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steve jobs' commencement speech
Things change. Sometimes life hits you in the head with a brick. Of course nobody wants that. She only relented a few months later when my parents promised that I would someday go to college. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. He applied the calligraphy techniques he learned before to make Apple fonts and designs stunning. He breaks his speech down into three stories. And yes, I did. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. I didn't even know what a pancreas was. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure — these things just fall away in the face of death, leaving only what is truly important. But something slowly began to dawn on me — I still loved what I did. He is credited with creating the first Macintosh and was the backbone of Apple. In his speech, he talks about three important stories of his life: Connect the dots, Love and Loss, and Death. And the only way to do great work is to love what you do. We worked hard, and in 10 years Apple had grown from just the two of us in a garage into a $2 billion company with over 4,000 employees. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. The first story was about connecting the dots. You've got to find what you love. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. When he was 20, Steve Jobs started Apple together with his genius buddy Steve Wozniak in a garage. — at least, that's what I think. Having lived through it, I can now say this to you with a bit more certainty than when death was a useful but purely intellectual concept: No one wants to die. Now that, to me, is admirable. In his motivational speech, Steve Jobs tells three stories from his life to Stanford University graduates. What do you think the reasons you're not doing what you love? Read the full transcript of the June 12, 2005 commencement speech here. If you think those are the hindrances, then do something, rather than complaining and waiting. She refused to sign the final adoption papers. But despite the success, the company for some reasons fired Jobs. What if today is your last day to live, would you want to do what you're about to do today? This is a prepared text of the Stanford University commencement address delivered by Steve Jobs, then the CEO of Apple and Pixar Animation Studios, on June 12, 2005. So why not give it a try? I was lucky — I found what I loved to do early in life. "I'm honored to be with you today for your commencement from one of the finest universities in the world. Steve Jobs: Stanford commencement address, June 2005 In 2005, a year after he was first diagnosed with cancer, Apple CEO Steve Jobs made a candid speech to … I'm a little bit mystified at the way Steve Jobs' commencement speech is being interpreted. That's probably one of the reasons some artists persevere despite the small amount of money they get from their art — sometimes, they get nothing. Everything else is secondary. Your time is limited, so don't waste it living someone else's life. Isn't funny that what we are doing today do… No one has ever escaped it. Even Steve Jobs felt devastated, "I really didn't know what to do for a few months.". (Note: He dropped out in college and took a calligraphy class, instead. This approach has never let me down, and it has made all the difference in my life. In a remarkable turn of events, Apple bought NeXT, I returned to Apple, and the technology we developed at NeXT is at the heart of Apple's current renaissance. What does it mean to live a meaningful life? It wasn't all romantic. And the only way to do great work is to love what you do. I'd guess, because he loves what he does. Steve Jobs Connotative Speech 894 Words | 4 Pages. Is it because you don't have time or money? This is a prepared text of the Commencement address delivered by Steve Jobs, CEO of Apple Computer and of Pixar Animation Studios, on June 12, 2005. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. And that perfect design made Apple well-known. The central idea about his whole speech was to never give up and that everything happens for a reason. I'm not forcing you to make art or invent a computer. They were both uneducated, which upset his biological mother. I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. During the next five years, I started a company named NeXT, another company named Pixar, and fell in love with an amazing woman who would become my wife. Well, as Apple grew we hired someone who I thought was very talented to run the company with me, and for the first year or so things went well. It was created by a fellow named Stewart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. And I have always wished that for myself. I didn't have a dorm room, so I slept on the floor in friends' rooms, I returned Coke bottles for the 5¢ deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. At his Stanford University commencement speech, Steve Jobs, CEO and co-founder of Apple and Pixar, urges us to pursue our dreams and see the opportunities in life's setbacks -- including death itself. If you haven't found it yet, keep looking. But I didn't stop searching until I earned a spot. For Steve Jobs, it was his knowledge of calligraphy. Truth be told, I never graduated from college, and this is the […] Steve Jobs Commencement Speech Summary - Term Paper Posted: (8 days ago) Steve Jobs is the co-founder/CEO of Apple Computer and Pixar Animation. They somehow already know what you truly want to become. Don't settle.". And I've written things that I now disagree with. About a year ago I was diagnosed with cancer. There is no reason not to follow your heart. The stories are heartwarming. © Stanford University. As with all matters of the heart, you'll know when you find it. As with all matters of the heart, you'll know when you find it. Give it a try. You can unsubscribe anytime you want. The turn of events at Apple had not changed that one bit. Again, you can't connect the dots looking forward; you can only connect them looking backward. Yes, I had some writing experiences before. Provost Persis Drell's message to the Stanford community requests that faculty and staff update or confirm their race and ethnicity information in Axess by Jan. 15. You'll also get my free guide, 15 Ways to Become a Better Human Being. What is another commencement speech example? And that is as true for your work as it is for your lovers. We are a work in progress. If you haven't found it yet, keep looking. Steve Jobs Commencement Speech Rhetorical Analysis 1328 Words | 6 Pages. Steve Jobs Stanford commencement speech is a bit old as it was filmed in 2005. And I try to understand them through reading and writing. It started before I was born. The point is, do what you love whatever happens (or maybe love what you do). I don't sell anything. Though I never had any vision of becoming a writer, but I did remember being part of the school publication. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. Pixar went on to create the world's first computer animated feature film, Toy Story, and is now the most successful animation studio in the world. Steve Jobs … And very publicly out. I'm on my quest to find out. In addition, Jobs was a pioneer of the personal computer revolution and co-founder and chief executive of Pixar Animated Studios. — a burning question I've been poking around for 2 years or so. Stanford, California 94305. So at 30 I was out. So you have to trust that the dots will somehow connect in your future. I will be breaking down each one as to what he was saying to the graduates, followed by my opinion of … Javier Hernando Ortega Cuellar Universidad Nacional De Colombia Philology and Languages: English Written Communication IV August 20 – 2010 Steve Jobs Commencement Speech's Review. I think it's hard to persevere at something you don't really love, right? On 12 June 2005, Steve Jobs, the man behind Apple Computer and then Pixar, did indeed give to the 2005 graduating class of Stanford University the commencement address attributed to him. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Just three stories. But I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents' savings were being spent on my college tuition. In his commencement address to a Stanford University student graduating class, Jobs shared with the hopeful college graduates anecdotes from his own personal life. I'm pretty sure none of this would have happened if I hadn't been fired from Apple. I lived with that diagnosis all day. This 15-minute inspirational video is one of the best motivational speeches for graduates that could very well change your life today. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. Liza Goldberg, '24, is leading a team of researchers that has developed Cloud to Classroom, a series of educational apps that use satellite imagery to teach climate change. So my parents, who were on a waiting list, got a call in the middle of the night asking: We have an unexpected baby boy; do you want hi… It was pretty scary at the time, but looking back it was one of the best decisions I ever made. The Steve Jobs commencement speech was a speech that was given by the former Apple Inc. CEO to Stanford University during the 114th commencement on 12th June 2005. Video of Steve Jobs' Commencement address on June 12, 2005. Dat To A Response of Steve Jobs Commencement Address One of the wonderful speeches that inspired a thousand graduating students of Stanford University belonged to Steve Jobs, who was the CEO of Apple Computer and of Pixar Animation Studio. When we did, our Board of Directors sided with him. Listening exercise - Listen to Steve Jobs' Commencement speech and complete the activities It means to try to tell your kids everything you thought you'd have the next 10 years to tell them in just a few months. Steve Jobs 2005 Stanford Commencement Speech Analysis Essay In his speech, Jobs explores the crucial role of failure in finding success, specifically in the situations when he shows that it takes hard work, deliberate practice, and the ability to learn from failure and to persevere. I met with David Packard and Bob Noyce and tried to apologize for screwing up so badly. It was the first computer with beautiful typography. And since Windows just copied the Mac, it's likely that no personal computer would have them. The question is what makes him persevere? So at 30 I was out. And Laurene and I have a wonderful family together.". If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And who knows what a meaningful life even means. That's it. I … You're doing it before you die. high-tech business — Steve Jobs. And now, as you graduate to begin anew, I wish that for you. I really didn't know what to do for a few months. When I was young, there was an amazing publication called The Whole Earth Catalog, which was one of the bibles of my generation. Don't settle. I felt that I had let the previous generation of entrepreneurs down — that I had dropped the baton as it was being passed to me. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure — these things just fall away in the face of death, leaving only what is truly important. What had been the focus of my entire adult life was gone, and it was devastating.", For most people, getting fired or losing something important is like losing a part of themselves. I'm not always right. Beneath it were the words: "Stay Hungry. It clears out the old to make way for the new. Steve Jobs' parents promised to send him to college. And so I decided to start over. (Photo by segagman / CC BY) In his speech, he … Don't settle. Don't let the noise of others' opinions drown out your own inner voice. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. And then I got fired. Don't lose faith." — Steve Jobs. My doctor advised me to go home and get my affairs in order, which is doctor's code for prepare to die. And 17 years later I did go to college. As Steve Jobs said [emphasis mine]: "You've got to find what you love. We change. No big deal. Name: _____ Period: _____ Date: _____ Start Up: How have your experiences and choices shaped your life? Stanford student teams up with NASA, Google to teach climate change, Provost Persis Drell: A clear picture of who we are, Stanford's Sourav Chatterjee awarded prestigious mathematics prize. He was the creator of Apple, Pixar Animation and NeXT. Except that when I popped out they decided at the last minute that they really wanted a girl. While listening, I realized I had connected the dots the first time I applied a writing job. Well, as Apple grew we hired someone who I thought was very talented to run the company with me, and for the first year or so things went well. ), "If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. So keep looking until you find it. On the day of Stanford University 114th Commencement in 2005, he shared his personal anecdotes and urged the graduates to seek their dreams and discover the window of opportunities in life's hindrances, as well as death itself. Stewart and his team put out several issues of The Whole Earth Catalog, and then when it had run its course, they put out a final issue. The Great storyteller – Rhetorical Analysis of Steve Jobs' Commencement Speech Lu Jia As one of the greatest presenters of his time, Steve Jobs' commencement speech at Stanford was also a huge success. The point is you're doing what you love or whatever you want to accomplish. Steve went to college, but dropped out after six months. But none of those make seems to matter only after 10 years when they are developing the first Mac computer. I was a very public failure, and I even thought about running away from the valley. Learn More. It freed me to enter one of the most creative periods of my life.", "During the next five years, I started a company named NeXT, another company named Pixar, and fell in love with an amazing woman who would become my wife. Realization: My writing experiences during high school and college were somehow connected to my future. Connecting the dots in life seemed to only become a thing after Apple's Steve Jobs' famous Commencement speech at Stanford University in 2005. I loved it. Who knows. Besides, he could talk about death on the ground of the dangerous disease he faced. If you find value in my work, join Craftdeology mailing list where I send occasional newsletters on how to live a better life. There is no reason not to follow your heart.". So you have to trust that the dots will somehow connect in your future. Sorry to be so dramatic, but it is quite true. In this essay I will be talking about the very encouraging commencement speech that Steve Jobs addressed in 2005, to the Stanford University. The first story is about connecting the dots. The speech Steve Jobs gave Stanford University is a very effective speech, because of his use of rhetorical devices. I didn't see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. Do you have a story that you could share with a young person that would help them understand that choices in life have an influence on what happens to you? Now we can learn from Steve Jobs' speech by connecting our 'dots' in life. Stay Foolish." It was their farewell message as they signed off. Steve Jobs Stanford 2005 Commencement Address Translated into American Sign Language (ASL) By Wink. Except that when I popped out they decided at the last minute that they really wanted a girl. Steve Jobs, CEO and co-founder of Apple Computer and of Pixar Animation Studios, gave a commencement address at Stanford University for the class of 2005. Pixar went on to create the world's first computer animated feature film, Toy Story, and is now the most successful animation studio in the world. This was in the late 1960s, before personal computers and desktop publishing, so it was all made with typewriters, scissors and Polaroid cameras. It freed me to enter one of the most creative periods of my life. Remember, you're not immortal, and so do I, all of us. Even people who want to go to heaven don't want to die to get there. The first company rejected me. With the commencement speech he looked back on his life… Steve Jobs Speaks at Stanford Commencement Address We produce here the full transcript (Edited version) of the famous Steve Jobs''Stay Hungry. The speaker was Steve Jobs himself. They just do it because they love it. "For the past 33 years, I have looked in the mirror every morning and asked myself: "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "No" for too many days in a row, I know I need to change something.", "Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Steve Jobs not only changed our lives with innovative products, ... Steve Jobs's 2005 Stanford Commencement Speech [VIDEO] Steve Wozniak on Steve Jobs [VIDEOS] CONDOLENCES : I know it's easier said than done. "Sometimes life hits you in the head with a brick. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. Write 4-6 sentences. I'm convinced that the only thing that kept me going was that I loved what I did. And that is as it should be, because Death is very likely the single best invention of Life. Text of Steve Jobs' Commencement address (2005) http://news.stanford.edu/news/2005/june15/jobs-061505.html 2 of 6 23/6/2015 1:54 PM But it was very, very clear looking backward 10 years later. Later that evening I had a biopsy, where they stuck an endoscope down my throat, through my stomach and into my intestines, put a needle into my pancreas and got a few cells from the tumor. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. So I decided to drop out and trust that it would all work out OK. I had been rejected, but I was still in love. I question a lot of things. I was sedated, but my wife, who was there, told me that when they viewed the cells under a microscope the doctors started crying because it turned out to be a very rare form of pancreatic cancer that is curable with surgery. He did all those things not only because he wanted to do it, but also, he believed that life is a one-way ride — we could die anytime. Stay Hungry. They worked hard and made Apple into a $2 billion company with over 4,000 employees in just 10 years. If you're pursuing something and you truly believe in it, keep going. Before that, the only places you'd probably think to connect dots were with dominoes, or in a colouring book. It means to say your goodbyes. But then our visions of the future began to diverge and eventually we had a falling out. In spring 2005, Jobs was invited to make a commencement speech at Stanford University. And very publicly out. When we did, our Board of Directors sided with him. Woz and I started Apple in my parents' garage when I was 20. Don't let the noise of others' opinions drown out your own inner voice. Steve Jobs later realized that getting fired from Apple was, in fact, a good thing: "It turned out that getting fired from Apple was the best thing that could have ever happened to me. Connecting the dots, love, and death. Life-Changing Lessons from Steve Jobs' Commencement Speech. And most important, have the courage to follow your heart and intuition. The truth is, we can learn something from unexpected events. If you have questions, let's chat. But 10 years later, when we were designing the first Macintosh computer, it all came back to me. Steve Jobs' ethos, i.e., the ethical appeal and credibility of the speaker, comes from his experience as a graduate who achieved undeniable success in his field. Steve Jobs is best known as an American entrepreneur, inventor and industrial designer. Everything else is secondary." — Steve Jobs. After graduation, I then applied to different writing jobs. But then our visions of the future began to diverge and eventually we had a falling out. Don't be trapped by dogma — which is living with the results of other people's thinking. I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. "You can't connect the dots looking forward; you can only connect them looking backward. After six months, I couldn't see the value in it. And we designed it all into the Mac. Of course it was impossible to connect the dots looking forward when I was in college. You are already naked. Chatterjee's significant contributions in pure and applied mathematics range from social networks to quantum mechanics. And, like any great relationship, it just gets better and better as the years roll on. Look backward and think about the things you learned in the past. Blog 1 Steve Jobs was considered one of the most successful and influential people on the planet. It was sort of like Google in paperback form, 35 years before Google came along: It was idealistic, and overflowing with neat tools and great notions. Harmon 1 A Rhetorical Analysis of Steve Jobs Commencement Speech for Stanford University's Graduating Class of 2005: Jobs titled his speech "You've got to find what you love." And here I was spending all of the money my parents had saved their entire life. Here we see Steve Jobs delivering his commencement speech to the graduates of Stanford University in 2005. None of this had even a hope of any practical application in my life. Don't be trapped by dogma — which is living with the results of other people's thinking. What is the ethos in Steve Jobs's commencement speech? But what fascinates me the most is that he helped create something useful for humanity, and he inspired a lot of people. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. Truth be told, this is the closest I've ever gotten to a college graduation. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. It was awful tasting medicine, but I guess the patient needed it. They somehow already know what you truly want to become. Of course it was impossible to connect the dots looking forward when I was in college. Artists, writers, musicians, entrepreneurs, philosophers, thinkers, and on and on — each one has different views. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out.
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steve jobs' commencement speech 2021


