text:
English language Books recommended by Dr. Stuart Savory, revised 19th April 2003.
Click on the book's title to order it from . For other book orders click here:-
Note: if the title is not linked (i.e. underlined), then it is not available from amazon.de. So go ask another Bookman !
A Gift of Wings by Richard Bach, 2001, ISBN 0-330-30421-6. Rediscovered after many many years :) . Written as only Dick Bach can write about the magic of flying :)
Downsize This! by Michael Moore, Harper Perennial, 1996. ISBN 0-06-097733-7. A call for more social justice in the big capitalist nation of US. Very well written.
The book your church doesn't want you to read Tim Leedom, ISBN 0-939040-15-8. Tracks the view that the religious beliefs held by many in the USA (and elsewhere) are totally unfounded. The Book takes a long hard look at beliefs, evidence, stories, churches and acts of omission and commission. Sadly, I expect that christian fundamentalist won't read it, for fear of being confused by facts. What's next on the reading list? Malleus mallificarum? ;)
It's been a good life Isaac Asimov, Prometheus Books, 2002. ISBN 1-57392-968-9. A good autobiography.
The Iron Dream Norman Spinrad. This is a really dangerous book, forbidden in Germany. Spinrad writes a seductive story , allegedly by Adolf Hitler, and some less bright readers might not realise that they are on the wrong side! Recognisable rants from Mein Kampf add to the frightening realism.
The Chick is in the Mail Esther Friesner , Baen, 2000. ISBN 0-671-31950-7. Sometimes amusing, and in her particular genre, but not the best of the series.
The Amazing Maurice and his Educated Rodents Terry Pratchett, Corgi Books, 2002. ISBN 0-552-54693-3. Pterry retells the Pied Piper from a very different point of view. Ethically challenging; not just for children!
Night Watch . Terry Pratchett, Harper Collins, 2002. ISBN 0-06-001311-7. Pterry puts Sam Vimes in a Timewarp loop to train himself. Funny as ever, with lots of puns and literary references (e.g. to Lobsang Rampa, Ian Flemings Bond, The Goons etc.) Very British humour & placenames such as "The Isle of Gods" as a pun on "Isle of Dogs".
Arctic Bush Pilot. James Anderson as told to Jim Rearden, Epicenter press, 2000. ISBN 0-945397-83-6-8. One of the Old-Guard tells how it was bush flying in the Arctic in the old days. Given to me by an ancient Arctic bush pilot , Klaus Stiegler ;)
The Quotable Scientist. Leslie Alan Horvitz, McGraw Hill, 2000. ISBN 0-07-136063-8. Collected quotations by eminent scientists. By the way, "Horvitz" is German for "Hear the Joke", an apt name thus, for the collator :)
Travelling Marshals (of the TT & MGP). David Wright, Amulree Publications, 2001. ISBN 1-901508-06-4. First Hand accounts from some of the 70 men who have carried out Travelling Marshal duties at the Isle of Man Tourist Trophy and Manx Grand Prix races. Having served as a (static) marshal myself, I can appreciate the difficult job these men do. Amusing anecdotes and lots of history. This is a book for motorcycle fans (only), but a deserving tale well told. Well done, David. Cover photo here.
Home with Alice. Steve Fallon, Lonely Planet, 2002. ISBN 1-74059-038-4.
I just read this book by Steve Fallon,
Who drank Guinness beer by the gallon,
While learning the Gaelic,
From Paddy each day, Mick,
In Dysent, Roscommon and Teilann ;-)
Nanny Ogg's Cookbook. Terry Pratchett and Stephen Briggs, Corgi, 1999. ISBN 0-552-14673-0. Terry Pratchett provides one of his DiscWorld characters, the second-best witch, Nanny Ogg, from whose point of view the book is written. The recipes are tamed down - to make them palatable to us humans - by Tina Hannan and Stephen Briggs. Excellent illustrations by Paul Kidby as usual. Delectable :-)
The Bombe. Donald W. Davies, Royal Holloway, 1999. ISBN 0-90219-491-7. Prof. Davies describes Alan Turing's 'Bombe', the machine used to help crack the Enigma in Bletchley Park during WW2.
Freud Ego. Clement Freud, BBC 2001, ISBN 0-563-53451-6. The very amusing autobiography of the well-known british raconteur.
QED. The strange theory of light and matter. Richard P. Feynman, Princeton University Press, 1988. ISBN 0-691-02417-0. QED stands for Quantum Electro-Dynamics. Nobel prizewinner Richard P. Feynman explains in a very easy read, almost NO formulae, how light and matter particles interact. He explains everyday phnomena such as reflection, refraction, diffraction etc. in terms of photon particles. And he does it in a manner that makes it easy for the layman to understand. Well worth reading, not only for physicists. See also his autobiographical anecdotes , described way below, in this list of recommended books.
Hyperspace. Michio Kaku, Anchor Books (Doubleday), 1994. ISBN 0-385-47705-8. Theoretical physicist Michio Kaku has written an eminently readable book about SuperString Theory (10-dimensional space-time). It is a scientific odyssey through parallel universes, time warps, and the tenth dimension, which makes a difficult subject accessible to the lay person.
The Mathematical Theory of Communication. Claude E. Shannon and Warren Weaver, University of Illinois Press, 1949. ISBN 0-252-72548-4. Modern paperback reprint of Shannon's 1949 classic treatise. Most people refer to it, some quote it, few have actually read it :-( I can thoroughly recommend that you read it yourselves, now that it is available again.
Spy! Richard Deacon with Nigel West, Avon Books, 1990. ISBN 0-380-71543-0. Six stories of modern espionage. Case studies of : Richard Sorge, Bogdan Stashinsky, Cynthia (Amy Elizabeth Thorpe), the Venlo incident, Double Cross (Camp 020), and John Vassall. Informative.
The Rise of the Meritocracy (1870-2033). Michael Young, Pelican, 1961. ISBN not stated! I just re-read this after 40 years! Quite an interesting restrospective, and many of Young's predictions came about. This book won the Silver Casse prize for best satirical essay in 1965.
Mother Tongue. Bill Bryson, Avon Books, 1990. ISBN 0-380-71543-0. English and how it got that way. Diverting and richly anecdotal explanation of the development of the English language. Read it :-)
The Twilight of American Culture. Morris Berman, W.W.Norton & Company, 2000. ISBN 0-393-048798-9. Cultural degradation - american kitsch, the rise of corporate global hegemony, erosion of democracy, the moronization of the public, corruption of officials etc. - is described here in some detail. Berman suggests a 'monastic' solution to minimise the length of the Dark Ages sure to follow :-( Read this book! It might actually make you THINK about the degrading influence of McWorld !
Thief of Time. Terry Pratchett, Doubleday, 2001. ISBN 0-385-60188-3. Terry Pratchett meets Zen Bhuddism, but loses :-( Lots of puns and throw-away references as usual, but not nearly as good as "The Truth" (see below). Disappointing :-(
The Truth. Terry Pratchett, Doubleday, 2000. ISBN 0-385-60102-6. This is the 25th Discworld Novel and every bit as good as the preceeding 24! In The Truth (russian: Prawda) we see what happens when the Press (Ankh Morpork Times) tracks down devious schemers. Hilarious! :-)
Between Silk and cyanide. Leo Marks, Harper Collins, 1998. ISBN 0-00-710039-6. Autobiography 1941-1945 of the great SOE (Special Operations Executive) codemaker of WW2. If you only buy one book, make it this. Very light and humourous but at times deeply moving, I find it to be an excellent read!
The decipherment of Linear B. John Chadwick, Cambridge University Press, 1958. ISBN 0-521-39830-4. Fascinating tale of cryptanalysis and archeology. Rather dry if you like neither subject though :-)
Surely you're joking Mr. Feynman. Richard P. Feynman, ,Vintage, 1992. ISBN 0-09-917331-X. Extremely humourous autobiographical anecdotes from the famous physicist and Nobel prize winner. A very interesting read :-)
Harry Potter and the Philospher's Stone. J.K.Rowling, Bloomsbury Publishing, 1997. ISBN 0-7475-3269-9. Ostensibly a childrens' book, so it is written melodramatically. But still a thumping good read, as Billy Bunter would have said :-) Not quite as good as the books by Terry Pratchett though, because although Rowling is good at (overdrawn) characterisation, Pratchett is better at subtle humour !
Any and all of the books by Terry Pratchett, including Good Omens, Johnny and the Bomb, or any from the Discworld Series, my favourite therefrom (and I read them all again over the Hogswatch [=Xmas] vacation:-) being Witches Abroad.
Losing my Virginity. Richard Branson, Virgin Publishing, 1998. ISBN 0-7535-0456-1. The Autobiography. Zex & drugs & rock n' roll. And ballons, intrigue and lots and lots of money of course ! The ghost-writer, Edward Whitley, has helped Branson produce a very interesting book. I liked it.
The Wrong Stuff. Cdr. John Moore, USN Retd., Speciality Press, 1997. ISBN 1-883809-10-X. Very funny autobiographical anecdotes by a fantastic test pilot. This pilot has done more jet belly-landings than you care to think about. John Moore is an ex-Tailhooker (=one who land on carriers), ex-mayor of Cocoa Beach (Florida) and an accomplished raconteur. Read this, pilots!
Spitfire: a Test Pilot's Story. Jeffrey Quill, Air Data Publications, 1996. ISBN 0-85979-093-2. Rather patriotic autobiography of a WW2 fighter and test-pilot.
New Guinea Skies. Wayne P.Rothgeb, Iowa State University Press, 1992. ISBN 0-8138-0836-7. An american fighter pilot's view of World war II. Autobiography.
Out of their Minds. Dennis Shasha and Cathy Lazere, Cpoernicus, 1998. ISBN 0-387-98269-8. Superficial short biographies of 15 great computer scientists. Disappointing book.
In the Beginning was the Command Line. Neal Stephenson, Avon Books, N.Y., 1999. ISBN 0-380-81593-1. What's bad about WYSIWIG? A Critique of Windows and MacOS.
Fatal Words. Steven Cushing, University of Chicago press, 1994. ISBN 0-226-13201-3. Scientific study of communication failures in Air Traffic Control. Pilots should read this, it may save their lives!
The Hidden War. R.A.Haldane, Robert Hale Ltd., 1978. ISBN 0-312-37197-7. Secret service and cryptography tales from WW2.
