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Somerville Divestment Failure is Bittersweet
December 28, 2015 Henry Jones Boycott & Divestment, Legacy Site
From the www.monabaker.com archive (legacy material)
Tom Wallace | Electronic Intifada | 20 December 2004
It is not difficult to find the silver lining in the very sad and infuriating conclusion (temporary) to the issue of divestment in Somerville, MA. After a long process and sometimes rancorous debate, the aldermen caved to pressure from powerful Jewish groups who blindly support Israel; as one woman said to me "no matter what, no matter what, "no matter what" with her eyes closed and shaking her head poetically.
That the Somerville Divestment Project got as far as it did towards passing a divestment resolution is nothing less than spectacular. They were extremely successful in raising public awareness of Israeli oppression and human rights violations as well as the plight of the Palestinian people, and most importantly, Somerville's role in that plight.
Like many other American cities, towns, states and labor unions, Somerville is directly, albeit unwittingly, contributing to the oppression, dispossession, humiliation, and overall suffering of the Palestinian people. Many did not know this and when they found out, they could not understand why. But now that they do know, the issue will not go away. Somerville residents are claiming the right to determine how their money is spent and invested. And they have vowed to continue to claim that right. As the discussion continues so will the free flow of information. This is not a good trend for oppression and ethnic cleansing. It's much easier to continue when no one knows about it.
On the night of December 9th the Aldermen ignored 1,500 residents who had signed a petition calling on the City to encourage divestment from Israel bonds. They also ignored overwhelming numbers of supporters, a large number of whom were Jewish, who came out for every meeting. They clearly did not set out to do this, so what happened? What changed and why?
Initial discussions painted a picture for the Aldermen of the reality on the ground in Israel and Palestine, as well as Somerville's relationship to that reality. When discussion was based on fact, issues and truth, the aldermen were divided into two groups; eight supported divestment and 2 opposed it, with 1 abstention. As discussion moved away from the reality of the situation and from human rights violations to a discussion of whether "Israel is being singled out" or "the issue is too big and too complicated for the board," support for the resolution declined. Once again the discussion was moved from substance to veiled accusations of anti-Semitism. However, the fact that the accusations have to be veiled indicates that the armor of the accusation is wearing out.
The resolution was introduced and cosponsored by eight aldermen. The Aldermen's original statements supporting the resolution were based on human rights, international law and requests from Somerville residents. There was one Alderman who made a statement in opposition to the process. Alderman White thought it should be sent to committee. He made it clear that he would not block the vote but that the other side should be heard from in the form of Israel's Consul General. One of the many ironies throughout this process is that in killing the resolution, many of the Alde rmen said that the City of Somerville and the board of aldermen have no business in foreign affairs. Yet it was those most opposed to the resolution who sought the Israeli Consul General. What business does a foreign Consul General have determining what Somerville residents do with their money?
At the second hearing, the aldermen were treated to a display of power by the opposition, including the Israeli Consul General, the Mayor of Somerville, a State Senator, and labor representatives. The opposition argued that Israel was being singled out and that therefore the resolution was anti-Israel. They argued that Israel is a democracy and is our friend. They also argued that the issue was too big for the Aldermen to take up, that they should not be involved in foreign affairs. They did not argue wit h the claims of human rights violations; rather than addressing the core issue–whether or not the city of Somerville should be invested in foreign governments guilty of human rights violations–the opposition reframed the debate with a new set of language: namely, "anti-Israel" and "singled out."
Supporters then spoke passionately about witnessing and experiencing the occupation of Palestine. They talked about human rights, international law, and about how Israel continually violates 29 of 30 articles from the International Declaration of Human Rights. They pointed out the important fact that Israel is the only country in which Somerville is directly invested by owning Israel Bonds. So contrary to being singled out for some sort of punishment, Israel had been granted a special status with favored treatment. Also, if the Aldermen believed that Somerville should not be involved in foreign affairs then they should divest. As things stand, Somerville is taking Israel's side.
At the same time, people were making calls, sending letters, emails, books and all kinds of information to the aldermen, The Somerville Divestment Project continued organizing and were endorsed by the Green Rainbow Party of Massachusetts. They held a fundraiser, continued to hand out flyers and collect signatures for the petition. The JCRC was also organizing with the help of the ADL, AIPAC, Harvard Hillel, the Isreali Consulate and Jewish and Israeli media.
By the third meeting, which was the committee meeting, one of the original supporters had already caved into the pressure of the opposition using the new language: "the issue is divisive and too big for the Aldermen." The aldermen on the legislative committee voted 3 to 0 (with 1 aldermen absent and 1 aldermen excused herself out of disgust) to recommend against divestment to boos and cheers of the audience who turned out roughly 4 or 5 to 1 in favor of divestment.
At the final meeting, the full board of aldermen would vote to accept the recommendation or reject it. By accepting the report of the committee, they would be accepting their recommendation and the resolution would be dead. They would then be able consider the alternative resolutions submitted by aldermen and which were on the agenda. They voted to accept the report, thus killing the resolution.
They allowed the opposition to successfully reframe the debate with gross inaccuracies–the divestment resolution would have restored balance and even-handedness to the City's role in the Middle East, but instead, by not passing the resolution, the Aldermen have chosen to endorse investments in human rights violations.
As soon as they did Ron Francis and Christina Bolton stepped up to the podium and began singing the Anthem of the African National Congress. Simultaneously, other supporters began placing a statement from Desmond Tutu and poet Mahmoud Darwish in front of the Aldermen. Though dramatic and cathartic, it may not have been effective. Denise Provost, the one supporter from the committee and President of the Board was chairing the meeting and standing at the microphone screaming that "you have been offered every courtesy by this board", "officers please remove…". Several police officers carefully escorted Ron and Christine out of the hall while roughly 30 others walked out with them. From the hall they spontaneously began chanting "Free Free Palestine".
Ms. Provost herself was about to be undermined and humiliated by one of the detractors, Alderman Bill Roche. He motioned that discussion of all alternative resolutions be filed. One after the other of the aldermen agreed with him using the newly adopted language of "Israel being singled out" and "this is too divisive and too big an issue for the aldermen"
With that, the power brokers in the Jewish community had their victory. But it was as bittersweet as SDP's loss. The city of Somerville is still divided and far more knowledgeable. Until now the only force to be reckoned with was the pro Israel Jewish lobby, which obviously represents only one Jewish voice. Nowhere was that more obvious than in the media coverage which completely (and I think deliberately) ignored the Jewish voice supporting this resolution.
Several factors converged to facilitate the defeat of the Somerville Divestment Resolution not the least of which was media combined with the fill weight of the Jewish establishment. But it is important first to note what worked.
The success of the campaign was rooted in its effective grassroots organizing model. It took several years to build, but the time was invested and it paid off. SDP canvassed door to door, they organized film nights, education events, and they met with most of the aldermen individually in residents' homes to educate them prior to introducing the resolution . They tabled in the town center and spoke to anyone who would listen while collecting signatures for the petition. As a result, there is growing grassroots support for justice in Israel Palestine, at least in Somerville, Mass. And because of that success, it can and will be repeated elsewhere.
The Role of Media
Events in Somerville were covered by the Somerville Journal, the Boston Globe, the Jerusalem Post, most of the Jewish newspapers and websites, the Electronic Intifada and Israeli television. The most influential was the Boston Globe.
With the exception of the Somerville Journal and EI, all news media covered the issue from the same pro Israeli angle. The effect was to create enormous support for the pro Israel lobby. However, the Jewish Advocate, which is not supposed to be objective, at least ran several pro-divestment letters written by prominent members of the Jewish Community. By contrast, Electronic Intifada was the only media supportive of Palestinians to cover Somerville. Neither The Palestine Monitor, the Palestine Chronicle or Al Jazeera ever responded. One reporter from Al Jazeera tried to help me get coverage but both of us failed.
The Boston Globe played its part by presenting one side of the issue. Its reporter, Benjamin Gedan included and excluded facts that I think was a deliberate attempt to influence opinion and paint those in favor of divestment with an unstated smear of anti semitism. One example is to emphasize the notion that Israel was being "singled out." As the aldermen caved, this became their mantra, in addition to the fact that it was an issue of foreign policy and out of their jurisdiction. In three long articles, Mr. Gedan never mentioned that Israel was the only country that Somerville is invested in. He mentioned the accusation of Israel being "singled out" in every one.
He also framed the issue as one of Jewish groups versus pro Palestinian groups. He deliberately left out the Jewish groups and the large Jewish presence in favor of divestment. He couldn't have missed them. They held large signs that read "another Jew for divestment". In addition, many including an Israeli attorney Shamai Liebowitz and Larry Miller former President of the congregation B'nai B'rith, testified at the public hearing. . Mentioning Jewish supporters would have taken the sting out of the insinuation of anti-Semitism. At one point Gedan actually provided a quote from each Jewish group represented and opposed to the resolution: ADL, AIPAC, JCRC. Even Alan Dershowitz got a mention because he donated his book to the Aldermen.
The net effect of these two failings is that anyone who read the Globe articles would conclude that the issue of human rights, whatever the truth, is irrelevant because the motive of the divestment campaign was to single out Israel and was therefore rooted in anti-Semitism. The Globe ombudsman was made aware of this following the first article when it was apparent that is was a one sided report and the Globe sent Gedan back twice more.
The ultimate irony was a statement by Alderman White at the final vote where he had introduced one of the alternative resolutions (that would not be heard). He acknowledged that the Palestinian people were the most oppressed people on earth. At the same time, his resolution was written by the opposition. He truly believed that any criticism of Israel was and is anti-Semitic. In fact he seemed to believe that any criticism of anything with a Jewish name is anti Semitic. I don't know who he thinks is oppressing the Palestinians. I also don't know how to address such insanity other than to just expose it. I do know that we must find a way.
Tom Wallace is the former Media Coordinator for the International Solidarity Movement, and the Executive Director of MidEast Focus, a communications awareness project. Contributions can be made to Somerville Divestment Project, PO Box 441259, Somerville, MA 02144, USA, or visit our website at www.divestmentproject.org and click the 'Contributions' button.