If you haven't noticed by now, we LOVE fluffy salads. Fruit, whipped cream, marshmallows, sometimes Jell-o mixed in . . . what's not to love?!
I have never known what to make with fresh cranberries and so when I saw this recipe, I thought that I would give it a try.
It moved to the top of the fluffy salad list!
The tartness of the cranberries mixed in with the cream . . . it's heavenly!
So, if you need the perfect side dish/dessert for your holiday party, this is IT!
Add fresh cranberries to a food processor or blender and pulse until they are finely chopped (if you like bigger pieces, you can pulse as little or as much as you desire).
Place the chopped cranberries into a bowl and mix in sugar and pineapple. Cover bowl and place in the fridge for at least an hour to let the flavors meld.
While the cranberry mixture is in the fridge, beat the cream cheese until smooth and then add in the whipped cream. Continue to beat until stiff peaks form (usually takes 3-4 minutes).
Add the cream mixture to the cranberries and mix well. Fold in the marshmallows and then place back in the fridge for 3-4 hours to let salad set up.
You can also make this salad a day in advance - just give it a quick stir before serving.


"Today is a huge win for Wisconsin as our state leads the way in ensuring that manufacturing continues to play an important role in our economy. Foxconn will add quality, well-paying jobs for workers and their families.
"I would especially like to thank President Trump, Gov. Walker and Speaker Ryan today for their leadership bringing Foxconn to Wisconsin.


