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EFG relaunch praised by Fleximize's Max Chmyshuk
Fleximize's co-founder told AltFi readers why the relaunched Enterprise Finance Guarantee scheme is great news for SMEs and alternative finance providers
In an article for AltFi, Fleximize's managing partner and co-founder Max Chmyshuk reflected on the relaunch of the government's Enterprise Finance Guarantee (EFG) scheme. First launched in 2009, and delivered through the British Business Bank, the EFG set out to facilitate lending to SMEs by partially guaranteeing bank loans to viable small businesses that have seen themselves turned down for standard commercial loans.
However, with a recent review of the EFG's operational and strategic capabilities revealing it was not working as intended, the scheme has now been extended to include alternative finance providers. Fleximize's co-founder believes this is a significant addition to the SME funding landscape in the UK, and a ringing endorsement of the alternative finance sector. As he says in the article, which can be read in full here, SMEs have never had more options when it comes to seeking business finance.
For all media enquiries, please contact press@fleximize.com.

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The January 26th issue of the Daily Telegraph has an article by Chris Price which says much about the times the world is in.
"Egyptians have resorted to taking out loans to buy books as inflation surges in the country. Book prices have more than doubled as the value of the Egyptian pound plummeted by about 43% against sterling over the last year.
Authors have even reportedly begun cutting out characters and descriptions as the cost of paper and ink soars, with inflation hitting a five-year high of 21.3% in December, according to statistics agency Capmas.
Mohammed el-Baaly, of Sefsafa Publishing House, told the BBC: "A book has become a luxury item here in Egypt. It's not a basic commodity like food and people are saving on luxuries."
Keen readers now reportedly can spread the cost of a book over nine month at 1.5% interest, according to the Egyptian Publishers Association.
Teen fiction author Dina Afifi told the BBC she hoped the scheme would bolster sales. She said, 'My book's been downsized, slimmed down to just 60 pages from around 100, because of the rising printing costs.'
Mr Baaly added: 'The cost of paper and ink has gone up tremendously. The cost of a ton of paper is nearly four times higher than the start of last year.'"
The interest rate of 1.5% quoted in the article must be a monthly rate which would be equivalent to about 20% per year.
The Guardian, in an article dated last October said; "The price of books is likely to go up, say publishers – which are acting to avoid steep rises for readers.
Some presses are exploring printing on cheaper and thinner paper, postponing reprints for older books and publishing fewer titles to reduce costs and avoid increasing recommended retail prices.
But the hike in costs of paper and energy and the effects of Brexit mean price rises are likely in the long term if not in the short and medium term, "if the current high production and distribution costs stabilise at the current levels", said Juliet Mabey, co-founder of the independent publishing house Oneworld
Valerie Brandes, founder and publisher of Jacaranda Books Arts Music, said it was highly likely that book prices for consumers would have to increase "across all formats" by 10 to 20%."
So, we're fortunate not to be buying our books in Egypt!
Posted in Commentary, Publishing
There is an article by Susan Griffin dated January 20, 2023, on the Lit Hub website which is worth some extra thought and perhaps attention. Ms Griffin makes the point that the sounds of the words we write can make a difference to the readers understanding and appreciation.
Susan Griffin has written over 22 books, including nonfiction, poetry, and plays. A Chorus of Stones: The Private Life of War was a finalist for the Pulitzer Prize and a New York Times Notable book. Woman and Nature, considered a classic of environmental writing, is credited for inspiring the ecofeminist movement. She and her work have been awarded a Guggenheim Fellowship, an Emmy, and the Fred Cody Award for Lifetime Achievement & Service, among other honors. She lives in the San Francisco Bay Area.
Susan Griffin
Ms Griffin says: "Soon after my failed attempt at a war novel, I began to read passages out loud from books I liked. I had listened many times to my older sister, who was studying drama in high school, as she read passages from plays or poems out loud. So, as with practically everything she did, I followed her example. I read stories by Hans Christian Andersen, Edna St. Vincent Millay's stirring poem, "Renascence," dialogues from Alice in Wonderland, and, though I never could finish the book, I loved to perform the first paragraph of A Tale of Two Cities.
Perhaps because of its notable symmetrical rhythm, "It was the best of times, it was the worst of times," or the dramatic list of contrasting circumstances, "It was the spring of hope, it was the winter of despair," I loved this paragraph and would read it over and over, even when I was alone in the back bedroom, staring out a window that looked over other houses, streets, a few palm trees, and a giant neon sign depicting red paint as it poured over a round earth, imagining as I read that I was creating a larger perspective on the urban scene below.
I did not know yet that with this practice I was training my ear to take in the music of language and, in the process, beginning to notice the music of the various phrases and sentences passing through my mind, bits and pieces, which even without any clear logic seemed to carry meaning. Over time I began to recognize these fragments as the seeds of something I might one day write.
When asked in an interview "how do stories begin for you?" one of the great storytellers of our time, Grace Paley, answered, "A lot of them begin with a sentence — they all begin with language."
We think of language as conveying meaning. But here, I believe, Paley is talking about sound as well as sense. "Very often," she goes on to say, "one sentence is absolutely resonant."
In this way, literature is not, as many often suppose, abstract. Its medium is the human voice, a phenomenon every bit as concrete and sensual as oil paint or marble from Carrara. And though modern attitudes do not recognize the meaning inherent in the concrete world, the medium is never passive. As Michelangelo told us, the material from which he sculpted his masterpieces guided him. "I saw the angel in the marble," he said, "and I carved until I set him free."
Sound can dive beneath presupposition and assumptions, the world of clichés that has already bored you, to unlock the vital yet undiscovered and unspoken worlds that lie just beneath the surface of what has become habitual.