Remember Ferris Bueller's Day Off where he decided to change his school grades in the system? A Rowan University student majoring in biological sciences, Kaustubh M. Shroff, from Deptford, NJ decided he would do the exact same thing… the only problem was that Shroff got caught.
According to NJ.com, Shroff broke into the registrar's office at Rowan University on four separate occasions between December 2017 and January 2018, to steal passwords and change his grades. He installed key logger software on all of the computers to ensure that he would have all of the staff's credentials in order to change his grades in advanced cell biology, organic chemistry, invertebrate zoology and philosophy of science. Shroff was able to break into the office by using a credit card and was caught on January 11. He was expelled from Rowan University and indicted on charges of burglary, tampering with records, identity crime and several computer crime counts, according to NJ.com. He eventually pleaded guilty to one of the third-degree computer crimes charge as part of his plea deal. He was sentenced to 2 years probation since he complied with investigators and it was his first indictable conviction. This just goes to show that life is never like the movies, and there are consequences!


Learn how to hand-hone your kitchen knives using a Japanese waterstone. With practice, you will be able to achieve a razor-sharp edge while maximizing blade life.
All modern production knives are factory-ground on belt sanders which puts a keen edge on the blade. The sanding grit produces micro-serrations which look like a series of mini-saw teeth when viewed under a microscope. While a new blade will easily bite into the food you are cutting, it will inevitably dull over time leaving less than satisfactory results. This is most apparent when cutting delicate food like tomatoes. That toothy bite is what cuts so nice. It's difficult to bring back that finish as the edge profile becomes more obtuse.
But with a little sharpening practice you can get pretty decent results. And with a lot of practice you can put a shaving-sharp edge on most of your kitchen knives.
Once the initial grind wears away, you will be forced to reshape the bevel to match the original edge profile. You may choose to do this with a commercial power grinder, pay someone else to do it for you, or grapple the task manually with sharpening stones.
Surprisingly, the manual stone method produces the best-controlled results with the least metal taken off the blade — thereby dramatically extending the life of your blade.
Japanese culture brought us the historic Samurai warrior class — their blade smiths produced superior-quality swords and knives for over eleven-hundred years using metalworking techniques that remain unsurpassed. Following this legacy, it comes as no surprise that Japan also produces some of the best sharpening stones on the market today.
Waterstones use water instead of oil as a cutting lubricant. The stones cut by forming an abrasive slurry over which the blade is passed. The benefit of this method is that as the stone wears down, a new cutting surface is continuously exposed. With oil stones, the pores of the stone eventually get clogged with metal residue, which reduces the cutting efficiency.
Choose two stones in 600-medium and 2000-fine grit for putting a keen edge on your kitchen knives. Submerge them for at least ten minutes in water before use. It is critical that you maintain a proper angle on the bevel which is consistent down the entire length of the blade. This takes practice and patience. Use a consistent back-and-forth stroke until the edge forms a tiny burr on one side, then flip the blade and backstroke the blade (edge trailing) to remove this burr. Finish by stropping on a leather pad loaded with 0.5 micron green chromium oxide. With practice, your edge should rival that of newly-ground production knives.
Chef's Choice® is a great alternative for those who don't have time to sharpen by hand. These electric sharpeners work by passing the knife blade over two rotating power wheels which grind the blade to the proper bevel and then steel the edge for a razor sharp finish. The caveats are cost (their best model runs almost $300) and excessive removal of metal which will wear out your blade much faster.
Yes, plain 'ol sandpaper. Years ago I never would have believed this, but 600-grit sandpaper on a bench does an amazing job at putting a new finish on a dull blade. It's quick and inexpensive. You have to choose whether you want the blade flat ground (Scandi grind) or convex. If you go the convex route, use a mousepad under the sandpaper and a light touch. Always backstroke the blade (edge trailing). Finish off with 1500 grit and then a strop.
The humble steel is an overlooked kitchen tool. Many people don't know its importance in maintaining an edge. It's purpose is to realign the microscopic burr that forms after an edge becomes worn. By passing the steel along the edge on each side of the blade, the bur is removed by aligning the cutting teeth of the steel so that they are inline with the blade and not bent to one side. If used correctly, the steel can touch up an edge without the need for taking the knife to a sharpening stone. This will also extend the life of the blade. Only a light touch is needed. Steels do not remove metal like a diamond or ceramic honing rod.
The cardboard on the back of notepads contains a small amount of clay. That clay will take off the edge roll (burr) lickety-split and further hone the knife to a razor edge. I've used this technique in combination with a strop stick, or by itself as a quick touchup when I didn't have access to my strop. Always alternate strokes with the edge trailing. Ten on each side should do the trick.
After steeling or sharpening, pass the blade CAREFULLY over your leg, while wearing your favorite bluejeans using a low angle with the edge trailing. Do about six passes, alternating from one side of the blade to the other. Let the point of the knife also trail. For safety, pull the spine of the knife toward you so you don't cut yourself. You'll be amazed how this simple trick can add that final touch on a sharp blade. This technique also works with the backside of a leather belt – essentially a strop.
The term "razor-sharp" is widely misidentified. Fact is, most people lack the skill to put a razor edge on a well-used kitchen knife. Razors by design are ground thin so that fine edge is inherent, which makes them cut so nice. The thickness of the blade and edge profile on kitchen knives cannot match this. Only two knives in my collection will readily pop hair off my arm like a shaving razor. They both are thin carbon-steel pocket knives from the 1940s.
Your knife is sharp enough for kitchen use if it can push-cut through standard loose-leaf or printer paper. Another great Northwoods Wisconsin test is to carefully push the edge across your thumbnail with only very light pressure. If it removes shavings off your thumbnail, it's sharp. Next, try it on a tomato. If it pushes easily through the skin of a tomato without mashing it, you're good!
Most people have different methods for sharpening, but the one I found that works the best is to maintain a consistent angle with the edge trailing. That way you don't risk rounding over the edge and tip or gouging the stone. Always keep a Japanese waterstone saturated. Scrub off the metal residue with a wet paper towel when it becomes dirty. The soft stone will eventually become cupped from use. Use a flattening stone to bring back the flat surface.
My secret weapon — a home-made strop stick; basically a strip of suede leather glued to .25″x1″ pine. The leather is rubbed with 0.5-micron green chromium oxide. Always strop at a low angle with the edge trailing. Pay particular attention to the point of the blade, so you don't round it over. Alternate twenty strokes on each side for a perfect edge.
Once the angle and edge profile of the blade are "zeroed", it's pretty easy to keep the edge hair-popping sharp. This is a standard Chicago Cutlery butcher knife made with 420 HC stainless steel. Only very light pressure on the blade is needed to shave with it.
A close-up of hair removed from my arm with a razor-sharp butcher knife touched up on a Japanese waterstone. Note the edge profile is wider (shallower) than the stout V-grind put on factory edges. It is also slightly convex due to the inherent back-and-forth stroke done by hand, with no microbevel. Due to this, it rivals the sharpness of any factory-grind edge, and is also much more durable.
The venerable A.G. Russell® Field Sharpener. This is an excellent tool for quickly putting a razor-sharp micro bevel on a blade as a touch-up. The ceramic rods MUST be kept clean. They will be coated with metal residue over time which affects sharpness, and should be scrubbed with Bar Keeper's Friend and a scouring pad. Don't drop them. They will shatter. I never use the accompanying diamond rods – they are much too coarse and will put deep scratches all over your blades.


CBS' Early Show is profiling an autistic artist this week. Stephen Wiltshire flew over New York City in a helicopter on Friday, and he's spending the week sketching the city's skyline… from memory.
This week a Webcam is documenting his efforts from 9-4 (CT) through Friday.
‹ Older Luxury airline flight? Dream on.


Right now I am thinking about client work, tweets I should put up, instagrams I need to post, people I need to email, a book I want to be reading, all the tasks I need to accomplish... There is a fan humming in the background, carrying my internal dialog along, a steady stream of white noise keeping me slightly disengaged.
We worry about things we can not know, we can not accomplish, we can not control. We find ourselves 'stressed' and 'anxious' for no reason at all... the feeling just bubbling up "out of nowhere". But if we simply stop. Pause. Breath. Be kind to our brain and give it a rest, it is amazing how quickly all the noise will fade and the present will come to focus.
In this moment I can be.


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Q: How to make GCC or Clang compile all the code, even unreachable? If I compile the following code:
void f() {
int* ptr = 0;
try {
    *ptr = 9;
} catch (...) {
    printf("caught");
}

Gcc doesn`t compile code that it considers unreachable, so the resulting assembly does not contain the catch block. How do I make GCC compile everything?
I need this because I am researching the possibility of passing C++ exceptions from the kernel to user programs, so if the code above is executed, the kernel will throw an exception after *ptr=9 that should be caught in the catch block.

A: The only way I can think of accomplishing this without creating a new compiler backend would be to wrap the standard types with classes (e.g., int becomes Int). These class replacements for the standard types would use operator overloading that could be recognized as possibly throwing an exception.
This would be a hack, of course. But, I have seen this technique used by an automatic differentiation generator.
However, if the compiler can determine a priori that the code would generate undefined behavior, then there is not much you can do about what it decides to do with that knowledge. It can just decide the whole block of code would never execute, and skip generating any code at all.

