The Tunnels in Bristol was a new venue to some of us but well worth the trip as it is ideal for this sort of event. Unsurprisingly it is indeed a set of tunnels that run underneath Temple Meads railway station and because of this is not the easiest place to fine on a dark, wet Thursday evening but we got there and I think all in attendance would agree that the effort was well worthwhile.
Several times during this excellent 75-minute set Andy Tillison mentioned how nervous he was feeling: playing as a duet with long-time collaborator Guy Manning, following the disbanding of the current version of The Tangent just a couple of weeks before this tour, left him feeling vulnerable and exposed on this, the first night of the tour. Neither he nor Manning need have worried, for the material they presented was of such high quality that, even in these pared-down versions, there was plenty to enjoy.
In fact, despite the fact that The Tangent's recent live performances had wowed audiences, being able to witness these two friends performing in such a novel format carried much appeal. This was immediately evident from the set opener, which was Parallel or 90 Degrees' Dead on a Car Park Floor, which elicited an enthusiastic response from the crowd. The inherent melody of The World That We Drive Through means that it can never be anything other than sublime and the duo then continued by demonstrating their eclecticism with the Tangerine Dream-inspired After Phaedra, Tillison explaining that it was the only number in the set that would incorporate an element of pre-recorded work, everything else would be live playing.
The surprises mounted, with Tillison joining Manning on acoustic guitar: they played a fine rendition of The Tangent's The Company Car, with Tillison providing the rhythm work whilst Manning played some very fine twiddly-bits! With the pair both still on acoustic guitar, we were then treated to In Swingtime, which features on Manning's recently released Akoustik album. Tillison then left the stage, leaving Manning to perform Margaret Montgomery and The Candyman solo. Prompted by thoughts of how friends of his were faring in New York during hurricane Sandy, Tillison changed his mind about what to perform during his own solo spot at the last moment, choosing to play Palimpsesting Gershwin on digital piano, an unpublished song with, as the title suggests, a slightly jazzy, Gershwinesque feel. Manning rejoined Tillison for The Music That Died Alone, another of The Tangent's timeless classics whose melodic highlights can win over the hardest of hearts. The surprise during this particular rendition was a "drum solo" played by Tillison on one of his keyboards: I normally hate drum solos but this was rather special! As a finale, the duo played a version of Van der Graaf Generator's Man Erg, which was given an impassioned vocal from Tillison. Sadly, this had to be foreshortened due to time pressure.
This varied and very well-received set demonstrated what fine songwriters and musicians Manning and Tillison are, quite capable of holding an audience in thrall even under the difficult circumstances caused by The Tangent's disbanding. Their fans were certainly not disappointed to have ventured out on this rainy night and will now be looking forward to the next instalments of their careers.
With the recent news about the end of the last line up of The Tangent there was a mood of anticipation about tonight's concert. Andy Tillison and his good friend Guy Manning agreed to honour the date/tour and this promised to be interesting and a delight.
Well did this two man version of The Tangent deliver? I would certainly say so. They provided the audience with a classy and exciting run through of The Tangent, Parallel or 90 Degrees and Manning catalogues plus a Van der Graaf Generator song. The show began with Po90's Dead on a Car Park Floor which proved an exciting opening, both set up with keyboards but Guy mostly playing Guitar. This was followed by The World That We Drive Through which took on a different feel played in this way without a full band.
The between song banter continued before they played the Manning song In Swingtime, this being one of my favourites from them, and they did not disappoint. Andy gave a little introduction to the next song by telling the audience about some of Peter Hammill's experimental (at the time) ways of creating music which led into a tribute to the musical style of Tangerine Dream called After Phaedra and what a treat it was. I have never seen TD live but after this I did not care as it was really well constructed and played.
Andy then introduced Guy and left the stage while Guy related crazy and funny songs that his Grandfather used to sing followed by two of his own, The Candyman and Margaret Montgomery. He then swapped places and Andy took the stage and played a song about New York based around George Gershwin's influences called Palimpsesting Gershwin.
Guy returned to the stage and an excellent version of The Music That Died Alone followed leading to the end of the show. Andy announced that they had been playing an onstage game set by their tour manager to say three words each on stage. Guy had done his during his story telling before The Candyman, so Andy gamely attempted to get his said with Guy counting them out. He also invited the audience to give words to the tour manager ready for tomorrow night's gig. To end they played a wonderful but shortened version of VdGG's Man Erg and then it was all over.
This was an excellent gig presented and played by two great professionals who clearly enjoy what they do. I wish Andy well as I know that The Tangent will rise again, to deliver more high class progressive music.
Professionalism - pro•fes•sion•al•ism, [pruh-fesh-uh-nl-iz-uhm] – Noun: the standing, practice, or methods of a professional, as distinguished from an amateur.
With the recent implosion of by far the best version of The Tangent to grace us since Andy Tillison formed the band over a decade ago (and that's saying something) this set of gigs supporting IO Earth appeared to be in doubt but with a huge dose of the aforesaid professionalism Andy and Guy teamed up to ensure that the show went ahead and in the process gave us something really special to celebrate their working relationship over 25 years. Given the short time that they had to prepare for this they did an excellent job and it was a joy to watch this first show of the tour.
Given the surroundings Andy felt it right and proper to give us some history regarding Bristol Temple Meads station (designed by Brunel and opened in 1840) before a wonderful opener in the shape of Po90's Dead on a Car Park Floor which they followed up with The World That We Drive Through. With Manning sitting behind a keyboard alternating with acoustic guitar and Tillison to his left in his usual side on position they rang out every ounce of emotion, these stripped down versions showing what truly great songs they are. The humour between the two was as endearing as always with Guy informing us in his usual self-deprecating way that the set was about to take a nose dive with a version of In Swingtime from his Tall Stories album. This may have been due to his concerns over the height of the stool he was sitting on but all was well and we got a great version of one of my favourite songs from Guy's extensive catalogue.
Eclectic - ec•lec•tic, [ih-klek-tik] – Adjective: made up of what is selected from different sources.
Andy explained that their intention on this tour was to use the keyboards and technical rig in keeping with a concept Peter Hammill employed for his And Close As This album where the songs were recorded live in the studio by triggering all of the instrumentation in one take. Tillison wanted to do this live and with the aid of his trustee laptop was able to add bass and drums where required. The bass was missing to begin with but when this was rectified the results were impressive. Programmed analogue keys then brought us the Tangerine Dream influenced After Phaedra which worked very well and added a new facet to what was becoming a very eclectic set.
Palimpsest - pal•imp•sest, [palimp?sest] - Noun: something reused or altered but still bearing visible traces of its earlier form.
It was odd to see Andy strapping on an acoustic guitar as the duo gave us The Company Car from the Down and Out in Paris and London album, a track never previously performed live, before Guy's solo spot featuring Margaret Montgomery and The Candyman. Andy's solo spot followed with an unrecorded piano song inspired by New York, Palimpsesting Gershwin which was quite lovely and I look forward to it appearing in some form in the future.
Halibut - hal•i•but, [hal-uh-buht, hol-] – Noun: either of two large flatfishes, Hippoglossus hippoglossus, of the North Atlantic, or H. stenolepis, of the North Pacific, used for food.
So where do you go after a tasty sandwich of talent and humour with a topical garnish between a couple of slices of education? Why a long cool glass of nostalgia should do the trick and this we got in the form of the title track to The Tangent's debut, The Music That Died Alone, including an unexpected 'drum solo' from Tillison, followed by a shortened by necessity version of Van der Graaf Generator's Man Erg to loud applause. After the drum solo Andy threw a drumstick into the sparse crowd and there was much hilarity as it clattered across the floor.
Towards the end of the set Andy informed us that, instigated by our very own Brian Watson, they had been challenged to slip three words each into the evening's banter. Guy had successfully used 'greenhouse', 'eject' and 'void' early on so at 3 nil to Manning Tillison fought back to tie the match at the death with 'halibut', 'moribund' and 'vacuum'. Good work both, time for a slice of orange in the dressing room. Noticeably no one was pulled off at half time.
Entertainment - en•ter•tain•ment, [en-ter-teyn-muhnt] – Noun: 1. the act of entertaining; agreeable occupation for the mind; diversion; amusement. 2. something affording pleasure, diversion, or amusement, especially a performance of some kind.
Enjoyment - en•joy•ment, [en-joi-muhnt] – Noun: 1. the act of enjoying. 2. a particular form or source of pleasure.
Dave Cureton and his band made a big impression on me with their set at Summer's End in 2009 and having released their second album, Moments, earlier in 2012 I was looking forward to seeing them again. They appeared to warm applause and launched into the title track from the new album, one of 6 tracks played from Moments, with a well balanced set that was almost equally split between the two albums and featured most of the obvious highlights. Singer Claire Malin made her entrance dressed all in white, her powerful voice one of the highlights of the show. The band was very tight and the songs, written by Cureton and guitar/keyboard man Adam Gough, are all very good with both albums having rightly received 9 out of 10 ratings on DPRP.
IO Earth have certainly come on as a live unit since 2009 as a result of numerous gigs and they have become a punchy and powerful band not so reliant on Dave Cureton who as well as being an engaging frontman also possesses superb playing skills but as good as Cureton is it is the sporadic use of Malin and the tenor sax and flute of Luke Shingler that give IO Earth the edge. The material features emotional ballads and sure-footed instrumentals and the excellent sound tonight made them all shine brightly, the band playing with passion and enthusiasm.
The Eastern flavoured passages here and there and Shingler's contributions move the material away from the run of the mill and the band put it all across well with power and precision. Various musical elements and genres are brought together to produce the unique sound with Dave Cureton central to it all with some quite stunning guitar work. The set developed and didn't get bogged down, flowing from start to finish as a complete whole.
A costume change from Malin to a black dress and use of a mask gave the set a theatrical edge at times and varied things up nicely and the well deserved encore of Harmonix was a fine way to end.
The band gave their all to a warm reception but as is often the case where were the punters? It is getting harder and harder for live music events to draw a crowd, particularly mid-week, but you can't blame the bands for that as this was a compelling evening of fine music delivered with passion in a lovely setting. What else can they do? Answers on a postcard.