Discussion in 'Bitcoin Investments | Discussions' started by Prezzy, Apr 13, 2019.
Bitcoin has gone all the way from $20000 to $3000 this year and profits from mining has dwindled to nothing and then negative as well. Given that there are no major mining rigs in Nigeria and nigerians are driven towards cloud mining, the flow of income from cryptocurrency mining has abruptly come to an end. Personally, I have a very bad history with mining. I lost nearly everything I had in mining, at least all the major ones!
However, while one door is closing, some others are opening and a lot of Nigerians have been exploiting these other doors. What are these channels?
What are these caves with the hidden treasures and how are the smart diggers exploiting them?
Even though $BTC was down, it didn't lose its utility so people were still using the crypto king for different cases hence the constant demand for it. Others seized this opportunity and became professional traders themselves. Through this means, depending on one's network, a trader can rake in small or large amounts daily. Some people trade between individuals who consult them when they need to buy or sell their stock. Others have direct links with the Chinese who are constantly in need of Bitcoins. Such legendary traders usually specialize on buying and not selling and they can buy Bitcoins racing into $10,000 - $30,000 daily.
The medium traders trade between $500 - $3000 whole smaller traders less than $500 daily.
Profits depends on the network one is dealing with as well as his/her expertise in pricing, speed of delivery, etc. Since the stoppage of all major mining operations around the world , this has been the major source of crypto funds for Nigerians in my opinion.
Am sure you know that one can still make money in a bear market. It's definitely possible though many consider it as a risky venture. Many Nigerians, the likes of @kessyboy have smiled through the rough times by staying with the exchanges through most of it all.
Trading on exchanges requires a lot more experience, patience and expertise as it's very easy to lose one's money in the wild market out there.
Some Nigerians have leveraged the knowledge of professional traders who offer different paid/free crypto trading signals out there. These group has many success and sad stories to tell as well. Overall, crypto signals have become popular as many people who not have the time and knowledge to pick trades subscribe to these and get those with much less stress and energy spent.
Indeed, btc is regaining its lost glory and the altcoins are also popping back up. The market has seem some greens in recent times with promise of more greens as more money pump into cryptocurrency in anticipation of the long awaited bull run. Am pretty sure that when bitcoin mining returns to the stable profitability rate, majority of the investors will swarm towards that industry against but until then, very few people are making money off mining now.
Musa Yaro and Greatman like this.


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The New Classic: Esquivel x Tommy Hilfiger
Los Angeles-based footwear designer George Esquivel trained in the classics. The CFDA/Vogue Fashion Fund finalist and creator of his eponymous line combines New World sensibilities with an Old World take on craftsmanship. It's this devotion to heritage quality, matched with an eye for reinvention, that caught the notice of another homegrown American designer: Tommy Hilfiger.
Esquivel, whose classic-minded silhouettes and off-kilter color combos have made him a favorite of the likes of Janelle Monáe, Sean Lennon, and Waris Ahluwalia, first met Hilfiger through the 2011 CFDA/Vogue "Americans in Paris" initiative. After creating exclusive shoes for Hilfiger's Fall 2013 menswear show, the pair decided to take their collaboration to the next level: a limited-edition capsule collection of footwear handmade in California, launching today.
"We both like things that are classic with a bit of attitude," Esquivel says. "Tommy calls this 'the twist.'" The twist, is this case, is whimsical riffs on classic brogue and loafer styles for men and women, updating the prepster staples with antiqued leather washing, prominent stitching, and bright outsoles. Details are key, and the execution is decidedly old-school: hand-punched perforations and hand-appliqued logos accent the styles; the Tommy Hilfiger + Esquivel logo has been branded into the leather using a hot iron. "They are preppy with a bit of edge—in color combinations that are very Tommy with an artisan touch that is very much me," Esquivel explains.
In celebration of the collection launch, an accompanying digital campaign will invite bloggers to lend their own spin on the collaborative process. Select individuals will be invited to meet Esquivel at his studio in L.A., where they will personalize their own shoes to give away to their followers.
TOMMY HILFIGER + ESQUIVEL IS CURRENTLY AVAILABLE ONLINE AT TOMMY HILFIGER.
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redpajama_set_name: RedPajamaCommonCrawl


The question that has long confounded Uganda's literary community is why home literature, which is an expression of our identity, continues to be relegated on the national school curriculum in favour of the likes of Bronte's Wuthering Heights and Jane Austin's Pride and Prejudice among other foreign works.
Ugandan schools still follow the curriculum structure put in place by colonial masters almost 50 years ago, giving British literature premium. Currently, there are only two Ugandan books for O'level and two for A'level on the syllabus. Moreover, there is no guarantee that these books are taught by the teachers. They are just a part of many other foreign books that are preferred by teachers because they have sufficient study material online.
At a recent literary seminar organised by the Uganda Female Writers Association (Femrite), as part of their 2011 literary week celebrations, the head of Literature and English at the National Curriculum Development Centre (NCDC), Angella Kyagaba, was cornered into explaining why so many works of acclaim and contemporary relevance by Ugandan writers have not been considered. Her explanation that William Shakespeare's works continue to dominate Uganda's literature syllabus because Shakespeare is the father of the British drama, was more than shocking.
In the end, Ms Kyagaba conceded that NCDC would restructure the Literature syllabus to have a compulsory section of Ugandan literature. This means the choice of books to teach in this section will be from Ugandan books only.
Information and National Guidance Minister, Mary Karoro Okurut who is also the founder of Femrite, excited the literati by pledging to use her influence to push for more Ugandan books to be put on the literature syllabus. She bought 100 copies of the Never Too Late anthology to distribute to secondary schools in her constituency. Parents were also challenged to get involved in the promotion of Ugandan authored books by stocking their home libraries with such books and inspiring their children to read them.
The launch of Never Too Late, the latest collection of 15 short stories, was another highlight of the literary week. Edited by Dr. Aaron Mushengyezi and Hilda Twongyeirwe, the anthology which was written for the teenage audience but appeals to adults as well, addresses issues like teenage pregnancies, child abuse in homes, drug abuse, among others, all representing the desire for change for a better society.
It was a full house at the Uganda Museum where the launch took place, with students attending the weekly event in multitudes, a clear signal that they love reading, and since a reading culture goes with a writing culture, the country's literary industry is guaranteed to blossom even more.
Award winning author Dr Graham Mort, who was behind the British Council writers programme, Crossing Borders, that helped promote budding Ugandan writers, was the chief guest at the literary week and shared his life story; how he was transformed by the experience of reading. He described Never Too Late, as an embodiment of literature that transforms society; stories that are relevant, shaping our life and beliefs as a people.
The literary week was crowned on Friday July 8, with a bonfire night attended by over 50 literary enthusiasts including the newly elected Femrite chairperson and 2006 commonwealth literature prize winner, Doreen Baingana. After paying an entry fee of Shs5,000, participants won books and other prizes in a raffle, but all the proceeds went to Loving Hearts Baby's Home.
But the real icing on the literary cake was the exhilarating short-story readings and poetry recitals. Prof. Graham Mort himself read from his award-winning poetry book Visibility, and from Uganda's golden era of literature (1960s-70s) came poet Prof Laban Erapu who recited several poems from his new collection of unpublished poetry.


Oil made from the seeds of the canola plant. The canola plant is a "sister plant" to the rapeseed plant. Rapeseed plants have higher levels of eurcic acid (levels which are safe for cows but not for humans) than the modern canola plant. This transition to the canola plant was done in the 70s through traditional breeding methods (think of Gregor Mendel's pea plants) before the rise of genetic engineering. To produce better yields, it became standard practice for the canola plant to be genetically modified in the 90s. These canola plants can now be grown in non-GMO or GMO (conventional) varieties, and both are used for both meal and oil production.


We are dedicated to making high quality, unique jewelry at our studio in Hubbard Lake, Michigan. Our product selection is quite extensive and you are sure to find something you will enjoy wearing. We also do custom work.
Browse through the gallery showcasing some of the many products we carry. We promise you won't find such unique items anywhere else, for such an affordable price. Also check out Main Branch Gallery in Grayling and Three Pines Gallery in Cross Village.


ODIN allows customers to build hybrid cloud ecosystems of reservations and ticketing companies from a single installation of the ODIN Enterprise software system.
Multi-tenancy means that a single instance of the software and the entire supporting infrastructure serves multiple customers. Each customer shares the software application and also shares a single database. The data is tagged in the database as belonging to one customer or another, and the software is smart enough to know to whom the data belongs.
A single instance of the software and the entire supporting infrastructure serves a single customer. With single tenancy, customers have their own independent database and instance of the software. With this option, there's essentially no sharing going on. Everyone has their own, separate from everyone else.
That single install of the ODIN software can provide the entire supporting software infrastructure to serve multiple customers as a multi-tenancy application on behalf of the client.
ODIN can operate as a single or multi-tenant application. It also can handle multiple websites from its single tenant installation website installation.