A: Your specific example is partly covered by -fno-delete-null-pointer-checks. With this option, Clang treats null pointer dereferences as externally observable behavior, and does not elide them. However, it seems this option does not play well with -fnon-call-exceptions (at least in Clang 11), which is expect to emit exception handling tables for code that can trap. GCC handles this as expected and generates code for the catch handler.

redpajama_set_name: RedPajamaStackExchange


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He made two cherubim of gold; he made them of hammered work at the two ends of the mercy seat; one cherub at the one end and one cherub at the other end; he made the cherubim of one piece with the mercy seat at the two ends. The cherubim had their wings spread upward, covering the mercy seat with their wings, with their faces toward each other; the faces of the cherubim were toward the mercy seat. Bible Scripture Verse Art
A good piece of biblical art can help us see the truth of a passage as well as give us "fresh eyes" for familiar passages. The artist becomes our companion who points out details of a passage that we might have passed over in haste. Biblical art from other cultures or time periods can be especially help us gain a fuller understanding of a passage that we are used to seeing through our own "cultural lenses." Scripture engagement through art assists in our spiritual development by letting us share in the wealth of insights God has already given to others. Christian Canvas Art
"You shall make two cherubim of gold, make them of hammered work at the two ends of the mercy seat. "Make one cherub at one end and one cherub at the other end; you shall make the cherubim of one piece with the mercy seat at its two ends. "The cherubim shall have their wings spread upward, covering the mercy seat with their wings and facing one another; the faces of the cherubim are to be turned toward the mercy seat.read more. Bible Scripture Verse Art
Solomon made all the furniture which was in the house of the LORD: the golden altar and the golden table on which was the bread of the Presence; and the lampstands, five on the right side and five on the left, in front of the inner sanctuary, of pure gold; and the flowers and the lamps and the tongs, of gold; and the cups and the snuffers and the bowls and the spoons and the firepans, of pure gold; and the hinges both for the doors of the inner house, the most holy place, and for the doors of the house, that is, of the nave, of gold. Share Your Faith Products Canvas Art
He also made two pillars for the front of the house, thirty-five cubits high, and the capital on the top of each was five cubits. He made chains in the inner sanctuary and placed them on the tops of the pillars; and he made one hundred pomegranates and placed them on the chains. He erected the pillars in front of the temple, one on the right and the other on the left, and named the one on the right Jachin and the one on the left Boaz. Share Your Faith Products Canvas Art
What does the Bible say about creativity? The very first verse of Scripture actually describes a creative act as "God created the heavens and the earth." Additionally, from Genesis, the Bible says, "God created man in his own image." This could be interpreted as we are creators just as God created us. We create relationships, art, homes, cities, nations and many more things including inventions even yet to be known! The creative spirit is certainly favored by God and our fellow man. Learn more from the collection of Bible verses about creativity below! Share Your Faith Products Canvas Art
The house that I am to build will be great, for our God is greater than all gods. But who is able to build him a house, since heaven, even highest heaven, cannot contain him? Who am I to build a house for him, except as a place to make offerings before him? So now send me a man skilled to work in gold, silver, bronze, and iron, and in purple, crimson, and blue fabrics, trained also in engraving, to be with the skilled workers who are with me in Judah and Jerusalem, whom David my father provided. Christian Art and Gifts
"You saw, O king, and behold, a great image. This image, mighty and of exceeding brightness, stood before you, and its appearance was frightening. The head of this image was of fine gold, its chest and arms of silver, its middle and thighs of bronze, its legs of iron, its feet partly of iron and partly of clay. As you looked, a stone was cut out by no human hand, and it struck the image on its feet of iron and clay, and broke them in pieces. Then the iron, the clay, the bronze, the silver, and the gold, all together were broken in pieces, and became like the chaff of the summer threshing floors; and the wind carried them away, so that not a trace of them could be found. But the stone that struck the image became a great mountain and filled the whole earth.
For the entrance of the inner sanctuary he made doors of olive wood, the lintel and five-sided doorposts. So he made two doors of olive wood, and he carved on them carvings of cherubim, palm trees, and open flowers, and overlaid them with gold; and he spread the gold on the cherubim and on the palm trees. So also he made for the entrance of the nave four-sided doorposts of olive woodread more.
2 Chronicles 2:14 - The son of a woman of the daughters of Dan, and his father [was] a man of Tyre, skilful to work in gold, and in silver, in brass, in iron, in stone, and in timber, in purple, in blue, and in fine linen, and in crimson; also to grave any manner of graving, and to find out every device which shall be put to him, with thy cunning men, and with the cunning men of my lord David thy father. Share Your Faith Products Canvas Art
The word that came to Jeremiah from the Lord: "Arise, and go down to the potter's house, and there I will let you hear my words." So I went down to the potter's house, and there he was working at his wheel. And the vessel he was making of clay was spoiled in the potter's hand, and he reworked it into another vessel, as it seemed good to the potter to do. Then the word of the Lord came to me: ...

redpajama_set_name: RedPajamaCommonCrawl


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Jean Maurel, né le  à Paris et mort dans la même ville le , est un pionnier de la réalisation radiophonique et du disque d'aventure.

Diplômé d'HEC, il fait principalement sa carrière à Radio Luxembourg où il devient réalisateur attitré de  à . En parallèle, à partir de , il réalise quatorze disques dont deux recevront le Grand Prix du Disque de l'Académie Charles-Cros : La Marque jaune et Le Triangle Bleu.

La rencontre en  du producteur Louis Merlin, futur fondateur des radios périphériques Radio Luxembourg et Europe , sera déterminante pour Jean Maurel. Elle lui fait découvrir la réalisation radiophonique: Louis Merlin était à l'époque producteur de l'émission l'alphabet de la famille où une mère de famille, dont le mari est prisonnier, lit le dictionnaire à ses trois enfants et leur explique les mots. C'est la seule émission radiophonique créée sous l'Occupation qui ne sera pas suspendue à la Libération.

En , Jean Maurel devient assistant de production d'abord au Studio d'Essai de Pierre Schaeffer puis au Studio des Champs-Élysées dirigé par Maurice Jacquemont. « Mes deux parrains dans le métier » confie Jean Maurel sur Radio Bleue dans l'émission Nouvelle Vogue de Michel Gosselin, diffusée en plusieurs épisodes, de  à . En , il est auteur aux services littéraires et dramatiques de la RDF (Radiodiffusion française) et adapte entre autres Thérèse Desqueyroux de François Mauriac.

Les émissions radiophoniques

Jean Maurel entre à Radio Luxembourg le . Il adapte des pièces de théâtre pour L'Heure théâtrale et donne la parole, sur un thème choisi, à d'illustres personnages du passé dans l'émission Les Immortels, sponsorisée par Vittel.

L'âge d'or des feuilletons

« Les années  sont un âge d'or pour Radio Luxembourg qui connait un grand succès commercial et populaire. C'est la grande époque des feuilletons radiophoniques : Les cherzauditeurs pouvaient écouter jusqu'à sept ou huit feuilletons par jour. Il y en avait pour tous les goûts ».

À partir de , Jean Maurel adapte des romans pour en faire des feuilletons. En quarante-trois émissions pour Schumann, la musique de l'amour, un scénario original. En soixante-dix-huit épisodes pour La Chartreuse de Parme de Stendhal. En quatre-vingt-dix-huit émissions de 10 minutes pour La vie pathétique de Marie Stuart, réalisée en  par Jacques Lafond, « un vrai film radiophonique de  au total : plus de huit films mis bout à bout,  de bande magnétophone. C'est le vieux cinéma à épisodes, si populaire, qui renaît à la radio». Ces feuilletons seront rediffusés, jusqu'à trois fois pour La Chartreuse de Parme.

Des cibles différentes

Pour les jeunes, le feuilleton Philippe ou le trésor des Bordanov est diffusé en  et  sur Radio Monte-Carlo et Radio Andorre. Jean Maurel réalise, de  à , Les Aventures de Tintin. « Tintin, c'était ma jeune assistante, Claude Vincent, qui interprétait à merveille les rôles d'enfants et d'adolescents ». L'émission hebdomadaire Les Découvertes de Nanette Vitamine démarre en . Elle traite d'un sujet de culture générale abordable par les enfants (les Gaulois, la découverte de l'électricité...), par le biais d'une conversation entre une petite-fille, qui boit un bol de Banania (le sponsor de l'émission), et son grand-père. Il y aura une reprise modernisée en .

En , le feuilleton L'Homme à la voiture rouge, réalisé par Jean Maurel et signé Yves Jamiaque, s'adresse aux adolescents et aux jeunes adultes. « Stéphane Berrier [le héros], champion de tennis et ceinture noire de judo, passe d'une capitale à l'autre, à bord de Ruby, une superbe voiture rouge, pour disputer des matchs internationaux et se trouve mêlé à d'étranges histoires qui tiennent en haleine les auditeurs ». Ce feuilleton quotidien, plein de rebondissements, fête son millième épisode en  !

Pour les auditrices, Jean Maurel réalise le feuilleton Sissi, un rendez-vous quotidien à partir d', qui fait revivre « une vie d'une autre époque, dans le château familial, en Bavière, où la Duchesse Ludovica est occupée par l'éducation de ses huit enfants, au nombre desquels figure l'adorable Sissi ». En , Julie Crèvecœur raconte les aventures d'une jeune fille emportée dans un tourbillon d'événements cosmopolites. Diffusé à partir de , le feuilleton quotidien (sauf le dimanche) Pulchérie chérie a pour héroïne une automobile dont l'histoire commence en .

L'Histoire en direct

« La radio a toujours fait bon ménage avec l'histoire, et des émissions comme La radio était là ont été parmi les plus populaires ». De  au , Jean Maurel travaille sur la série La radio était là, réalisée par Jacques Lafond et sponsorisée par la marque Royco. Cette série présente les grands événements historiques comme des reportages radio. Jean Maurel en est l'initiateur, l'auteur, le responsable de l'ensemble des textes et l'interprète au côté d'André Bourillon, reporter sportif de Radio Luxembourg. « A chaque fois, André Bourillon se trouve au cœur d'une bataille, d'un coup d'État, d'un sacre ou d'un procès et demande qu'on le fasse passer en urgence quand Ravaillac assassine Henri IV. Il assure alors le commentaire comme s'il vivait en direct l'événement. Consacrée à Napoléon, la première émission, Le 18 Brumaire, enthousiasme les médias qui parleront régulièrement de cette série. Les sujets abordent aussi bien Les Taxis de la Marne que La course de char de Ben-Hur.

Romans noirs et suspense

Au début des années cinquante, les romans noirs passionnent les Français. Jean Maurel adapte la série à suspense Dans les mailles de l'inspecteur Vitos où les auditeurs doivent résoudre l'énigme. Cette émission, sponsorisée par les établissements Vitoux, fabricant des bas Vitos, dont une paire est offerte au gagnant, est très écoutée. La formule est amusante et neuve. Des milliers d'auditeurs, chaque semaine, nous écrivent pour proposer leur solution.