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Once upon a time there was a key management personnel being hired into an organization.
At that time, there were three long serving male management team members who were working there andwere known to be the key decision makers for the company.
They have worked in the company for so long that they knew the nuts and bolts of what makes it work and what otherwise.
The new key management personnel, during one of the internal discussion, found out that there was a job that has been pending for quite a while without the desired results. One of the long serving male management employee was in charged of it yet has not delivered what was expected after a few months of efforts.
The new key management personnel decided to delegate the unfinished job to another long serving male member of the management team.
He proceeded to exercise his new found responsibility full of enthusiasm.
He managed to get the job done within a month after months of unfinished work by the other member of the management team.
Beaming with pride, he proudly announced to everyone in the management team that the job was done ahead of the schedule.
The new key management personnel was elated.
The other long serving management team member, who could not get the job done even after trying it out for a few months, was left red faced and fuming in disgust.
Immediately the tension and discord could be felt as there was a seething feel of anger even though all of them have been working in the company for many years.
That's growing distrust and the inability to find peace after the whole new experience exacerbated with time.
Eventually, they were not on good talking terms even though many would have thought that it was a trivial issue.
After a few months and feeling unwanted, the long serving management team member who managed to get the job done within a month, threw in his resignation letter in disgust.
The irony of it was that the resignation was accepted by the new key management personnel without much discussion which shocked the team member who felt unwanted.
He was even more frustrated with the whole situation.
Meanwhile, the third member of the long serving management team was not too happy about her current responsibilities and continued to voice his displeasure over his work which compelled him to work even longer hours and travelled a lotmore than many others.
He confided in the other member of the management team who just resigned as he found him very daring and duly held on to his principles.
The other member managed to convince him to resign from his current post as he felt that he should not let the frustration of his work to compromise his quality of life.
He eventually relented and took the decision to resign even though he felt that he still has many more good years to contribute in an effective way to the company.
In a single strike, two of the original key management team members have resigned rendering the third member alone.
However it was well known at that time that their strength is based on their cumulative presence and inter dependence of each other.
With two of the three team members resigning the third one, even though holds the most power was rendered ineffective.
He could not stand up against the tirade of the new key management employee as he was now fending the attacks alone instead of defending it as a team of three.
By being alone, he was rendered ineffective and exposed.
With the other two, the aura of invincibility diminished rapid and his influence begun to wane.
It spelt the beginning on an end to an era.
It signified the dawning of a new era.
Under the new key management personnel, hesystematically dismantle their influence one by one.
With a single stroke of master piece.
An evil hand at work indeed.
Perhaps karma will show him the way in the future.


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Although material goods are usually the first things that come to mind when discussing the field of manufacturing engineering, it actually encompasses a much broader scope of production, including the creation and/or improvement of anything beneficial to man, plants, and animals.
In addition, manufacturing can also include any machines, tools, or processes necessary for the engineering and creation of a final product. It is important to remember that the creation of a product involves many different processes and necessitates the effort of multiple individuals along the way to completion.
Engineering areas such as product research, production, composition, and product quality are constantly being modified in order to streamline production or develop a more advanced product. You'll learn all these things at our manufacturing and mechanical schools. For example, manufacturing engineering research in the medical field is constantly evolving, in an ongoing effort to learn more about stem cells and their potential uses and restorative benefits for the human body.
As research progresses, doctors and scientists are continually providing manufacturers with the ability to engineer more sophisticated pharmaceutical drugs that have the ability to ease human suffering and cure diseases. See also: What does a Physical Engineer do?
Scientific application in manufacturing is also constantly evolving and improving the present status quo. As technology continues to advance, so do the demands placed on the manufacturing engineering industry. Engineers are relying more often on computers and computer-driven technology in order to manipulate things such as electricity, human cells, atoms, and nanoparticles, or when they're developing alternative fuel systems for the automotive industry.
All of these elements are increasingly being incorporated into futuristic inventions, and serve to aid in the discovery and understanding of tangible and intangible products for human use, consumption, and overall life improvement.
In the 21st Century, manufacturing has come to mean much more than simple production of goods and schools are offering impressive courses to deliver top-notch mechanical and physical engineers. It encompasses economics, science, and industry in an effort to manufacture products, goods, and services that are of better quality, value and quantity than their competitors. Manufacturing engineering continues to require innovative technology that is always moving forward toward the next best thing.


text:
Q: Coffeescript rewrite function I have a following function that has to be generated from Coffeescript:
$("#user-tabs ul").idTabs({
    click: function(id, all, container, settings) {
        alert(id);
    }
});

So, I got the following coffeescript written:
$("#user-tabs ul").idTabs ->
    click: (id, all, container, settings) ->
       alert(id)
       return

But it doesn't work. At the output (.js) I got following code generated:
$("#user-tabs ul").idTabs(function() {
  return {
    click: function(id, all, container, settings) {
      alert(id);
    }
  };
});

So, the click function is written properly, but it is being wrapped by some "function-return" closure. How to rewrite it to reach the desired code (at the very top) ? Is it possible ?
Thanks!

A: Just indent the object, don't make it a function (what -> does).
$("#user-tabs ul").idTabs
    click: (id, all, container, settings) ->
       alert(id)
       return

See it.

A: Drop the -> which defines a function (you just want to call it):
$("#user-tabs ul").idTabs
    click: (id, all, container, settings) ->
       alert(id)
       return

redpajama_set_name: RedPajamaStackExchange


I fly a lot and air travel is a good metaphor for what is going on right now in Israel. We're experiencing turbulence. We need to fasten our seats and sit tight. I'm not arguing for or against a massive deployment of land troops into the Gaza Strip. Leave that to the generals. If the rest of us want to survive this all with some semblance of mental health the key is to develop faith.
Yes faith. What is that? News reports revel in analysis, how many Iron Dome batteries there are, how effectively they are deployed but we Jews havent gotten through all of these centuries on account of the Iron Dome, or any other technology.
What has carried us through . That means believing it isn't Bibi or Hamas or the UN who are running this war, but G-d. It also means believing that G-d isn't doing this to mess us up. G-d loves us. He has our best interest in mind and that everything He does is for our best.
Yes, you can scoff. I'm sure there are readers who are right now clucking their tongues saying that my words are naive, polllyanish but what is the alternative? Insanity, madness, mental collapse.
I'm not saying that people of faith don't feel afraid. Fear is human but the person of faith can get beyond his fear and call out to G-d.
. Life is for learning. In the Ethics of the Father instructs us to milk every situation for its lessons and this war is certainly full of them.
1. We are powerless. Even Benny Gantz, even Bibi. None of us really don't control anything and reality can change in flash. As we see strange things can and do fall down from the sky and change lives.
3. With faith, we have a tool for coping with the mysteries of life . With faith we have Whom to turn to.
Carol Ungar is a prize-winning author, writing teacher and food blogger. She has several sons who study in yeshivot. Her husband is an IDF veteran who served in Gaza during the first intifada..


The Florida Atlantic University Alpha Omega Epsilon Beta Delta Chapter was founded on January 21, 2012 by a group of 18 dedicated women in different engineering majors. Since then the Chapter has grown to 28 women in engineering. A.O.E. is an amazing opportunity to meet women in engineering, get involved in the community, and network with professionals.


It is especially important to keep the crate in the bedroom at night while puppies are being housetrained. For successful housetraining, you must be able to hear your puppy cry when she needs to be let outside to eliminate. Each individual dog varies but as a rule a puppy can control elimination through the night as early as two to three months of age. It is also important to regulate a puppy's feeding schedule so that this can be taken into consideration as to when and how often she must be allowed to relieve herself. The last meal of the day should come at least two hours before bedtime. It is important to establish a timely routine so that the dog's body functions can adjust to when she will be released from the crate. As a dog gets older the amount of time she can stay in the crate can be extended but should never exceed more than six to eight hours.
Remember that puppies will need to eliminate immediately after a meal and adult dogs will need to eliminate within 30 minutes. Once the puppy or dog no longer has a habit of chewing, a washable blanket or some other form of bedding can be put in the bottom of the crate for additional comfort. SnooZZy Pet Beds by Precision Pet Products are specifically designed to fit dog crates and come in a variety of sizes.