The Man who loved only numbers. Paul Hoffman, Bantam Books, 1983. ISBN 0-553-27386-8. Moving and funny biography of the excellent, but eccentric, mathematician Paul Erdös. My own Erdös number is currently unknown, believed to be infinite :-(
The Delta Star. Joseph Wambaugh, Hyperion Press, NY, 1998. ISBN 0-7868-8406-1. Hilariously comic crime novel, most enjoyable, good suspense. I laughed a lot ;-)
The Penguin Dictionary of Curious and Interesting NUMBERS. David Wells, Penguin Books, 1986. ISBN 0-14-026149-4. Curiouser and curiouser, as Lewis Carroll might have said. He certainly would have enjoyed this slim (231p) volume too... Enables you to bore the hell out of people at cocktail parties, e.g: 666, besides being the Number of the Beast, is also the sum of the squares of the first seven primes ;-)
Cryptonomicon. Neal Stephenson, Avon Books, 1999. ISBN 0-380-97346-4. Excellent novel about cryptography in WWII and the 1990s. The WWII anecdotes are based on reality and the 1990s algorithm works well !
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From the developers behind Anime Studio Simulator and Ascendant Hearts, grab your sword and shield for a classic fantasy adventure. Join Celeste in her journey to become a true knight in the JRPG inspired Eternal Radiance. Want to learn more? Full details due after the jump in this first edition of the "Creator Corner Spotlight".


The Budget on 24 March 2010 announced that first time buyers will not have to pay stamp duty on residential properties of up to £250,000 . This will apply to any purchases completed on or after 25 March 2010 until 25 March 2012.
Please note that to qualify as a first time buyer, you must never have owned a property anywhere in the world. This includes any properties you may have inherited rather than actually purchased. If you are buying a property jointly with another person, you must BOTH be first time buyers to qualify.


text:
Bill Popp and The Tapes
British Invasion Style Original Rock
Bill Popp
Bill with Friends
Gerry Barnas
Roger Foster
Mary Noecker
Daddy Tapes
History of The Tapes
How The Tapes Got Rolling
From the time Bill Popp wrote his first song in 1969 he wanted to form a band that would feature his songwriting. Through his teens and early 20's his effort would hardly make it out of the living room of his parents' house where he would rehearse. Part of the reason for his failed attempts was due to lack of dedication and not being able to afford an electric piano (Fender Rhodes).
The death of his mother in 1978 was a wake up call for Popp and he realized that to get somewhere in the music business, he would have to make music the center of his life.
So he started showcasing in the West Village of New York and played solo gigs wherever he could. Popp formed a duet with female singer Mary Anne Christopher, which grew into a top forty disco band called Triangle which then changed its format to a New Wave cover band in 1980.
Popp never gave up his ambition to have an original band, so in the summer of 1980, he formed what was supposed to be a sideband, using members of Triangle to perform at such clubs as CBGB and Max's Kansas City, where Popp could promote his songwriting.
He asked Triangle bassist Paul Reilly and drummer Steve Baltunis, who had just auditioned for Triangle, to join. Paul had a high school guitar player friend named Joe Canale, who auditioned and got the gig.
The band kicked around names and came up with The Tapes. At the time it was considered a good name because most bands had the word THE before their name and all recordings were done at that time on magnetic recording tape.
Popp knew the owner of a club called Gerde's Folk City and, with a poorly recorded demo tape, was able to land the band their first gig there on Tuesday March 3rd 1981, and the rest is history.
Started out as just The Tapes
our first show ever was
at Folk City in New York
We got the following review for our first show
Our first banner
The Tapes at CBGB May 10, 1981
The Tapes in the CBGB dressing room, 1981
A Dark Day for the Tapes
The Tapes gained local popularity, mostly because the band had both a punk and a pop sound. "We were different. We had pop melodies with a punk edge, which I believe came from Joe's raw guitar sound," said Popp. By August of 1981 the group had played CBGB, Max's Kansas City, Great Gildersleeves, the Play Room, Camouflage, and a return show at Folk City.
But tragedy hit the band with the death of Joe Canale, and the momentum came to an abrupt halt. On a routine bank errand, the eighteen-year-old Joe Canale was abducted, robbed, and found murdered. "This was probably the worst thing I ever lived through," said Popp. "It was hard for me to play my own songs knowing how Joe had played on them. Part of me wanted my music to die with him, but I knew we had to live on."
The Return of the Tapes with Dan Cooper
About three weeks went by before the surviving band members played together again, and decided then that the band should continue. In late September of 1981 they held auditions, and Dan Cooper became the new guitarist for the Tapes. The Tapes returned to the stage with a show at CBGB in November of 1981.
The Tapes at CBGB November 1981
By January of 1982 the band cut the rhythm tracks to their first single, 'Love and Lust' b/w 'Floating On A Teardrop' which was engineered and co produced by David Lichtenstein, son of famed pop artist Roy Lichtenstein, and was released in June 1982.
above photo by George DuBose
The band got favorable reviews from the local Aquarian paper and the national rock mag Trouser Press, which helped expand their sound to the tri-state area.
Proof Sheet 1983
In January of 1984 the Tapes returned to the studio to record their second single 'Too Many Stars' b/w 'Just Like In the Movies', this time produced by David Lichtenstein. The second single increased their popularity and landed them a review in Billboard as 'potential for chart entry in the pop format.'
Unfortunately, the band's momentum was undone once again when drummer Steve Baltunis announced in October 1984 that he was leaving due to his now working the night shift on his job.
The Tapes then went through endless auditions, tried out two drummer's that only lasted one show each, finally finding Frank Palo in May 1985.
From the strain of holding what seemed to be endless auditions, replacing Steve Baltunis took it's toll on the band. Disagreements over what direction the band should go in, and some silly talk about getting a new lead singer, divided Popp and Cooper. Though the band was moving forward, there was a negative vibe.
The Tapes played a seemingly flawless show at CBGB on January 3rd 1986, but two days later Cooper and Palo quit the band, leaving Popp with his songs.
The Birth of Bill Popp and the Tapes
Popp decided to put The Tapes back together and to start from scratch without Paul Reilly. He held auditions as soon as possible. Though it was difficult to coordinate, somehow by March 1986 the band returned to the stage with a new line up and played a show at the Bitter End. The band was now billed as Bill Popp and The Tapes and, for the first time, had women in the band. The new line up was Bill on lead vocals and keyboards, Perry Norton on guitar and vocals, Angel Eve on bass, and Bobby Reyes on drums.
But what started out as one happy family, turned into a soap opera and, by late August 1986, Angel and Perry left the band.
The Beginning of the "Popp THIS" Era
Popp tried to keep the co-ed image in the band so he found female guitarist Annie Husick and bassist Clair Pushay to fill the empty slots and in late October of 1986 the Tapes rolled into CBGB and continued to do shows after that.
The Beginning of the Daddy Tapes Benefit
Popp lived like a kid at the age of 33. He lived cheaply at home paying board to his father. His band The Tapes would rehearse in the basement. If Bill had had to pay for both rent and rehearsal time with the money he made at his non-union plumbing job, the band wouldn't exist. This is why George L. Popp got the nickname Daddy Tapes. Besides providing studio space, he also addressed the mailing envelops for the band's mailing list (before the days of e-mail) and came to many of their shows.
But on November 1, 1986 Popp's life got turned upside down when his father died from a heart attack. Daddy Tapes' dream had been to one day sell the house and move to Florida. But he knew that if he did that, it would most likely be the end for his son's band. So instead, he remained in New York and kept his night watchman job till the day he died at age 73.
At the funeral Popp said he wanted to do something to keep his father's spirit alive, so to honor his memory, he came up with the idea of doing a benefit in his father's name and donating the money to The American Heart Association.
At the end of December 1986, Clair Pushay left the band and Emily Shane became the new bass player. The group continued to gig. On March 10th 1987 the band played the first of what has become known as The Daddy Tapes Benefit, at CBGB's, on the late George L. Popp's (Daddy Tapes') Birthday.
March 11, 2015 will mark the twenty-ninth benefit in a row.
In spring of 1987 the band went back to the studio and by the fall released a three song cassette titled Bill Popp and The Tapes Unwind.
These songs and six others would eventually be the full length album POPP THIS, which would be released in 1990.
But again what was once a happy family again turned into a soap opera and the ladies left in December 1987.
Annie and Emily were replaced by Gerry Barnas on guitar - who remains to this day - and Stefanie Seskin on bass.
Their first performance in this line up was on March 10 1988, at the 2nd Annual Daddy Tapes Benefit at CBGB's.
Starting in May 1988, and throughout the summer of 1989, the band continued recording their ten song debut album Popp THIS, which was released in January 1990. It got rave reviews from both The New York Daily News and Billboard.
POPP THIS
Everything is Thin
Too Many Stars
I'll Never Change
Don't Hold It Against Me
'Til Nowhere
She's in the Sky
One Door Slams
Recorded at Sammy Fields in Sugar Hill, Omega Mix, and West Westside Music
Produced by Bill Popp
Recording Engineer, Associate Producer, and mixed by Alan Douches
Bill Popp - lead vocals and keyboards
Gerry Barnas - guitar and backing vocals
Stefanie Seskin - bass, flute, and backing vocals
Anne Husick - guitar and backing vocals
Emily Shane - bass and backing vocals
Bobby Reyes - drums and backing vocals
After the tracks were completed, Seskin decided to quit both the band, and the music business altogether, and joined the corporate world.
Years later, Stephanie formed her own band, Blue Number 9.
In the beginning of 1990, Bobby Reyes left the band and was replaced by drummer Rob Holm. After a few fill-in bass players, bassist Mike Gellman joined in the fall of 1990, and this line up remained with the same members until 1997.
In 1991 the band started on their second album, INSIDES, which took five years to complete.
In 1993 they released their first video titled, "Freedom's Blood," a song Bill wrote in 1989 in memory of those who had died in the Tiananmen Square massacre. The video was shown on Fox TV, and some national cable networks.
FREEDOMS BLOOD
from the 6th track
from our 2nd album Insides from 1996 (below)
The INSIDES album was released in March of 1996 to great reviews.
1. Stone to Throw
2. Eleanor Rigby
3. Rapline
4. Just Say Love
5. Sidewalk Dance
6. Freedom's Blood
7. When I Met You
8. Walk in Circles
9. Zippora
10. The Sky is Blue
Recorded at West Westside Music
Mike Gellman - bass and backing vocals
Rob Holm - drums and backing vocals
To read reviews of this album, please visit our Press page
Bill Popp and The Tapes lineup
The Sony Management Deal
In January of 1997, Popp went to Cannes, France to attend the the Midem music conference, seeking out labels to get international distribution for the new CD. While at Midem, at one of the stands, Popp dropped off a CD at the Sony SW network. The next day, two representatives from the company contacted Bill to do a management deal, outside of the Sony network. They led Popp to believe that, because of their access to radio stations around the world, and the people they knew at them from the SW network, they could get him airplay, which could generate demand for the new CD. Getting a licensing deal could backdoor the band's way into the record business. Popp was going on 44 at the time, and figured his chances of getting signed to a major label were next to impossible, so this might be a great opportunity. Unfortunately, the Sony reps wanted to make their agreement only with Bill, and not the band. This divided the group and ultimately caused Mike Gellman to leave.