En , Jean Maurel réalise L'homme en noir, troisième épisode des Histoires fantastiques qui sont arrêtées car « ce dernier récit avait terrorisé des auditeurs » avec ses effets sonores « fulgurants » « au moment où cet horrible individu arrache les yeux d'une jeune-fille. Ce fut peut-être ma meilleure émission » avoue-t-il.

« Une des meilleures émissions policières fut sans conteste Allo Police réalisée sur des textes parus dans Mystère magazine, par Jean Maurel, l'un des plus talentueux et imaginatifs de la station ». Sponsorisée par Nescafé  et diffusée le soir en , la série dure quatre ans. Allo Police se distinguait par sa brièveté (jamais plus de vingt minutes), son style rapide, concis, ses enchaînements musicaux très jazzies, son montage nerveux et ses ambiances très caractéristiques plus vraies que nature ». Par exemple, une chouette qui hulule pour une ambiance nocturne de campagne.

Une autre série policière, Les Enquêtes du commissaire Maigret de Georges Simenon, une co-production Programmes de France/Pierre Bellemare, avec pour réalisateur Jean Maurel et des textes adaptés par Jean-Paul Rouland, est diffusée de  à .

Enregistrements en public

Dès , le rire a sa place dans les émissions de Jean Maurel. Il écrit et interprète en studio la Minute Carlès avec le chansonnier Roméo Carlès, un bref rendez-vous diffusé pendant quatre ans. Les émissions consacrées aux chansonniers se succèdent : Journal pour rire, Radio Roméo, Festival du rire... En , les enregistrements ont lieu en public dans un cabaret parisien, Les Trois Baudets, le dimanche, avec Roméo Carlès, Maurice Horgues, Georges Vittel et de nombreux interprètes.

En , Jean Maurel réalise en direct l'Académie des cinq, une émission culturelle sponsorisée par les stylos Parker, où des personnalités s'interrogent sur des questions/réponses avec humour.

Les derniers feuilletons

Le , Radio Luxembourg est rebaptisée Radio Télé Luxembourg par Jean Prouvost, nouveau PDG de la Compagnie luxembourgeoise de télédiffusion. En , Jean Maurel réalise deux romans diffusés par épisodes : Bonjour tristesse de Françoise Sagan et Le mépris d'Alberto Moravia.

Son dernier feuilleton, Une rose rouge pour Agathe, Jean Maurel le réalise pour Europe , de  à . Il est écrit par Jean-Loup Dabadie avec, pour le rôle principal, Danièle Ajoret, entourée de prestigieux invités : Robert Hossein, Guy Bedos...

Les disques

Le disque d'aventure , réalisé par Jean Maurel, est un 33 tours principalement adapté de bandes dessinées parues dans le Journal Tintin. Elles sont signées : Edgar P. Jacobs pour les aventures de Blake et Mortimer, La Marque jaune et Le Mystère de la Grande Pyramide ; Albert Weinberg pour celles de Dan Cooper, Le Triangle bleu, Le Maître du Soleil et Le Mur du Silence ; Jacques Martin pour Alix l'intrépide ; André Franquin pour Spirou et les Héritiers. Bob Morane et le Brouillard Doré est pour sa part réalisé d'après le roman d'Henri Vernes, Commando épouvante.

Jean Maurel reçoit deux fois consécutives le Grand Prix du Disque de l'Académie Charles-Cros pour la réalisation de La Marque jaune, en  et du Triangle bleu, en .

Une mention spéciale, Le Disque d'Aventure, reprise par Musidisc sur les pochettes, en fait « une catégorie nouvelle, tous publics ». Tout le contraire de l'album disque qui est « un 45 tours, encastré dans un album publiant le texte intégral (assez court) de l'adaptation avec de jolies illustrations ». La Marque jaune, le premier de cette catégorie, est fait, selon la presse, « d'images sonores aussi frappantes, aussi vivantes que celles d'Edgar P. Jacobs », l'auteur de la bande dessinée. « C'est un récit animé », « une réussite totale » où « bruitage, suspense, coups de feu, commentaires, tout s'enchaîne à merveille ».

Les disques d'aventure sont enregistrés pour moitié en plein air, « au Fort d'Ivry avec de vrais voitures en action, des poursuites épiques ponctuées de coups de feu, et en utilisant les casemates voûtées aux résonances admirables ». Les scènes d'intérieur et les mixages sont faits en studio. Jacques Pessis décrit ces enregistrements de la manière suivante : « Jean Maurel, aidé d'un ingénieur du son et d'un opérateur, travaille, entouré de quatre magnétophones enregistrant les dialogues, et de quatre électrophones diffusant les éléments sonores indispensables pour rendre l'ensemble aussi vivant, crédible et passionnant qu'une superproduction cinématographique hollywoodienne. En fonction de la situation, le technicien choisit un disque dans une pile, repère une plage et envoie, au moment opportun, un aboiement de chien, le bruit du vent, ou une rafale de mitraillette ».

Passionné par les bruitages, qui jouent un rôle essentiel dans ses disques d'aventure, Jean Maurel s'était constitué « sa propre collection de bruits réels ». Pour les cavalcades d'Alix l'intrépide, il révélait : « J'ai essayé d'enregistrer des chevaux, mais on capte toujours des bruits parasites. Rien ne vaut des noix de coco ou, dans le cas de sabots résonnant sur la pierre, des pots de yaourt en plastique». Le secret « n'est pas qu'ils soient réalistes, mais qu'ils les suggèrent d'une façon réaliste »...

En , au moment de la diffusion d'Allo Police, la maison de disque Festival lance la série La Clé du mystère. Trois disques, sous forme de jeux policiers avec énigme et solution séparées, sont réalisés sur des textes de Mystère magazine : La Parole est au mort, Jusqu'à ce que mort s'en suive et Qui veut noyer son chien.

En , Jean Maurel réalise Les belles heures de la Marine Française avec la participation de l'Amiral Pierre Barjot, du comédien Pierre Mondy et « un bruitage et des prises de son d'une véracité telle que vous aurez l'impression d'être vous-même le témoin authentique de tous les faits qui y sont relatés ».

Après , ses deux derniers disques sont tirés des livres d'Alphonse Daudet : Les Lettres de mon moulin, avec l'illustration sonore des textes dits par Henri Tisot et Les Aventures prodigieuses de Tartarin de Tarascon avec les comédiens Jean-Pierre Darras et Paul Préboist.

Une troisième carrière

De  au , Jean Maurel entame une troisième carrière dans la création publicitaire, au sein de la régie publicitaire de RTL, Informations et Publicité (IP). En , le slogan qu'il invente : « Mon foie ? Connais pas ! » pour Vichy Saint-Yorre sera diffusé à la radio et repris sur tous les supports publicitaires (affiches, journaux, etc.). Jean Maurel écrit les textes d'annonce des parutions des Presses de la Cité et réalise des spots pour les sorties de films, de la Grande Sauterelle en  à l'Amant de poche en . Il collabore aussi à des programmes audiovisuels destinés aux entreprises comme la  Régie Renault, Air France et le Programme immobilier Renaissance.

Réalisations

À Radio Luxembourg/RTL (classement alphabétique)
 L'Académie des cinq
 Allo Police
 Les Aventures de Tintin
 Bonjour tristesse
 La Chartreuse de Parme
 Dans les mailles de l'inspecteur Vitos
 Les Découvertes de Nanette Vitamine
 Les Enquêtes du commissaire Maigret
 Le Festival du rire
 L'Heure théâtrale
 L'Homme à la voiture rouge
 L'Homme en noir
 Les Immortels
 Journal pour rire
 Julie Crèvecœur
 Le Mépris
 La Minute Carlès
 Pulchérie chérie
 La Radio était là
 Radio Roméo
 Schumann, la musique de l'amour
 Sissi
 La Vie pathétique de Marie Stuart
À Europe
 Une Rose rouge pour Agathe

Disques d'Aventure
 La Marque jaune. 1956. Grand Prix du Disque de l'Académie Charles Cros. Éditions Festival.
 Le Mystère de la Grande Pyramide. 1956. Éditions Festival.
 Le Triangle bleu. 1957. Grand Prix du Disque de l'Académie Charles Cros. Éditions Festival.
 Le Maître du soleil. 1958. Éditions Festival.
 Le Mur du silence. 1959. Éditions Festival.
 Alix l'intrépide. 1960. Éditions Festival.
 Bob Morane et le brouillard doré. 1972. Éditions Musidisc.
 Spirou et les héritiers. 1973. Éditions Musidisc.
Disques policiers
 La parole est au mort. 1958. Éditions Festival.
 Jusqu'à ce que mort s'en suive. 1958. Éditions Festival.
 Qui veut noyer son chien. 1958. Éditions Festival.
Autres disques
 Les Belles heures de la Marine Française, 1959. Éditions Festival.
 Tartarin de Tarascon, 1973. Éditions Musidisc.
 Les Lettres de Mon Moulin, 1974. Éditions Musidisc.
Rééditions en CD par Big Beat Records, collection La BD en CD
 La Marque jaune. 1996.
 Le Mystère de la Grande Pyramide. 1996.
 Le Triangle bleu. 1998.
 Le Maître du Soleil. 1998.
 Le Mur du silence. 1998.
 Alix l'intrépide. 2005.
 Bob Morane et le brouillard doré. 2005.
 Allo Police. 2005.

Notes et références

Bibliographie
 .
 .
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Personnalité masculine française de la radio
Collaborateur de RTL
Élève de l'École des hautes études commerciales de Paris
Naissance en juin 1919
Naissance dans le 4e arrondissement de Paris
Décès en mars 2005
Décès dans le 18e arrondissement de Paris
Décès à 85 ans

redpajama_set_name: RedPajamaWikipedia


text:
Ioan Stroia (n. 1865, Cacova - d. ?) a fost un deputat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918.