text:
The Rejection of Art Moderne
… every effort should be made to encourage the industrial designers now at work and to enable the rising generation of artists to carry on their studies until our achievements in the practical forms of art not only equal but surpass the achievements of other nations.
William L. Harris, 1922 [185]
In 1920 the magazine Arts and Decoration, which had long been the leading American supporter of arts and crafts and the industrial arts, acknowledged that it should no longer deal with the finer arts only, "but also with those accessories to life by which we express our individuality and indulge our personal tastes." ([99], 28) Editor Matlack Price pointed out that the broadening of design was attracting artists and artisans from many fields and that designers were interpreting the term design as encompassing a broad area of activity concerned with creating objects that were beautiful, expressive of their purpose, and practical in construction and manufacture. For a short time it appeared that American design would take off on a course of its own, away from dependence upon European fashion, toward a recognition of functional needs and mass-production technology. Wrote W. F. Morgan in 1920: "It is gratifying to note that a change of sentiment is taking place. The average citizen is beginning to understand that an article may be useful and beautiful at the same time.… we are realizing that there is really no essential distinction in artistic character between the commonest household objects and the rarest productions of artistic genius." ([100], 38)
The promise of expanded opportunities for artists and designers brought new life into older organizations such as the Art-in-Trades Club (founded in 1906), the School Art League (1911), and the National Alliance of Art and Industry (1912) and stimulated the establishment of new organizations such as the Gift and Art Association (1921), the Association of Decorative Arts and Industries (1920), and the American Institute of Industrial Art (1922). Though most of these organizations have long since disappeared, they served to point out that conscientious designers, manufacturers, merchandisers, and educators had recognized the importance of design and art in manufactured products, whether decorative or utilitarian or both, and were searching for means of developing a fruitful relationship with one another and advancing public taste and interest in better design.
The National Alliance of Art and Industry became particularly active in 1920 when, with William E. Purdy as its president, it sponsored meetings and competitions to promote the industrial arts in America. The Alliance was especially proud that objects that had won some of its competitions not only had been sold in Paris but had also been passed off as coming from Paris to Americans who would not have bought the products otherwise. Also in 1920, the Alliance formed an Industrial Arts Council, comprising officials of business, design, and industrial organizations, to explore the common bond that they had all found in design. As one of its first actions the Council proposed that an Art Centre be established as an umbrella "organization to which artists might look for aid in placing designs for manufactures, to which manufacturers might look for appropriate designs, and to which both manufacturers and artists might go for the kind of instruction necessary to make industry hospitable to art and art appropriate to industry," recognizing the fact that it was not easy "to build an efficient bridge over the chasm that has widened between modern art and modern industry in this country." [182]
More than 100 separate organizations, ranging from the Architectural League through the Art Alliance of America, the Art Directors Club, the American Institute of Graphic Arts, and the Society of Illustrators to trade organizations and craft societies of every type, joined the Art Centre in the hope that the encouragement of the industrial arts among young Americans would make future importation of European art goods unnecessary. For all of these artists and designers the Centre, under the direction of William L. Harris, held conferences and lectures, staged exhibits, and maintained a bureau for placing designers in the various trades and industries in its two houses in Manhattan. Mrs. Ripley Hitchcock, chairwoman of the executive committee of the Art Alliance, in emphasizing her conviction that all of the arts in industry would have a place in the Art Centre, offered the following statement: "Americans must realize that an artistic garbage pail will appeal more strongly to the housekeeper than an inartistic one, even at a slightly increased price, although Americans will soon find that the artistic things are cheaper in the long run." [181]
The symbol of the Art-in-Trades Club was evidence of the careful position that it attempted to take between traditional and modern influences in design. Club yearbook, 1922.
The Gift and Art Association was founded in response to the remarkable growth of exclusive shops, both independent ones and those that were parts of department stores. The success of these shops seems to have been due largely to the higher wages that for the first time provided people with disposable income with which they could purchase things to brighten their homes, and also to the fact that magazines and newspapers were featuring home decoration as never before. It was also proposed that soldiers had come home from France with positive ideas about more artistic furnishings in the home. Consequently, industry recognized the value of more artistic products, and artists who had scorned commercialization now seemed more willing to design objects to be made by trained craftsmen. Though some artists were fearful that any attempt to make art a paying proposition would lead to standardization, the principal evidence seemed to be that art would play a greater part in the selling of objects and there would be fewer reservations about designing useful as well as artistic products.
The emergence of design as a distinctive calling in the United States seems to have been directly related to the growth of mass production as a respectable source, not only for the necessities, but also for the niceties of democratic life. Although some accused the machine of being the source of modern ugliness—"the machine, for all its services to mankind, is so often represented in the role of Beast in its relation to Beauty in the life of the world that it has come to stand as a symbol of ugliness" ([149], 28)—a shift in sentiment away from the feeling that designers were incapable of designing products for mass production that had any redeeming aesthetic qualities was underway. A general call was being heard for new forms of industrial-arts products that would be accepted as works of art, genuine in their own way, and as capable of raising the "standard of machine work within the scope of its possibilities." ([139], 333)
Leon Volkmar, in the New York Times, called for a new form of art: "If you must have the machine, evolve a new type of beauty that will express the machine plus intelligent direction." [186] Volkmar took it as misguided sentiment to attempt to apply hand-originated decoration to machine products. It was important to him that machine-made products, whether they served luxury or convenience, should be acknowledged as respectable symbols of affluence. In this way those who would otherwise have had nothing, since they could in no way afford handmade originals, could now be proud of their material acquisitions no matter what their source or the quantity of their production. Richard F. Bach, however, defended the use of the machine to duplicate handmade historical styles in his comments to the Institute of Art and Science at Columbia University in 1922. It seemed entirely logical to him that modern technology should be used to replicate products and ornaments of the past.
Lewis Mumford was convinced that there was a fundamental difference between the aesthetic aspirations of handmade and machinemade products. It seemed to him that what was a virtue in one was anathema in the other. The craftsman, Mumford believed, was possessed by his work and dissatisfied with it until he had poured himself into every part. As a result, the value of his product was in direct relation to the amount of creative energy that had been consumed in its making. What Thorstein Veblen had termed conspicuous consumption was thus taken as the hallmark of handicraft aesthetics. The craftsman realized that convoluted rather than geometric forms were more logical for handmade forms and that, rather than mechanically pure surfaces, textured and ornamented surfaces could be relied upon to provide an acceptable finish to his work. On the other hand, good machine-made products, according to Mumford, demand "a complete calculation of consequences, embodied in a working drawing or design," and, as a result, "the qualities exemplified in good machine-work follow naturally from the instruments: They are precision, economy, finish, geometric perfection." "A good pattern in terms of this mechanized industrialism," said Mumford, "is one that fulfills the bare essentials of an object; the 'chairishness' of a chair the 'washiness' of a basin; and any superfluity that may be added by way of ornament is in essence a perversion of the machine process, and by adding dull work to work that is already dull, it defeats the end for which machinery may legitimately play a part in humane society; namely, to produce a maximum amount of useful goods with a minimum amount of human effort." Mumford proposed that there was a canon of industrial aesthetics by which anything that demands more of a machine than it can logically or freely give "adds to the physical burden of existence." ([156], 38) Once we refused to accept the norms of handicrafts as absolute, he suggested, there was a new kind of beauty to be achieved in machine-made products. Mumford was concerned about the fact that, although the logic of the machine was being acknowledged as stimulating a modern style, Americans had yet to allow for the "vagaries of human psychology" that would have to be taken into consideration if the style was to have real value. He was convinced that the machine was as "incapable of yielding fresh designs as a mummy is of begetting a family." ([157], 263)
It is reasonable to believe that, once the freedom to modify an object in the course of its making that had been associated with the handicrafts was replaced by the preplanning and design that is essential for machine production, the forms of manufactured products would come under the control of design instruments (such as compasses and straightedges) and their production surrogates (lathes, mills, and planing and rolling machines). The action of instruments and machines was essentially geometric, as were the forms of the materials available for production (such as sheets, tubes, and wires). As a result, it was natural at the time to presume that geometric forms were most natural to machine production and that such qualities as mathematical accuracy and purity of finish would bring pleasure to those seeking manufactured perfection.
The new sensitivity to the aesthetic potential of utilitarian products and the recognition that machine production imposed unique design conditions were beginning to shape the character of industrial design. This character had found expression, unintentionally at first, in the work of those manufacturers who produced the unassuming vernacular products of everyday life. Its influence was echoed in the growing belief that everything had a rational base, and that the arts as well as social and industrial systems could be expected to operate smoothly and efficiently in order to bring culture and convenience to every citizen. It seemed reasonable to assume that the Americans, in particular, would welcome the new aesthetic of technology in their products and environmental arts. They anticipated a life of electrified ease in steel structures that scraped the sky. Mechanization was rapidly being transformed into an art compressing experience into moving pictures and expanding human capacity with speeding automobiles and airplanes. It seemed inevitable that the American cultural establishment would sense the groundswell of the modern movement and recognize a new kind of expression. But such was not to be the case.
Somehow, despite the overwhelming evidence of the growth of the modernist movement abroad, the American tastemakers looked the other way. As the defenders of democracy abroad in the recent war, perhaps they were inspired to honor their own origins by searching for what they believed to be a uniquely American style. In the process the searchingly original Arts and Crafts movement was aborted, Tiffany's inspired originality was forgotten, and Stickley's mission in furniture and furnishings design was transformed into the so-called Spanish Mission or Spanish Colonial and the English-based Colonial styles.
The Spanish Colonial style was the result of a deliberate effort by the newly founded (1920) Association of Decorative Arts and Industries to discover a "native" style and then to promote it into a commercial success as the "most intelligent substitute possible to find for the old, slow-growing development of a style." [179] The association proposed a truly New World character reflecting the romantic history of some 300 years of Spanish and Indian traditions in the Southwest. In a major promotion to launch the Spanish style, the association exhibited in 1920 at the Grand Central Palace in New York a Spanish-American bungalow that was described as a "laboratory" of home furnishings. Designers, it was presumed, could now "create a new impetus toward the designing of fabrics, furniture, wall paper, etc., which shall be wholly American in spirit and, therefore, more fitting to the purpose of interior decoration for the homes of Americans." ([111], 35)