text:
Long Poem Magazine #28
I'm finding most, if not all, of the poems published alongside mine in the latest issue of Long Poem magazine instantly appeal to me, before I've even started reading them, and I think it's because of the length stipulation. As its name suggest, Long Poem is for poems of 50 lines or more, and this requirement all but demands that a poem have a well-developed structure, a sense of being made brick by brick, in a way that's much harder to detect in an array of short pieces.
It helps that each piece is preceded by an introductory paragraph which sets the thematic context for what follows in much the same way as a book blurb. Here's the intro to my own contribution:
This is the final version of a poem I've been trying to write for more than ten years, ever since I learned that the writer Charles Cotton was said to have gone into hiding from his debtors in one of the many natural caverns of the Peak District. It's also the first of a set of 'labyrinth' poems – pieces where the form is adapted from some kind of puzzle or toy, in this case a roll-and-move race game like the Game of the Goose or Snakes and Ladders. That form seemed very well suited to describing the experience of becoming absorbed in a system or subject, or even an intense personal or bodily encounter; there is a pronounced tension between the idea of a numerically ordered sequence of events and the stumbling, back-and-forth movement dictated by dice rolls and penalty squares. But it took a very long time for this compositional strategy to occur to me – at one point, the poem was shaped like a set of stalactites and stalagmites, and had to be read with the page turned 90 degrees. At another, it was written in a row of block stanzas, in such a way that the last word of every line of every stanza was also the first word of the equivalent line in the stanza to the right of it. Apart from anything else, the poem's current form is much more readable.
And here are the first few lines:
I say it's the first of a set of labyrinth poems because this one is titled 'A Labyrinth' and intended to stand at the beginning of the sequence. The other two that were published earlier this year in Raceme no. 13 are both called 'Another Labyrinth'. There are two more still to come. One is particularly difficult to find a home for, but we'll see what happens.
Posted byshotscarecrow 26th November 2022 Posted inUncategorisedTags: poems
Playing Poetry Exhibition
The Playing Poetry exhibition is on display at the National Poetry Library from now until 15th January, and includes one of my digital ludokinetic poems, Erratum (a work in progress), as well as Adversary, a prototype poetry card game I made with Abigail Parry, pictured above. There was a neat write-up in the Financial Times this week. I'm very excited that this area of literary crossover is starting to flourish, after tentatively making the prediction that it would in Dual Wield. The challenge from hereon in is going to be keeping pace with it!
Posted byshotscarecrow 3rd November 2022 Posted inUncategorised
End of a Fantasy: The Panic Behind Literary Reactionism
"Where's evil? It's that large part of every man that wants to hate without limit, that wants to hate with God on its side."
— Kurt Vonnegut, Mother Night
"[Contemporary] fiction is about society," says Clare Pollard, in a short essay asking how writers can respond to the present moment. I wouldn't have thought this statement at all controversial, but somehow it prompted a fierce rebuttal from A. Natasha Joukovsky on 'literary moralism' and "the Rampant Conflation of Fiction and History", full of much more dubious statements. Social reform is distracting novelists, Joukovsky says, from their aesthetic responsibility to beauty. Fiction and history are 'discrete' – never the twain shall meet. The success of Margaret Atwood's The Handmaid's Tale has nothing to do with its politics, but is due to it being "stylishly written". While Pollard's essay is addressed to people for whom writing and reading are ways of negotiating the world, Joukovsky's is squarely aimed at those who consider themselves capital 'w' Writers – members of a sacred order – and so rounds off with a list of commandments, in the form of a hodgepodge of aphorisms that have little to do with the preceding argument.
At first I found all of this merely haughty, its passion misplaced. Once I started to look at the parts that were being quoted admiringly on social media, however, I began to recognise the animating concern behind the essay's proclamations. It all clicked into place during an exchange online with one particular supporter, who insisted that 'talent' and 'politics' were two separate qualities, that one can admire a work of art purely for the ability it displays without having any sympathy whatsoever for its creator's outlook. I said – and I tried putting this in various ways – that any work of art which seeks to represent or engage with some aspect of reality has a political dimension to it, and admirers of that work of art almost certainly find something useful about that political dimension. In response, my interlocutor served up a series of familiar 'culture wars' talking points: so anyone who admires Céline is a Nazi, then? Are Chaucer and Shakespeare persona non grata because of their outdated views? And the coup de grace: this is all just one step away from Stalin and Pol Pot!
I've been through all this before. It's the same conversation I've had with certain members of the Transformers fandom when they decry modern Transformers comics for 'forcing politics down our throats' and look back misty-eyed on the 1980s Sunbow cartoon, with its good vs. evil storylines. There are people who currently earn their living making Youtube videos every week which repeat this argument with respect to each new fantasy film or TV series that comes out. Until recently, they say, art and pop culture were reliably apolitical, at least on the surface. Their qualities were ones which could be admired and enjoyed irrespective of the state of the intrasocietal conflict. But now everything is tainted by a modern fanaticism with meaning well, or rather, with being seen to mean well. As my interlocutor put it, citing Martin Amis and Milan Kundera, we live in an age where the talentless "take revenge on art by forcing it to a purpose beyond the aesthetic".
This is not an argument which withstands much unpicking. Suffice it to say works of art and literature have been occasioned by moralistic, empathetic and societal concerns for as far back as we can collectively remember, and while the presence of blatant finger-wagging in a work is often a weakness, it can also be a major part of its enduring appeal (try to imagine Father Brown without Chesterton's Christian humanism, Dickens without his parade of grotesques, or Swift having any reputation at all). I'm more interested, however, in the psychology behind the argument, so often delivered in a tone of impotent fury by people who seem well aware they've already lost the battle.
I suggest one cause is the need to reconcile a belief in one's innate goodness with an inability to act or speak decisively on urgent moral questions. Exposure and addiction to social media has the marked effect of stripping away comforting illusions. It's much harder to believe you belong to a clear moral majority when most of the people you interact with tell you you're in the wrong, harder to believe you're a great thinker and agitator when dozens of strangers are able to make fun of you at the drop of a hat. Likewise, the number of places we can retreat to in order to bathe in our own innocence, to put out of mind our evident complicity in an unjust global society, has greatly diminished. That all art has a political dimension – and, not uncommonly, a complex and troubling one – is something we were able to ignore as long as nobody talked about it. But now that kind of talk is everywhere. And what, indeed, does it say about us if we continue to look for solace in the work of artists who had reprehensible attitudes, or committed unforgivable acts?
There's no simple, one-size-fits-all answer to that question, but wouldn't it be such a relief if it were "Absolutely nothing"? Hence the zeal for separating art from social responsibility, for making it a safe space. It mirrors exactly the desire of members of fandoms to preserve the version of a media property that existed in their childhood. Fantasy has started to realign with metaphor; it no longer means an escape from the real world. As a genre, of course, it was never free of real-world politics, but as children we were able to pretend otherwise, just as any number of artists and arts aficionados have been able to hide behind a belief that art (or beauty) makes its own damned rules.
One fantasy still pointedly persists, however, and serves as a call to action. It is the idea that those who are in favour of re-examining the political implications of a work are traitors, weaklings and monstrosities. On the one hand, we are smug and self-satisfied, breaking into the palace and trashing our own cultural heritage. On the other, we are totally joyless, unable to experience art and media as anything other than statements of agreement or disagreement. I'd like to think the panic and pain of reactionaries would be eased if they knew that in general others suffer from the same needs, fascinations and anxieties as them, but have chosen to navigate these in a different, less embittering way.
It may not help at all though. That different, less embittering method of navigation is based on an acceptance (difficult as it is to maintain) that everything is in flux, that even that which is figuratively and literally set in stone can be torn down and replaced. If you see someone raging about 'postmodernism', this is what they mean. If everything can be replaced, then it means we are involved in a continuous negotiation to maintain that which we value, and on that score (so their thinking goes) the plebs cannot be trusted.
So the real anxiety that grips these reactionaries, I would suggest, is the scale of their own responsibility; to have to decide for ourselves what kind of culture is really worth having and then to make the case for it convincingly is a serious undertaking. Are you able to explain why Shakespeare is a great writer, or were you just relying on the logic that stature proves greatness, accompanied by some blather about artfulness? If so, Shakespeare being dropped from the school syllabus deals you a blow – an absurdly minor one, but one you feel nevertheless. Live by hierarchy; die by hierarchy. Those who do not really know or think about why they value the things they value – or who are perhaps aware that their only reason for doing so is blind adherence to 'the way of things' – have every reason to be deeply afraid of the current appetite for cultural renovation. Their cited ideals of 'talent', 'stylishness' and 'aesthetic beauty' are, it turns out, eye-of-the-beholder stuff whose only foundation is settled consensus. When that consensus appears to come under threat, the last recourse they have is to eulogise or don sandwich boards.
Or, I suppose, present as an unsung cultural elite. Just before dispensing her nuggets of writing advice, Joukovsky implores us to join her on her 'high horse', promising "The view is superb". But the previous paragraph sees her complaining about having to read "a litany of mediocre novels by palpably anxious authors that read like they're trying to win oppressed-identity bingo". That doesn't sound very appealing as a view. That sounds exactly like something Scrooge would say.
Posted byshotscarecrow 25th October 2022 13th November 2022 Posted inUncategorised
Lyonesse by Penelope Shuttle
Lyonesse (Bloodaxe, 2021) presents a problem. On the one hand, it's tricky to talk about because I don't feel able to map out the book's depths. Parts of it remain sunken and mysterious to me – I can claim no commanding vantage point, despite having browsed it on-off for a couple of months and read some of the poems upwards of a dozen times.
On the other hand, it's tricky to talk about because it describes itself, its themes and its subject matter clearly enough without any need for me to add gloss. In the preface and on the cover and in the poems themselves we are introduced to Lyonesse as "a submerged land", "a city under the sea", "an emblem of human frailty in the face of climate change", "a fluid magical world", "a feasting-cup city", "just what you want it to be / streets paved / with the sea". And in a sense, this is all we need to know; the poems expand on and exemplify these core traits, even foreseeing my present dilemma by referring to Lyonesse as "a place of paradox".
The poems are also characterised as a series of 'soundings' that test the weight and the character of the Lyonesse concept through propositions, and by answering their own questions. How are bells made in an underwater city? They are cast out of lobster carcasses. What would a church service there comprise? Well, the 'Crayfish Christ' would have this to say:
Beloveds
you must live for pleasure alone!
This is my gospel
Am I not half-brother to the moon?
Are not the deeds of my claw everlasting joy and delight?
Church of Crayfish Christ
Thus Lyonesse accumulates history and character. A close reading seems redundant; the book is a Lonely Planet guide. It fills you in on all the details, and repeats its own title so often that 'Lyonesse' becomes a spell in itself, a magic word, the repeated hissing and breaking of waves.
'Many brave hearts are asleep in the deep, so beware, beware'
I found as well that the poems flow into one another – that it's hard to recollect, when I don't have the book in front of me, which images came from which poem. Their forms are varied, making use of different margin alignments, stanza shapes, spacing, titling conventions, and so on, in the manner of different wind-driven slices of the sea colliding and dispersing (or pieces of shipwreck washed up on the shore). The collection avoids feeling like it's settling into a routine or iterating a pattern.
There are several poems where the lions of Lyonesse make an appearance (sometimes they are princes) – and there are owls of Lyonesse too, and gownshops and quaysides, and echoes of other myths drawn in and chewed in the surf: an interview with Neptune, plus mermaids and sirens, the devil, Davy Jones. Sometimes the narrator is a resident (a survivor, or a fortune-teller), other times someone hearing and passing on the story.
