizontal hostility can be the ultimate undoing of idealistic and much-needed political resistance movements.
My Public Space
Pilar Hailé-Damato2011
My Public Space is a short film following a local artist in New York City, documenting the effort to reformat the visual pollution of advertising into public artwork spaces…
Christopher Patz2011
In the wake of giant speculative property bubbles and high unemployment, ordinary people are occupying empty buildings in urban areas and turning them into free, open and public space. Communities thrive alongside music and art collectives, concerts, food co-operatives and community gardens. One also finds construction workshops, child care, language classes, political talks and even legal advice on social and economic rights. Okupación focuses in on such community spaces in Madrid, Spain; and follows the fight to keep such spaces alive and open.
Peter Cohn2010
With economic collapse besieging the United States, domestic violence statistics show a sharp increase in violence against women. States are closing shelters and cutting support programs, and the culture ignores domestic violence, except when celebrities are involved on TV. In the meantime, more spouses have been killed by their partners in the past several years than soldiers have been killed in Iraq. Power and Control addresses this life and death issue during a time of urgent crisis, a timely and comprehensive exploration of physical and emotional abuse in dominant culture, as refracted through the story of Kim Mosher, a mother of three who has recently left her abusive husband. As Kim and her fragile daughters take up residence in a domestic violence shelter, the film follows the harrowing struggles in a single-parenting survivor's quest to find work, housing and peace of mind. We also meet Kim's husband, Josh, himself a survivor of abuse. His attempts to explain his behaviour are troubling—shocking in the context of the story's final twist. The multi-level narrative also examines the root causes of domestic violence and the solutions that have evolved to stop it, celebrating the battered women's movement activists who demanded revolutionary change in the 1980s, and examining alternative approaches now being advocated.
David Bollier, Jeremy Earp, Sut Jhally2010
For more than three decades, transnational corporations have been busy buying up what used to be thought of and known as unbuyable—forests, oceans, public broadcast airwaves, important intellectual and cultural works. Before their commodification, these commons were recognised as things in common to all people, for the benefit of all people. In This Land is Our Land, author David Bollier confronts the free-market extremism of our age to show how commercial interests have been undermining the public interest for years, and how it's become so normalised that we don't even notice it anymore. By revealing the commons within the tradition of community engagement and the free exchange of ideas and information, This Land is Our Land shows how a bold new international movement is trying to reclaim the commons for the public good by modelling practical alternatives to the restrictive monopoly powers of corporate elites.
Frank Gapinski, Geoff Lawton, Jane Gapinski2009
Introduction To Permaculture provides an overview of some practical examples of permaculture design, while following the interwoven themes of ethics, community, planning and ecology. The film follows Geoff Lawton who is a permaculture consultant, designer and teacher in Australia and throughout the world, demonstrating some of the possibilities of permaculture design and how it can transform the way we eat and live…
The Gruen Effect
Anette Baldauf, Katharina Weingartner2009
The Gruen Effect is a biographical film of Victor Gruen, considered by some to be the grand architect of the modern shopping mall and pedestrian zone. His ideas about urban planning have led to cities that serve the new gods of consumption, developing concepts that have reshaped the modern world. But in perhaps the ultimate of ironies, a naïve Gruen initially envisioned shopping centres as utopian communal spaces that would bring people together. However, developers took these ideas to brood the emergence of suburbia and the new era of consumption that would come to define the post-war world. Viewed with a critical eye, and tracing the path from Gruen's prewar Vienna, to the 1950s America, and back to Europe in 1968, The Gruen Effect can show the themes and translation errors that have come to define intensely colonising urban life, along with a disappointed Gruen appalled at the impact shopping centres have on communities.
Scott Kennedy2008
The Garden tells the story of South Central Farm — a 14 acre community garden and urban farm located in Los Angeles, California, which was in operation between 1994 and 2006. The entire lot is evicted and demolished against overwhelming local support for the farm and also despite the community raising an incredible amount of money to purchase the land from the owner. The owner refuses to sell and the land is demolished and still sits vacant, unused…
The Power of Community: How Cuba Survived Peak Oil
Eugene Murphy, Faith Morgan, Megan Quinn2006
With the fall of the Soviet Union in 1990, Cuba's economy collapsed. Imports of oil were cut by more than half and food by 80 percent. The Power Of Community tells of the hardships and struggles as well as the response during the collapse, explaining how the country transitioned from a highly mechanised, industrial agricultural system to one using organic methods of farming and local, urban gardens…
addictionadvertisingagricultureal-Qaedaanimalsapartheidartificial intelligenceasylumautomationbail-outbankingbehaviourbiomassbiometricsbiotechnologybrainscancercapitalismcelebrity culturecensorshipchemical weaponschildrenCIAcivilisationclimateCOINTELPROcolonisationcoltancommercial fishingcommodificationcommonscommunitycomputersconspiracyconsumerismcopyrightcorporate crimescorporationscorruptioncover-upcovert operationsculture jammingdamsdatabasesdata miningdebtdirect actionDNAdomestic violencedominant culturedronesdrugse-wasteeconomicseducationelectionsenergyenvironmenteugenicsextinctionfacebookfactory farmingfair tradefalse flagfinancial crisisfoodfrackingfreedom of informationgarbagegasgendergenetically modifiedgeneticsgenocideglobalisationgooglegovernmentsguantánamohacker culturehealthhistoryhouseshuman experimentshuman traffickingidentityIMFindigenousintelligence agenciesinternetinternet censorshipiran-contralearninglegal systemloggingmanipulationmanufacturingmass medicationmediamemorymicrochip implantmilitarymilitary industrial complexminingMKULTRAmoneymonsantomythsnanotechnologyNATOnatureneuroscienceNSAnuclearoccupationoceansoilpatentspermacultureplanned obsolescenceplasticpolicepolitickpollutionpopulationpornographypovertyprisonprivacyprivatisationpropagandaprostitutionprotestpsychologypublic spaceracismrape culturerefugeereligionresistancerightsrobotsschoolsciencescreen culturesecret projectssexsimulacraslave laboursocial controlspyingstrategysuburbiasurveillancetacticstar sandstaserstaxtechnologytelevisionterrorismthe project for the new american centurythe spectacletorturetoxinstrackingtranshumanismtransporturaniumvaccinesviolencewarwar crimeswar on drugswar on terrorwaterweaponswhistleblowingwikileakswiretappingwomenworkersworld bankWTO