The parallel movement in the Northeast in the early 1920s was devoted to rediscovering, preserving, and reconstructing the artifacts and even the environment of the American colonial era. Those who could afford to do so took it as their cultural and patriotic obligation to collect the modest folk arts and artisanal masterpieces of the country's first century and a half. Many of the major collections of Americana were started in the 1920s. The colonial scene was reborn when the Rockefellers rescued Williamsburg from oblivion. Dupont collected bits and pieces of the era at Winterthur, as did Henry Ford at Dearborn Village. The Vanderbilts created Sherbourne from scratch, just as others did at Sturbridge and Cooperstown. And the manufacturers of furnishings found no design challenge or risk in replicating the furnishings of the colonial era. The offices of the progressive J. Walter Thompson advertising agency in Manhattan's modern Graybar Building were transformed into a veritable colonial scene. It was, and still is, comfortably assumed that the Colonial style of the Northeast "reproduced the charm of Colonial simplicity without sacrificing the essential comforts and conveniences of modern life." ([113], 48)
The Spanish Colonial style was a curious blend of Spanish baroque fashions with Indian forms and the Northeastern Colonial, an agglomeration of Jacobean, William and Mary, Queen Anne, Georgian, and rococo influences with traces of German folk art and French and Italian Renaissance, tossed into a cultural salad to nourish the Americans' transplanted spirit. Its best products were two styles of furnishings that have come to be considered natural to American domestic interiors.
The Spanish or Southwestern style was arbitrarily conceived in a deliberate search for an indigenous American design expression. It traded on the Arts and Crafts mission in furnishings and the Rudolf Valentino brand of romance. This room blithely blends Spanish, English, and Italian ideas. Arts and Decoration, January 1925.
The Colonial style, considered "wholly American" in spirit, enjoyed a popular revival in the 1920s. This 1922 sketch from the Stanton Studios shows a hall and a living room. Art-in-Trades Club yearbook, 1922.
Joseph Urban's dining room in the Wiener Werkstaette style was as close to a modern expression as the Art-in-Trades annual exhibition ever came. Arts and Decoration, October 1923.
Two exhibitions staged by the Art-in-Trades Club at the Waldorf-Astoria hotel in 1923 and 1924 serve best to illustrate the state of mind in the early 1920s with respect to the industrial and decorative arts. Each of the some 50 rooms in the exhibitions was designed and decorated in a different historical style to emphasize the club's commitment to "beauty of form … in manufactured articles." ([111], 33) The 1923 show included a Chippendale room (by Harry Wearne, the club's president), an English Renaissance or Tudor room, a Queen Anne reception room, a Louis XVI boudoir, and a Spanish Colonial patio and reception room. There was a token room in European modern—a dining room by Joseph Urban in the style of the Wiener Werkstaette. The 1924 displays revealed "the adaptation of historic decorative modes to modern usages" by including a Georgian library, an Elizabethan living room, a Spanish-ltalian entrance hall, and, in particular, a Colonial breakfast room and apartment. One visitor to the exhibition somewhat cautiously noted that, although "one might wish for more that is new and unique, expressing the present, rather than finding its roots in the past," it was quite evident that historic styles still commanded the interest of most Americans. ([112], 62)
In retrospect it is obvious that the American tastemakers and manufacturers preferred to remain fixed aesthetically to the past. A few advocates of the modern movement in the industrial arts warned that there was a desperate need for schools to train designers, but the majority believed that the wiser course was to continue the established practice of letting the Europeans pay for design education and then importing such samples and designers as were needed. America was "the greatest industrial art market in the world," declared the New York Times. Therefore, there would be a strong inducement for foreign talent to come to the United States. [183]
Those who controlled the cultural establishment were not entirely ignorant that a modern spirit in design was gathering momentum abroad. They had first sensed its coming in the decline of Beaux-Arts eclecticism and the bright but brief flare of Art Nouveau, then had watched the healthy thrust of the Arts and Crafts movement and the awakening of rationalism in design be diverted (at least momentarily) by the Decorative Arts movement, with its fawns, ferns, and fairies. They had sensed that the playful manipulation of natural forms was clear evidence that artisans were incapable of containing the impact of the coming machine age. However, it fell to the most sensitive talents of the time to capture the essence of the modernist movement first. Foreign artists like Picasso, Léger, Brancusi, and Mondrian, by rejecting maudlin sentimentality, found a way from the natural world into the dynamic sphere of abstraction and machinelike expression. Although the Americans had been warned publicly about their conservatism by the unexpected vitality of the Armory show a decade earlier, most still preferred to believe that the modernist movement was no more than a temporary aberration of aesthetic judgment that would be readily forgotten after the World War.
The French designers and decorators, however, realized that their artists had provided them with the substance of a new style. "To create, to build up a style," acknowledged André Marè, "the broad insight of the informed artist is needed, plus an infinite patience.… The same fire and faith must animate the artistic evolution of a chair no less than that of a painting or a sculpture." Marè, with his partner Louis Sue and others like Paul Follot, André Groult, Maurice Dufrêne, Mallet-Stevens, Pierre Legrain, Emile Jacques Rhulmann, and Paul Poiret, found a common foundation in geometricity and helped to build it into a homogeneous style in the modern spirit, which proposed that the pristine qualities of geometric forms were more innocent and therefore more honest. Marè found justification for the modernist style in examples from the past: "When we study masterpieces of art and architecture we can see that their harmony is confined to geometry. Certain lines and proportions have peculiar virtue; but not all triangles, squares and ovals are equally beautiful. So, after reflection, we adopt some as the basis for our designs.…" ([109], 331)
In 1922, Leo Randole attempted to explain the modernist movement to his American colleagues: "It is the Gallic soul imprisoned within geometry and informed with the restraint imposed by the intellect through which beauty triumphs in her own way. In a nation where the gift of art is as traditional as it is innate, even the most revolutionary modernist turns constantly to the past for his inspiration, his justification. The modern decorator in his intellectual asceticism penetrates the past through the logic of geometry, which so infallibly defines the equilibrium of all harmony." ([109], 331) American manufacturers of decorative products, however, remained particularly insensitive to the growing influence of modernism. They were preoccupied with their adaptations of traditional styles, and unwilling to be diverted by threats of a new style—at least until it had become popular enough to make copying profitable.
The French designers found their own manufacturers more receptive. Industries adjusted their manufacturing technologies to suit the radical ideas, thus breaking with their dependence upon established methods and entrenched aesthetics. Furthermore, the modernists took it as their mission to "democratize" modern art, to bring it within the reach of all classes in order to satisfy their craving for the beautiful." In the process a new collaboration developed between designer and manufacturer that resulted in one of the basic contractual methods now familiar to industrial designers. It became customary in France for the manufacturer not only to pay the designer for his prototype expenses, but also to reimburse him with a royalty for every reproduction of his design. The concept of royalty thus obligated the designer to share in the risk and problems that might be encountered by the manufacturer. The understanding that developed between conceiver and producer was of great benefit in the refinement of aesthetic concepts for machine production. "The mating of creative minds," it was acknowledged at the time, "imbued with the aesthetic impulse, to the commercial skill which makes possible the wide distribution of beautiful objects is a characteristic of the hour in which we may all rejoice." ([109], 370)
Paul Poiret was convinced that "new forms exist only in objects which are created for our modern needs, and since nowadays the need of comfort and mechanics dominates everything else, it is only in objects in which art applies itself logically and intelligently to mechanical laws that real beauty and new forms can be found." "In years to come," said Poiret, "scientists will probably be able to explain the force that prompts the instinct of the artist to master the equilibrium of masses and volumes in perfect unison with the machine." ([104], 380) Thus Poiret provided the modernist cause with its basic creed: that art may be used intelligently and rationally in order to achieve harmony between human needs and manufacturing capability.
Though not as many French designers were working in the new style as one might imagine, they had a strong influence. Their geometric style took hold first at the highest fashion level, where its daring forms were easily adapted to decorative patterns for clothing and accessories, to cosmetic packaging, and to the related advertising. One finds a clear connection between the decorative glass of Lalique and Baccarat and the bottles and packages of Francois Coty and other French perfumers, and it was only a short step from the arts of personal adornment to those of the environment. The modernist style began to appear in fabrics, furniture, lamps, and other accessories. Art directors found fame and profit by combining utility and beauty in the modern mode to make their clients' products attractive to an ever-growing public.
French prestige in the arts of "haute couture" in the United States was given added impetus by an exhibition held in 1924 at the Grand Central Palace that consisted of a series of salons intimes, one for each of the French perfume makers. The most successful exhibit turned out to be the full-scale replica of Coty's Parisian salesroom at the corner of Place de Vendome and the Rue de la Paix. Thus, the modernist style was familiar to at least one social level in America before the 1925 Paris exposition. In fact, Paul Poiret had already promoted Art Moderne in a successful lecture tour of the United States in 1923 (after which he had announced that he was discouraged to find extensive pirating of his designs by American wholesalers). On the other hand, the few Americans who tried to market their own modernist designs found that American manufacturers were still reluctant to devote any capital to native ideas. Nevertheless, as the mass production of comparatively inexpensive clothing and fashionable accessories was becoming highly organized in the United States, a democratized market for style was beginning to gather momentum in which women did not object to wearing almost identical outfits—providing they were in the latest Parisian fashion.
In an effort to capitalize on the rekindled interest in French styles, France determined to regain her prewar eminence by rescheduling for 1925 the "Exposition International des Arts Décoratifs et Industriels" that had originally been discussed in 1912 and planned for 1915. "Will we offer to humanity the birth of a new French genius, or will we, ourselves, receive and follow the formula of others?" wrote Edmond Haraucourt, director of the Musée de Cluny in his 1921 call to his countrymen to join the intellectual and artistic communities in the great exposition. ([108], 91) However, in deference to the increasing democratization of design and the growing importance of mass production, the planners of the exposition decided to shift the emphasis from the one-of-a-kind masterpieces that had characterized earlier international expositions to the objects of everyday life, and to reward originality rather than subservience to historical motifs. The French were confident that their creative vigor would stand out above that of other countries: "Let us export our intelligence, our elegance, our art. In the markets of the world let us be the merchants of beauty.… a civilization characterized by the abolition of time and distance, by the reign of electricity and mechanical invention requires art to its liking." [187] Logic, truth, and harmony were proposed along with science as fundamental to contemporary art. By the time the Paris exposition opened, the conventionalized sentimentality of stylized animals, sexless nudes, and stone roses had been invaded by the modernist geometric forms of the machine-age style. Today the two styles have been, somehow, melded into one—Art Deco—that conveniently uses the abbreviated title of the first to define the forms of the second.
This interior, with furniture and shelving in polished metal by Mallet-Stevens of Paris, displays innovative yet consistent use of rectilinear geometry as a basis for design. J. Prouve, Le Métal no. 9.