Popp signed a ten month letter of intent, but in the end, nothing came of it. Two months after the deal was signed, he requested a progress report to see where the managers were generating airplay for the CD. They told him they were instead trying to get a major deal first, but the labels wouldn't bite when they heard Popp was 43. This approach was a total flip flop from what he was told when he signed the deal.
Alex Craven stepped in on bass
helping out on the Blind Love Sees Tears album
From 1997 to 2001, the band was a revolving door for bass players, but luckily kept bassist Alex Craven and drummer Rob Holm long enough to cut nine of the rhythm tracks for the third album Blind Love Sees Tears. Alex was trying to make a full-time living from music and The Tapes weren't paying the bills. So Alex had to quit in August 1999. And, after occupying the drummer's throne for nine years, drummer Rob Holm also quit the band.
Luckily, during the first week of holding auditions, drummer Roger Foster showed up. Roger's drumming style was a shoe in for the band's sound, as well as his vocal ability, which blended well with Gerry to produce the band's three-part harmonies. Roger also offered his computer skills to setup and maintain the Tapes' web page, and has done the graphic design on all the CD's, starting with Blind Love Sees Tears.
Shortly after Roger joined the band, bassist Everett Henry joined, and stayed long enough to play on the upcoming album. On May 10th, 2001, Bill Popp and the Tapes released their third album, "Blind Love See's Tears."
The release party was held at CB's Gallery and, halfway through the evening, the band marched their guests next door to CBGB's main room, where they played a 20th anniversary show (exactly, for it happened to be May 10th, 1981 when The Tapes first played CBGB's). By the end of July 2001, Everett Henry quit the band and moved to Florida to take a new job.
Blind Love Sees Tears
1. Speaks Little English
2. To Build a Wall
3. New York Mining Disaster
4. Nothing to Hold Them
5. Closest Friend
6. Cecelia Elizabeth
7. Just Like in the Movies
8. Blind Love Sees Tears
9. My Only Child
10. Better Than Nothing
Recorded at Wats On Studios, New Milford, NJ
Recording Engineer Steve Watson, Wats On Studios
Mixed by Alan Douches, West Westside Music
Associate Producer Steve Watson
Bill Popp - vocals and keyboards
Alex Craven - bass
Roger Foster - backing vocals and drums
Everett Henry - bass
Steve Watson - mandolin on To Build a Wall
In 2001, the band auditioned bass player Mary Noecker, who remains to this day, and was the only member to join the band who did not come from a classified ad in the Village Voice (excepting the original band). She was referred by bassist friend John Mantalbano.
Though Bill had been performing solo in Europe for years, Mary encouraged him to take the whole band there. They've since done five European tours. Bill has also performed solo shows in Asia and South America.
From 2001 to the present time, the band has reached a harmony within itself which has allowed their sound to go in different directions, while staying true to their Brit pop roots.
50 YEARS OF POPP
In 2003, Popp was turning 50 years old, so rather than hide and lie about his age, he decided to exploit it. So on June 5th 2003, Popp threw a party at CBGB's Gallery which was open to the pubic. The band performed and released a CD titled 50 Years of Popp, which included Love Many Trust Few and Garden Wall, both of which were later remixed and re-released in 2008 on the My Lonely Mind album.
For the cover, we posed in front of Abbey Road Studios in London
(but we did not record there)
photo from the 50 YEARS OF POPP party
In 2004 they cut new rhythm tracks and, between gigs and Popp's solo tours, finished their fourth album titled My Lonely Mind, released on June 5th 2008 on Bill's 55th birthday. Besides covering the 60's chartbuster Just a Little by the Beau Brummels, and going a little avante garde with Glass, it also showcased the songwriting talents of Tapes' guitarist Gerry Barnas.
My Lonely Mind
1. Paradise
2. Perfect Idiot
3. Heart Beat
4. Love and Lust
5. Your Hero
6. Garden Wall
7. Love Many Trust Few
8. Glass
9. I See Your Face
10. Just a Little
11. Old Grey Men
12. Emily Lives in Ireland
Recording Engineer Steve Watson
Mixed by Steve Watson
Executive Producer Bill Popp
Mary Noecker - bass
Roger Foster - drums and backing vocals
In February of 2009 the band returned to Europe to promote My Lonely Mind. They played in Liverpool, England, Germany and Holland and returned to Germany in the summer to perform at the Eggs and Bacon Festival and finished the year riding high on the rave reviews from the All Music Guide and other music publications shortly after The 24th Annual Daddy Tapes Benefit in March 2010. Popp started to plan the 25th anniversary when it occurred to him that it would be the 30th anniversary for the band in the same month. Right before Popp left NY to play in Alaska, the Tapes cut the rhythm tracks for three new tunes and came up with the concept album called 25X30 to be released at the 25th Daddy Tapes Benefit on March 13th, 2011.
New Tracks:
1. Sally Works in a Chinese Takeout
2. Sure Hope She Shows
3. Love Takes So Long
from My Lonely Mind:
from Blind Love Sees Tears:
from Insides:
10. Stone to Throw
11. Just Say Love
12. Sidewalk Dance
from Popp This:
13. Everything is Thin
14. Til Nowhere
15. Go With the Flow
16. Too Many Stars
Early Singles:
17. Just Like in the Movies
18. Love and Lust
19. Floating on a Tear Drop
20. Bill Popp Interview History of the Tapes
21. Alone in the Moonlight (Live at Max's Kansas City July 1981)
22. The Tapes first air play
23. Glass intro - Daddy Tapes' voice
New tracks recorded and mixed by Jon Altschuler
at Seaside Lounge Studios, Brooklyn, NY
Associate Producer Jon Altschuler
To mark Bill's 60th birthday,
we recorded a 4-song EP
Popp Hits the 60's
Popp Hits The 60's
A 4-Song EP
1. The World She Knows
2. In My Head
3. I Love a Woman But She Don't Love Me
4. When I Was Stoned
Recorded, Mixed, and Mastered by Dave McKeon at Astor Audio
Associate Producer Dave McKeon
Arranged by Bill Popp and the Tapes
CD booklet designed by Roger Foster
Cover designed by Jonathan Krosky
Photos by Pat Ossa and Roger Foster
Bill Popp - lead and backing vocals, keyboards, percussion, kazoo
Gerry Barnas - guitar, backing vocals
Mary Noecker - bass, backing vocals
Roger Foster - drums, percussion, backing vocals
Dave McKeon - Banjo (When I Was Stoned)
Popp's Last Flush
"43 long years working at what I'm not…"
Veteran New York rocker Bill Popp will plunged himself into the world of being a full-time musician. Commemorating the occasion with a new single, "Flushing This Plumbing Job Down The Drain," a party, and a live performance were held on Thursday, October 1st, 2015 at The Parkside Lounge (317 Houston Street New York City).
It's no secret to anyone on the New York music scene that Popp survived financially through the years doing plumbing. He even used his trade to earn brownie points at many New York night spots, including the "legendary" bathrooms at CBGB's, right up until the closing days of the club. "The first job I did for Hilly (the owner) was in 1981, replacing the toilet that was smashed off the wall in the men's room. As I opened the door, a rat jumped out of the garbage can and ran across my feet! The last thing I did for Hilly was removing the bathroom fixtures, including the famous urinals. One of them was put on display at the Rock and Roll Hall of Fame Annex." Popp was shown in the final scenes of Mandy Stein's 2009 documentary "Burning Down the House: The Story of CBGB," kicking the flush valve, flooding the floor.
In the early days, while showcasing his newly formed band, The Tapes, Popp worked for a non-union plumbing shop, where he often found himself close to being fired. He'd work through lunch breaks to get out on time to make it for sound checks. He would get home in the wee hours, set the alarm and wake up to a ringing phone and the foreman's voice saying "Willy, are you coming to work? Move your ass!"
Popp found his way to the plumbing trade because of his flunking attitude towards school. His guidance counselor got him enrolled in Thomas Edison Vocational and Technical High School, where he majored in plumbing. "The last thing I ever wanted to be was a plumber," Popp says "but taking a trade was the easiest way out of high school." Like many artists, Popp was hoping for that record deal that would propel him into stardom. Despite the favorable press, occasional airplay, TV spots and years of performing live, the break never came.
In 1988 a friend coaxed Popp to take a job working as a plumber for the city of New York and for the last 24 years has worked as a plumber for New York City Parks and Recreation. Now 62, he is able to receive a city pension and is finally, "Flushing His Plumbing Job Down The Drain." To commemorate the occasion, Popp is threw a good riddance to plumbing party at The Park Side Lounge located at 317 East Houston NYC, on Thursday October 1st, 2015.
Guests received, at the door, a free copy of Bill Popp and The Tapes' new CD, titled "Popp's Last Flush," and were invited to eat, drink and be merry, complements of the host Bill Popp. This event was open to the public and kicked off at 6:30 PM. A live performance by the band "Bill Popp and The Tapes" was set for 8:00 PM, followed by two special guest bands. Sea Monster at 9 PM and The Bowery Boys at 10 PM. There was no cover charge. A splendid time was guaranteed for all.
Bill Popp and The Tapes have been a New York music institution for over 34 years and counting. Over the years the band received praise from publications such as Billboard, NY Daily News, NY Post, The Village Voice, The All Music Guide and many others.
121Street Records 718-359-4110
Parkside Lounge
Thu Oct 1, 2015, 6:30 PM
went on at 8 PM
followed by the bands listed below
317 E. Houston St (at Attorney St)
Bill Popp Solo
Released October 2018
Not everyone who ever played with Tapes is mentioned on this page.
These are just the highlights.
121 STREET RECORDS 22-20 121 Street College Point, NY 11356 (718) 359-4110

redpajama_set_name: RedPajamaCommonCrawl


text:
NOTRE DAME, Ind. – The 8th-ranked Notre Dame baseball team – playing minus several of its top defensive players – totaled six errors and two passed balls that led to eight unearned runs as visiting Cleveland State emerged with a 12-5 victory over the Irish in Wednesday-night action at Eck Stadium.