Many of the poems allude to Lyonesse's fate, and it's in this respect that the book is most beguiling, since there's no actual timeline to be grasped; the city is now and was always both sinking and sunken, destroyed and renewed. It is sea-ravaged, sea-remade, of the sea and entwined with the sea, there and not there. There's a central 'Account of the Submergence', which is composed in full paragraphs and more than two pages long. This poem feels like the anchor, the true tale at the heart of all those others swimming about it, but even here the story remains evasive, partial and teasing ('Now that we have wiped Lyonesse from the Departures Board (the starry way to Lyonesse no longer valid) let us record what we know so far').
'Account of the Submergence'
I think of this line from Auden: "In so far as poetry, or any other of the arts, can be said to have an ulterior purpose, it is, by telling the truth, to disenchant and disintoxicate." What truth is being told here, about human frailty or climate change? Perhaps that we have made these such a central part of our collective identity that we can no longer imagine what it would be like to not be in the midst of a vast, drawn-out episode of avoidable calamity. We don't regard the end of civilisation as a series of events so much as a state of being that has been with us throughout our time as a dominant, sentient and self-directing species.
The preface is an interesting and unusual inclusion – I know others tend to find explanatory essays needless at best, an imposition at worst. In this case, I think the only issue is that it ought to be at the end of the book, not at the beginning, since it provides such a ready key to the poems that it risks turning them into a mere demonstration of a thesis. I preferred, for the most part, to put out of my mind the climate parable aspect, and become lost in Lyonesse as a tourist with an outdated, part-perished map becomes lost in a ghost town.
The preface also makes clear the role of grief in the poems, and I should mention here the second and final section of the book, 'New Lamps for Old', which moves away from Lyonesse (though not entirely) and into a house deeply haunted by the author's memories. The poems here are more straightforwardly personal and direct, a little more terse and spare and grounded. The effect is like reaching the end of an animated film and then being shown a reel of the animator getting up from their desk. I like this – it avoids the usual disappointment I feel when a book's major sequence is too short to stand on its own and seemingly needs to be bolstered by a lot of scattered miscellaneous pieces. 'New Lamps for Old' seems set both inside and outside Lyonesse, as if we could zoom out one stage further and find we had been lingering in a snowglobe in one of the city's gift shops.
This is really a testament to how fiercely (but delicately) the book evokes a sense of place. To open it again after a time away is to return through a portal to somewhere that can never be comprehensively charted, a shattered Narnia that is at once very, very far away and right on the cusp of our own world.
Posted byshotscarecrow 8th September 2022 Posted inUncategorised
I'm Naming the Swifts
Added a new version of this old (2010) poem to the website's gashopon machine/lucky dip today:
Posted byshotscarecrow 25th August 2022 Posted inUncategorised
On Starlings, with Caleb Parkin and Holly Hopkins
How does a poem mimic (or capture, or transmute) something so visual, so kinetic, so unliterary, as the sight of a murmuration of starlings? And is there any point in it trying to, when we can see the spectacle for ourselves at any time, via a brief internet search? Where is the sense in using such a tired machine as language – words on a page – to describe something that can be experienced first hand?
(Source: https://commons.wikimedia.org/wiki/File:Flock_of_birds_at_Rome.ogv)
Let's look at how two different poems answer these questions. Holly Hopkins' 'Starlings' was first published in Birdbook: Towns, Parks, Gardens and Woodland, a book I co-edited in 2010, and has been most recently printed in her Forward Prize-nominated collection The English Summer. Caleb Parkin's 'The Starling Committee Decides' is published in Raceme no. 13.
Image of 'Starlings'
(Click to see full-size version)
'Starlings' is written in iambic tetrameter and composed of rhyming four-line stanzas. This is a form that's easy to read quickly, almost breathlessly, because it's broken into same-sized units, which are themselves broken into same-sized units. Each four-line stanza is made up of two rhyming couplets. Each couplet is made up of two lines. Each line is made up of four beats. Each beat is made up of one stressed syllable and one or more unstressed syllables. This is about as straightforward as language-patterning gets, and thereby allows the eye and the ear to move forward at pace.
The poem is also a cascade of images, one after another after another. There are no scene transitions and only the thinnest commentary is offered; instead, we move from fens as 'dying seas' to sedges, to marsh, to ragged lines of starlings, a 'budding, chirping swell', 'kneaded dough', a 'churning shoal', a 'living sack', a 'thread of trust' and so on. It seems on a first read-through that the murmuration only takes shape in the second stanza, and that the way the poem tries to capture the spectacle is through those images in the second, third and fourth stanzas, all of which are apt but, one might argue, not a patch on seeing the thing with your own eyes.
But it's the combination of form with rapid succession of images that provides the more compelling imitation. 'Starlings' moves in the mind just like a miniature murmuration, one shape changing to another at speed: swell into flow, flow into dough, shoal into sack, sack into thread. This sets up a contrast with the watchers described in the poem's last stanza, who stand 'locked inside their coats', not daring to speak because of their uncertainty about 'blundering', failing to synch up with one another. Human self-consciousness is here starkly presented as a frailty, an inability to harmonise, with the effect that progress is brought to a standstill.
'The Starling Committee Decides' takes a different approach. The poem is shaped like a snapshot of a murmuration, with the individual words as individual birds. This makes its rhythm rather bumpy, since the lines are all sorts of different lengths and don't even start at the same left-hand margin. Parkin adds to this effect by splitting words across lines ('murmur/ation', 'fund/ers') and using multiple voices which interrupt and talk across one another. It is, as the title indicates, a portrayal of a committee – the voices are not so distinct that clear characters emerge, so we are left with an impression of a squabbling, disorganised cacophony.
Image of 'The Starling Committee Decides' in Raceme 13.
(Click for larger photo)
As in Hopkins' poem, there is a strongly implied contrast. The starlings here are humanised, deploying bureaucratic jargon ('returnability', 'natural capital') and in clear disagreement as to how to proceed. They keep referring to murmuration but have lost the ability to murmurate ('we don't have the numbers'). Parkin has frozen them in two ways: by deploying the poem as a still image, and by imbuing them with human reason and individuality.
Both poems suffer from eco-anxiety; 'Starlings' begins with a reference to the deterioration of the fenlands, while 'The Starling Committee Decides' is premised on reports of collapsing starling populations, handily explained in a footnote. Both respond to this anxiety by turning the spectacle of murmuration back on its human observers. One uses the speed and sweep of language, turning its eye on us very suddenly; the other makes use of the writer's ability to pause and rearrange, so that we recognise the detail of the accusation. Both seem to agree that we are too young and inexperienced, as individuals, to know how to pull together as a species.
Birdbook: Towns, Parks, Gardens and Woodland
Holly Hopkins' The English Summer
Caleb Parkin's This Fruiting Body
My post on Raceme 13
Posted byshotscarecrow 23rd August 2022 23rd August 2022 Posted inUncategorisedTags: poetry
Raceme no.13 / Another Labyrinth
I have two new poems in Bristol-based journal Raceme no.13, both titled 'Another Labyrinth'. Below is a poster I've made for one of them. If you find it a little difficult to understand at first, that's likely because it's actually a puzzle-poem based on the well-known '15 puzzle' — a set of sliding numbered blocks which can be rearranged into the correct sequence. The solution is presented in Raceme itself (upside down at the bottom of the page), but I won't be putting it online. Can you work it out?
Order/subscribe to Raceme here: https://www.racemepoetry.com/
I'll be posting something about one of the other poems published in the issue imminently.
Posted byshotscarecrow 19th August 2022 22nd August 2022 Posted inUncategorised
Salon A, Burley Fisher Books, 21st April 6.30pm
I'm reading alongside Astrid Alben, Rose Gibbs, Sophie Herxheimer and Lucy Mercer at Burley Fisher Books in Haggerston this Thursday. Tickets are £5 and can be ordered from here.
I'll be reading a few poems from Sandsnarl, but also from a new work-in-progress which happens to be set in the same universe, in a hotel full of half-human half-insect guests.
Posted byshotscarecrow 19th April 2022 19th April 2022 Posted inUncategorised
Suffering / Bug / Unearthly Toys
This post can also be read on my Substack, Stray Bulletin.
It's possible to be thrilled and exhilarated at the same time as appalled and frightened – after all, this is the basis on which horror fiction operates. So one thing that's unsettling about the current moment is the fact that, on one level, people are enjoying the war on our doorstep. There's an eagerness with which news is disseminated, a bit of self-congratulatory pomp in the various commentaries, a creeping ease with which some have a crack at inflammatory rhetoric.
In the midst of this comes a very readable and splendidly produced online essay on Auden's 'Musée des Beaux Arts' by Elisa Gabbert, and an irritable (but sometimes well-argued) rejoinder to that article by Lee Siegel. The difference between their two positions (certainly, from Siegel's point of view) is whether, by drawing attention to the proximity of human suffering to human indifference, Auden meant to challenge and discomfort us or merely to show us something of what it is to be human.
It's interesting to think of this poem, and the painting it describes, in relation to how social media has changed us. If being human means needing to be able to look away, needing to practice indifference to the extremes of suffering that are all about us, then technological interconnectivity forces us to adopt radical new strategies, since Nelsonian blindness (not looking, not knowing) is no longer possible. One of those strategies is to tell ourselves stories that frame certain kinds of suffering as justified, or a sad inevitability – stories which obscure culpability or erase the sufferers altogether.
I mean – yes, this has always been used as a strategy. But we see even more of it today, I think, and it is more flagrant, more naked. We see a mounting fervour for maintaining these stories as they buckle and tear under constant bombardment from reality. Those who are online, and who cannot find a way to live with endless uncertainty, who struggle to adjust and recalibrate their moral circuitry on an ongoing basis, become increasingly prone to cultism. They cannot look away, so they must aggressively redefine what it is they're looking at.
The invasion of Ukraine has brought some measure of temporary relief, I think, to anyone vexed by this condition. It has produced a moment of clarity: for once, there is unity of feeling, very little messiness in who deserves our sympathy and who our condemnation. You can be crude, and clumsy, and thoughtless in the way you express yourself, and not run into too much trouble. But then again, you can already feel that moment ebbing away.
I think a lot about what social media has done to us, and overall I think the scales tip in a positive direction, though there's a lot we still have to get our heads round, and I don't know that at the end (if we reach the end) we will be quite the same kind of humans as Auden describes.
Since I've just had 'Cat' published in a very handsome transatlantic journal, I decided to revise 'Woodlouse', the first in the same mini-sequence to find its way into the light. It's now called 'Bug', I've added it to the poems on rotation on my website, and it goes like this:
I've resumed making my way through Ned Denny's Unearthly Toys, which is a book of furious formal jousting and rampant cover versions. There's a ghazal called 'Gazelle', terza rima, a poem three pages long where every line begins 'At the edge of the woods,' and a version of Li Po failing to find his sensei in the mountains. I've also managed to write up a couple of book reviews, but haven't really cracked this one yet. It's very squirmy – doesn't like to be pinned down.
Posted byshotscarecrow 16th March 2022 Posted inStray Bulletin
Firmament, Vol. 2 No. 1
I have three new poems in the latest issue of Firmament, a handsome magazine made by Sublunary Editions, who are a very impressive small press based in Seattle, with editorial input from the UK. I'm especially happy to have these poems published, as all three are from a new collection I've been working on for, oh, maybe four or five years now?
One, 'The city awaiting', belongs to the same sequence as 'The city is over', which was published in Poetry Birmingham a year and a half ago. Another, 'Cat', is from the same sequence as 'Dog', published in Marble in December, 'Frog', published in Gramarye in June last year, and 'Woodlouse' (or 'Bug'), published in The Rialto, also last year. One more of these to place before the entire set is out there! (The city poems have some catching up to do, and the castle and labyrinth poems have barely got off the ground).
The third poem I will leave you to discover for yourself. But here is 'Cat':
Posted byshotscarecrow 13th March 2022 Posted inUncategorised