Pierre Leg rain's automatic piano for Auto-Pleyela, not considered outstanding in its time, persists as a valid attempt to turn a functional product into a piece of abstract technological sculpture. J. Prouve, Le Métal no. 9.
René Lalique's glass sculpture and containers combined the votive nudes of the era with abstractly modern forms. The powder-puff container by Coty is one of the classic cosmetic packages. M. Battersby, The Decorative Twenties.
When the directors of the Paris exposition sent out invitations to participate, every country except Germany received one and all but two countries accepted the challenge. China was not in a position to accept because of its chaotic political condition, and the United States declined because Herbert Hoover, as secretary of commerce in 1923, had concluded that the Americans could not comply with the exposition's requirement that only original work could be exhibited. Subsequently, Hoover turned the French invitation over to the Smithsonian for consideration, but again because of the lack of support from commercial interests the State Department did not recommend appropriations. Later, in 1925, Hoover explained his action in a telephone address to the 4th Annual Exposition of Women's Arts and Industries:
When the United States was invited to participate in this exposition, I canvassed the various interested manufacturers to learn if they thought it advisable for our government to undertake an American building in Paris. The advice which I received from our manufacturers was that while we produced a vast volume of goods of much artistic value, they did not consider that we could contribute sufficiently varied design of unique character or of special expression in American artistry to warrant such a participation. Whether this be the actual case or not, it was their opinion. My own conclusion from this experience was that it was high time that we should begin to develop more design and artistry. Therefore, as Secretary of Commerce I requested a number of men and women prominent in the field of industrial arts in this country to constitute themselves a delegation to visit the Paris Exposition. I am hopeful that this mission may serve to promote the growth of our American industrial arts. I know of no field where women can be of greater service in such design, and in the stimulation of the more artistic presentment of articles of common utility. Art in its more extreme form cannot find a place in every home. We cannot all of us afford galleries of paintings or rare sculpture. But we can see to it that our homes and the furnishings that go to make up those homes shall be in accordance with canons of art and taste. [214]
The refusal of the United States to join its allies and other nations in the first great postwar fair, the Paris Exposition of Modern Decorative and Industrial Arts, shocked the cultural establishment, even though in retrospect this establishment may be held responsible for the fact that America had nothing original to show. And, though Hoover's decision did not surprise the manufacturing and merchandising industries, the Americans were galvanized into demanding prompt government action—largely, one might suppose, because of the blow to U.S. prestige and the economic threat that was posed by the exposition. As a result, Hoover was obliged to honor a demand from Charles Richards that he delegate a special commission of 100 representatives from interested trade associations, and a few token architects and designers, to visit and report on the exposition for the benefit of American trade. Other American designers, such as Russel Wright, Donald Deskey, and Walter Dorwin Teague, were drawn to Paris and returned as champions of modernist art.
The report of the American commission was self-serving yet apologetic:
As a nation we now live artistically largely on warmed-over dishes. In a number of lines of manufacture we are little more than producing antiquarians. We copy, modify and adapt the older styles with few suggestions of a new idea. It is true that this practice of reproducing the older forms has been an invaluable education to our people. It is also true that the adaptation of old motives when performed with intelligence and skill continues and probably will continue to give us a large proportion of the decorative manifestations acceptable to American taste. It would seem equally true, on the other hand, that the richness and complexity of American life call for excursions into new fields that may yield not only innovations but examples well suited to the living conditions of our times. ([73], 22)
Americans needed to make room for new ideas, the report continued, because they would not avoid the modern movement in the applied arts; therefore, since the movement would reach the United States shortly, Americans should "initiate a parallel effort of our own upon lines calculated to appeal to the American consumer."
However, the members of the commission did not all agree on the importance of the modern movement. Richardson Wright, the editor of House and Garden, expressed doubt that the modern movement as applied in the home would ever get a strong foothold in the United States. He saw nothing unusual in the fact that there were not enough people in the country who were interested in the new style to justify an American exhibit in Paris. The opposite view was expressed by Leon V. Solon, who wrote in the Architectural Record that the commission's report represented a change of heart on the part of industry with respect to design and suggested that the new styles did not "proceed from an altruistic impulse, but from one which is infinitely more solid and significant." "This sudden interest in decorative excellence," wrote Solon, "is a policy of expediency, compelled by the extraordinary improvement in public taste and the economic value of artistically treated goods.… It is the industrialist who now takes the risk in innovation, not the solitary individual laboring in comparative obscurity." ([199], 181)
The commission did not seem to recognize that the Europeans had deeper resources from which new ideas could be drawn, that their governments and industries respected and supported innovative design training, and that they saw new concepts in form as signs of creative vigor and not as threats to the cultural status quo as they appeared to be in the United States. Nevertheless, the trauma of Hoover's rejection, plus the phenomenal success of the Paris exposition, swept away much of the American resistance to the modern movement. Within a year Art Moderne, or modernist art and decoration, was being eagerly duplicated by Americans. Lewis Mumford caustically noted that nothing had changed: "American designers, instead of designing directly for our needs and tastes, are now prepared to copy French modernism, if it becomes fashionable, just as they habitually copy antiques." ([155], 576)
The Paris exposition became a dramatic showcase for the talent and creative imagination that had been constrained by the austerity of the recent war. It provided a great impetus to the modernist movement in the form of a series of pavilions whose interiors had been subsidized by the French minister of fine arts to be designed and built by the major Parisian merchandisers. Department stores such as the Galeries Lafayette, Bon Marché, and Printemps and the Magazins du Louvre gave their staff designers a free hand to conceive and produce a series of rooms in the modernist style. They were called "ensembles," in recognition that every item in each room was to be unique and designed to be in aesthetic harmony with all of the others. This provided a homogeneity of expression that is typical of historical styles, and thus helped to make the modernist style comprehensible and palatable to the general public. With their bold geometry in combination with the more sentimental decorative arts and the bright flashes of Bakst's "Russian Ballet" colors and patterns, the rooms were interpreted as complete happenings—exclusive creations, rather than prototypes of the democratic expression that was claimed for them. Some "ensembles" were purchased in their entirety as unique works of art; others were picked apart for inspiration by visiting designers and manufacturers.
While the pavilions were competing for attention, off in a corner of the exposition grounds stood a small house built by Le Corbusier and his followers, under the banner of "L'Esprit Nouveau," in the clean machine-age style that would eventually displace Art Deco and other short-lived fashions to become the dominant style of this century. Corbusier's pavilion was clearly in line with his convictions that "the new dwelling house must be a machine for habitation" (as quoted by Mumford) and that it and its furnishings should be standardized for machine production and be replaceable rather than permanent. ([24], 78) In this respect, French architects and designers were not entirely out of step with the philosophy of design that was taking shape at the Bauhaus at Dessau. Although there was as yet little rapport between the recent enemies, by 1923 Le Corbusier was printing in L'Esprit Nouveau a sympathetic commentary of the work of the Bauhaus and a paper from Walter Gropius asking for support.
The cover of the 1925 Paris Exposition catalog clearly illustrates its original focus on the decorative arts rather than the Art Moderne for which it is best remembered. Report on the International Exhibition, Paris 1925.
The Paris Exposition's break with the past is reflected in the comment by Helen Appleton Read that passing through these obelisklike silver towers of the Porte d'Honneur was not unlike coming upon a cubist dream or a city on Mars. Report on the International Exhibition, Paris 1925.
The main entrance to the Paris Exposition, the Porte de la Concorde—towering pylons and a bronze statue of "Welcome." Report on the International Exhibition, Paris 1925.
Pierre Patout's handsome "Pavilion for a Rich Collector," created for the celebrated French decorator Emile-Jacques Ruhlmann, was built of reinforced concrete and was honored as a harbinger of the future for its cleanliness, its beauty, and its labor-saving approach to structure. Report on the International Exhibition, Paris 1925.
Janniot's group of stone figures outside the Ruhlmann pavilion combined nudes, animals, and flowers in forms that had clearly broken with the past; however, the spirit was classical. Report on the International Exhibition, Paris 1925.
The salon of the "Pavilion for a Rich Collector," by Jacques Ruhlmann. M. Battersby, The Decorative Twenties.
Although it was hidden away in a corner of the Paris exposition, the small pavilion of L'Esprit Nouveau, by Le Corbusier and Pierre Jeanne ret, was a landmark. Constructed entirely of standardized elements, it was a prelude to manufactured dwellings. L'Esprit Nouveau, 1925.
The quietly classical interior of the L'Esprit Nouveau pavilion may be taken as a forerunner of the modern style. Its spare monumentality necessitated the visual relief of the paintings, which were by Leger and Jeanneret. L'Esprit Nouveau, 1925.
Le Corbusier's terrace for a villa at Ville d'Avray illustrates the International Style's debt to the great ocean liners of the day. J. Prouve, Le Métal no. 9.
The Swedish exhibits at Paris were characterized by a restrained sense of design and a simplicity of form, as in this interior by David Olmberg. Report on the International Exhibition, Paris 1925.
This engraved crystal covered bowl and platter, designed by Simon Gate and made by the Orrefors Glass Works of Sweden, shows the new Stockholm town hall surrounded by classical yet contemporary ornamentation. Report on the International Exhibition, Paris 1925.
It is conventional to credit the new style to the Germans, but the fact is that, for the most part, design in Germany and France was moving along parallel paths, with the Germans committed to the principle of design through craftsmanship and the French convinced that expression through geometry would produce forms that were the true expression of the machine age.
The Swedish pavilion became the center of attention in Paris. The astonishing number of awards won by Sweden, whose Arts and Crafts movement has evolved without a break from the rural folk arts into an urbane aesthetic—35 grand prizes, 46 gold medals, and many other lesser awards—provided the momentum that gave Swedish and other Nordic designers preeminence in the decorative arts for decades to come. To a large extent their success was due to the fact that the Swedish Society of Arts and Crafts had determined that industrial as well as handmade objects must speak the language of the period to which they belong. The result was a freshening of attitude toward design and the development of forms that suggested a new clarity in the decorative arts that was entirely Scandinavian in spirit and vitality.
The Swedish Society of Arts and Crafts decided, after a long history of Swedish crafts (the society was founded in 1845), to challenge tradition and, through the leadership of Gregor Paulsson, director of the society, and Dr. Eric Wettergren, curator of the Swedish National Museum, became insistent on "the need for new art forms to suit our modern age." (193, 79) The philosophy was directed against the use of machine production to imitate the handicrafts by producing artificial and cheap reproductions of costly objects, and encouraged Swedish handicrafts to develop forms that reflected the precise and pristine forms that one associates with machine-made products. As a result, the modern Swedish handicrafts found a handsome accommodation between the simpler forms of industry and the spare yet rich details that were most logical to the virtuosity of the craftsman. The United States, on the other hand, had not only rejected the modern movement in design but had also denied earlier nourishment to the flowering Arts and Crafts movement before it could come to the level of maturity that it reached in Sweden.