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text:
Leon Trotsky's
in Our Epoch
Written: 18 June 1938.
First Published: Partisan Review.
Source: Fourth International, March–April 1950, Vol. 11 No. 2, pp. 61–64.
Transcription/HTML Markup: David Walters.
Copyleft: Leon Trotsky Internet Archive (www.marxists.org) 2003. Permission is granted to copy and/or distribute this document under the terms of the GNU Free Documentation License.
Ed. Note: The following letter by Leon Trotsky appeared in one of the early issues of Partisan Review in 1938 under the editorship of Dwight MacDonald. Trotsky's hope that this magazine would "take its place in the victorious army of socialism" was not borne out by its subsequent evolution, as his second letter indicates.
The disillusioned intellectuals on Partisan Review proceeded from "re-evaluations" of Marxism and rejections of Bolshevism to a sterile preoccupation with problems of pure esthetics and literary techniques detached from their social roots along with an adaptation to the standpoint of liberal supporters of imperialist policies. In the process MacDonald separated himself from his associate editors and launched a new magazine Politics which, after wallowing helplessly in political, cultural and esthetic disorientation, recently folded up.
Since 1938 Diego Rivera has made his peace with Stalinism, a step which has improved neither his art nor his politics.
Despite the reconversions of these intellectuals to capitalism and Stalinism, the two great incarnations of reaction in our time, Trotsky's remarks on the relations of art and politics retain their validity and urgency. More than ever today "the function of art is determined by its relation to the revolution."
You have been kind enough to invite me to express my views on the state of present-day arts and letters. I do this not without some hesitation. Since my book Literature and Revolution (1923), I have not once returned to the problem of artistic creation and only occasionally have I been able to follow the latest developments in this sphere. I am far from pretending to offer an exhaustive reply. The task of this letter is to correctly pose the question.
Generally speaking, art is an expression of man's need for an harmonious and complete life, that is to say, his need for those major benefits of which a society of classes has deprived him. That is why a protest against reality, either conscious or unconscious, active or passive, optimistic or pessimistic, always forms part of a really creative piece of work. Every new tendency in art has begun with rebellion. Bourgeois society showed its strength throughout long periods of history in the fact that, combining repression, and encouragement, boycott and flattery, it was able to control and assimilate every "rebel" movement in art and raise it to the level of official "recognition." But each time this "recognition" betokened, when all is said and done, the approach of trouble. It was then that from the left wing of the academic school or below it – i.e. from the ranks of new generation of bohemian artists – a fresher revolt would surge up to attain in its turn, after a decent interval, the steps of the academy. Through these stages passed classicism, romanticism, realism, naturalism, symbolism, impressionism, cubism, futurism ... Nevertheless, the union of art and the bourgeoisie remained stable, even if not happy, only so long as the bourgeoisie itself took the initiative and was capable of maintaining a regime both politically and morally "democratic." This was a question of not only giving free rein to artists and playing up to them in every possible way, but also of granting special privileges to the top layer of the working class, and of mastering and subduing the bureaucracy of the unions and workers' parties. All these phenomena exist in the same historical plane.
Decay of Capitalist Society
The decline of bourgeois society means an intolerable exacerbation of social contradictions, which are transformed inevitably into personal contradictions, calling forth an ever more burning need for a liberating art. Furthermore, a declining capitalism already finds itself completely incapable of offering the minimum conditions for the development of tendencies in art which correspond, however little, to our epoch. It fears superstitiously every new word, for it is no longer a matter of corrections and reforms for capitalism but of life and death. The oppressed masses live their own life. Bohemianism offers too limited a social base. Hence new tendencies take on a more and more violent character, alternating between hope and despair. The artistic schools of the last few decades – cubism, futurism, dadaism, surrealism – follow each other without reaching a complete development. Art, which is the most complex part of culture, the most sensitive and at the same time the least protected, suffers most from the decline and decay of bourgeois society.
To find a solution to this impasse through art itself is impossible. It is a crisis which concerns all culture, beginning at its economic base and ending in the highest spheres of ideology. Art can neither escape the crisis nor partition itself off. Art cannot save itself. It will rot away inevitably – as Grecian art rotted beneath the ruins of a culture founded on slavery – unless present-day society is able to rebuild itself. This task is essentially revolutionary in character. For these reasons the function of art in our epoch is determined by its relation to the revolution.
But precisely in this path history has set a formidable snare for the artist. A whole generation of "leftist" intelligentsia has turned its eyes for the last ten or fifteen years to the East and has bound its lot, in varying degrees, to a victorious revolution, if not to a revolutionary proletariat. Now, this is by no means one and the same thing. In the victorious revolution there is not only the revolution, but there is also the new privileged class which raises itself on the shoulders of the revolution. In reality, the "leftist" intelligentsia has tried to change masters. What has it gained?
The October revolution gave a magnificent impetus to all types of Soviet art. The bureaucratic reaction, on the contrary, has stifled artistic creation with a totalitarian hand. Nothing surprising here! Art is basically a function of the nerves and demands complete sincerity. Even the art of the court of absolute monarchies was based on idealization but not on falsification. The official art of the Soviet Union – and there is no other over there – resembles totalitarian justice, that is to say, it is based on lies and deceit. The goal of justice, as of art, is to exalt the "leader," to fabricate an heroic myth. Human history has never seen anything to equal this in scope and impudence. A few examples will not be superfluous.