Notre Dame (33-9) played the entire game minus its middle infielders – senior second baseman Steve Sollmann (who missed his 19th straight game due to a fractured jaw) and sophomore shortstop Greg Lopez (held out due to a sore back) – while senior catcher Javi Sanchez was relegated to DH duty, after catching all 45 innings during the previous five days of action. Sanchez's backup, freshman Sean Gaston, missed his sixth straight game due to mononucleosis while rightfielder Cody Rizzo left the game after taking a tumble trying to track down a 5th-inning double that hit off the fence.
Five of the errors came from the middle infield, including three in a six-run top of the 1st that featured five unearned runs.
The game marked just the second time this season that unearned runs have led to Notre Dame's margin of defeat, with the other coming in the 2-1 loss to St. John's on April 12 (both SJU runs were unearned in that game).
Cleveland State (10-20) rapped out 16 hits, highlighted by home runs into the leftfield jetstream from Steve Chinn, Ben Smith and Jim Waller.
Junior righthander Matt Kaltenbach (3-3) – one of the Vikings' top weekend starters -picked up the win despite allowing five runs in the first five innings, on seven hits and two walks (with three strikeouts). Sophomore lefthander Brandon Hewitt then logged three shutout innings, facing just 12 batters (2 H, BB, 4 Ks).
The Irish cut the early deficit in half with three runs in the 3rd, as sophomore catcher Steve Andres launched a 2-2 pitch over the fence in dead-center for his sixth home run of the season. Junior Matt Edwards (who played first and third base) earlier had doubled to the left-center gap before sophomore centerfielder Alex Nettey walked on four pitches.
CSU's six-run 1st inning included Chinn's solo home run and a two-run single later in the frame. Cory Rojeck and Gian Testa (2 RBI) also singled in the inning while Waller and Matt Ochwat (bases-loaded) add walks in the inning.
Notre Dame matched the visitors with two runs in the 5th, after rare back-to-back triples from Matt Macri and Matt Bransfield and a Javi Sanchez sacrifice fly.
Freshman righthander Mike Dury came on in relief during the 1st inning and issued the bases-loaded walk before tossing 3.1 shutout innings (5 H, BB, 2 Ks). Freshman righthander Rico Bertucci later closed the game with three solid innings that included just one earned run (2 R, 4 H, 3 Ks).
NOTES – The Irish now are just 13-6 since Sollmann's early-April injury (20-3 prior to the injury) … the home run was the first for Andres in the last 10 games … the game marked just the fourth time all season the Irish have totaled more than three errors in a game … Macri's triple was his BIG EAST-leading fifth of the season and the 10th of his Irish career, tying former teammate Paul O'Toole for 13th in the ND record book … Sanchez was hit by a pitch for the 10th time this season (second to Rizzo's 16), giving ND a team-record 76 HBPs for the season … freshman RHP Dan Kapala (2 IP, 4 R/2 ER, 4 H, 3 Ks) saw his nine-outing shutout streak come to an end (he logged 12.2 innings without being charged with a run).
CLEVELAND STATE (10-20) 6-0-0 0-2-2 1-1-0 – 12 16 1
#8 NOTRE DAME (33-9) 0-3-0 0-2-0 0-0-0 – 5 10 6
Matt Kaltenbach (W, 3-3), Brandon Hewitt (6), Gian Testa (9) and Doug Besozzi.
Jess Stewart (L, 5-1), Mike Dury (1), Dan Kapala (5), Rico Bertucci (7) and Matt Bransfield, Steve Andres (2).
Home Runs: Steve Chinn, CSU (solo in 1st; 1st of season); Steve Andres, ND (2 on in 2nd; 6th of season), Ben Smith, CSU (solo in 6th; 3rd of season), Jim Waller, CSU (solo in 8th; 1st of season).
Triples: Matt Macri (ND), Matt Bransfield (ND).
Doubles: Matt Edwards (ND), Bransfield (ND), Chin (CSU), Mike Ockwat (CSU), Jim Waller (CSU).


text:
Generating Information-Diverse Microwave Speckle Patterns Inside a Room at a Single Frequency With a Dynamic Metasurface Aperture
Mizrahi, Oren S. and Imani, Mohammadreza F. and Gollub, Jonah N. and Smith, David R. (2020) Generating Information-Diverse Microwave Speckle Patterns Inside a Room at a Single Frequency With a Dynamic Metasurface Aperture. IEEE Access, 8 . pp. 36829-36835. ISSN 2169-3536. doi:10.1109/access.2020.2974441. https://resolver.caltech.edu/CaltechAUTHORS:20200220-160137658
We demonstrate that dynamic metasurface apertures (DMAs) are capable of generating a multitude of highly uncorrelated speckle patterns in a typical residential environment at a single frequency. We use a DMA implemented as an electrically-large cavity excited by a single port and loaded with many individually-addressable tunable metamaterial radiators. We placed such a DMA in one corner of a plywood-walled L-shape room transmitting microwave signals at 19 GHz as we changed the tuning states of the metamaterial radiators. In another corner, in the non-line-of-sight of the DMA, we conducted a scan of the field generated by the DMA. For comparison, we also performed a similar test where the DMA was replaced by a simple dipole antenna with fixed pattern but generating a signal that spanned 19-24 GHz. Using singular value decomposition of the scanned data, we demonstrate that the DMA can generate a multitude of highly uncorrelated speckle patterns at a single frequency. In contrast, a dipole antenna with a fixed pattern can only generate such a highly uncorrelated set of patterns when operating over a large bandwidth. The experimental results of this paper suggest that DMAs can be used to capture a diversity of information at a single frequency which can be used for single frequency computational imaging systems, NLOS motion detection, gesture recognition systems, and more.
https://doi.org/10.1109/access.2020.2974441 DOI Article
Mizrahi, Oren S. 0000-0003-4271-8822
Imani, Mohammadreza F. 0000-0003-2619-6358
Gollub, Jonah N. 0000-0002-3941-1478
Smith, David R. 0000-0002-4832-6208
© 2020 IEEE. This work is licensed under a Creative Commons Attribution 4.0 License. For more information, see https://creativecommons.org/licenses/by/4.0/. Received January 31, 2020, accepted February 13, 2020, date of publication February 17, 2020, date of current version March 2, 2020. The information, data, or work presented herein was funded in part by the Advanced Research Projects Agency-Energy (ARPA-E), US Department of Energy, under Award Number DE-AR0000937. This work was completed when O.S.M. was with the Center for Metamaterials and Integrated Plasmonics, Duke University.
Advanced Research Projects Agency-Energy (ARPA-E) DE-AR0000937
Antenna radiation patterns, radio frequency, sensors, antenna arrays, metamaterials
10.1109/access.2020.2974441
O. S. Mizrahi, M. F. Imani, J. N. Gollub and D. R. Smith, "Generating Information-Diverse Microwave Speckle Patterns Inside a Room at a Single Frequency With a Dynamic Metasurface Aperture," in IEEE Access, vol. 8, pp. 36829-36835, 2020. doi: 10.1109/ACCESS.2020.2974441


text:
Dengue fatalities now 274 with another death
22nd December, 2022 06:34:13 PM
With another death reported from dengue in 24 hours till Thursday morning, the official death toll from the mosquito-borne disease rose to 274 this year.
During this period, 89 more patients, including 54 in Dhaka city, were hospitalised, according to the Directorate General of Health Services (DGHS).
The latest death was reported from Chattogram division, taking the death toll of the division to 66.
A total of 521 dengue patients, including 292 in the capital, are now receiving treatment at hospitals across the country.
The DGHS has recorded 61,844 dengue cases and 61,049 recoveries so far this year.


text:
$5.65 a year for the internet, and the agreement the CFTPA walked away from
Friday February 09th 2007
TORONTO – So why did the mediation between ACTRA and the CFTPA breakdown on February 8? The answer is to be found in a number, and in an important missed opportunity.
INTERNET FOR FREE, IN RETURN FOR $5.65 A YEAR
First, the number. What the CFTPA proposed yesterday was that ACTRA agree to assign internet rights without any revenue-sharing, for five years, in return for a 1% annual fee.
ACTRA's daily minimum fee is $565. So, this offer amounts to $5.65 a year on a daily rate, for each of five years.
In return for this $5.65 annual fee, ACTRA was asked to agree to free worldwide distribution in "any new media now known" – including internet websites like Walmart, wireless, IP television, handhelds, iPods, cell phones, etc.
No revenues would be shared with performers during those five years.
Furthermore, as proposed, these terms would apply to every production ever produced in the past 64 years.
To further motivate ACTRA to agree to these terms, the CFTPA proposed that performers accept a 0% pay increase in the first year of the agreement, in order to pay for these fees. In other words, performers would fund the $5.65 fee out of the pay increase they would otherwise receive. And then accept zero revenue sharing on internet distribution for five years.
Disguised in a convoluted proposal, that is "internet for free."
CFTPA RENEGES ON TENTATIVE AGREEMENT
Then there's the missed opportunity.
People concerned about what these negotiations are doing to our industry have the right to know that in a series of talks leading up to this week's mediation, ACTRA reached a very different tentative agreement with CFTPA negotiators on the internet.
The form of this agreement was finalized on a phone call between an ACTRA team led by Stephen Waddell and a CFTPA team led by John Barrack on February 5, 2007.
In these discussions, ACTRA accepted a model outlined in principle by the CFTPA earlier in negotiations, but never converted into a proposal until this week.
…/2
The idea proposed was, "we make a dollar on the internet, you make a dollar."
ACTRA negotiators agreed to assign internet rights to producers. In return, producers would agree to share 3.6% of any revenues made specifically from the internet, from the first day a production was distributed there.
The only detail left to discuss with the mediator was whether or not there should be a small advance payment paid. An "advance payment" is exactly what it says – a sum paid in advance, deducted against future revenues.
ACTRA's negotiating team went into this mediation optimistic that this dispute would now be settled. And we were therefore shocked when we received the producers' first proposal – which proposed the outrageous $5.65 annual fee, funded by performers themselves from their pay, in return for assignment of free internet rights for five years.
We assumed this was the normal CFTPA lowball first proposal.
In ACTRA's counter-proposal we submitted the terms that had been tentatively agreed only 48 hours before.
Our proposal was then angrily rejected by the CFTPA. They re-submitted their internet-for-free proposal, demanded it be accepted as drafted, and then walked out of the mediation at 4:00 p.m. on the second day (February 8, 2007).
WHY DID THE CFTPA WALK OUT?