Biografie
Ioan Stroia a studiat teologia la institutul teologic Andreian din Sibiu, a obținut licența la mitropolia din Sibiu, după care studiază din nou la Jena, Budapesta și Lipsca. A terminat studiile doctorale în filosofie, pedagogie și istorie la Universitatea din Jena. A fost protoiereu in Saliste, preot la catedrala din Sibiu și revizor școlar al județului Sibiu și episcop de Alba Iulia.

Note

Bibliografie
 Ioan I. Șerban, Dorin Giurgiu, Ionela Mircea, Nicolae Josan, Dicționarul personalităților Unirii. Trimișii românilor transilvăneni la Marea Adunare Națională de la Alba Iulia, Muzeul Național al Unirii, Alba Iulia, 2003, ISBN 973-8141-90-7
 Gelu Neamțu, Mircea Vaida-Voevod, 1 decembrie 1918. Mărturii ale participanților, vol. I-II, Editura Academiei Române, București, 2005, ISBN 973-27-1258-9 (vol. I); ISBN 973-27-1264-3 (vol. II)

Lectură suplimentară
 Daniela Comșa, Eugenia Glodariu, Maria M. Jude, Clujenii și Marea Unire, Muzeul Național Transilvania, Cluj-Napoca, 1998
 Florea Marin, Medicii și Marea Unire, Editura Tipomur, Târgu Mureș, 1993
 Silviu Borș, Alexiu Tatu, Bogdan Andriescu, (coord.), Participanți din localități sibiene la Marea Adunare Națională de la Alba Iulia din 1 decembrie 1918, Editura Armanis, Sibiu, 2015

Legături externe
  Membrii de drept ai Marii Adunării Naționale de la Alba-Iulia din 1 decembrie 1918, lista publicată în "Gazeta Oficială", Sibiu, nr. 1, 1/14 decembrie 1918

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1865
Preoți români
Delegați la Marea Adunare Națională de la Alba Iulia
Decese în secolul al XX-lea


Website: Click here to learn more!
Children ages 3-5 and their parents are invited to the center for stories and crafts at 10 a.m. on the second and fourth Thursday of each month through May.
Besides a story, each session includes a themed craft and a snack. The program is free and open to the public. Reservations are requested to ensure an appropriate inventory of craft supplies.


text:
Donner ünd Blitzen: Desert Scarcity | Rain, Not Reindeer.
Written By: Jo Kemper
Host to the largest fault block mountain in North America, a population density of roughly one person per square mile, and a free-flowing Wild and Scenic river sprouting predominantly from spring-fed and Wild and Scenic tributaries, in the desert, Harney County beckons. In this quiet, ag-dominated corner of Southeastern Oregon, the Wild and Scenic Donner ünd Blitzen River flows from the flanks of Steens Mountain through rugged basalt canyons before joining Fish Creek and settling peacefully into Harney Basin and Malheur National Wildlife Refuge, never to be seen again. The Donner ünd Blitzen originates adjacent to the Alvord Desert, notably the driest place in Oregon, and from the snowy crest of the 52-mile long singular Steens Mountain (not quite the highest place in Oregon), which reaches nearly a mile of vertical relief above the desert below. Donner ünd Blitzen is 1 of approximately 13 rivers in Harney County; in less than a 100 miles the river is born, reaches its crescendo, and returns to its final resting place, infiltrating the desert abyss beneath the earth.
Alvord Hot Springs Lodging | Photo: Jo Kemper
Donner ünd Blitzen, German for thunder and lightning, is not your average potato ditch classic with desert whitewater appeal that draws kayakers and rafters alike, as certain as the seasons. At first glance the logistics for this trip are simple; go to the put in, float to the takeout, no permits are necessary and established campgrounds at either end of the section provide confident landmarks, and convenient access to the river. The BLM manages the Steens Mountain Wilderness and controls seasonally locked gates on either side of Steens Mountain Loop Road. The existing trip reports for this section of river recommend 600 to 800 cubic feet per second (cfs), and for perspective, in 2018 the river's flow never reached as high as 400 cfs in Frenchglen [National Weather Service Donner Und Blitzen Near French Glen Gauge] With ever-changing conditions, my opportunity for this endeavor was found in a narrow window, with a sense of urgency between work, access due to snow, locked gates, spring runoff, and rainfall. I knew that on May 15, 2019 the first gate on the South Steens Mountain Loop Road was opened by the BLM; the river was flowing at just over 500 cfs and forecast to bump to 800 cfs, and rain was coming. Carpe Diem.
Rain In The Alvord Desert | Photo: Natalie Carpenter
Respite From The Wind | Photo: Catherine Loke
On the drive to Harney County from the Columbia River Gorge, as if on cue, lightning careened across the open night sky, illuminating the desert landscapes along the way. The wind was blowing sideways rain across the Alvord Desert, creating a particularly warm welcome for us when we arrived at the Alvord Hot Springs [Alvord Hot Springs Website]. It was a slight, but worthy, detour on the way to our kayaking destination, to enjoy some Harney County hospitality. The expected rain clouds hung low over Steens Mountain and delivered just enough of the forecasted precipitation to turn the dry desert valley into a vast expanse of mud, and a mirage toying with reality in the distance.
Donner ünd Blitzen At The Put In | Photo: Jo Kemper
We arrived in Frenchglen the afternoon before our scheduled river trip and went straight to the Frenchglen Mercantile, and the only available gas and supplies nearby. This mercantile, not unlike others in rural Oregon, aside from being a cultural masterpiece, served as a portal into the soul of the community. The proprietor, Malena, was undaunted by my offhand questions regarding the availability of a shuttle driver. Malena made some calls on our behalf, and after a brief stop at the Mercantile on our way to the put in the next morning, we left assured that the shuttle would be taken care of.
Donner ünd Blitzen Stoke | Photo: Catherine Loke
Picnic At The Little Blitzen Confluence | Photo: Jo Kemper
We stayed at Page Springs Campground, the take out for this trip, and a well-maintained model of a developed campground. The river runs eloquently along the edge of the manicured campsites, pit toilet walls were decorated with beautiful photos of native birds, trash receptacles and separate recycling bins were readily available, as was toilet paper, potable water and a shared covered cooking space. The campground bustled with birders, binoculars ready, anticipation palpable and excitement rivaling our own.
Donner ünd Blitzen In The Sunshine | Photo: Catherine Loke
The next morning on the drive to the river from the south, the snow-capped Steens Mountain occasionally graced the horizon, displaying the Wild and Scenic headwaters sprawling, penetrating the desert earth. Ice and snow rendered to trickling streams joining forces and gathering speed down the mountain, through the mountain, the canyon walls swallowed the river. Horses and antelope scattered from the road, gliding over the terrain and nimbly disappearing within it. Somewhat abruptly the river returned to view and a bridge marked the Blitzen Crossing Campground, our put in. We gave a final salute to civilization, marked by an empty parking lot and a box with a wilderness user registration log, and launched our boats just below the confluence with Indian Creek.
Canyon Vistas From Camp | Photo: Jo Kemper
Camp Life | Photo: Natalie Carpenter
The river carried us swiftly around bends, under branches, between rocks, and into the depths of its wild gorges. Novelty tempted us around each corner with the lure of front row seats to the canyon walls, blooming wildflowers and all the associated magic of spring in the desert. Tantalized by the echo of whitewater, and alert to the near-constant need to navigate the obstacles in the flow, we playfully leapfrogged our way downstream, taking turns maneuvering our kayaks through the scenic maze of rapids. We paused for a picnic lunch at the confluence with the Little Blitzen River, enjoyed sandwiches and cold beer, and then continued on our quest to make camp before reaching the confluence with Fish Creek.
Important Fly Fishing Decisions | Photo: Jo Kemper
The canyon was flush with delightful campsites and it was not difficult to accomplish our mission. By 3 pm we had emerged from Tombstone Canyon and were basking in the afternoon sun at our campsite, reveling in the success of our trip, so far. The camp was complete with amenities that constitute prime in my book: flat spots for tents, access to water, cliffs to scramble up and canyon walls to hike, fish to catch, caves to explore, trees for shelter, rocks for backrests, and an all-star cast of friends. With no rush for dinner, nor imminent rain, we settled into the more difficult tasks, like sharing the binoculars, agreeing on exactly which fly would catch a fish, and putting a dent in our healthy supply of cold beer. Half of the group set out to catch some trees, I mean fish, and the rest of us went exploring on the cliffs surrounding the camp. Everyone reconvened later to tell tales and dine in the dry duff under the shelter of a large juniper as thunderheads rolled over the canyon rim, threatening ever so sweetly to rain on our party.
Snow In Camp | Photo: Jo Kemper
Canyon Scenery | Photo: Catherine Loke
For a particular high desert treat we awoke the next morning to the subtle transition of raindrops morphing into the soft pitter-patter of snowflakes accumulating on our tents. Prepared for the weather, we had a leisurely breakfast, packed our kayaks and continued our downstream discovery of the Donner ünd Blitzen. With a few instream surprises, and the occasional intimate encounter with unsuspecting waterfowl sauntering in the riparian vegetation, the canyon walls and whitewater dissipated and the river meandered calmly into the familiar Page Springs Campground. Our truck was right where we'd hoped to find it, and our tour of Harney County's whitewater by kayak had come to a bittersweet end.
Evidence Of Higher Water On The Donner ünd Blitzen | Photo: Jo Kemper
I set out for home very pleased with the outcome of this trip, but my fascination with Eastern Oregon is far from finished. It turned out that the forecasted rain, in the form of low elevation snow resulted in flows of just over 400 cfs at Frenchglen while we were on the river. I may just have to come back for some higher water, cloudless views of the mountain, and maybe even a self-guided loop tour as well [Field-Trip Guide To Steens Mountain Loop Road, Harney County, Oregon], if the gates are unlocked. For some added insight on this particular piece of your public lands, listen to Bundyville [NPR: Bundyville Podcast] on your way. Special thanks to Cat Loke and Natalie Carpenter for sharing your photos, and as always, to all of my friends who believe in my ideas, and join me on adventures.
Success Stoke | Photo: Catherine Loke