The well known Soviet writer, Vsevolod Ivanov, recently broke his silence to proclaim eagerly his solidarity with the justice of Vyshinsky. The general extermination of the old Bolsheviks, "those putrid emanations of capitalism," stimulates in the artists a "creative hatred" in Ivanov's words. Romantic, cautious by nature, lyrical, none too outspoken, Ivanov recalls Gorki, in many ways, but in miniature. Not a prostitute by nature, he preferred to remain quiet as long as possible but the time came when silence meant civil and perhaps physical annihilation. It is not a "creative hatred" that guides the pen of these writers but paralyzing fear.
Alexis Tolstoy, who has finally permitted the courtesan to master the artist, has written a novel expressly to glorify the military exploits of Stalin and Voroshilov at Tsaritsin. In reality, as impartial documents bear witness, the army of Tsaritsin – one of the two dozen armies of the revolution – played a rather sorry role. The two "heroes" were lieved of their posts. [1] If the honest and simple Chapayev, one of the real heroes of the civil war is glorified in a Soviet film, it is only because he did not live until the "epoch of Stalin" which would have shot him as a Fascist agent. The same Alexis Tolstoy is now writing a drama on the theme of the year 1919: The Campaign of the Fourteen Powers. The principal heroes of this piece, according to the words of the author, are "Lenin, Stalin and Voroshilov. Their images [of Stalin and Voroshilov!] haloed in glory and heroism, will pervade the whole drama." Thus, a talented writer who bears the name of the greatest and most truthful Russian realist, has become a manufacturer of "myths" to order!
Very recently, the 27th of April of this year, the official government paper Izvestia, printed a reproduction of a new painting representing Stalin as the organizer of the Tiflis strike in March 1902. However, it appears from documents long known to the public, that Stalin was in prison at that time and besides not in Tiflis but in Batum. This time the lie was too glaring! Izvestia was forced to excuse itself the next day for its deplorable blunder. No one knows what happened to the unfortunate picture, which was paid for from State funds.
Dozens, hundreds, thousands of books, films, canvases, sculptures immortalize and glorify such historic "episodes." Thus the numerous pictures devoted to the October revolution do not fail to represent a revolutionary "Center," with Stalin at its head, which never existed. It is necessary to say a few words concerning the gradual preparation of this falsification. Leonid Serebriakov, shot after the Piatakov-Radek trial, drew my attention in 1924 to the publication in Pravda, without explanation, of extracts from the minutes of the Central Committee of the latter part of 1917. An old secretary of the Central Committee, Serebriakov had numerous contacts behind the scenes with the party apparatus, and he knew enough the object of this unexpected publication: it was the first step, still a cautious one, towards the principal Stalinist myth, which now occupies so great a place in Soviet art.
The Mythical "Center"
From an historical distance the October insurrection seem much more planned and monolithic than what it proved to be in reality. In fact, there were lacking neither vacillations, search for solutions, nor impulsive beginnings which led nowhere. Thus, at the meeting of the Central Committee on the 16th of October, improvised in one night, in the presence of the most active leaders of the Petrograd Soviets, it was decided to round out the general-staff of the insurrection with an auxiliary "Center" created by the party and composed of Sverdlov, Stalin, Bubnov, Uritzky and Djerjinsky. At the very same time at the meeting of the Petrograd Soviet, a Revolutionary Military Committee was formed which from the moment of its appearance did so much work towards the preparation of the insurrection that the "Center," appointed the night before, was forgotten by everybody, even by its own members. There were more than a few of such improvisations in the whirlwind of this period. [2] Stalin never belonged to the Military Revolutionary Committee, did not appear at Smolny, staff headuarters of the revolution, had nothing to do with the practical preparation of the insurrection, but was to be found editing Pravda and writing drab articles, which were very little read. During the following years nobody once mentioned the "Practical Center." In memoirs of participants in the insurrection – and there is no shortage of these – the name of Stalin is not once mentioned. Stalin himself, in an article on the anniversary of the October insuriection, in the Pravda of November 7, 1918, describing all the groups and individuals who took part in the insurrection, does not say a word about the "Practical Center." Nevertheless, the old minutes, discovered by chance in 1924 and falsely interpreted, have served as a base for the bureaucratic legend. In every compilation, bibliographical guide, even in recently edited school books, the revolutionary "Center" has a prominent place with Stalin, at its head. Furthermore, no one has tried, not even out of a sense of decency, to explain where and how this "Center" established its headquarters, to whom it gave orders and what they were, and whether minutes were taken where they are. We have here all the features of the Moscow trials. [3]
With the docility which distinguishes it, Soviet art so-called, has made this bureaucratic myth into one of its favorite subjects for artistic creation. Sverdlov, Djerjinsky, Uritsky and Bubnov are represented in oils or in tempera, seated or standing around Stalin and following his words with rapt attention. The building where the "Center" has headquarters, is intentionally depicted in a vague fashion, in order to avoid the embarrassing question of the address. What can one hope for or demand of artists who are forced to follow with their brushes the crude lines of what they themselves realize is an historical falsification?
The style of present-day official Soviet painting is called "socialist realism." The name itself has evidently been invented by some high functionary in the department of the arts. This "realism" consists in the imitation of provincial daguerreotypes of the third quarter of the last century; the "socialist" character apparently consists in representing, in the manner of pretentious photography, events which never took place. It is impossible to read Soviet verse and prose without physical disgust, mixed with horror, or to look at reproductions of paintings and sculpture in which functionaries armed with pens, brushes, and scissors, under the supervision of functionaries armed with Mausers, glorify the "great" and "brilliant" leaders, actually devoid of the least spark of genius or greatness. The art of the Stalinist period will remain as the frankest expression of the profound decline of the proletarian revolution.
This state of things is not confined, however, within the frontiers of the USSR. Under the guise of a belated recognition of the October revolution, the "left" wing of the western intelligentsia has fallen on its knees before the Soviet bureaucracy. As a rule, those artists with some character and talent have kept aloof. But the appearance in the first ranks, of the failures, careerists and nobodys is all the more unfortunate. A rash of Centers and Committees of all sorts has broken out, of secretaries of both sexes, inevitable letters from Romain Rolland, subsidized editions, banquets and congresses, in which it is difficult to trace the line of demarcation between art and the GPU. Despite this vast spread of activity, this militarized movement has not produced one single work that was able to outlive its author or its inspirers of the Kremlin.