redpajama_set_name: RedPajamaCommonCrawl


Patience will be the key for Australia tonight against Qatar at Brisbane Stadium, according to coach Pim Verbeek and that will ensure his team will get the three points.
Verbeek expects his counterpart Bruno Metsu to try and stifle the Australian attack for as long as possible in tonight-s important clash, but he has no doubts that Australia will score goals in the game, even if they are late in the match.
He also implored the crowd to stay true to the team even if the team is unable to get the early goal.
"My players know they have to be patient," Verbeek said at the final press conference. "It-s not about 45 minutes or 30 minutes, it-s about 90 minutes, so if we finish the game with three points that-s more than enough for me.
"OK I prefer to score as many goals as possible, but this is international football and I think Metsu will not allow us to score five goals and will do everything with his team to avoid the first goal for as long as possible and wait for their chance.
"Our strategy will be, be patient, don-t take too much risk and finish the game with a win.
"Fans want to see an early lead and then score a few more; that would be nice, but if it doesn-t work then we have to wait. We-ll score a goal tomorrow; we-ve got enough players to score a goal.
Metsu, who has only just taken over the Qatar team in the past two weeks, has had little time to instil his own style on the team, but Verbeek knows that his team-s have a good defensive structure and that will be up him and the Australian players to make the play to get the goals.
"We have no idea what he (Bruno Metsu) is going to do, but I will repeat as I have said before, of course we respect them and we know what they can do, but we will focus on our team.
"I expect they will defend; go for a point and if they can nick three they will have had a fantastic game. It-s our job to find a solution to create chances and to score goals.
"They will come for the counter-attack. They have dangerous strikers; they are fast; they score goals and you just have to look at the last games they play already.
"On one hand we have to take risk to score goals and as early as possible; that-s what every coach wants. But on the other hand you have to be very alert, so they don-t surprise you and score a goal on the counter.
Verbeek said that making comparisons to the previous two qualifying matches would be a mistake other than that Australia can take confidence and a slight psychological edge into the match.
"That was two games, played some months ago," when asked about comparisons with tonight-s match.
"Of course we did very well; they know we have a good team; we also know we have a good team but there will be no underestimating them from our team. I will be very, very surprised if that happens and I will only myself to blame if it does.
"We know what we have to do; we know they are dangerous; they have four points and could-ve had six points. I saw both their (opening) games on DVD and more or less they deserved to win both games, so we should never think it-s and easy game.
With Australia-s next two matches away from home, Verbeek and the players know the importance of getting the three points in its first home fixture.
"We all know how important the game is tomorrow, because we have two away games after this game; Bahrain and Japan away.