text:
Volkswagen invests additional 500 million euros in battery maker Northvolt
Takes its total investment in its Swedish battery partner to 1,400 million euros; funds are to be used for capacity expansion in production, recycling and R&D
By Autocar Pro News Desk 09 Jun 2021 13786 Views Share -
Volkswagen is participating, with a contribution of 500 million euros (Rs 4,133 crore), in a financing round of its Swedish battery partner Northvolt with a total volume of US$2.75 billion. The Group will thus maintain its stake in the company constant at about 20 percent.
The funds are to be used for capacity expansion in the fields of production, recycling and research and development. Among other activities, Northvolt intends to expand the capacity of its Northvolt Ett gigafactory in Skelleftea, Northern Sweden from 40 GWh to 60 GWh per year, in order to meet higher demand from customers.
According to Arno Antlitz, Group Board Member for Finance and IT, "With this investment, we are strengthening our strategic partnership with Northvolt as a supplier of sustainable battery cells which are produced using renewable energy and are comprehensively recyclable."
Thomas Schmall, Group Board Member for Technology and CEO of Volkswagen Group Components, commented: "Batteries are one of the key success factors in our unprecedented electric offensive. In the major area of green battery cells, we are assuming a pioneering role in Germany and Europe together."
Volkswagen had already invested about 900 million euros (Rs 7,440 crore) in Northvolt in June 2019, acquiring about 20 percent of the shares in the company as well as a seat on the Board of Directors. The production of Volkswagen premium cells is to be concentrated at Skelleftea in cooperation with Northvolt. Production of these cells is due to start in 2023 and the annual capacity intended for Volkswagen is to be built up step-by-step to as much as 40 GWh.
The second Volkswagen gigafactory is located in Salzgitter and will produce the standard cell for the volume segment from 2025. It is also expected to reach an annual production volume of up to 40 GWh. Both gigafactories are to be operated using electric power from renewable energy sources.
All in all, Volkswagen expects to commission six cell factories in Europe by 2030 together with its partners with a view to safeguarding the ramp-up of electric vehicle production. After Skelleftea and Salzgitter, possible locations and partners for the next cell factories are already being considered.
Tags: Volkswagen,Northvolt AB,Northern Sweden,EV batteries,Volkswagen Group Components
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text:
Lettre à Dieu est une lettre de Xavier Forneret datée du .

Résumé
La Lettre à Dieu est une prière adressée à Dieu. L'écrivain commence par demander pardon à Dieu pour ses fautes. Il fait l'éloge de la prière, , avant d'affirmer la toute-puissance de Dieu, qui le fait souffrir avant de le guérir. L'anaphore « pardon » illustre ensuite les différents stades de la vie, l'enfance, la vieillesse et la jeunesse, chacun associé à un péché.

Un distique en alexandrin, imprimé en lettres capitales, vient couper le texte :

L'anaphore « pardon » est reprise à nouveau pour dresser la liste de ceux qui se détournent de Dieu, jusqu'à une question rhétorique accusant Jeanne Sarrey d'un faux serment et souhaitant la voir punie par l'inscription en capitales  à la place du cœur et d'autres châtiments, dont le néant. Forneret détaille ensuite la manière dont il ressent la trahison.

La lettre s'achève sur l'évocation de l'entrée au couvent de Jeanne Sarrey :

Analyse

Présentation
La lettre porte en épigraphe la mention . Certains passages sont imprimés en capitale.

La lettre est paraphée , comme de nombreux textes de Forneret écrits dans sa maison de campagne près de Chaudenay, à une douzaine de kilomètres de Beaune.

Contexte
La Lettre à Dieu est datée de  ; elle est composée la même année que le Deuxième extrait d'un volume de Rêves, publié en janvier et considéré comme son , parfois même comme son  tout court. Cette lettre constituerait donc la  selon Jacques-Rémi Dahan, inaugurant la phase « Monsieur Prudhomme » de Forneret.

Ce texte est un règlement de comptes envers Jeanne Sarrey, brodeuse en tapisserie à Dijon avec laquelle il vivait alors et qu'il accusa d'avoir tenté de l'empoisonner le . Celle-ci s'enfuit au couvent du Bon-Pasteur à Mâcon mais Forneret, lui adressant l'un des exemplaires de sa Lettre ainsi qu'à la Mère supérieure et à l'aumônier du couvent, la force à quitter son refuge. La jeune fille sera emprisonnée mais bénéficiera d'un non-lieu à la fin de l'année 1846.

Publication
La lettre fut imprimée à douze exemplaires par Romand à Beaune . Des fragments en ont été publiés dans la Revue de la Côte-d'Or et de l'Ancienne Bourgogne du , qui ont longtemps constitué la seule version connue de la Lettre à Dieu, jusqu'à ce qu'un exemplaire en soit retrouvé dans le fonds « Breuil » de la Bibliothèque municipale de Dijon.

Éditions modernes

Bibliographie

Notes et références

Notes

Références

Voir aussi

Lettre
Œuvre de Xavier Forneret


text:
Q: Cannot run jflex in shell I have already successfully installed jflex, however when I try to execute a file named "commentaire.flex", I use the command
    jflex commentaire.flex

as what is told in http://jflex.de/manual.html#installing-jflex, but the terminal give back
    -bash: jflex: command not found

So how can I run the .flex file with jflex generater

A: jflex compiles in bash with the command
  java jflex.Main <filename>

but you have to change your CLASSPATH first


A perfect add-on to any trip to India, explore the mystical and holy Hindu city of Varanasi. Take memorable sunset and sunrise boat trips down the Ganges River and be enthralled by the thousands of devotees who come to the banks of the river to absolve themselves of their sins. Witness the bathing ghats and centuries-old temples, and explore the narrow winding lanes in search of exquisite silks, brassware, and stunning saris. Also visit Sarnath, known as the birthplace of Buddhism and the site of the enlightened Buddha's first sermon.
Arrive in Varanasi at any time. Arrival transfer included. Varanasi is the quintessential Indian holy city, where millions of Hindus travel for pilgrimage, to worship, to mourn, or to die.
Take a private city tour of one of the world's oldest cities and one of Hinduism's holiest sites; Varanasi is a fantastic spectacle of colours and pilgrim ceremonies. In the afternoon take an excursion to Sarnath, where Lord Buddha preached his first sermon. Later, take a sunset boat trip along the Ganges River where thousands of devotees perform holy rituals, hoping to attain eternal salvation. Witness the sunset prayers on the banks of the river. Varanasi is a pure vegetarian town – no eggs, meat, fish, or alcohol is allowed (within a certain distance of the river Ganges). Opt to visit Chaat Gali, a street of vendors selling the spiciest chaat (savoury snack) in the state. A visit to Varanasi is incomplete without tasting paan -- it is the perfect end to any meal and comes in many varieties – stuffed with gulkhand (rose petal preserve), cardamom, or grated coconut.


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On several occasions in the past, we have refused to post and publish on this website, material that appeared to come from the copyrighted work of others for which no release had been obtained. Should any material appearing here seen to be the copyright work of someone not recognized, Please contact Joe Everett, FEEFHS Outreach Director, immediately so the situation can be resolved.


5.28.1 I did not make this statement to entice people to be good.
I stated a fact of existence.
none of the human attributes attributed to IT by many religions.
for instance, only pertain to the human condition.
of the former human word pictures coined by prophets.
other dimensions beyond your present perception and comprehension.
and made the very fabric of your individualised consciousness.
to a brighter and more powerful one.
to enter a dimension of love and beautiful and wondrous beingness.
and an experience of ecstatic being you have not yet dreamed of.
by following the hundreds of various teachers of positive thinking.
Changing your consciousness, they say, will change your lives.
and a yearning for something more.
and re-union with its SOURCE OF BEING.


text:
BJP's Pragya calls Mahatma Gandhi's killer a patriot in Lok Sabha; Opposition slams comments
BJP's Lok Sabha MP from Bhopal Pragya Thakur, an accused in the 2008 Malegaon bomb blasts, keeps referring to Mahatma Gandhi's assassin Nathuram Godse as 'deshbhakt' (patriot)
BJp Lok Sabha MP from Bhopal and Malegaon blast accused Pragya Singh Thakur.
NH Web Desk
Updated: 27 Nov 2019, 8:13 PM
BJP member Pragya Thakur referred to Mahatma Gandhi's assassin Nathuram Godse as a "deshbhakt" during a debate in Lok Sabha, triggering a protest by opposition members.
When DMK member A Raja cited a statement of Godse on why he killed Mahatma Gandhi during a discussion on the Special Protection Group (Amendment) Bill, Thakur interrupted and said, "You cannot give example of a deshbhakt."
Raja said that Godse himself admitted that he had nursed a grudge against Gandhi for 32 years before finally deciding to assassinate him.
Godse, Raja said, killed Gandhi because he believed in a particular ideology (meaning Hindutva).
While the Opposition members protested the interruption by Thakur, the BJP members persuaded her to sit down.
Thakur is an accused in the 2008 Malegaon blast case in which 10 persons were killed and more than 80 were injured.
This is not for the first time that Pragya Singh Thakur has called Nathuram Godse a deshbhakt.
During the Lok Sabha election campaign in May this year, she had reiterated the same thing and did not apologise for the same.
"Nathuram Godse deshbakht the, hain, aur rahenge. Unko antakwadi kehne wale log swayam ke girebaan main jhank kar dekhe. (Nathuram Godse was a patriot and will remain so. People calling him a terrorist should introspect. They will be given a befitting reply in these elections)," she had said.
The BJP as well as Prime Minister Narendra Modi had condemned Thakur's comments saying he would never be able to forgive her for these comments on 'Bapu'.
"The statements are very condemnable and it should be criticized. There is no space for such language and thinking in the country. People who make such statements will have to think a 100 times in future. I will never be able to forgive those who made these statements," Modi had said.
The Bharatiya Janata Party (BJP) had then distanced itself from her comments
and had promised to take her to task.
Rajya Sabha MP and party spokesperson G.V.L. Narasimha Rao said, "The party (BJP) completely disagrees with the statement and we strongly condemn it. The party will ask Pragya why she made such a statement. She should tender a public apology."
However, Wednesday's incident showed that either the Bhopal MP does not care for PM Modi's displeasure or the BJP's promise to discipline Thakur was a mere lip service.
The Congress reacted sharply over the BJP MP's remarks and said that the remarks were a perfect representation of the ruling party's "deplorable hate politics".
"Repeatedly referring to Nathuram Godse as a 'deshbhakt' is a perfect representation of BJP's deplorable hate politics. Will PM Modi condemn Pragya Thakur's remarks or continue to stay silent?" the Congress said on its official Twitter handle.
(With agencies' inputs)
Several other politicians and senior journalists too condemned Pragya Thakur's comments on Twitter.
BJP MP Pragya Singh Thakur
Published: 27 Nov 2019, 7:14 PM


text:
Q: Comparing multiple items I am trying to compare if a field has any value among a list of integers.( Ex: if MCC = 3001 || 3002 || 30004) in SPSS modeller. But the list of possible values is very long. Can anyone tell me how I can pass a list to it for comparing single values without using 'Or' / '||'.