Rivera and October
In the field of painting, the October revolution has found her greatest interpreter not in the USSR but in faraway Mexico, not among the official "friends," but in the person of a so-called "enemy of the people" whom the Fourth International is proud to number in its ranks. Nurtured in the artistic cultures of all peoples, all epochs, Diego Rivera has remained Mexican in the most profound fibres of his genius. But that which inspired him in these magnificent frescoes, which lifted him up above the artistic tradition, above contemporary art in a certain sense, above himself, is the mighty blast of the proletarian revolution. Without October, his power of creative penetration into the epic of work, oppression and insurrection, would never have attained such breadth and profundity. Do you wish to see with your own eyes the hidden springs of the social revolution? Look at the frescoes of Rivera. Do you wish to know what revolutionary art is like? Look at the frescoes of Rivera.
Come a little closer and you will see clearly enough, gashes and spots made by vandals: Catholics and other reactionaries, including of course, Stalinists. These cuts and gashes give even greater life to the frescoes. You have before you, not simply a "painting," an object of passive esthetic contemplation, but a living part of the class struggle. And it is at the same time a masterpiece!
Only the historical youth of a country which has not yet emerged from the stage of struggle for national independence, has allowed Rivera's revolutionary brush to be used on the walls of the public buildings of Mexico. In the United States it was more difficult. Just as the monks in the Middle Ages, through ignorance, it is true, erased antique literary productions from parchments to cover them with their scholastic ravings, just so Rockefeller's lackeys, but this time maliciously, covered the frescoes of the talented Mexican with their decorative banalities. This recent palimpsest will conclusively show future generations the fate of art degraded in a decaying bourgeois society.
The situation is no better, however, in the country of the October revolution. Incredible as it seemed at first sight, there was no place for the art of Diego Rivera, either in Moscow, or in Leningrad, or in any other section of the USSR where the bureaucracy born of the revolution was erecting grandiose palaces and monuments to itself. And how could the Kremlin clique tolerate in its kingdom an artist who paints neither icons representing the "leader" nor life-size portraits of Voroshilov's horse? The closing of the Soviet doors to Rivera will brand forever with an ineffaceable shame the totalitarian dictatorship.
Will it go on much longer – this stifling, this trampling under foot and muddying of everything on which the future of humanity depends? Reliable indications say no. The shameful and pitiable collapse of the cowardly and reactionary politics of the Popular Fronts in Spain and France, on the one hand, and the judicial frame-ups of Moscow, on the other, portend the approach of a major turning point not only in the political sphere, but also in the broader sphere of revolutionary ideology. Even the unfortunate "friends" – but evidently not the intellectual and moral shallows of The New Republic and Nation – are beginning to tire of the yoke and whip. Art, culture, politics need a new perspective. Without it humanity will not develop. But never before has the prospect been as menacing and catastrophic as now. That is the reason why panic is the dominant state of mind of the bewildered intelligentsia. Those who oppose an irresponsible skepticism to the yoke of Moscow do not weight heavy in the balance of history. Skepticism is only another form, and not the best, of demoralization. Behind the act, so popular now, of impartially keeping aloof from the Stalinist bureaucracy as well as its revolutionary adversaries, is hidden nine times out of ten a wretched prostration before the difficulties and dangers of history. Nevertheless, verbal subterfuges and petty maneuvers will be of no use. No one will be granted either pardon or respite. In the face of the era of wars and revolutions which is drawing near, everyone will have to give an answer: philosophers, poets, painters as well as simple mortals.
In the June issue of your magazine I found a curious letter from an editor of a Chicago magazine, unknown to me. Expressing (by mistake, I hope) his sympathy for your publication, he writes: "I can see no hope however [?] from the Trotskyites or other anemic splinters which have no mass base." These arrogant words tell more about the author than he perhaps wanted to say. They show above all that the laws of development of society have remained a seven times sealed book for him. Not a single progressive idea has begun with a "mass base," otherwise it would not have been a progressive idea. It is only in its last stage that the idea finds its masses – if, of course, it answers the needs of progress. All great movements have begun as "splinters" of older movements. In the beginning, Christianity was only a "splinter" of Judaism; Protestantism a "splinter" of Catholicism, that is to say decayed Christianity. The group of Marx and Engels came into existence as a "splinter" of the Hegelian Left. The Communist International germinated during the war from the "splinters" of the Social Democratic International. If these pioneers found themselves able to create a mass base, it was precisely because they did not fear isolation. They knew beforehand that the quality of their ideas would be transformed into quantity. These "splinters" did not suffer from anemia; on the contrary, they carried within themselves the germs of the great historical movements of tomorrow.
"Splinters" and Pioneers
In very much the same way, to repeat, a progressive movement occurs in art. When an artistic tendency has exhausted its creative resources, creative "splinters" separate from it, which are able to look at the world with new eyes. The more daring the pioneers show in their ideas and actions, the more bitterly they oppose themselves to established authority which rests on a conservative "mass base," the more conventional souls, skeptics, and snobs are inclined to see in the pioneers, impotent eccentrics or "anemic splinters'" But in the last analysis it is the conventional souls, skeptics and snobs who are wrong – and life passes them by.
The Thermidorian bureaucracy, to whom one cannot deny either a certain animal sense of danger or a strong instinct of self-preservation, is not at all inclined to estimate its revolutionary adversaries with such whole-hearted disdain, a disdain which is often coupled with lightness and inconsistency. In the Moscow trials, Stalin, who is not a venturesome player by nature, staked on the struggle against "Trotskyism," the fate of the Kremlin oligarchy as well as his own personal destiny. How can one explain this fact? The furious international campaign against "Trotskyism," for which a parallel in history will be difficult to find, would be absolutely inexplicable if the "splinters" were not endowed with an enormous vitality. He who does not see this today will see it better tomorrow.