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Old World Wisconsin opened in 1976 and features 65 historically authentic structures, some of which were moved from other parts of the state.
old world wisconsin
Old World Wisconsin revives history
Imagine stepping into a world where people cooked the food they grew on wood stoves, made their own soap and sewed all of their clothes. Such an experience is available just 35 miles southwest of Milwaukee at Old World Wisconsin, the country's largest outdoor museum of rural life.
By Molly Snyder Senior Writer Published Jun 20, 2009 at 6:58 AM
Imagine stepping into a world where people cooked the food they grew on wood stoves, made their own soap and sewed all of their clothes. Such an experience is available just 35 miles southwest of Milwaukee at Old World Wisconsin.
The country's largest outdoor museum of rural life portrays what Midwestern life was like in the late 1800s and early 1900s.
"There are lots of hands-on opportunities to try the work and chores of the townsfolk and farmers, as they go about the daily lives of these immigrants to Wisconsin," says communications director Lisa McGovern.
Old World Wisconsin -- located in the Kettle Moraine State Forest on 600 acres of land -- features 65 historic structures and represents a variety of ethnic groups that were settlers at the time, including Danish, Finnish, German, Polish, "Yankee" and African-American.
The museum opened in 1976 to commemorate 200 years of American history. Researchers traveled throughout Wisconsin to find authentic historic buildings built by settlers and then painstakingly relocated the buildings to the museum site.
Highlights of Old World Wisconsin include the Raspberry School, a one-room schoolhouse built in 1886. "Kids are fascinated to try the slates and slate pencils and sit in the desks just like kids did over 100 years ago," says McGovern.
Crossroads Village and Blacksmith Shop allows visitors to observe a blacksmith work with white-hot metal in a village setting that also includes a general store, a shoe shop, an inn and a church.
The Heirloom Gardens are tended with tools from the time period and reflect the ethnicity of the different groups. Animal lovers will appreciate Teddy and Bear, on-site working oxen, as well as farmsteads featuring sheep, chickens, horses and pigs.
"These are the same breeds of animals that Wisconsin settlers owned in the late 1800s and early 1900s," says McGovern.
It takes about five or six hours to see all of Old World Wisconsin, especially if visitors want to enjoy the many easy-to-walk trails.
Old World Wisconsin employs 12 people all year, 100 more people during the spring and summer months and has 250 dedicated volunteers.
"There are so many people at Old World Wisconsin -- both staff and volunteers -- who love this place and go the extra mile to make visitors feel welcome. It truly is a labor of love for many," says McGovern.
Old World Wisconsin is open from June 15 to Oct. 31, 2009. From June 15 to Sept. 8, the hours are Monday-Saturday from 10 a.m. to 5 p.m. and Sundays from noon to 5 p.m. The hours change after Sept. 8 to weekdays from 10 a.m. to 3 p.m. but the weekend hours remain the same. Old World Wisconsin is open from 10 a.m. to 5 p.m. on Labor Day.
Admission to Old World Wisconsin is $16 for adults, $14 for students and seniors, $9 for kids 5-17 and free for kids under 5 years old. There is a special family rate of $43. Fees include an all-day tram transportation pass.
The site has many special events, including Old World Fourth of July, a "small town" celebration featuring a parade, a greased pole climb competition, watermelon seed-spitting contest and egg toss. For more information about this event and others, go to the Old World Wisconsin Web site.
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Molly Snyder Senior Writer @mollysnyderMKE
Molly Snyder started writing and publishing her work at the age 10, when her community newspaper printed her poem, "The Unicorn." Since then, she's expanded beyond the subject of mythical creatures and written in many different mediums but, nearest and dearest to her heart, thousands of articles for OnMilwaukee.
Molly is a regular contributor to FOX6 News and numerous radio stations as well as the co-host of "Dandelions: A Podcast For Women." She's received five Milwaukee Press Club Awards, served as the Pfister Narrator and is the Wisconsin State Fair's Celebrity Cream Puff Eating Champion of 2019.
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Gidget (TV series) Quotes
Gidget is a Sitcom that first aired in 1965 on American Broadcasting Company. Gidget ended in 1966.
Gidget was on for 1 seasons and 32 episodes. It features Bob Claver (pilot episode) as producer, Jack Keller (songwriter) as theme composer, and Dave Grusin as composer. Gidget is executive produced by Harry Ackerman. Gidget is created by Frederick Kohner (novel).
Gidget is recorded in English and originally aired in United States. Each episode of Gidget is 25 minutes (per episode) long. Gidget is produced by Screen Gems and distributed by Screen Gems. Spinoffs for this show include Gidget Grows Up (1969).
The cast includes: Frances Elizabeth "Gidget" Lawrence, Russell Lawrence, Anne Cooper, John Cooper, Larue Wilson, Jeff "Moondoggie" Matthews, Siddo, Randy, Kahuna, Jack Collins, Roger Haimes, Mark, Bret, Tom Brighton, Corky Cook, Baxter Stevenson, Durf the Drag, Scott, and Toby.
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DHS Open for Business: How Tech Corporations Bring the War on Terror to our Neighborhoods
A report published by IDP's Surveillance, Tech and Immigration Policing Project, the Action Center on Race and the Economy (ACRE), LittleSis, and MediaJustice
Our report, "DHS Open for Business: How Tech Corporations Bring the War on Terror to our Neighborhoods," investigates how DHS funding and corporations drive demand for "homeland security," expanding militarized policing in our communities. Through our research, we found that DHS fueled a massive influx of money into surveillance and policing in our cities, under a banner of emergency response and counterterrorism—and with the support of its corporate partners like Microsoft, LexisNexis, ShotSpotter, Palantir, and Motorola Solutions.
In the last twenty years, DHS has devastated communities through surveillance, police militarization, and deportation; these harms make clear to us that "homeland security" doesn't make us safer, but it does make corporations richer. This report provides organizers and policymakers an understanding of the role that corporations play in shaping "homeland security" policy, adding evidence to growing calls for action to shut off "counterterrorism" funding pipelines that result in more contracts for corporations and bring militarized policing into our neighborhoods.
In the aftermath of 9/11, the George W. Bush administration launched the global "War on Terror," capitalizing on public fears and calls for retaliation to justify military intervention and Islamophobic violence across the world. This war demonized and targeted Muslims, both abroad and in the United States. In 2002, the administration founded the Department of Homeland Security (DHS), forcibly reframing federal immigration services, emergency response, and data analysis under a mission to "secure the homeland." This reorganization codified the false link between immigration and terrorism. Instead of making people safe, DHS and its corporate partners used "counterterrorism" to expand policing and surveillance in neighborhoods across the country, targeting immigrant and Muslim communities and intensifying the War on Terror at our doorsteps.
Since its founding, DHS has relied on a state of "emergency" to carry out its operations. Twenty years later, this state of "emergency" has not ended and immigration policing, "national security," and surveillance have become big business.
Our report investigates how DHS funding and corporations drive demand for "homeland security," expanding militarized policing in our communities. Through our research, we found that DHS fueled a massive influx of money into surveillance and policing in our cities, under a banner of emergency response and counterterrorism—and with the support of its corporate partners like Microsoft, LexisNexis, ShotSpotter, Palantir, and Motorola Solutions.
Specifically, this report presents data on how DHS funneled billions in grant funding to our cities through programs like the Urban Area Security Initiative (UASI). We found that DHS and local policing agencies use this "counterterrorism" grant program to expand surveillance, supercharge militarized police departments, and funnel money right back to the same corporations that advocate for this funding. We focus our research findings on four cities—Los Angeles, Boston, New York City, and Chicago—documenting how UASI grants intensify local policing and benefit corporations. We spotlight data fusion centers—institutions that enable interagency information sharing and are heavily funded by UASI—as an example of how industry and government collaborate to build systems that criminalize Muslim, Black, Brown, Indigenous, and immigrant communities in our neighborhoods.
The DHS annual budget ballooned from $19.5 billion in 2002 to almost $100 billion in 2023, channeling much of these funds into corporate pockets. Our research investigates the role of corporations in creating demand for "homeland security" technology and DHS, from even before 9/11 to today. Our research found that corporations including Microsoft, LexisNexis, and Motorola Solutions, which market themselves as working for the public good, collectively make billions in revenue through DHS and government contracts for policing and surveillance—including through contracts and programs funded by UASI. We tell the story of how tech corporations fund and collaborate with law enforcement associations and think tanks, aggressively supporting the expansion of the "homeland security" machine through DHS grant funding and data fusion centers. Flush with public funds funneled through DHS, corporations help create the booming industry of policing and mass surveillance in our communities.
In the last twenty years, DHS has devastated our communities through surveillance, police militarization, and deportation; these harms make clear to us that "homeland security" doesn't make us safer, but it does make corporations richer. This report provides organizers and policymakers an understanding of the role that corporations play in shaping "homeland security" policy, adding evidence to growing calls for action to shut off "counterterrorism" funding pipelines that result in more contracts for corporations and bring militarized policing into our neighborhoods.
Tech corporations like Microsoft, LexisNexis, and Motorola Solutions drove DHS demand for "homeland security" technologies in the aftermath of 9/11, setting up a revenue stream for their products that continues to today.
Building on decades of research on the role of corporations in the War on Terror, our analysis found that in the wake of 9/11 tech corporations like Microsoft—who had recently seen their revenues plummet when the dot-com bubble burst in the early 2000s—positioned themselves as key partners to the government, capturing new revenue streams. Corporations helped develop "homeland security" infrastructure, like data sharing systems, and secured the first contracts with DHS for software technology. Companies like LexisNexis pushed the federal government for counterterrorism technologies, through lobbying and research advertising their products, and built new arms of their business to meet the demand they were helping construct. Motorola Solutions lobbied for increased DHS funding for its "communications interoperability" technology. Through relentless lobbying and a revolving door, these same corporations then received millions in contracts from DHS in subsequent decades.
DHS "counterterrorism" grant funding inflates the bloated budgets of local law enforcement agencies, expanding the police and deportation state in our neighborhoods in the name of "emergency" response. Specifically, the Urban Area Security Initiative (UASI), a DHS grant funding program, helps increase profits of surveillance corporations that, in turn, advocate for its continuation.
Through an analysis of UASI funding in Los Angeles, Boston, New York City, and Chicago, we found that cities spend millions of UASI dollars on contracts with surveillance corporations like ShotSpotter, Motorola Solutions, and Palantir. UASI is a part of DHS's Homeland Security Grant Program (HSGP), which has provided almost $28 billion in funding to local and state agencies since the department's founding. UASI provides $615 million annually to local and state agencies for "counterterrorism" activities, which funds massive purchases of surveillance technology and amplifies policing. The program is managed by the Federal Emergency Management Agency (FEMA) and ties federal money for disaster relief—which cities desperately need for hospitals, fire departments, and alert systems—to policing and surveillance systems. This has given corporations a virtually guaranteed, ever-expanding funding stream.
See Appendix A for examples of corporations that rely on UASI funding to increase their revenues for policing and surveillance technologies like gunshot detection, Automated License Plate Readers (ALPRs), social media and data analysis, and data sharing networks.
UASI grants fund fusion centers, which operate as black boxes of public-private data collection and sharing across the country. Some of the same corporations that sell surveillance technology drove the development of fusion centers and contributed to DHS's reliance on consumer data collection and information sharing.
Our research exposes the role that corporations played in establishing fusion centers in the early 2000s, and demonstrates how UASI funding and corporate influence helps sustain fusion centers today. In the 2000s, corporations like Microsoft pushed for fusion centers as a necessary "counterterrorism" response, and built their infrastructure with government agencies, ensuring a continued reliance on their products. Fueled by corporate interests, fusion centers have become the center of the data broker economy. The centers rely on consumer databases run by Experian, LexisNexis, and its subsidiary, Accurint.
Almost two decades of research shows that data fusion centers enhance racialized policing, mass surveillance, government spying on social movements, targeting of Muslims, and immigration detention and deportation. Between corporate lobbying and public-private partnerships, the fusion center network has boomed: there are at least 80 fusion centers across the US and its territories today.
Corporations sponsor and fund law enforcement associations and think tanks that drive the "counterterrorism" profit cycle by bringing industry and government officials together to shape policy. These associations advocate for more funding for fusion centers and homeland security grants.
Industry-funded law enforcement associations and think tanks have played a critical role in establishing "homeland security" policy rooted in surveillance and militarized policing. Professional associations and think tanks—like the National Fusion Center Association, the National Homeland Security Association, the Integrated Justice Information Systems Institute, and the International Association of Chiefs of Police—host annual conferences where they bring together government and law enforcement officials and corporate partners to shape security "solutions," and provide a venue for corporations to market their security products. These same law enforcement associations, bolstered by corporations, then advocate for more "counterterrorism" grant funding.
These associations have industry ties, from their funders to their executive board members, who drive their priorities when lobbying for "homeland security" funding. These industry-funded associations give corporations legitimacy and an outsized level of influence as active participants in shaping "homeland security" policies that benefit their businesses.
Grassroots organizations like Muslim Justice League and the Stop LAPD Spying Coalition have long been organizing against the "homeland security" policing machine because of the violence it inflicts on our communities. Building on the report findings and their years of advocacy, we call for immediate action to address the harms of the "counterterrorism" profit cycle.
See the Conclusion of the report for an expanded list of recommendations.
Local & State Action
To promote true community safety, city and state officials should reject Urban Area Security Initiative funding and instead invest in public services like education, housing, and healthcare.
To protect their residents, city and state officials should divest all funding from fusion centers and other surveillance networks in local and state budgets and instead invest those funds in public services.
Federal Action
Congress should immediately cut Homeland Security Grant Program (HSGP) funding by 50 percent and separate funding for emergency response and immigration services from the DHS budget, on the path to total divestment.
Congress and federal agencies should limit and regulate corporate data sharing and ensure that "homeland security" and "policing" exceptions are no longer used as loopholes for corporations to profit from mass data collection.