A: The question was asked about Modeler, not Statistics.

A: This is what you are looking for:
If any(MCC, 3001, 3002, value3, value4, value5 ....)

The condition is met if MCC contains any of the values listed after it.

A: If the values are simply a continuous range then you can use RANGE:
COMPUTE MCC_List=RANGE(MCC, 3001, 3004)=1.

If there are a small number of discrete values that need to be exclude then you could use a combination of RANGE and ANY, like so:
COMPUTE MCC_List=RANGE(MCC, 3001, 3004)=1 and ANY(MCC,3003,3005)=0.

If your values are somewhat more random and discrete then an alternative way of achieving this, is to have the values stored as a look up table and then match on these values.
Below I manually enter these values in a dataset but typically you would save these in either a text/csv or Excel file and then you would read in that file.
This can be a good Data Management technique, particularly so if you have many variables where you have such definitions to derive. As you can store a separate file containing all these values without having to hard code them into the syntax and these files can simply be read in by the program and be updated if required.
(Although this technique does require a SORT CASES which may slow down the process if processing large datasets. Hence this type of technique is more commonly used in SQL. You could use SPSSs STAR JOIN which doesn't require a SORT but I'm not a big fan of that command myself).
Here is a quick demo:
DATA LIST LIST /ID MCC.
BEGIN DATA
1 4
2 5
3 1
4 6
5 7
END DATA.
DATASET NAME DS1.
SORT CASES BY MCC.

DATA LIST LIST /MCC_LIST MCC.
BEGIN DATA
1 1
1 2
1 3
1 4
1 5
END DATA.
DATASET NAME DS2.
SORT CASES BY MCC.

DATASET ACTIVATE DS1.
MATCH FILES FILE=* /TABLE=DS2 /BY MCC.
EXE.

A: In SPSS Modeler you can use put all the values ( Ex: if MCC = 3001 || 3002 || 30004) in a Excel file or a text file.
And later, use a merge node to check if the values are in the data or not (Using the key variable MCC to compare the two datasets).

A: The modeler CLEM expression is:
member(@FIELD , [ int1 int2 int3 ])
with strings respectively:
member(@FIELD , [ 'str1' 'str2' 'str3' ])
For more functions and related knowledge, here:
https://www.ibm.com/support/knowledgecenter/en/SS3RA7_15.0.0/com.ibm.spss.modeler.help/clem_function_ref_comparison.htm


text:
Sexual and gender diversity in schools: Belonging, in/exclusion and the African child
Finn Reygan, Prof. Human Sciences Research Council, South Africa
Keywords: Sexual and gender diversity, Belonging, Exclusion, Schools
The school system in South Africa has only in recent years begun to more deeply grapple with issues of power and privilege along a number of axes of oppression including race, gender, class and recently, sexual and gender diversity. As a result, learners who embody sexual and gender diversity experiences spaces of belonging and exclusion in school settings. As a result, this paper asks: What needs to be done in the school system to reconstruct the "African child" to include sexual and gender diversity? Possibilities include inclusive policy implementation; inclusive learning and teaching resource materials; teacher preparedness to teach about and affirm sexual and gender diversity in the classroom and a clear rejection of homophobic and transphobic violence. The lessons learnt through the process of challenging racism in the school system – such as around essentialising, othering and systemic violence – have yet to be fully applied to sexual and gender diversity in schools.


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View More In Tripods & Monopods.
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YES! Straight to my top favourites of 2016!
Annabeth Albert has gone above and beyond with this series and every book seems to be getting better than the one before. In Connection error, the angst is a palpable thing, interspersed with glorious chemistry between Ryan and Josiah, and emotions galore. Recipe for success!
Josiah is a nerdy gamer with ADHD who cannot filter things that come out of his mouth. This character trait is a fad, I think, because I have seen it a lot lately, but boy did Annabeth Albert get it exactly right here! Because see, Josiah isn't just cute when he blurts things out. He can be offensive. He can be extremely rude, even if he wasn't trying to be and comes off as an insensitive jerk. But it's so genuine, and he feels so bad afterwards, but you can't help but feel endeared towards him. He is adorable in his awkwardness and I do love me a quirky character, so it was love at first sight for me!
Ryan on the other hand…Ryan is a navy seal. He has the badass thing down pat and has the muscles and hotness factor to go along with it. Ryan's type is something NOT Josiah but Josiah ends up impossible to resist. Ryan is more reserved and personal issues he is dealing with stemming from his deployment are holding him back. Little things like a forgotten laptop have Josiah and Ryan talking and they begin a tentative friendship which quickly explodes –seriously– into one of the most scorching hot couples I've read about recently. Dirty talk? Bossiness? Hot action? You got it in spades here.
But the most amazing thing of all is that Ryan and Josiah make a great team together. Ryan is a natural caretaker, and while initially you'd think it'd be the opposite, it's Josiah who needs looking after. And Josiah does a lot of growing up throughout the book. He is unsure of himself and it would be so easy to just let Ryan make the big decisions for him but he actually steps up and takes the plunge when it comes to becoming more independent.
I just absolutely loved these two. Their story comes with heart-ache and uncertainty but they care for each other so deeply that nothing could possibly stand in the way. I loved the ending and just writing this review makes me want to start rereading this right freaking now.
Galley copy of Connection Error (#gaymers, #3) provided by Carina Press via NetGalley in exchange of an honest review.
5+ stars for the amazing connection between Ryan and Josiah!


text:
Posted on Apr 21, 2014 Jul 19, 2014
The Battle Of Modern Manchester (How did we get from I Am an Anarchist, to So Long God Is Dead)
It's no deeply hidden secret that Manchester is somewhat of a holy grail when it's come to music.
Since the 1960's, Manchester has been rifled with insanely delicious music. From the rambunctious Punk era of Buzzcocks and Sex Pistols, to the cesspit of incredible self loathing from the mighty Joy Division, with charges from The Smiths in the 80's leading them to become the most highly sort after Indie band in history. Towards the end of the 80's Manchester had the "Madchester" scene to guide everyone into the 90's, with bands such as Happy Mondays, Stone Roses, New Order and The Charlatans. Then in the 90's, the UK had Britpop, the era for the Gallagher brothers to pit themselves against London's Blur. Arguably Oasis won this battle, (just look at their world presence, sales, all that jazz).
So here in the 21st century, Manchester has received an extreme makeover. In fact, it keeps receiving make overs. If you've seen St Trinians (hold on for a second), the make up scene where the girl changes about 500 times, Manchester's music scene is currently going through this and has been since the 60's. We can't pick a style that suits us because they all do. Modern/Post-Modern/Post-Post-Modern. Whatever hipsters are calling it, it's what Manchester is #1 at.
Now Manchester's underground scene has always been famous, for being home to some of the weirdest, coolest and awe-inspiring music in very modern history. The most conspicuous act, abiding to all of these being WU-LYF, with their, anti-anything approach to media coverage. It was a cold day in Manchester (well that's pretty much every day) when WU-LYF's Ellery Thomas announced his departure with his leaving mark, the WU-LYF track, Triumph. But the fall of one band means the rise of another, as MONEY were soon to emerge from the ashes of WU-LYF. Although MONEY had been releasing their demos at the same time as WU-LYF, WU-LYF's disgust to the mainstream was their perfect strategy. MONEY's Post-Joy Division style came from Jamie Lee. MONEY's Jamie Lee had the message instead of super-realisation. The belief that life isn't just life, that it's far more complex, beautiful, meaningful than people think of. Lee's message of 'enlightenment' is the reason why The Shadow Of Heaven was received as a religious message. It was religious, just not in the traditional sense of what a religion is. MONEY's religion is the people.
But to define these two bands as Manchester's modern music scene would be nothing short of treason. Sure they've brought a definitive sound to one of the weirdest cities on Earth (with 500 cults for each new sub genre announced since Chillwave became a genre), but there is so much more to Manchester than this new take on anti-establishment that the Punk era wrote the book on.
Music styles don't just die, they evolve. New Order didn't just disappear, becoming Manchester's only well recognised Electronic group. No Ceremony have bridged the gap for New Order with minimalistic reverbing, plugged into modern House styles. Just as New Order were evolved into No Ceremony, Joy Division (I tred on very thin ice here) have been adopted by the duo Hurts. It might not be Post-Punk or Punk at all, but Hurts have taken on board the many horrors that modern living entails, from the everyday tasks, to failing deeply in love with somehow who'll destroy your world in five seconds flat.
In a more narrow, less detailed sense. Everything is evolving, adapting to new styles. The 21st century for Manchester has seen its musical history, explode into one small decade. It's as if we've had our own big-bang in the past ten years. So it's not as much as a battle in the sense of blood and gore. It's the battle of evolution. The list of these evolutions is endless. Spanning from the likes of Delphic, to The 1975, to The Courteeners to Egyptian Hip-Hop, to even more.
Who knew Darwinism would be so relevant to music?
Posted in All, featureTagged blur, buzzcocks, charlatans, courteeners, delphic, egyptian hip hop, ellery roberts, evolution, feature, happy mondays, Hurts, jamie lee, joy division, madchester, Manchester, MONEY, Music, new order, no ceremony, oasis, sex pistoles, stone roses, the smiths, triumph, wu-lyf
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Tsai Ing-wen (Chinese: 蔡英文; pinyin: Cài Yīngwén; born 31 August 1956) is the president of the Republic of China (Taiwan) since 20 May 2016 and is the first female chosen to the position. She is the current Chairperson of the Democratic Progressive Party since 2008. Her nickname is Siao-Ing (小英).
Tsai Ing-wen grew up from a rich family in southern Taiwan. She worked hard and studied at National Taiwan University. She passed a test and became a lawyer in her junior year. She graduated from university in 1980.
↑ 高, 梦鸽. "台湾"大选"开票结果显示蔡英文当选台湾领导人". 高梦鸽_NN4432. 人民网-人民日报. Retrieved 16 January 2016.
This page was last changed on 23 December 2018, at 21:02.