As if to complete his self-portrait with one brilliant stroke, your Chicago correspondent vows – what bravery! – to meet you in a future concentration camp either fascist or "communist." A fine program! To tremble at the thought of the concentration camp is certainly not admirable. But is it much better to foredoom oneself and one's ideas to this grim hospitality? With the Bolshevik "amoralism" which is characteristic of us, we are ready to suggest that gentlemen – by no means anemic – who capitulate before the fight and without a fight really deserve nothing better than the concentration camp.
It would be a different matter if your correspondent simply said: in the sphere of literature and art we wish no supervision on the part of "Trotskyists" any more than from the Stalinists. This protest would be, in essence, absolutely just. One can only retort that to aim it at those who are termed "Trotskyists" would be to batter in an open door. The ideological base of the conflict between the Fourth and Third Internationals is the profound disagreement not only on the tasks of the party but in general on the entire material and spiritual life of mankind.
The real crisis of civilization is above all the crisis of revolutionary leadership. Stalinism is the greatest element of reaction in this crisis. Without a new flag and a new program it is impossible to create a revolutionary mass base; consequently it is impossible to rescue society from its dilemma. But a truly revolutionary party is neither able nor willing to take upon itself the task of "leading" and even less of commanding art, either before or after the conquest of power. Such a pretension could only enter the head of a bureaucracy – ignorant and impudent, intoxicated with its totalitarian power – which has become the antithesis of the proletarian revolution. Art, like science, not only does not seek orders, but by its very essence, cannot tolerate them,. Artistic creation has its laws – even when it consciously serves a social movement. Truly intellectual creation is incompatible with lies, hypocrisy and the spirit of conformity. Art can become a strong ally of revolution only in so far as it remains faithful to itself. Poets, painters, sculptors and musicians will themselves find their own approach and methods, if the struggle for freedom of oppressed classes and peoples scatters the clouds of skepticism and of pessimism which cover the horizon of mankind. The first condition of this regeneration is the overthrow of the domination of the Kremlin bureaucracy.
May your magazine take its place in the victorious army of socialism and not in a concentration camp!
Coyoacan, D.F.
A Second Letter
(The following letter was addressed to Dwight MacDonald, then editor of Partisan Review on January 29, 1938.)
Dear Mr. MacDonald:
I shall speak with you very frankly inasmuch as reservations or insincere half-praises would signify a lack of respect for you and our undertaking.
It is my general impression that the editors of Partisan Review are capable, educated and intelligent people but they have nothing to say. They seek themes which are incapable of hurting anyone but which likewise are incapable of giving anybody a thing. I have never seen or heard of a group with such a mood gaining success, i.e., winning influence and leaving some sort of trace in the history of thought.
Note that I am not at all touching upon the content of your ideas (perhaps because I cannot discern them in your magazine). "Independence" and "freedom" are two empty notions. But I am ready to grant that "independence" and "freedom" as you understand them represent some kind of actual cultural value. Excellent! But then it is necessary to defend them with sword, or at least with whip, in hand. Every new artistic or literary tendency (naturalism, symbolism, futurism, cubism, expressionism and so forth and so on) has begun with a "scandal," breaking the old respected crockery, bruising many established authorities. This flowed not at all solely from publicity seeking (although there was no lack of this). No, these people – artists, as well as literary critics – had something to say. They had friends, they had enemies, they fought, and exactly through this they demonstrated their right to exist.
So far as your publication is concerned, it wishes, in the main instance, apparently to demonstrate its respectability. You defend yourselves from the Stalinists like well-behaved young ladies whom street rowdies insult. "Why are we attacked?" you complain "we want only one thing: to live and let others live." Such a policy cannot gain success.
Of course, there are not a few disapointed "friends of the USSR" and generally dismal intellectuals who, having been burned once, fear more than anything else to become again engaged. These people will send you tepid, sympathetic letters but they will not guarantee the success of the magazine since serious success has never yet been based on political, cultural and esthetic disorientation.
I wanted to hope that this was but a temporary condition and that the publishers of Partisan Review would cease to be afraid of themselves. I must say, however, that the Symposium outlined by you is not at all capable of strengthening these hopes. You phrase the question about Marxism as if you were beginning history from a clean page. The very Symposium title itself sounds extremely pretentious and at the same time confused. The majority of the writers whom you have invited have shown by their whole past – alas! – a complete incapacity for theoretical thinking. Some of them are political corpses. How can a corpse be entrusted with deciding whether Marxism is a living force? No, I categorically refuse to participate in that kind of endeavor.
A world war is approaching. The inner political struggle in all countries tends to become transformed into civil war. Currents of the highest tension are active in all fields of culture and ideology. You evidently wish to create a small cultural monastery, guarding itself from the outside world by skepticism, agnosticism and respectability. Such an endeavor does not open up any kind of perspective.
It is entirely possible that the tone of this letter will appear to you as sharp, impermissible, and "sectarian." In my eyes this would constitute merely supplementary proof of the fact that you wish to publish a peaceful "little" magazine without participating actively in the cultural life of your epoch. If, on the contrary, you do not consider my "sectarian" tone a hindrance to a future exchange of opinion then I remain fully at your service.
1. See, for example, the article of N. Markin, Voroshilov and the Red Army in Leon Trotsky's The Stalin School of Falsification.
2. This question is fully developed in my History of the Russian Revolution in the chapter entitled Legends of the Bureaucracy.
3. For the cinematic elaboration of this mythical "Center," see page 55 of this issue.
Last updated on: 12 September 2015