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There are two options available in SQ to join multiple tables, One using 'User Defined join' property and the other using 'SQL Query'. We can create a join override to do a Normal, Left & Outer join using 'User Defined join' but will get a database error if you try to do Full outer join. Integration service does not support Full outer join. For that we can override the SQL query and get it done.
Create a join override. The Integration Service appends the join override to the WHERE or FROM clause of the default query.
Override the Default query with Join SQL query.
Integration Service returns all rows for the table to the right of the join syntax and the rows from both tables that meet the join condition. In other words it returns all rows from the right table (table2), with the matching rows in the left table (table1). The result is NULL in the left side when there is no match.
JOB2 – This is our second table (Right). We are going to join these two tables and load to target using SQ.
Edit the SQ property and give the below SQL expression in 'User Defined Join' editor. Just note the Join syntax, enclose the entire join statement in braces or else will get DB error.
Created a workflow & session for the mapping and ran the job, Let's review the session log. Only 5 rows got read from the source and loaded to target, All rows from the Right table (Table 2), with the matching rows in the left table.
See the Source Qualifier SQL query used in the mapping, since we used the 'User Defined Join' property, Integration service override the default SQL query and changed to a join query.
Output Target Table – All records from Right table (Matched-3 + Unmatched-2) got loaded to target. Job ID, Title & Min Salary from first table and Max Salary from second table. Since there is no match job_id 4 and 5 showing as NULL.
The same result can be achieved by overriding the default SQL query.
We are done with Right Outer Join – Lets see Full Outer join in the next session.