text:
This Beautiful Republic
August 1, 2008 By bloodwater in Interviews | Comments closed
This Beautiful Republic Interview
By Jonathan Andrews
Thanks to Ben Olin for taking the time to sit down and answer these questions and to Brian of EMICMG for setting up this interview.
So for the record please let us know who you are and what you play in the band This Beautiful Republic?
Ben Olin and I sing, scream, and thrash around on stage for This Beautiful Republic
I read that you guys have all known each other since going to Toledo Christian School back in high school? Have you all been friends since then? What were you like back then?
I knew of them, but didn't really know them. We weren't really friends in high school, there's a large age range with the members so we were in different classes and such. Back then, I was an alright kid who was a bit naive and lacking self-confidence. I found in the last few years of high school a couple things I was good at (singing not being one), and that really helped mold me. I had something to be proud of because I was good at it.
Which bands did you listen to growing up?
D.C Talk, Dakota Motor Company, Skillet, Bleach, Stone Temple Pilots, Pearl Jam, Creed, Carman, Snoop Dogg, Live, Toad the Wet Sprocket.
Why did you guys get together and form This Beautiful Republic?
Because God wanted us to. You see, we came from two separate bands; we'd played a few shows together here and there, but never really appreciated each other's music. So, when they lost their lead singer and my band broke up around the same time, it wasn't a logical thing for us to get together. He used a few other people to bring us together and when we did, it really just clicked and we saw how it could be successful; not only for ourselves in providing an income to live with, but to bring songs that people can be encouraged by.
For those who aren't familiar with your name, what is the meaning behind it?
Basically we just wanted something that would extend further than the members of the band. We wanted the live show and the recordings to be a group effort. We felt like the goal when the music was played was that we all be working towards the same goal of glorifying God and that we all be unified on that front.
How do you guys try and represent the kingdom of heaven on earth in your own lives?
I think we take it upon ourselves to be conscious of the way that we conduct ourselves; knowing that people are paying attention. I think we try to extend grace, forgiveness, and patience to people because we would want them to do the same for us.
Why did the band go with the title Perceptions for your new record?
As the name implies, the perception of the title of the album could be different given the person interpreting it. For me, it's about giving people the benefit of the doubt. To consider that there might be more to the story than what might appear. We all agree though that the title mainly hopes to communicate that there's a perception that we can't see. The way that God sees us compared to the way that we see ourselves. We are disgusting and filthy humans with truly nothing good in and of ourselves. But He sees us as beautiful and loves us despite everything in the last sentence. His perception of us is completely and utterly contrary to our own and that's incredible because we don't deserve it.
Is the mindset of sitting down to write your second record different then your first? How so?
To us, it feels like we were writing the 1st. I had joined the band late in the process of writing "Even Heroes," so a lot of those songs I had nothing to do with. So this is the first record that the five members wrote completely ourselves. It's a great feeling and I really think that we achieved some things that we hadn't with the last album.
Was there anything specific you guys wanted to let people know in this album that you didn't get a chance to say in the last?
Oh man, yeah. There's a lot. The last record was about how much Jesus loves us and how badly He wants to save us. This record is more about the individual, our personal relationships with God and I think that the songs reflect that in a lot of ways. Not only lyrically, but how they're structured. There's a lot of opportunity for crowd participation and a lot of group vocals for people to sing back at us. I think it offers a bit of hope, reminds us that we're not alone, and that we never have been.
Are there any songs on this album that have special personal meaning for yourself?
A lot of them do, but "A Point Between Extremes," is a song that stands out. We had the verses and choruses written with our producer along with some really great musical parts for a bridge, but hadn't a clue what to do vocally. I eventually took it down into the vocal recording booth and just, for some reason or another, ended up writing the whole thing out in about 30 minutes. When I brought it upstairs and Allen read it outloud, it almost shocked me. I couldn' believe I was actually writing down what I wrote because it's just a really honest part about frustrations within the church system, but also with how I've viewed the concepts of sin, grace, and forgiveness. It's a moment on the record I'm really proud of.
I read that This Beautiful Republic's recordings are meant to be mere glimpses of its live performance. Does this still hold true for Perceptions?
I think it's more true than it ever has been. We were limited with the last record. This record was written with the live show in mind, we want it to be a much more interactive experience and I think that once people know the songs, it's going to end up being that. I'm very excited for that.
Do you do anything differently in the recording process to make it feel more like a live show than a studio recording?
No, I don't think so, other than the things we've already mentioned. I think that we like records that sound pretty polished, but not squeeky clean, so there's a little bit of the recordings where you can hear the mistakes or know that it's being performed rather than programmed, but it's not supposed to sound like a live record.
With it being summer time you guys are probably hitting up festivals and playing shows. What's one of your favourite memories from the road this summer?
Lifest. We played in this silly, horrible sounding barn there last year and walked away thinking that we blew it and no one enjoyed it at all. When we showed up this year, we were expecting very little. It was the exact opposite. It was like the 100 kids that went last year all loved it, learned all the songs, and brought 5 friends to this years. It was one of the most fun shows I've ever had the pleasure of playing.
I've heard you play a cover of the song "Crazy" during a few of your shows. Why did you guys decide to start playing your own cover of that song and is there any process a band goes through in deciding which cover songs it will perform or are those songs just some of their favourites?
Well, some of us like the idea of covers, some of us don't. We decided to do that one because we knew that everyone would know it, it had endless possibility, and it was about trying to make it in the music industry. The song was never anyone's favorite (except me), but everyone saw the possibilities and now we have fun with it. I'm hoping we can get a couple of other covers worked up sometime soon.
People talking about the high gas prices these days seem to be everywhere. Do you guys take more consideration now as far as touring and tour schedules with the high gas prices then you did before? Do you think high gas prices if they keep going up could mean the end of anyone but big names groups touring?
I think that gas is an ever-present woe for everyone who uses it. It's not really affecting our touring plans, but that's because we've had the summer off basically. I don't think it's the end of the "small bands," as we know it. I think they (WE) are just going to have to get a bit more creative as far as lodging, transportation, and hauling. I could easily see bands starting to carpool or share a trailer or hotel/host homes. Hopefully people just start actually GOING to the shows that are in their areas instead of another hour of Guitar Hero. (sorry… end rant)
How do you fill the time when you're out on the road in between shows?
We like to find some sort of monument or landmark to go visit; but sometimes we just kill it and stay in a hotel room all day. For me, I'm always going to find something to do. I hate being idle. We've seen the Grand Canyon, Yosemite, ice storms, gone golfing, visited friends, whatever is around.
What do you find to be the hardest part of being apart of a touring band in 2008?
#1 – Getting people to shows. #2 – Getting shows.
How do you stay connected with your relationship with Christ while out on the road?
It's certainly a challenge and one that I haven't really mastered yet. I think having a strong person at home to keep you steady while you're out is critical. My Mom is kinda that way, she'll send me emails about what she's learning and it keeps me motivated. It's hard because you ARE busy and despite the downtime in the van, you still can't find that quality quiet time.
What's your favourite band you just discovered and can't get enough of?
I've been into Oh, Sleeper and As Cities Burn for a very long time. I haven't found anyone good enough to replace them yet.
Any last words for our readers at Indievisionmusic?
We count our blessings everyday to be in this band, but it's not an easy gig at all. It takes a financial, emotional, spiritual, and relational toll for all that are involved. So, support music, and allow us to do it for longer than we would if you didn't. Everyone reading this is awesome and I can't wait to meet you at some point. Thanks for making a dream come true.
Ben Olin


text:
Q: Setting DataContext to multiple sources while respecting MVMM I have read the other questions regarding a matter similar to this, but it dosn't quite ask for a solution to this simple scenario:
namespace View
{
    /// <summary>
    /// Interaction logic for PuzzleSelectionScreen.xaml
    /// </summary>
    public partial class PuzzleSelectionScreen : Page
    {
        public PuzzleSelectionScreen(PuzzleControllerVM puzzleControllerVM, ScreenSwitcher screenSwitcher)
        {
            InitializeComponent();

            // My button needs a command in screenSwitcher (View) to change Page ..
            // .. with a Property (puzzle data) from puzzleControllerVM (View Model)
            this.DataContext = puzzleControllerVM;
            this.DataContext = screenSwitcher;
        }
    }
}

I can stick screenSwitcher in puzzleControllerVM and access all the properties just by this.DataContext = puzzleControllerVM;, but this would violate MVMM as screenSwitcher contains many View objects.
What I do above, the DataContext will assign to screenSwitcher only because it is executed last, but I want a convenient solution so my DataContext will have access to both sources without having to stick my screenSwitcher in my view model class PuzzleControllerVM.

A: U can create a new type which hold reference to both and set the datacontext to the instance of the type.
Something like this
    public PuzzleSelectionScreen(PuzzleControllerVM puzzleControllerVM, ScreenSwitcher screenSwitcher)
    {
        InitializeComponent();
        this.DataContext = new Hybrid { PuzzleControllerVM = puzzleControllerVM, ScreenSwitcher = screenSwitcher };
    }

    public class Hybrid
    {
       public PuzzleControllerVM PuzzleControllerVM { get; set; }
       public ScreenSwitcher ScreenSwitcher { get; set; }
    }