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text:
Count Pompeo Litta Biumi or Pompeo Litta (Milan, 24 September 1781 - Milan, 17 August 1852) was an Italian historian, genealogist, military officer, politician, and nobleman.

Biography
The son of Count Carlo Matteo Litta Biumi and Antonia, daughter of Count Carlo Giuseppe Brentano, Pompeo belonged to one of the many branches into which the Litta family had been divided throughout its history and which only in the eighteenth century had added the surname Biumi due to the marriage of Francesco, Pompeo's grandfather, to Angela Biumi, daughter of the Marquis of Binasco. Litta's maternal grandfather had been general treasurer of the Duchy of Milan at the time of Empress Maria Theresa.

While young, he attended first the college of nobles in Milan and later studied in Como and then moved to Venice and finally to Siena. Having embarked on his diplomatic career, in 1802 he obtained his first official post at the Napoleonic Italian Republic as assistant secretary to the Consulta of State. His career came to an abrupt end, however, in 1804 when he decided to volunteer in the Grande Armée in Italy in the artillery branch, receiving public praise from the president, Francesco Melzi d'Eril, for being the first nobleman to join. For this purpose, he initially took preparatory courses in the military schools of La Fère and Strasbourg before becoming a lieutenant. From 1805 until 1809, he took part in the War of the Fifth Coalition against the Austrian Empire, in particular in the Battle of Ulm, the Battle of Austerlitz, the Battle of Raab, and in Battle of Wagram, after which he obtained a promotion to captain and the Legion of Honour on the field.