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Der FCM Flyeralarm Traiskirchen ist ein Fußballverein aus der Stadt Traiskirchen in Niederösterreich. Der Verein spielt seit der Saison 2016/17 in der dritthöchsten Leistungsstufe, der Regionalliga Ost. Zur Saison 2022/23 fusionierten die Traiskirchner mit dem FC Admira Wacker Mödling II und bilden seither das Farmteam des Bundesligisten FC Admira Wacker Mödling.

Geschichte
Der FCM Traiskirchen wurde 2007 durch den Zusammenschluss des FC Möllersdorf und von Arkadia Traiskirchen gegründet. Zu Anfang wurde der Verein FCM Arkadia Traiskirchen genannt.

In der Debütsaison spielte der Verein in der sechstklassigen Gebietsliga Süd/Südost. In der Saison 2011/12 wurde man schließlich Meister jener Liga und konnte somit in die 2. Landesliga Ost aufsteigen. In der Saison 2014/15 wurde man zwei Punkte vor den Amateuren des SC Wiener Neustadt Meister der 2. Landesliga Ost und spielte somit in der folgenden Saison in der Landesliga Niederösterreich. 2015 wurde die Firma TQS Hauptsponsor der Traiskirchner und der Verein trägt seither den Namen FCM TQS Traiskirchen. In der Debütsaison in der vierthöchsten Spielklasse belegte man den achten Platz und hätte somit eigentlich den Durchmarsch in die Regionalliga Ost verpasst. Man übernahm jedoch den Startplatz des 1. SC Sollenau und war somit für die Saison 2016/17 in der Regionalliga startberechtigt. Die Sollenauer übernahmen den Startplatz ihrer Zweitmannschaft in der siebtklassigen 1. Klasse Süd.

In der Saison 2016/17 nahm man zudem am ÖFB-Cup teil, wo man in der ersten Runde am Zweitligisten SV Horn scheiterte. Im April 2022 wurde beschlossen, dass Traiskirchen zur Saison 2022/23 mit dem Ligakonkurrenten FC Admira Wacker Mödling II zum FCM Flyeralarm Traiskirchen fusionieren und somit dann die Reserve des FC Admira Wacker Mödling bilden wird.

Seit der Saison 2021/22 besteht unter dem Namen "FSG Traiskirchen" eine Spielgemeinschaft mit der Damen-Mannschaft aus Traiskirchen (ehemals FFCM Traiskirchen), die in der AK Niederösterreich Frauen Landesliga antritt. Aktuelle Cheftrainerin ist Anna Petrusova.

Aktueller Kader

Trainerteam
Stand: 11. August 2022

Aktueller Kader
Stand: 11. August 2022

Weblinks

 FCM Traiskirchen in der Datenbank von fussballoesterreich.at
 Homepage des FCM Traiskirchen

Einzelnachweise

Traiskirchen, FCM
Sportverein (Traiskirchen)
Gegründet 2007

redpajama_set_name: RedPajamaWikipedia


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Your question: What is the current energy situation in the Philippines?
What is the status of renewable energy in the Philippines?
Is the energy demand in the Philippines increasing?
What is the energy resources in the Philippines?
What is the best energy source for the Philippines?
What is the energy of the future?
What is the future of the energy industry?
Why the time is right for renewable energy in the Philippines?
Is the Philippines ready for renewable energy Why?
The difference, however, is in its response. Today, the Philippines is considered among the world leaders in renewable energy, with over 47% of the total final energy consumption coming from green sources.
Total energy consumption has increased by 5.5%/year since 2009, reaching 62 Mtoe in 2019. Oil covers 33% of the country's energy needs, followed by coal and lignite in rapid progression (31% in 2019 up from 19% in 2010) and renewable electricity (16%).
The country produces oil, natural gas, and coal. Geothermal, hydropower, and other renewable sources account for a significant share of electricity generation. In 2019, total primary energy consumption in the Philippines was about 1.9 quadrillion British thermal units (Btu).
Clean and renewable energy sources like geothermal, hydro, wind, biomass and solar energy are among the country's few competitive advantages – especially since it has no significant deposits of fossil-fuels. Its continued dependence on imported fuel has made Philippine electricity rates among the highest in Asia.
IT IS IMPORTANT: What is Singapore first language?
Atomic energy, solar energy, and energy from wind and bio fuels are just a few of the promising alternatives for a cleaner and greener future. Other relatively new sources of energy such as fuel cells, geothermal energy, and ocean energy are also being explored.
While companies will still produce fossil fuels in 2040, renewables could account for almost 70% of the world's energy mix, while nearly 80% less carbon will be emitted into the air, according to a report from global financial institution ING.
Additionally, renewable energy can provide electricity access for all while reducing electricity costs for consumers. … Finally, the low-carbon energy transition will help thwart climate change and reduce the carbon intensity of the Philippines' power sector, as well as improve its energy system resilience.
Recently, the DOE announced that the Philippines is ready to make the shift to alternative energy, and is pushing for renewable, low-carbon, and no-carbon energy sources to fulfill the country's energy demands. … This year, the Green Energy Option Program (GEOP) is set to take off in select parts of the country.


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What is Premier Wen pointing to? Is that CY Leung's name pinned to the ceiling?
The National People's Conference concluded yesterday in Beijing. And to wrap up proceedings Premier Wen Jiabao held a press conference over three hours. There were far-ranging topics discussed, from economic policy to the actions of Chongqing's Deputy Mayor.
In-between there was talk of Hong Kong. And while no definitive direction was offered, there's a scramble to decipher each word.
"I believe that, as long as the principles of openness, justice and fairness are observed and relevant procedures are complied with, the chief executive election will result in a leader who has the support of the vast majority of the people in Hong Kong," said Premier Wen (Source: The Standard).
As a simple American-Australian, I read this to say that citizens in Hong Kong will be happy with whoever is chosen so long as it is done in a transparent and just fashion.
But in Hong Kong the interpretations are flying. Everyone is keen to know which candidate for Chief Executive Beijing will support come the 25 March election.
Some say this is a clear nod to candidate CY Leung – as he is the candidate preferred today in opinion polls ("leader who has the support of the vast majority").
Henry Tang chose to emphasise another portion in his web post yesterday ("principles of openness, justice and fairness"). He infers it made him the clear choice.
Sadly no one believes the third candidate – Albert Ho – was even referenced. As he is Chairman of the Democratic party he is unlikely to ever get mentioned politely among political circles in Beijing.
With a track record like that, maybe I have a future reading tea leaves.


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Diego Marabelli (Zerbo, Lombardía, 23 de fevereiro de 1914 - Pavía, 13 de julho de 2006) foi um ciclista italiano que foi profissional entre 1936 e 1947. Em seu palmarés destacam três vitórias de etapa ao Giro de Itália.

Palmarés

 1935
 1º no Piccolo Giro de Lombardia
 1938
 Vencedor de uma etapa ao Giro de Itália
 Vencedor de uma etapa ao Giro dos três mares
 1939
 Vencedor de uma etapa ao Giro de Itália
 1940
 Vencedor de uma etapa ao Giro de Itália
 1942
 1º na Milão-Modena

Resultados ao Giro de Itália

 1938. 11º da classificação geral. Vencedor de uma etapa
 1939. 15º da classificação geral
 1940. 15º da classificação geral
 1946. 15º da classificação geral

Ligações externas

 Ficha e biografia de Diego Marabelli a museociclismo.it

Ciclistas da Itália
Mortos em 2006
Vencedores de etapas do Giro d'Italia
Nascidos em 1914