The CFTPA owes the film and television industry an explanation.
Our theory is that it has something to do with the fact that there were only two working Canadian producers in their room – and eight Hollywood lawyers.
Eight Hollywood lawyers who appear to be using the CFTPA as a proxy and a puppet in their looming battle on this issue with the Writers Guild of America, the Directors Guild of America, and the Screen Actors Guild.
Judging from the proposal imposed on the CFTPA in a marathon eight-hour closed-door meeting on the first day, while we cooled our heels in our own room, they want the internet for free.
Getting off that idea, as CFTPA negotiators had agreed to do only a day earlier, is what it's going to take to settle this dispute. We'll have more to say about the outrageous performance we witnessed in this mediation in coming days.


text:
The Dwarf With The Golden Beard
by Katharine Pyle
Dobrotek's Princess is stolen from him by a golden bearded dwarf.
The Princess Beautiful was the daughter of the King of the Silver Mountains, and she was no less lovely than her name. Because of her beauty many heroes and princes came to her father's kingdom, all seeking her in marriage. The Princess cared for none of them, however, except the young Prince Dobrotek. Him she loved with all her heart, and her father was quite willing that she should choose him for a husband, for the Prince was rich and powerful as well as handsome.
The marriage between them was arranged, and the guests from far and near were invited to attend. Among those asked was a dwarf who had also been a suitor for the hand of the Princess.
This dwarf was a very powerful magician, and as he was very malicious as well as powerful, he was greatly feared by every one. He was scarcely two feet high, and so ugly that it was enough to frighten one only to look at him. His great pride was his beard, which was seven feet long, and every hair of it was of pure gold. Because of its length he wore it twisted round and round his neck like a golden collar. Thus he avoided tripping over it at every step.
When this dwarf heard that the Princess was to marry Dobrotek he was filled with rage and chagrin. In spite of his hideousness he was so vain of his beard that he could not imagine why the Princess should have chosen another instead of himself. He swore that even still she should take him for a husband, and that if she did not do this then she should marry no one. However, he said nothing of this vow to anyone. He accepted the invitation to the wedding, and when the day came he was one of the first of the guests to arrive.
All went to the church and took their places, and when the Prince and Princess stood before the altar they were so handsome that every one was filled with admiration.
The priest opened his book and was just about to make them man and wife when a frightful noise arose outside. It was a sound of whistling and roaring and rending. Then the doors were burst open, and a terrible hurricane swept into the church.
The guests were so frightened that they hid themselves under the seats, but the storm touched none of them. It swept up the aisle and caught up the Princess Beautiful as though she were a feather. The Prince threw his arms about her and tried to hold her. But he could do nothing against such a hurricane. She was torn from his grasp and swept out of the church and away, no one knew whither.
When the storm was over the people came out from under the seats and looked about them, but look as they might they could see no bride. Only the Prince was standing before the altar, tearing his hair with despair because the Princess was lost to him.
And well might he despair, for the hurricane that had carried the Princess away was no common storm. It had been raised by the wicked enchantments of the dwarf, and had swept Princess Beautiful far away, over plain and mountain, over sea and forest, to the very castle of the dwarf himself. There she was lying in an enchanted sleep, and it would be a bold man who could hope to rescue her.
When the King of the Silver Mountains found his daughter gone he was in a terrible rage. "It was for you to save her," cried he to the Prince. "She was your bride, and you should have lost your life before you allowed her to be torn from you."
To this the Prince answered nothing, for he thought the same himself. Yet who can stand against magic? Only enchantment, indeed, could have prevailed against him.
"Go!" cried the King, "find her and bring her back to me, or your life shall answer for it."
The Prince wished nothing better than to go in search of his bride. Life was worth nothing to him without her, and at once he made ready to depart. He was in such haste that he stopped for neither sword nor armour, but leaped upon his horse and rode forth as he was.
On and on he rode, many miles and many leagues, but the farther he rode the less he heard of the Princess, and the more he despaired of ever finding her. At last he entered a forest so dark and vast that it seemed to have no end. As he rode on through the shadows he suddenly heard a sharp and piteous cry. He looked about him to see whence it came, and presently he found a hare struggling in the clutch of a great grey owl.
The Prince had a kind heart. He seized a stick and quickly drove the owl away from its prey. For awhile the hare lay stretched out and panting, but presently it recovered itself.
"Prince," it said to Dobrotek, "you have saved my life, and I am not ungrateful. I know why you are here and whom you seek. To rescue the Princess Beautiful will be no easy task. It was the Dwarf of the Golden Beard who raised the tempest that carried the Princess away. Even now he holds her a prisoner in his castle. Whoever would rescue her must first overcome the dwarf, and to do this one must be in possession of the Sword of Sharpness."
"And where is that sword to be found?" asked the Prince.
"On a mountain many leagues away. It is guarded by a dragon who keeps watch over it night and day. Only when the sun is at its highest does the dragon sleep, and then but for a few short minutes. To gain possession of the sword one must ride the wild horse that lives here in the forest and that moves faster than the wind."
"And can I find that horse and ride him?"
"It can be done. Under yonder rock lies a golden bridle. It has lain hidden there for over a hundred years. With it lies a golden whistle. The sound of that whistle will call the horse, wherever he is. But he is very terrible to look upon, for his eyes are like burning coals, and he breathes smoke and fire from his nostrils. He will come at you as though to tear you to pieces, but do not be afraid. Cast the bridle over his head, and he will at once become quite tame and gentle. Then you can ride him wheresoever you wish. He will bear you to the mountain where the dragon lies and will help you to gain possession of the sword."
The Prince thanked the hare for its advice. He lifted the rock from its place, and there beneath it lay the golden bridle and the golden whistle. The Prince took up the bridle, and at once the whole glade was filled with light; and no wonder, for the bridle was studded with precious stones and glittered like the sun. He raised the whistle to his lips and blew upon it loud and clear.
At once, from far away in the forest, came a loud sound of neighing, and of galloping hoofs. The wild horse was coming. On and on it came, nearer and nearer. Its eyes shone like coals of fire, and the leaves were withered on either side of it because of its fiery breath.
It rushed at the Prince as though it would tear him to pieces; but he was ready for it, and as soon as it was near enough he threw the bridle over its head. At once the fire faded from its eyes. Its breath grew quiet, and it stood there as gentle and harmless as a lamb.
"Master," it said to Dobrotek, "I am yours now. Whatsoever you wish me to do, I will do, and I will bear you wherever you wish to go."
"First, then," said the Prince, "I wish you to carry me to the mountain where I can find the Sword of Sharpness."
"Very well, Master, I will do so. But before we start on such a dangerous adventure as that you should be properly armed. Do you enter in at one of my ears and go on until you come out of the other."
At once it seemed to the Prince as though the horse's ear were a great cave opening out before him. He entered in and went on and on, though it was very dark there in the horse's head. Presently he saw another opening before him, and that was the horse's other ear. He came out through it and found himself in the forest again, but now he was clothed as a warrior prince should be, in shining armour, and he held a sword in his hand.
"That is right," said the horse. "Now mount and ride, for we have far to go."
So the Prince said good-bye to the friendly hare and thanked it again. He mounted upon the horse's back and away they went like the wind. Soon they were out of the forest, and the dark was left behind them. On they went and on they went, until they came within sight of a smoking mountain; there the horse stopped.
"Master," said he, "do you see that mountain in front of us and the smoke that rises over it?"
Yes, the Prince saw it.
"That smoke is the breath of the dragon that guards the Sword of Sharpness. Just now he is awake, and if we were to venture within reach he would soon scorch us to cinders with his breath. There are, as the hare told you, only a few short minutes at midday when he sleeps, and when we may approach him safely. To gain the sword I must, in those few minutes, cross the plain before us and climb the mountain. Only I, who go like the wind, could do such a thing, and even for me it will be difficult. We may both lose our lives in the attempt."
"Nevertheless, we must try it," said the Prince, "for unless I can gain the sword, and free the Princess from the dwarf, life is worth nothing to me."
"Very well," answered the horse. "Then we will attempt it, for you are my master."
So all the rest of that day the horse and the Prince lay hidden, for it was already afternoon. Through the night and the next morning they waited, and the Prince could see the flames and columns of smoke that the dragon breathed forth. But as the sun rose high in the heavens the dragon became sleepy, and the flames burned lower and with less smoke. At last the sun was at its height.
"And now, Master, is our time," cried the horse. With that he galloped out on to the plain and made for the mountain. On he flew as fast as the wind, and faster. The Prince could hardly breathe, and he could not see at all, so fast the horse went. The plain was crossed, the mountain climbed, but already the dragon was awakening. "Quick, quick! the sword. There it lies beside him!" cried the horse.
The Prince stooped and caught up the Sword of Sharpness, and in that instant the dragon awoke. It reared its head and seemed about to devour the Prince, but when it saw what he held in his hand it dropped its crest and fawned at his feet.
"You are my master," it said, "for you hold the Sword of Sharpness. But do not kill me. Spare my life, and I will give you advice that may save your own."
"What is the advice?" asked the Prince.
"When you reach the dwarf's castle (for I know that you are going there, and why), you may with this sword be able to overcome the dwarf. But after you have done that, you must cut off his beard and carry it away with you. It will serve as proof that you and you alone have slain him. You must also fill a flask with water from the fountain in the midst of the garden. It is the Water of Life, and you will need it. You will need the Cap of Invisibility too that the dwarf sometimes wears upon his head. All three of these things you must have. Do not neglect what I tell you, for if you do evil will certainly come upon you."
"It is well," said the Prince. "I will remember what you say, and if no good comes of it, no harm can either."
So saying, the Prince drew his own sword from its sheath and left it on the mountain, taking the Sword of Sharpness in its place. Then he rode down the mountain and away over the plain. Once he looked back, but he saw neither flame nor smoke behind him. The dragon lay there as harmless as any worm, for with the Sword of Sharpness all its power was gone.
On and on rode the Prince, so fast that the wind was left behind, and at last he and his horse came within sight of a castle all of iron. About it was a wall that was seven times the height of a man, and this also was of iron.
"Look, Prince," said the horse. "That is the dwarf's castle that we see before us."
Then on they went again and never stopped until they reached the castle gate. Beside the gate hung a great brazen war trumpet. The Prince lifted it to his lips and blew upon it such a blast that it was like to split the ears of those who heard it. Again he blew, and once again.
"And now, Master, take out the sword from its sheath and make ready, for the dwarf will soon be here," said the horse.