Subsequently assigned to Ancona, he was commissioned to organize the artillery corps intended to defend the coasts against the eventual intervention of the British and reported in 1814 in the defense of Ancona with the troops of Marshal Jacques MacDonald. After the dissolution of the Napoleonic army, he stayed for some time in Rome and then returned to Milan where he maintained contact with the fervent liberal environment of the Lombard metropolis, actively collaborating with Il Conciliatore and maintaining friendship and collaboration with Federico Confalonieri and Carlo Cattaneo.

After the Five Days of Milan in 1848, he was Minister of War in the provisional government of Lombardy. As an inheritance that he received from his grandfather through his mother, Litta became the owner of the Palazzo Brentano in Corbetta which he lived occasionally, especially during the summer.

In 1874, twenty-two years after his death, a monument in memory of Litta was inaugurated in the building of the Brera Academy: the statue, the work of the Milanese sculptor Francesco Barzaghi, was unveiled on 7 August during a memorial to the count.

Famiglie Celebri Italiane
The most famous work of Litta Biumi, dictated by his deep interest in history and genealogy, is  (Famous Italian Families). The work, which began in 1814 after the military campaigns alongside France, enhanced the numerous noble families of the Italian peninsula, particularly those from Milan, of which Litta Biumi himself was a representative.

Honors

See also

Ranks of the Grande Armée

References

Sources

External links

1781 births
1852 deaths
19th-century Italian historians
19th-century Italian politicians
Military personnel from Milan
Italian genealogists
Italian military people of the wars of Italian unification
Italian military personnel of the Napoleonic Wars
Nobility from Milan
Recipients of the Legion of Honour
Politicians from Milan

redpajama_set_name: RedPajamaWikipedia


text:
package org.skfiy.typhon.spi.war;

/**
 *
 * @author Kevin Zou <kevinz@skfiy.org>
 */
public class AttackEntry {

    private int lab;
    private Object val;
    private Object annex;
    private Object crit;
    private Object parry;

    public AttackEntry() {

    }

    public AttackEntry(int lab) {
        this.lab = lab;
    }

    public int getLab() {
        return lab;
    }

    public void setLab(int lab) {
        this.lab = lab;
    }

    public Object getVal() {
        return val;
    }

    public void setVal(Object val) {
        this.val = val;
    }

    public Object getAnnex() {
        return annex;
    }

    public void setAnnex(Object annex) {
        this.annex = annex;
    }

    public Object getCrit() {
        return crit;
    }

    public void setCrit(Object crit) {
        this.crit = crit;
    }

    public Object getParry() {
        return parry;
    }

    public void setParry(Object parry) {
        this.parry = parry;
    }

    //==============================================================================================
    public void crited(double c) {
        if (c > 1D) {
            crit = 1;
        }
    }

    public void parried(double p) {
        if (p > 0D) {
            parry = 1;
        }
    }
    //==============================================================================================
}