text:
No. 1 March 2020 | Download this issue
LNG could worsen shipping's climate impact
By: Christer Ågren
A recent analysis by the International Council on Clean Transportation (ICCT) has compared the life-cycle greenhouse gas emissions of liquefied natural gas (LNG), with those from traditional marine fuel oils.
LNG has become increasingly popular as a ship fuel as it significantly reduces emissions of air pollutants, such as sulphur dioxide, nitrogen oxides and particles. Moreover, LNG is cheaper than marine gas oil (MGO), and is – over the longer term – expected to be less expensive than both heavy fuel oil (HVO) and the blended 0.5-per-cent very low sulphur fuel oil (VLSFO).
In 2019, there were more than 750 LNG-powered ships, most of them in the offshore and ferry segments, but new tankers, container ships and cruise ships are also being built with LNG engines.
Two years ago, in April 2018, the IMO adopted an initial strategy with the stated levels of ambition that greenhouse gas emissions from international shipping should peak as soon as possible and to reduce emissions by at least 50 per cent by 2050 compared to 2008, while, at the same time, pursuing efforts towards phasing them out entirely.
Achieving these objectives will inevitably require a transition to zero-carbon fuels or propulsion systems. While LNG contains less carbon per unit of energy than conventional marine fuels, which means that burning it emits less carbon dioxide (CO₂), there are also other GHGs to consider.
LNG consists mainly of methane, which over a 100-year time period traps 36
times more heat than the same amount of CO₂, i.e. its global warming potential (GWP100) is 36. If we look instead at a 20-year time period (GWP20), methane traps 86 times more heat.
The study compared the life-cycle greenhouse gas emissions of LNG, marine gas oil (MGO), very low sulphur fuel oil (VLSFO), and heavy fuel oil (HFO) when used in engines suitable for international shipping, including cruise ships. The analysis included upstream emissions, combustion emissions, and unburned methane (methane slip), and evaluates the climate impacts using 100-year and 20-year global warming potentials.
It was found that over a 100-year time frame, the maximum life-cycle GHG benefit of LNG is a 15 per cent reduction compared with MGO, and this is only if ships use a high-pressure injection dual fuel (HPDF) engine and upstream methane emissions are well controlled.
The authors point out, however, that the latter might prove difficult as more LNG production shifts to shale gas, and given recent evidence that upstream methane leakage could be higher than previously expected. Additionally, only 90 of the more than 750 LNG-fuelled ships in service or on order use HPDF engines.
The most popular LNG engine technology is low-pressure dual fuel, four-stroke, medium-speed, which is used on at least 300 ships and is especially popular with LNG-fuelled cruise ships. Using GWP100, this technology emitted 8 per cent more lifecycle GHGs when it used LNG instead of MGO and 16 per cent more than using MGO in a comparable medium-speed diesel engine.
Using GWP20 instead, low-pressure dual fuel, four-stroke, medium-speed technology emitted 70 per cent more lifecycle GHGs when it used LNG instead of MGO and 82 per cent more than using MGO in a comparable medium-speed diesel engine.
Dr. Elizabeth Lindstad, Chief Scientist at SINTEF Ocean, Maritime Transport, commented that: "The report shows the need for adopting policies that can reduce the broader GHG emissions of shipping instead of CO₂ only, including the well-to-tank emissions of ship fuels. If we fail to include all GHGs and focus only on CO₂, we might end up with a large number of ships fulfilling all efficiency requirements, but where the GHG savings are on paper only."
The ICCT concludes that the results show that LNG does not deliver the GHG emissions reductions demanded by the IMO's initial GHG strategy and that using it might actually worsen shipping's climate impacts. Given this, it is fair to question continued investments in LNG infrastructure on ships and on shore, as these could make it harder to transition to low- and zero-carbon fuels. Investing instead in energy-saving technologies, wind-assisted propulsion, zero-emission fuels, batteries, and fuel cells would deliver both air quality and climate benefits.
The study "The climate implications of using LNG as a marine fuel" is available at: https://theicct.org/ sites/default/files/publications/Climate_implications_LNG_marinefuel_01282020.pdf
Air pollution from fossil fuels costs USD 8 billion a day
Emissions from the burning of coal, oil and gas cause 4.5 million premature deaths a year globally, resulting in costs of health care and lives lost equivalent to 3.3 per cent of global GDP.
Editorial: Zero-pollution vision for air quality
A recent Eurobarometer survey asked over 27,000 people from across the EU several questions about air quality.
Cement could be greener, but will it?
Cement production is responsible for some 6–7 per cent of global CO2 emissions, and is still growing. There are many technical options to cut emissions, but few incentives. The EU cement industry pays zero for its emissions, and does little to improve its act.
Climate tipping points in the boreal forest region
In the southern part of the boreal forest zone, climate change may cause closed forest to be replaced by open woodland or scrubland
Transition to 100 percent renewable energy is cost efficient
Stanford researchers find that a completely renewable energy system will pay for itself in 7 years, while also solving major health and climate threats.
Ships fuelled by LNG do not deliver the emissions reductions required by the IMO's greenhouse gas strategy, says new study.
The Andes Meltdown
The frozen areas covering the peaks and valleys of the Andes are melting at alarming rates, providing some of the most visible evidence that climate change is already here and putting communities and natural ecosystems at risk.
Dutch health gains from reduced air pollution
Air pollution control policies implemented in Europe since 1980 have resulted in better air quality that has increased Dutch average life expectancy by six years.
Renewable energy – technology choices matter for air quality
Growth in EU renewable energy has reduced GHG emissions, and in most cases air pollutant emissions as well. But increased burning of biomass has actually increased emissions of health-damaging PM emissions.
Air quality rules fit for purpose
The EU air quality limit values are enforceable and have been instrumental in driving a downward trend in air pollution exceedances and exposure.
Sales of petrol cars rise in the EU
16 EU countries reported a higher petrol share in new registrations of passenger cars in 2017.
Ecolabelled biofuels in Sweden
Ecolabelled biofuels make it easier for consumers to choose fuels that have less impact on the environment, says the Swedish Society for Nature Conservation (SSNC).
IMO failed to adopt speed reduction measures
Lowered ship speed means reduced fuel burn, resulting in less emissions of greenhouse gases and traditional air pollutants, as well as benefits for marine life.
European shipping's climate record
Too little focus on diets and population growth
In recent decades, research on how to nourish the global population sustainably has had a strong and growing focus on improving productivity through technology...
A call to introduce meat taxes in EU
A sharp reduction in meat and milk consumption is essential to tackle climate change.
Post-Brexit agricultural plan in UK revealed
A new agricultural bill to replace the EU Common Agricultural Policy (CAP) support scheme was presented by the UK government in January.
Ten billion people can be fed within planetary boundaries
A newly published study shows that it may be viable to feed ten billion people without crossing the planetary boundaries for nitrogen flows, biodiversity loss, land system change, and freshwater use.
What milk should we drink?
Supermarket shelves are filled with a wide variety of plant milks today, but which sort is the best choice in terms of environmental impact?
Demonstrations against agricultural policy in Germany
Massive demonstrations took place in conjunction with International Green Week, an annual food and agriculture fair in Berlin.
NOx from ships in western Baltic Sea quantified
Atmospheric deposition of nitrogen contributes significantly to eutrophication, and accounts for about a third of the total input of nitrogen in the western Baltic Sea.
Cleaner air quickly brings big health benefits
Reductions in air pollution yield fast and dramatic improvements in health, as well as decreases in all-cause morbidity according to the research paper "Health Benefits of Air Pollution Reduction", and the corresponding report "Clean Air Now".
Ocean acidification associated with damage on shark skin
Recently, the effects of ocean acidification conditions were investigated on the puffadder shyshark (Haploblepharus edwarsii) over different periods of time.
New air quality infringement decisions
In its February infringements package, the Commission sent letters of formal notice to Romania, Greece and Malta, calling on them to adopt National Air Pollution Control Programmes and to communicate them to the Commission, as required under the National Emissions Ceilings Directive.
Smooth transition to global ship sulphur regulation
After having been adopted by the International Maritime Organization (IMO) in 2008, tighter limits on the sulphur content of shipping fuel finally came into force on 1 January 2020.
Scrubbers not allowed in California
The California Air Resources Board (CARB) has announced that the Californian regulation for ocean-going ships, which was adopted in 2008 and still is in effect, requires the use of low-sulphur (...
More bans on open-loop scrubbers
Ships fitted with open-loop scrubbers will be banned from discharging effluent from the emissions-cleaning systems while travelling through the Suez Canal, according to an announcement by the Suez...
Iceland creates 0.1% SECA
Iceland has enacted a strict sulphur emissions control area (SECA) whereby ships calling at the island from next year will only be allowed to burn 0.1 per cent sulphur content fuel in Icelandic...
Greek lignite plant cancelled in major NGO court win
A major Greek court ruling has put the final nail in the coffin for planned power plant Meliti II and left its sister plant Meliti I operating without legal permission.
Clean air action linked to EU Green Deal
In January 2020, a group of eight leading environmental organisations working on clean air from the health, environmental, climate and transport angles wrote to the European Commission expressing...
South Korea shuts a quarter of its coal plants over winter
In late November, South Korea decided to temporarily shut down up to a quarter of its coal-fired power plants over winter in an attempt to combat dangerously high levels of fine dust pollution.
South Korea opts for ship speed reduction and ECA
South Korea's Ministry of Oceans and Fisheries began a "Vessel Speed Reduction Programme" in December 2019, in an effort to reduce fine dust from ships and protect the marine environment.
Threat to shut 14 coal-fired power plants in India
India's federal pollution regulator has warned 14 coal-fired power plants that they could be shut down and penalized for failing to comply with environmental standards.
Beyond coal campaign retires 300th US coal plant
The decision in January to close Dolet Hills Power Station in Arkansas symbolises an important milestone for the Sierra Club's Beyond Coal campaign, as it marked the 300th coal plant proposed to...
World's largest real-time air quality databank
The United Nations Environment Programme (UNEP) together with UN Habitat and IQAir have jointly developed the largest real-time air quality databank, bundling real-time air quality data for...
71% want tougher EU laws on air pollution
The results of the latest Eurobarometer survey, which asked over 27,000 people from across the EU several questions about air quality, revealed a poor awareness of EU air quality legislation as...


The Buccaneers' 2018 schedule is now out. Now it's time to dissect it, decide which games are most winnable, and for out-of-town fans like me, think about which game to head south to see.
My first thought after taking a look at this: ouch! What a tough five-game stretch to open with. The Bucs face four playoff teams, starting with the division champion Saints in the Superdome, followed by the Super Bowl champion Eagles in the home opener. Then, they get the Steelers on a Monday night. How does a Bucs' team that went 5-11 last season end up on MNF? Oh, that's right, they're playing the Steelers, which will give the idiots at BSPN something to crow about while at the same time dissing Jameis Winston, even if Winston gets off to a good start.
Tampa Bay goes to Chicago in September. It sure beats December. But Baltimore in mid-December could be interesting to say the least.
There is a stretch of three straight home games in late November/early December. And wouldn't it be interesting if the finale against the dirty birds from Atlanta is meaningful? One can dream, anyway.


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* Please note that session fees still apply, however you'll be saving on agency fees, which would increase your overall costs substantially if you went through the normal channels. This is only possible because we're happy to share our little black book of A-list players with clients of Sun Productions and of course, we love having respected colleagues and friends working with us in the studio.


text:
The Real Reason Kurt Cobain's Guitar Is Expected To Sell For So Much Money
By A. C. Grimes/May 13, 2020 10:56 am EST
Prior to performing his final song for MTV Unplugged in New York, Kurt Cobain shared an anecdote about a very special guitar. He was preparing to play "Where Did You Sleep Last Night," a song by his favorite performer: Lead Belly. According to Cobain, a representative of Lead Belly's estate offered to sell him Lead Belly's guitar for $500,000. He went on to give a riveting performance that culminated in a shiver-inducing wail. Now, the guitar that Cobain played during that song is expected to fetch a pretty penny during the Julien's Auctions that are slated to occur in June.
As Rolling Stone reports, Cobain's 1959 Martin D-18E that boasts an estimated starting bid of $1 million. It comes with the original hard-shell case, which Cobain decorated with a flyer for an album by the band Poison Idea. And the case contains a used package of guitar strings and a so-called "suede 'stash' bag." In case you wanted someone's two-cents on why that guitar costs so many dollars, here they are.
One in $1 million
To put it bluntly, Kurt Cobain is famous and dead, so that makes his guitar sound like a string of dollar signs. That's nothing new or surprising. Per Rolling Stone, the cardigan worn by the iconic Nirvana frontman while playing his pricy guitar sold for "a record $334,000." According to Curbed, the Seattle home Cobain shared with Courtney Love, which the couple purchased for $1.49 million (roughly $2.6 million when adjusted for inflation) was "quietly put on the market" for a listing price of $7.5 million in 2019. In short, people want a piece of his life.
Heck, if someone auctioned a jar of Cobain's territorial pissings, it would probably sell for millions of dollars. It's celebrity worship 101. And as the phenomenon of excessively expensive rare sneakers illustrates, scarcity makes people scared of missing out on a thing, increasing its perceived value. In terms of celebrity rarity, it doesn't get scarcer than being dead.