Meanwhile the Princess Beautiful had been living behind those iron walls, and she had been not unhappy, though she had often grieved because Prince Dobrotek was not with her.
When the dwarf had caused her to be swept away by the hurricane he had thrown her into an enchanted sleep, and in this sleep she lay until she was safely placed in a room that the dwarf had specially prepared for her. This room was made entirely of mirrors, only divided here and there by curtains of cloth of gold. These curtains were embroidered with scenes from the dwarf's own life and from the life of the Princess. In the mirrors Beautiful could see her own beauty repeated endlessly. The furniture of the room was all of gold, curiously carved, and the cushions were embroidered with gold and precious stones.
When the Princess opened her eyes and looked about her she did not know where she was. She had no remembrance of the storm that had brought her hither. She remembered only that she had stood beside Prince Dobrotek in the church, and that a great noise had arisen outside. After that she had known nothing until she awoke in this chamber.
She arose from the couch where she was lying and began to examine the room. All the light came from a dome overhead. She could find neither doors nor windows, and she wondered much how she had been brought into a room like this.
While she was looking about her she heard a noise behind her that made her turn quickly. At one side the mirrors had swung apart like doors, and through this opening came a procession of enormous servants bearing a golden throne in their midst. Upon this throne sat the Dwarf with the Golden Beard. The servants set the throne down in the middle of the room and at once withdrew, closing the mirrored doors behind them.
When the Princess saw the dwarf she was very much alarmed. She at once suspected that it was he who had brought her here, and that he meant to keep her a prisoner until she would consent to marry him.
The dwarf stepped down from the throne and approached her with a smiling air, but she shrank away from him into the farthest corner of the room.
The dwarf was magnificently dressed. His beard had been brushed till it shone like glass, and he had thrown it over one arm as though it were a mantle. But in his left hand he carried a cap of some coarse grey stuff that was in strange contrast with the rest of his dress.
"Most beautiful Princess," said he, "you are welcome indeed in my castle. None could be more so, and I hope to make you so happy that you will be more than content to spend your life here with me."
"Miserable dwarf!" cried the Princess, "do you really think you will be able to make me stay here with you? Do you not know that Prince Dobrotek will come in search of me soon? He will certainly find me! Then he will punish you as you deserve for your insolence."
The Princess was trembling now, but with rage rather than fear. The dwarf seemed not at all disturbed by her anger, however.
"Beautiful one," he said, still smiling, "you are even more beautiful when you are angry than when you are pleased. Let Prince Dobrotek come. I fear him not at all. But do not let us waste our time in talking of him. Instead let us talk of ourselves, and of how pleasantly we will pass our days together."
So saying, the dwarf came close to the Princess and attempted to take her hand. But instead of permitting this, the Princess gave him such a blow upon the ear that he fairly staggered under it. His beard slipped from his arm, and in trying to steady himself he tripped on it and fell his length upon the floor.
The Princess laughed maliciously. At the sound of her laughter the dwarf became filled with fury. His eyes flashed fire as he scrambled to his feet. "Miserable girl!" he cried. "Do you dare to laugh? The time will come when you will feel more like weeping, if not for me then for yourself. Some day you will be glad enough to receive my caresses. Now I will leave you, and when I come again it will be in a different manner." So saying, he gathered up his beard and rushed through the mirror door, closing it behind him.
His words, and his manner of going, frightened the Princess. She again began to look about her for some way of escape. Suddenly she saw upon the floor the grey cap that the dwarf had carried in his hand. He must have dropped it when he fell, and he had been too angry to notice that he was leaving it behind. She picked it up and stood turning it thoughtfully in her hands. Then, without considering why she did so, she placed it upon her head. She was standing directly in front of a mirror at the time. To her amazement, the moment she had the cap on her head every reflection of her vanished from every mirror in the room. The Princess could hardly believe her eyes. She might have been thin air for any impression she made upon the glass. She took the cap from her head, and immediately her reflections appeared again in the mirrors. She replaced it, and they vanished from sight. Then the Princess knew that she held the Cap of Invisibility—the cap that causes anyone who wears it to become invisible.
As she stood there with the cap still upon her head, the mirror door was burst open and the dwarf rushed into the room. His dress was disordered and his eyes glared wildly.
He looked hastily about him, but he could see neither the cap nor the Princess. At once he knew that she had found the cap and had put it on.
"Ah, ha!" he cried to the invisible Princess. "So you have found it! You have put it on, and hope so to escape me. But I know you are still here, even though I cannot see you. I will find you, never fear."
Spreading his arms wide, he rushed about the room, hoping to touch the Princess and seize her, but as he could not see her she was easily able to escape him. Now and then he stopped and listened, hoping the Princess would make some sound that would tell him where she was, but at these times Beautiful too stood still. She did not move, she scarcely breathed, lest he should hear her.
Suddenly the Princess saw something that gave her a hope of escape. The dwarf had neglected to fasten the swinging mirror behind him when he entered. She flew to it and pushed it open. Beyond lay a long corridor. Down this the Princess fled, not knowing where it would lead her.
But the dwarf saw the mirror move, and guessed she had passed out through it. With a cry of rage he sprang after her.
At the end of the corridor was a barred door. Beautiful had scarcely time to unfasten this door and run through before the dwarf reached it. But once outside the door she found herself in a wide and open garden. Here she could pause and take breath. The dwarf had no means of knowing in which direction she had gone. He could not hear her footsteps upon the soft grass, and the rustling of the wind among the leaves prevented his hearing the sound of her dress as she moved.
For a while the dwarf ran up and down the garden, hoping some accident might bring him to the Princess. But he grasped nothing except empty air. Discouraged, he turned back to the castle at last, muttering threats as he went.
After he had gone the Princess began to look about her. She found the garden very beautiful. There were winding paths and fountains and fruit trees and pergolas where she could rest when she was weary. She tasted the fruit and found it delicious. It seemed to her she could live there for ever very happily, if only her dear Prince Dobrotek were with her.
As for the dwarf, in the days that followed the Princess quite lost her fear of him, though he often came to the garden in search of her. After a time she even amused herself by teasing him. She would take off her cap and allow him to see her. Then, as he rushed toward her, she would put it on again and vanish from his sight. Or she would run just in front of him, singing as she went, that he might know where she was. The poor dwarf would chase madly after the sound. Then, when it seemed that he was just about to catch her, she would suddenly become silent and step aside on the grass, and laugh to herself to see him run past her, grasping at the air.
But this was a dangerous game for the Princess to play; she was not always to escape so easily. One day she was running before him, just out of reach, and calling to him to follow, when a low branch caught her cap and brushed it from her head. Immediately she became visible.
With a cry of triumph the dwarf caught the cap as it fell and thrust it in his bosom. Then he seized the Princess by the wrist.
"I have you now, my pretty bird. No use to struggle. You shall not escape again."
In despair the Princess tried to tear herself loose from his hold, but the dwarf's fingers were like iron.
At this moment from outside the gate sounded the loud blast of a war trumpet. At once the dwarf guessed that it was Prince Dobrotek who blew it, and that he had come in search of the Princess.
Suddenly, and before Beautiful could hinder him, he drew her to him and breathed upon her eyelids; at the same time he muttered the words of a magic charm.
At once the Princess felt her senses leaving her. In vain she strove to move or speak. In spite of herself her eyes closed, and she sank softly to the ground in a deep sleep.
As soon as the dwarf saw that his charm had worked he caused a dark cloud to gather about him, which entirely hid him from view. Rising in this cloud, he floated high above the iron walls and paused directly over Prince Dobrotek. He drew his sword and made ready to slay the bold Prince who had come against him.
Dobrotek looked up and wondered to see the dark cloud that had so suddenly gathered above him.
"Beware!" cried the wild horse loudly. "It is the dwarf. He is about to strike."
Scarcely had he spoken when the darkness drew down about them. Through this darkness shot a flash as bright as lightning. It was the dwarf's sword that had struck at the Prince. But swift as the stroke was, the horse was no less swift. He sprang aside, and the sword drove so deep into the earth that the dwarf was not able to draw it out again.
"Strike! Strike!" cried the horse to Dobrotek. "It is your chance!"
Dobrotek raised the Sword of Sharpness and struck into the cloud, and his blow was so sharp and true that the dwarf's head was cut from his body and fell at the Prince's feet.
Dobrotek alighted, and cutting off the dwarf's beard, he wound it about him like a glittering golden belt. Then, leaving the head where it lay, he opened the gate and went into the garden.
He had not far to go in his search for Beautiful, for she was lying asleep upon the grass close to the gate. Dobrotek was filled with joy at the sight.
"Princess, awake! awake!" he cried. "It is I, Dobrotek. I have come to rescue you."
The Princess neither stirred nor woke. Her lashes rested on her cheeks, and she breathed so gently that her breast scarcely moved.
"Master," said the horse, "this is no natural sleep. It is some enchantment. Take up that cap that lies beside her. Then fill your flask at the fountain of the Water of Life and let us go. Do not try to wake her now. When it is time, you can do so by sprinkling upon her a few drops of the water. But first let us make haste to leave this place, for it is still full of evil magic."
Dobrotek was not slow to do as the horse bade him. He filled a flask with the Water of Life and hid the Cap of Invisibility in his bosom. Then, lifting the Princess in his arms, he mounted the horse and rode back with her the way they had come.
It was not long before they reached the place where the Prince had saved the hare from the owl in the forest. Here the Prince found his own horse. It had not wandered away, but had stayed there, browsing on the grass and leaves and drinking from a stream near by.
"And now, Prince," said the wild steed, "it is time for us to part. Light down and take the bridle from my head. Put it back again where you found it, and cover it with the rock; but keep the whistle by you. If ever you need me, blow upon it, and I will come to your aid."
Dobrotek did as the steed bade him. He lighted down and took the bridle from its head. He put it in the hole where he had found it and rolled back the rock upon it. Then the horse bade him farewell, and tore away through the forest, neighing as it went and breathing flames of fire.
After it had gone the Prince felt very weary. He had not yet awakened the Princess, but had laid her, still asleep, upon the soft moss of the forest. Now he stretched himself at her feet, and at once fell into a deep slumber.
Now it so chanced that while he was asleep King Sarudine, the King of the Black Country, came riding through the forest. He too had been a suitor for the hand of the Princess, but he had been refused. When he heard that she had been spirited away, and that Prince Dobrotek had gone to seek for her, he also determined to set out on the same mission. He hoped that he might be the first to find her and so win her for his bride. For the King, her father, had sent out a proclamation that whoever could find the Princess Beautiful and rescue her should have her for his wife.