redpajama_set_name: RedPajamaGithub


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text:
Oh, Kay!
Fr 20 Oh, Kay!
Sa 21 Oh, Kay!
Su 22 Oh, Kay!
Th 26 Oh, Kay!
Gentlemen Prefer Blondes
Fr 01 Gentlemen Prefer Blondes
Su 03 Gentlemen Prefer Blondes
Babes In Arms
Fr 05 Babes In Arms
Sa 06 Babes In Arms
Su 07 Babes In Arms
Rodgers & Hart (1937)
Sun Dec 21, 1:30-4:15 pm
Music by Richard Rodgers. Lyrics by Lorenz Hart.
Book by Richard Rodgers & Lorenz Hart.
Opened April 14, 1937 at the Shubert Theatre.
Rodgers & Hart's 1937 Babes In Arms is the quintessential 'Hey, kids, let's put on a show!' musical, boasting one of the greatest scores ever written. A group of teenagers are left without adult supervision when their folks hit the vaudeville summer circuit, and the local sheriff is determined to send the loafers to a work farm. But the determined kids talk the sheriff into a two-week reprieve, just enough time to produce their own show and prove their mettle. The son of a wealthy Southerner agrees to bankroll the production but only on the condition that the two black kids not appear in the show. The other kids are outraged, but the show must go on and does, in a succession of comeuppance, reconciliation and romance. The old-fashioned virtues of a '30s musical comedy are peppered with socio-political issues which have remained resonant for more than six decades, and which later became the hallmark of Rodgers' collaboration with Hammerstein. But it's the sophisticated jocularity that make his musicals with Hart utterly unique.
There are more platinum hits in this show that ANY show has a right to, with gems like "Where Or When", "I Wish I Were In Love Again", "Johnny One-Note", "Way Out West", "My Funny Valentine", and "The Lady Is A Tramp"!
Mark Huisenga, set design
Megan Helwig, choreographer
Skip Hubbard, technical director
Stephanie Hawkins, Billy Smith
Matthew Woodward, Val LaMar
Lynnea Barry, Dolores Reynolds
Matthew Leach, Gus Fielding
Caitlin Christopher, Baby Rose
Emily Westlund, Petra
Rafael Batya, Ivor de Quincy
DJ Luna, Marshall Blackston
Alexis Myles, ivy de Quincy
Asa Clevenger, Anabelle Calhoun
Bradley Wilson, Lee Calhoun
Tom Grimsley, Sheriff Reynolds
Hailey Henderson, Phyllis McCabe
David Work, Rene Flambeau
Kayleen Casey, ensemble
Ash Crissman, enseble
Hailey Henderson, ensemble
Wells O'Byrne, ensemble
Cody Webb, ensemble
Ashley Mason, stage manager
Michaela Hagar, assistant stage manager
Emily Kidder, rehearsal accompanist & assistant to the conductor
Marybeth Andrews, rehearsal pianist
Skip Hubbard, set construction
Connie Huston, scenic painter
Marisol Estrada, props master
Ann Olson, costume assistant
(1937) Babes In Arms Lorenz Hart (w) Richard Rodgers (m)
I Wish I Were In Love Again
Babes In Arms (reprise)
Johnny One Note
Imagine (reprise)
You Are So Fair
The Lady Is A Tramp (reprise)
Sunday Dec 21
12:00 pm Pre-Show Lunch
Babes In Arms Ticket Prices
D 20.00 18.00 17.00 16.00 10.00


text:
Faisal S. Alsamannoudi
Chairman and Chief Executive Officer
Abdul Latif Jameel Enterprises
Faisal Alsamannoudi is Chairman and Chief Executive Officer of Abdul Latif Jameel Enterprises, part of Abdul Latif Jameel, a collective of independent international, family-owned and diversified businesses, founded in 1945 by the late Abdul Latif Jameel.
Mr. Alsamannoudi leads Abdul Latif Jameel's expansion and diversification in businesses adjacent to core automotive distribution, including oil and lubricants, insurance, crash and repair solutions and automotive accessories as well as the ongoing expansion into the logistics, media, entertainment, technology and healthcare sectors
Prior to taking up his current role, Mr. Alsamannoudi held a number of positions within Abdul Latif Jameel as well as with Toyota Motor Corporation in Japan.
Faisal Alsamannoudi serves on several boards with leading Saudi companies engaged in the real estate, technology and security sectors. He is passionate about community service as he is the Vice Chairman of Community Jameel Charity the shelter-homes program of Abdul Latif Jameel and the Vice Chairman of Hayat Charitable Foundation. Further, Mr. Alsamannoudi is the Founder and Chairman of AlMawaddah, an award winning NGO focusing on family development programs and community empowerment. He is also a board member of the General Authority of Endowment (Saudi Arabia) and aboard member for National Center for Developing the Non-Profit Sector.
Mr. Alsamannoudi holds a degree in Industrial Engineering from King Saud University, Riyadh, and holds a certificate in Global Management at INSEAD in France.
Founded in 1945, and celebrating its 75th Anniversary in 2020, Abdul Latif Jameel is a private family-owned global investor and diversified business with interests that include investments, transportation and mobility, financial services, energy, and environmental services, health, and a diversified range of other operations from consumer products, and property development to professional services. With corporate representation offices around the globe, the business has an operational presence in around 30 countries on six continents and employs some 11,000 people of over 40 nationalities.


Nicole has over 9 years working within recruitment, her background has been in Global high street working within the Commercial Sector. She covered a variety of industries and built several platforms within Contact Centres, HR, Sales and Marketing and Automotive. Nicole progressed to Business Development Manager, growing a team of Consultants, building lasting relationships and winning new business. She joined RHL in 2015 to specialise in Automotive.
In her spare time Nicole enjoys water sports, holidays abroad and spending time with the family.


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