A recently renovated provençal bastide full of character in a unique setting on flat land comprising of meadows and woodlands, approached by a long drive.
The property consists of a main house plus 2 external buildings.
The main house includes a reception room, dining room, conservatory and wonderful provencal style kitchen in addition to 5 double bedrooms and 3 bathrooms.
Set in 1.75 hectares of grounds including a large swimming pool, and extra independent accommodation, which includes an annex guest house by the pool and log cabin.
The whole property is able to accommodate up to 15 people.
Located midway between the medieval villages of Salernes and Villecroze (3km to either) and approximately an 1h 15 minutes drive from the airports of Nice, Marseille and Toulon. 35 minutes drive to Les Arcs TGV station and 30 minutes to the Gorges du Verdon and Lac de Ste-Croix. The property is approximately an hour drive from St-Tropez.
Main house + 2 external buildings.


text:
<?php

namespace NextrasTests\Migrations;

use Nextras\Migrations\Printers\Console;

class TestPrinter extends Console
{
	/** @var string[] output lines */
	public $lines = [];

	/** @var string whole output */
	public $out = '';

	protected function output($s, $color = NULL)
	{
		$this->lines[] = $s;
		$this->out .= "$s\n";
	}
}

redpajama_set_name: RedPajamaGithub


Home / News & Events / Rockwood Lodge Presented with MBFC's VetLoan Advantage Rebate!
Rockwood Lodge Presented with MBFC's VetLoan Advantage Rebate!
Pictured (from right): Terry Stein, Vice President Business Development-MBFC, Carl Madsen, Michael and Carol Seim, and Stephanie Lightner all of Rockwood Lodge.
Minnesota Business Finance Corporation (MBFC) is honored to present Carl Madsen, of Rockwood Lodge located in Grand Marais, MN, MBFC"s VetLoan Advantage Rebate check for $3,000. MBFC is the only Certified Development Company in Minnesota to offer a rebate to business owners that are active of retired members of military service.
Rockwood Lodge used a SBA 504 loan to purchase the existing lodge and outfitter resort located on the shores of Poplar Lake surrounded by the Boundary Waters Canoe Area wilderness (BWCA). Along with a lodge, cabins, bunkhouse, fishing, hiking, canoeing, and swimming, they also provide outfitting services for camping excursions with entry to the BWCA.
Madsen is a 20 year Veteran of the US Army Reserves, National Guard, and Active Duty. He served in Desert Storm in 1991 as well as the Kosovo deployment in 2003 to which he earned a Meritorious Service Medal as the Company Commander of the OPFOR company. Madsen also served by traveling to several US Army Active Duty posts training soldiers for Iraq and Afghanistan before retiring as a Major in 2005.
Contact MBFC to learn more about the VetLoan Advantage Rebate Program and all of your SBA 504 business financing needs.


Harry Kumano was a Nisei singer and actor. An active member of the Japanese Canadian Cultural Centre in Toronto, he is well known as the founder, director, and conductor of the Sansei Choir.
He also did film work, appearing in several commercials. He once had an ambition to 'play all the Buddhist churches up and down the West Coast'. His brother was Roy Kumano.


Nell has a degree in Ancient History from the University of St Andrews.
She is an experienced Senior Account Manager at Maltin PR, specialising in media campaign management and strategy, as well as litigation PR.
Working across multiple accounts, Nell has extensive experience in securing media exposure for her clients across a range of national and specialist trade press publications.
Prior to joining Maltin PR, Nell worked at a national television production company.


text:
Eric Trager/ January 25, 2012
Happy Birthday to Egypt's Doomed Revolution
Exactly one year ago today, I stood in front of the Lawyers Syndicate in downtown Cairo and watched as a few thousand protesters suddenly streamed into the area from the north, overwhelmed Egypt's notoriously violent riot police, and pushed onward towards Tahrir Square. That mile-long march, which culminated with the protesters bursting through a human chain of officers and seizing the Square, was the most inspiring thing that I've ever witnessed, and it remains so. Long presumed to be politically passive, ordinary Egyptians bravely amassed with one simple demand: That decades of dictatorship had to end. When Hosni Mubarak resigned eighteen tumultuous days later, the Arab Spring had bloomed.
Or so we wanted to believe. The reality of the past twelve months, however, has undone whatever high hopes one might have held. Egypt is now headed for radical theocratic, rather than liberal democratic, rule. And a befuddled Obama administration has failed to do anything to stop the coming disaster.
IT IS TEMPTING to believe that things might have turned out differently had Washington worked harder to bolster the young revolutionaries who seemingly exemplified America's own liberal values when they took to the streets last January. These brave activists, after all, had won America's hearts to the tune of an 82-percent approval rating at the height of the revolt, and their photogenic faces carried the promise of a more democratic, friendly Egypt.
But the activists were never who we hoped they were. Far from being liberal, their ranks were largely comprised of Nasserists, revolutionary socialists, and Muslim Brotherhood youths—an alliance of convenience for opposing Mubarak and, later, for denouncing the U.S.
Thus, when Secretary of State Hillary Clinton visited Egypt in March 2011, a group of leading activists refused to meet with her. They also turned out to be intolerant conspiracy theorists: When classically Cairoesque rumors that a "Jewish Masonic" ceremony was to be held at the pyramids on November 11, the April 6th Youth Movement's Democratic Front declared that this non-existent event should be prohibited. "We are committed to the achievements of the revolution, which emphasized freedom," they said in a statement. "But freedom is not absolute freedom, and … it is constrained by the regulations and beliefs of the Egyptian people, who do not accept that these celebrations be protected in the wake of the revolution."
Not that the revolutionaries were the horse to bet on anyway. Their continued reliance on street protests following Mubarak's ouster angered the wider Egyptian public, which desperately wanted a return to normalcy. In late October—only one day before the registration deadline—they finally formed an electoral coalition, the Revolution Continues Alliance (RCA), to compete in parliamentary elections, but it was too late. The RCA won merely 2.35 percent of the parliamentary seats, and will play a minimal role in shaping Egypt's political future. Meanwhile, Islamist parties captured nearly 70 percent of the vote by tapping into the Egyptian public's religious sentiments and using their well-established social services networks to turn out supporters.
The Obama administration, however, had already pegged its hopes on the Supreme Council of the Armed Forces (SCAF), which took power after Mubarak's resignation with Washington's approval—and reasonably so. After all, the military's historic relations with Washington and its widespread support among the Egyptian public seemed to make it the ideal partner for shepherding Egypt toward a stable, democratic future.
But there were early signs that the SCAF was far more concerned about stability than it was interested in democracy. Last spring, as sectarian violence rose considerably, the military hesitated to interfere in domestic strife for fear of inciting a backlash. It also granted a platform to radical Salafists, splashing their images across the front pages of Egypt's state-run press and hosting them on state-run news shows. Shortly thereafter, encouraged by their reception, the Salafists began organizing politically—emerging from the elections eight months later as Egypt's second most dominant political force.
Then, when a sluggish transition towards civilian rule catalyzed new Tahrir Square protests in the autumn, the military unleashed an unprecedented crackdown, entirely abdicating whatever democratic credentials it could once lay claim to. Between October and December, the military killed at least 80 demonstrators and wounded hundreds, deploying armored military vehicles, snipers, and weapons-grade teargas again its own people, and manipulating the state-run media to incite civilians to take up arms against protesters. Meanwhile, the SCAF subjected at least 12,000 Egyptians to military trials and, in late December, stormed the offices of seventeen pro-democratic NGOs, many of which are U.S.-funded.
As the SCAF's repressive rule has undermined its legitimacy both within Egypt and abroad, the Obama administration has looked increasingly to the Muslim Brotherhood as a potential partner. Thus, administration's policy of "limited contacts" with the Muslim Brotherhood, which it announced in June, expanded to diplomatic meetings with the organization in October, and Deputy Secretary of State William Burns met with the Brotherhood's political leaders in January. The Brotherhood, the thinking goes, won a 47 percent plurality in the recent parliamentary elections, and Washington's interests are hardly served by having hostile relations with Egypt's legitimately elected leaders. This argument, however, is only half right: While Washington should maintain open lines of communication with the Brotherhood, it should have no illusions about the Brotherhood's willingness to act as a partner on key American interests.
In this vein, the Brotherhood's leaders have said repeatedly that the organization intends to put the Camp David Accords to a referendum—a strategy that it apparently believes will enable it to sink Egypt's peace treaty with Israel while escaping the blame. Brotherhood leaders have additionally called for banning bikinis, beach bathing, and alcohol despite the fact that these are essential elements to Egypt's tourism industry, which comprises roughly ten percent of Egypt's stagnating economy. The organization also supports new legislation that would limit foreign funding of NGOs, thereby undercutting Washington's ability to aid pro-democratic organizations. Finally, and perhaps most consequentially, the Brotherhood intends to establish the sharia as the principal source of Egyptian legislation and criminalize criticism of Islamic law, thereby rendering Christians and secularists unequal citizens.
INDEED, ONE YEAR after Egypt's heroic revolt, Washington has no heroes in Cairo, only headaches. But rather than confronting those headaches, the Obama administration has consistently chosen the path of least resistance. Thus, the SCAF's raids on U.S.-funded NGOs has not put a halt to the $1.3 billion in military aid that Washington sends to Cairo, and the Muslim Brotherhood's blatant stances against key U.S. interests have gone unchecked. According to Brotherhood political leader Essam El-Erian, when the Deputy Secretary of State visited the organization's Cairo headquarters in mid-January, the Camp David Accords weren't even mentioned.
Perhaps the administration is betting that recently reported negotiations between the SCAF and Muslim Brotherhood will yield an agreement that satisfies both parties and, at the very least, promotes domestic tranquility. If so, it would be a telling indicator of where things stand: a year after the ebullience of Tahrir, an alliance between military autocrats and radical theocrats is viewed, sadly, as a best-case scenario.
Eric Trager is the Ira Weiner Fellow at the Washington Institute for Near East Policy.
Politics, World, Cairo, Washington, U.S., RCA, Hillary Clinton, Democratic Front, Eric Trager, Hosni Mubarak