What was the amazement of Sarudine, as he came through the lonely wood, suddenly to see the Princess lying there asleep, with Dobrotek at her feet.
At first he drew his sword, thinking to kill the Prince; but after a moment's thought he put it back in its sheath. Then bending over Beautiful he very quietly lifted her in his arms, mounted his horse, and rode away with her.
Dobrotek was so wearied with his adventures that he slept on for some time, not knowing that the Princess had again been stolen from him.
But when at last he woke and found her gone, he was like one mad, so great was his despair. He rushed about hither and thither through the forest, calling her name aloud, and seeking her everywhere, but nowhere could he find her.
Suddenly he bethought him of his golden whistle, and putting it to his lips he blew so loud and shrill that the forest echoed to the sound. At once the great grey horse came galloping through the forest to him.
Dobrotek ran to meet it. "Tell me," he cried, "you who know all things, where is Beautiful? She has been stolen from me, and I cannot find her."
"She is no longer here in the forest," answered the horse. "She has been carried away by King Sarudine. He has taken her back to her father's castle, and now he claims her as his bride, for he says that he is the one who found and rescued her. But she still sleeps her enchanted sleep, and none can waken her. You alone can do this, for you have the Waters of Life. Hasten back to the castle, therefore, but before you go to waken her, put on the Cap of Invisibility. King Sarudine fears you, and he has set guards about the castle with orders to slay you if you attempt to enter. All their watchfulness will be in vain, however, if you wear the cap upon your head."
The advice was wise, and Dobrotek at once did as the horse told him. He drew out the cap and put it upon his head. So he became invisible. Then he rode away in the direction of the country of the Silver Mountains.
He rode on and on, and after a while he came to where the first line of guards was set. They heard the galloping of a horse, and looked all about them, but they could see no one, so he passed in safety. Not long after he came to a second line of soldiers, and he went by them unseen also. Then he passed a third line of guards, and after that he was at the palace.
The Prince entered in, and went from one room to another, and presently he came to the great audience hall. There sat the King upon a golden throne. At his right hand sat King Sarudine, and at his left the Princess lay upon a golden couch, and so beautiful she looked as she lay asleep that the Prince's heart melted within him for love. He lifted the cap from his head, and there they all saw him standing before them.
The King of the Black Mountains turned pale and trembled at the sight of him, but the old King gave a loud cry of surprise. He had thought that Prince Dobrotek had met his death long ago, or that if he lived he would be afraid to return to the Silver Mountain Country without bringing the Princess with him.
"Rash Prince!" he cried; "what are you doing here? Do you not fear to appear before me, having failed in your search?"
"I did not fail," answered the Prince, "there lies the Princess, and were it not for me she would still be a prisoner in the castle of the Dwarf of the Golden Beard."
"How is that?" asked the King.
Then Dobrotek told them his story. He told of how he had become master of the wild horse in the forest, of how he had gained possession of the Sword of Sharpness, and then of how he had ridden to the dwarf's castle and slain him in battle. He also told how he had brought the Princess away with him, how he had fallen asleep in the forest, and of how the King of the Black Country had stolen Beautiful from him while he slept.
The old King listened attentively to all that Dobrotek told him. When the Prince had made an end to his story the old King turned to King Sarudine beside him.
"And what have you to say to this?" he asked. "Is this story true?"
"Much of it is true," answered Sarudine, hardily, "but still more of it is false. It is true that it was the dwarf who carried Beautiful away. It is true that he kept her a prisoner, and that he was slain by the Sword of Sharpness. But it was I who won the sword and slew the dwarf, and it was I who rescued the Princess. What better proof of this is needed than that it was I who brought her here?"
"That is only proof that you stole her from me," cried the Prince. "The proof that I can offer is better still. If you slew the dwarf, where is his beard?"
To this the King of the Black Country could answer nothing, for he did not know where the beard was.
"Then I can tell you," cried the Prince. With these words he threw aside his mantle, and there, wound about him like a glittering girdle, was the golden beard of the dwarf.
When the old King saw the beard he could doubt no longer as to which of the two had slain the dwarf and rescued the Princess. He turned such a terrible look upon Sarudine that the young King trembled.
"So you would have deceived me!" he cried. "You thought to win the Princess by a trick. Away! Away with you! Let me never see your face again; and if ever again you venture into my country, you shall be thrown into a dungeon and remain there as long as you live."
Then, as Sarudine was hurried away by the guards, the old King turned again to the Prince. "You have indeed rescued the Princess," he said, "but your task is still only half completed. She sleeps, and none can wake her. Until that is done, no man can have her for wife."
"That is not such a hard matter, either," said the Prince. With that he drew from his bosom the flask that held the Waters of Life and scattered a few drops upon the Princess.
At once she drew a deep breath and slowly opened her eyes. As soon as she saw the Prince she sprang to her feet and threw herself into his arms. The enchantment was broken, and she had awakened at last.
Then throughout the palace there was the greatest happiness and rejoicing. There never had been anything like the favours the old King heaped upon Dobrotek. The marriage between him and the Princess was again prepared for, and this time all went well. Nothing happened to interfere with the wedding, and the Prince and Beautiful were made man and wife. They loved each other all the more tenderly for the dangers they had shared, and from that time on they lived in all the happiness that true love brings.
Are you seeking more stories about love to read to your child? Read our review of the Ten Best Children's Picture Books About Love
LET'S DISCUSS THE STORIES ~ IDEAS FOR TALKING WITH KIDS
1. Dobrotek saved the hare from the clutches of an owl. Why do you think he did this?
2. Would you have done the same? Why or why not?
1. Dobrotek says that without his Princess, his life would mean nothing to him. Why do you think he might say this of a person that he loves?
2. At the end, Dobrotek and his wife are said to love each other all the more for the dangers they had shared. Why do you think this might be the case?
SHORT STORY FOR CHILDREN BY KATHARINE PYLE
Header Illustration by Regisser (Adobe Stock)
Katharine Pyle
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text:
2015 Neotokio3 | www.neotokio3.com All rights reserved. This material may not be duplicated for any profit-driven enterprise without Neotokio3's Permission. Guilty Crown (ギルティクラウン Giruti Kuraun) logo and characters belong to their respective owners and are registered trademarks. Neotokio3's Guilty Crown - THE VOID is in no way a official soundtrack to the Anime series or any other Guilty Crown related media (Manga, Video Games etc.) nor does it pretend to be or want to compete with those. Neotokio3 is the coolest band in the world. If you don't agree with that, you are probably a idiotic member of the GHQ. Thank you.
The Void E- Dub Mix
About The Void
The Void J-Dub Mix
Official Video (J Dub)
About the Song
Neotokio3's Guilty Crown - The Void has been inspired by the [Love]Story of Shu Ouma & Inori Yuzuriha from Guilty Crown. For those who don't know: Guilty Crown (ギルティクラウン Giruti Kuraun?) is a 2011 Japanese anime television series produced by Production I.G which aired on Fuji TV's noitamina program block from October 2011.[1] The story revolves around Shu Ouma, a high school boy who inadvertently obtains an ability called "The Power of the Kings" that enables him to draw out items called "Voids" from other people. He is then thrown into the conflict between a quasi-governmental organization known as the GHQ and a resistance group called Funeral Parlor which aims to restore Japan's independence from the GHQ. In the process, Shu has to deal with the burden his ability puts on his shoulders and the horrific mystery of his past. The series incorporates elements of numerous genres, mostly drawing from science fantasy. The song is written from the perspective of Shu after the events that took place at the ending of the series. To explain this: In the Epilog / The last scenes of the Anime Shu can be seen resting on a bench facing a river, listening to Inoris music, Reminiscing in his memories of her. This is where THE VOID picks up: .
Now there are many theories to the ending of Guilty Crown and specially To how the last scenes in this epilogue are to be interpreted. some say this, others say that but writing this song we tried to Portray what we thought where or could have easily been Shu's feelings & thoughts at this very moment. All the things that could have possible run through his head while sitting there on this bench thinking about how it all came to an end a few years ago where ultimately the Inspiration pool to this Song. his love, his pain, the grief and to some extent the guilt he must have felt. the weight on his shoulders....his feelings towards Inori, the special bond that these two people had. all these things came into play. In the end we guess its save to say that the VOID is very emotional piece of music about someone who lost the one person that meant the world to him and about how he feels about this devastating loss. .
[its rather needless to note but to play save: the lines in the chorus do not refer to inori yuzuriha's VOID or Voids in general as how they are known in the Guilty Crown universe but literally to: void(noun) "empty space, vacuum, An emptiness caused by the loss of something: There's a giant void, an emptiness that will never, ever be filled....] .
Going into this project we had shitload of ....let's put it this way: Respect! Guilty Crown is such Huge Name, so many talented people worked on this Anime.....it's frikin crazy, especially in the Music & OST department this title is probably one of the, if not the strongest in recent years. The tracks associated with this Project are all phenomenal pieces. Like for example My Dearest, Departures, Euterpe....those are such powerful and beautiful Tracks, they are almost in a league all by them selfs. so basically the Bar was pretty damn high. Still it was important to us that our song would at least be as touching and as powerful as those mentioned above. not exactly like them but in his own right and in his own style while still fitting in like it was supposed to be there all the time. ultimately its up to you to decide if we did do well here but after all we are pretty happy with what we created. We sincerely dedicate this track to every single one out there who's lost someone he loves. Please keep your head up!
The Void (E-Dub) Official AMV
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The Void Lyrics
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2015 Neotokio3 | www.neotokio3.com All rights reserved. This material may not be duplicated for any profit-driven enterprise without Neotokio3's Permission. Guilty Crown (ギルティクラウン Giruti Kuraun) logo and characters belong to their respective owners and are registered trademarks. Neotokio3's Guilty Crown – THE VOID is in no way a official soundtrack to the Anime series or any other Guilty Crown related media (Manga, Video Games etc.) nor does it pretend to be or want to compete with those. Neotokio3 is the coolest band in the world. If you don't agree with that, you are probably a idiotic member of the GHQ. Thank you.


1) Load diapers into hot water and detergent.
2) Soak and kneed diapers.
3) Rinse under hot or warm water.
4) Wring out diapers and hang to dry.
After your baby has dirtied their first cloth diaper, dump any solids into a toilet and toss the diaper into a pail. While exclusively breastfed babies have water soluble waste that does not need to be dumped into a toilet, it will be easier on the one doing the washing if all solids are disposed of in the toilet. Use a bucket or sink to store dirty diapers between washes instead of a wet bag, as these may take up valuable space when hand washing.
Your basic routine will depend on several things like your water quality, detergent, diaper types and wash area. When it comes to hand washing, the smaller the load, the easier it wil be. Avoid using bulky cloth diapers like All-In-One's, because they are harder to hand wash and take longer to dry. Flats are the most economical choice and are even easier to clean than prefolds. Don't forget to reuse covers! Most covers are lined with PUL and can easily be wiped clean between uses. Wash every day or every other day to keep from becoming overwhelmed by the amount of diapers you need to wash. Even washing after each change can help reduce the chance of your diapers getting less clean in bulky loads.
Pre-soak diapers in used bathwater!
Use a kitchen timer to help keep track of how long you're washing diapers.
For those with access to a dryer, you can fluff your line-dried diapers by placing them in the dryer for about 10 minutes. Wring, snap and roll your flats to help remove that crunchy feeling!
Ironing your flats can help them dry faster and also kill any bacteria that may be left behind after washing.
Try using Elimination Communication to reduce the amount of diapers you need to wash. Reading your babies patterns and cues and encouraging them to use the potty means one less diaper in the wash.
Fill up your sink, large bucket, or bath tub with hot water and add 1/4 to 1/8 of a cup of detergent. Stay clear of any products that include Bleach, Dyes, Enzymes, Hand Made Soaps, Fabric Softeners, Perfumes, Pure Soaps, Stain Guard Ingredients, or UV Brighteners because these all can either cause build up in your diapers or deteriorate your fabrics. Add in your diapers and submerge them so they are all saturated with soap. Use rubber gloves to protect your hands from callouses, soreness and chaffing (you can also use tongs when water is too hot). At this point you can let your diapers sit to soak; it's okay if you come back to cold water!
Swish diapers around and rub them together to knock loose waste and push water through them. Rinse diapers under warm water until the water runs clean and there are no soap bubbles lingering around. Wring out and hang to dry. Roll your covers in a bath towel to help speed up drying time. If drying diapers outside is not an option, use a drying rack in the kitchen, near a warm stove (but not too close), and/or near a well ventilated area.


text:
21 Forward-Thinking Feminist Movies
By Kayleigh Hughes
A lot of times, thinking back on movies from older generations means grappling with just how problematic they are. Tons of "classics" from decades past, if you watch them now, turn out to be pretty sexist, racist, homophobic, transphobic, fatphobic, ableist, or otherwise completely outdated and offensive. It's nice to know we're better able to recognize these types of issues in film, but it also can feel sort of depressing to have to approach every older movie on guard for cringe-y problematic stuff. Fortunately, there are tons of movies that also offer a great surprise, with well-rounded, progressive characters that avoid stereotypes. There are honestly a lot of groundbreaking movies that were ahead of their time when it came to their portrayals of women.
Many of these movies on the list are notable because they tackle issues that were often ignored during the time they were made, or because they avoid the stereotypes that were common during those times. Oftentimes, the movies are groundbreaking in part because they center women's unique experiences. Women have been amazing, trailblazing forward-thinking figures in history for all of time, and that's something that the films below recognize either explicitly or more gently and subtly.
'The Thin Man' (1934)
Movieclips Trailer Vault on YouTube
The Thin Man is one of many films starring the detective characters of Nick and Nora, who were husband and wife. Nora is sharp as a tack and demands just as much (and often more) respect than Nick.
'His Girl Friday' (1940)
egg4vol on YouTube
Investigative reporter Hildy Johnson has inspired generations upon generations of smart, savvy women, and this film from 1940 (!) never sells her short.
'Harold And Maude' (1971)
W. David Lindholm on YouTube
The character of Maude, played by Ruth Gordon, is one of the most eccentric, progressive, and independent female characters to ever grace the screen. She lived through the Holocaust, defies stereotypes about age, and is always in control of her own life.
'Women In Revolt' (1971)
Jason Gibson on YouTube
This Andy Warhol and Paul Morrissey satire casts trans women as trans women (it stars Candy Darling, Holly Woodlawn, and Jackie Curtis), and examines the feminist movement. In 1971, it was ahead of its time in many ways.
'Friday Foster' (1975)
DigThatBoxHOLLYWOOD on YouTube
Friday Foster, Pam Grier's talented fearless photojournalist turned gun-wielding badass, is one of the best and most groundbreaking of Grier's roles, as her character is completely in control and powerful even as she has to deal with the explicit sexism of her coworkers.
'9 To 5' (1980)
2663KinkyCyborg on YouTube
This fantastic workplace satire, starring Jane Fonda, Dolly Parton, and Lily Tomlin, confronts sexual harrassment and misogyny head on. It was made in 1980, and it's depressing to think about just how much hasn't changed when it comes to patriarchal office politics.
'Ladies And Gentleman, The Fabulous Stains' (1982)
priorityovernight on YouTube
Diane Lane shines as the awesome, fearless punk rock teenager Corinne Burns, who decides to start a feminist band in her dead end town and achieves massive success.
'Born In Flames' (1983)
maslidukan on YouTube
The most groundbreaking, progressive sci-fi movie you've never seen, 1983's Born in Flames tackles sexism, racism, homophobia and violence, and centers women of color.
'Desert Hearts' (1985)
aliarcher5 on YouTube
Desert Hearts was one of the first mainstream movies to feature a lesbian relationship storyline, and it feels authentic and lovely, avoiding gimmick or exploitation.
'The Accused' (1988)
NotABillieJeanLover on YouTube
In The Accused (which was loosely based off of the rape trial of Cheryl Arojo), Jodie Foster's character is brutally raped and Kelly McGillis' character takes on her case, determined to bring about justice. Together, the stories of both women in the film, which is almost three decades old now, highlight the traumatic, uphill battle of trying to get justice for the horrific crime of rape in a patriarchal society.
'Hairspray' (1988)
liuczek on YouTube
Tracy Turnblad loves her body and knows she's foxy dreamboat who can dance with the best of them. This John Waters character has become an icon of body positivity.
'Thelma And Louise' (1991)
MGM on YouTube
This outstanding road movie and revenge film features two women character who have had enough and are no longer willing to tolerate any of the injustices of the patriarchy. They're strong, unapologetic, and ahead of their time.
'The Silence Of The Lambs' (1991)
markm9274 on YouTube
Jodie Foster's role as Clarice Starling in this horror-thriller is a masterful portrayal of a woman doing her best and holding her own in a very male-dominated field.
'Daughters Of The Dust' (1991)
Cohen Media Group on YouTube
This film about a family of black women living on an island off the South Carolina-Georgia coast was the first feature film directed by an African-American woman to be released theatrically in the United States, and its characters embrace the traditions and spirituality of their African ancestors, while speaking Gullah creole throughout the film.
'Fried Green Tomatoes' (1991)
UniversalMovies on YouTube
Fried Green Tomatoes features a number of incredible, dynamic independent female characters — the film stars Kathy Bates, Jessica Tandy, and Mary Stuart Masterson, among others — whose friendship is at the forefront as they deal with abuse and constricting gender norms.
'If These Walls Could Talk' (1996)
Video Detective on YouTube
This groundbreaking movie told the story of three women characters (played by Demi Moore, Sissy Spacek, and Cher) in three different eras (1950s, 1970s, 1990s) who all deal with unplanned pregnancies.
'Contact' (1997)
contactmovie on YouTube
Jodie Foster is really good at finding awesome, groundbreaking female characters. In Contact, she plays Dr. Ellie Arroway, a brilliant scientist who makes the first contact with aliens and has to fight a number of institutional forces.
'But I'm A Cheerleader' (1999)
FangAddicted on YouTube
But I'm A Cheerleader is an amazingly savvy, nuanced teen satire of homophobic culture in an era of teen movies like American Pie, and it doesn't sacrifice respect for its awesome, lovable characters.
'All About My Mother' (1999)
scapeboy on YouTube
This Pedro Almodóvar film features a prominent trans character, Agrado, who is actually played by a trans woman, Antonia San Juan. That's groundbreaking when you think about how often trans characters are played by cis actors, and it's even more notable considering the film was released in 1999, almost 20 years ago, and we are still seeing the same casting problem today.
'Legally Blonde' (2001)
It's hard to believe Legally Blonde is more than 15 years old, but when the movie came out, "chick flicks" were often horribly boyfriend-focused, and Legally Blonde's Elle Woods turned that stereotype on its head, delivering a warm, funny, and flat-out feminist celebration of female resilience.
'Secretary' (2002)
Secretary's unashamed portrayal of an extreme BDSM relationship definitely made it groundbreaking, and telling the story from the perspective of Maggie Gyllenhaal's character Lee Holloway allows it to remain progressive and aware.
The awesome thing about this list is that it's nowhere near comprehensive, and it's always exciting to uncover movies from long ago that turn out to have amazing, rule-breaking portrayals of women.


The prudent investment rule requires a fiduciary to invest trust assets as if they were her or his own. This managing investor should consider the needs of the trust's beneficiaries – such as a family or employees that do not have a background in investing, the provision of regular income, and the preservation of trust assets – and should avoid investments that are excessively risky. The prudent investor rule states that the decision-making process must follow certain guidelines.
A prudent investment will not always turn out to be a highly profitable investment; in addition, no one can predict with certainty what will happen with any investment decision. Thus, prudent investor rule only applies to the decision-making process of investing the assets of a trust. This relies on the knowledge the fiduciary has at the time to determine if an investment is a good idea. Investing exclusively in penny stocks, for example, could violate the prudent investor rule, because they are known to be risky at the outset.
Managing a trust is a delicate and potentially very difficult task given the amount of stakeholders involved (often multiple generations of a family or employees in an employee trust with separate desires and objectives). For this reason, many trusts are originally set up with strict policies.
A declaration of trust outlines who the trust will benefit, who can amend or revoke the trust (if it can be amended at all), who will serve as trustee and what powers the trustee holds. The statement also includes information regarding what is to happen if a beneficiary wants to receive distributions or who will replace the trustee in the event of illness, incapacitation, death or any other reason, such as legal action taken against the trustee.
The core of the declaration of trust is the trust's purpose or objectives and explicit instructions for how the trustee may invest and manage assets to support beneficiaries. While the declaration of trust is not required to be made in writing, it often is. In addition, some states require the declaration to be written.
Finally, this document can highlight details about the types of assets within a trust, depending on its objectives. For example, if the trust's main goal is to provide a relatively liquid pool of assets for beneficiaries in a family for generations to come, the trust may hold safer securities, such as Treasury securities of medium duration.
A declaration of trust defines a trust's beneficiaries, the trustee and certain guidelines the trustee must abide by.