For this reason, it is important that you listen to the words you have written. If the sound of your words is true (in the sense of a true note or hitting the mark), your reader will be riveted if not enchanted. And, more crucial to this process of writing, which you have already begun by this time, you will be exhausted; put in a kind of trance, the way religious ceremonies from diverse cultures have done for centuries. Thus, even you, as you write, will be led by the sound of the words you have written toward a wisdom you did not know you had within you."
This advice may seem rather obscure and opaque. But I do find myself listening silently to a phase or a particular word I am proposing to use before, or even after I've typed it. Something about it doesn't feel right. An alternative will spring to mind or I will consult the thesaurus. The alternative is much better. Perhaps the meaning is closer to what I'm trying to convey, but perhaps, also, the alternative has a sound that is more in tune with the feeling I want to transmit. I don't think this is a scientific process; for me it is intuitive.
Posted in Commentary
I bought a copy of Volodymyr Zelensky's collected speeches at an airport bookshop in December. It's a small book, just the size to wedge into a suitcase, 118 pages at £9.99, of which President Zelensky's personal income from the book (at least £0.60 per copy) will go to his charity, United24, in support of Ukraine.
I've been impressed by Zelensky: his absolute commitment to his country, his ability to lead his people in their struggle against a much larger, heartless, autocratic and immoral aggressor, his skill at coaching Western democracies to come to his aid, but perhaps most of all for his restraint in not criticising donors who pinch pennies. It would be so tempting to call Macron out as a egotistical, French, Putin-loving, tightwad. But whatever he may have thought of Macron, he kept it pretty much to himself. And now, low and behold, there is a transformation: France is backing a military victory for Ukraine and is going to send Ukraine light tanks, prompting Germany to do the same and adding Patriot missile batteries.
Zelensky's Wikipedia page reads: "Born to a Ukrainian Jewish family, Zelenskyy (in Ukrainian, his surname is spelt with two y's) grew up as a native Russian speaker in Kryvyi Rih, a major city in central Ukraine. Prior to his acting career, he obtained a degree in law. He then pursued a career in comedy and created the production company Kvartal 95, which produced films, cartoons, and TV shows including the TV series Servant of the People, in which Zelenskyy played the role of the Ukrainian president. The series aired from 2015 to 2019 and was immensely popular. A political party bearing the same name as the television show was created in March 2018 by employees of Kvartal 95.
Zelenskyy announced his candidacy in the 2019 presidential election on the evening of 31 December 2018, alongside the New Year's Eve address of then-president Petro Poroshenko on TV. A political outsider, he had already become one of the frontrunners in opinion polls for the election. He won the election with 73.23 percent of the vote in the second round, defeating Poroshenko. He has positioned himself as an anti-establishment and anti-corruption figure. As president, Zelenskyy has been a proponent of e-government and of unity between the Ukrainian and Russian speaking parts of the country's population. His communication style makes extensive use of social media. His party won a landslide victory in the snap legislative election held shortly after his inauguration as president. During the first two years of his administration, Zelenskyy oversaw the lifting of legal immunity for members of parliament, the country's response to the COVID-19 pandemic and subsequent economic recession, and some limited progress in tackling corruption in Ukraine.
During his presidential campaign, Zelenskyy promised to end Ukraine's protracted conflict with Russia, and he has attempted to engage in dialogue with Russian president Putin. Zelenskyy's strategy during the Russian military buildup was to calm the Ukrainian populace and assure the international community that Ukraine was not seeking to retaliate. He initially distanced himself from warnings of an imminent war, while also calling for security guarantees and military support from NATO to "withstand" the threat. After the start of the invasion, Zelenskyy declared martial law across Ukraine and a general mobilisation of the armed forces. His leadership during the crisis has won him widespread international praise, and he has been described as a symbol of the Ukrainian resistance. Zelenskyy was named the Time person of the Year for 2022 and opinion polls in Ukraine have ranked him as Ukraine's greatest president."
The speeches – there are 16 of them – were selected by Zelensky for the book, and range from his inaugural address to the Ukrainian parliament to Ukrainian Independence Day on 24 August 2022. There is a useful preface by Arkady Ostrovsky, the Russian and Eastern Europe editor of the Economist. This is followed by an introduction by Zelensky in which he reflects on changing the past.
His speeches are focused on several themes. Ukraine is a free, sovereign, independent country. Russia is engaged in an illegal and immoral invasion. Russia must be stopped because ultimately, it is at war with Western democracy, its values and principles. If Ukraine loses the war, Europe itself will be next. Ukraine can and must win this war. It will end when all the Russian occupiers are gone.
The language and the images are highly motivational. This is an excellent, two-hour read.
Posted in Commentary, Reading, Writers, Writing topics
Australia's Struggling Authors
The Guardian has an article today by Rafqa Touma 'Don't Give Up Your Day Job: How Australia's Favourite Authors Are Making Ends Meet'.
Ms Touma writes:"According to new research by Macquarie University, the Australia Council and the Copyright Agency, the average annual income from practising as an author is only $18,200 (Australian = £10,000). This has left two-fifths of authors relying on their partner's income, and two-fifths relying on a day job unrelated to their writing. We spoke to some of Australia's most celebrated authors who are supplementing their income with day jobs. Here is what they have to say:
Jennifer Down: the Miles Franklin-winning copywriter
Down won the 2022 Miles Franklin for her novel Bodies of Light, which was also shortlisted for the Victorian Premier's prize, the Stella prize and the Voss prize. She is also the author of Our Magic Hour and Pulse Points.
At a weekend writers' festival in October, Jennifer Down had work to finish for her day job: a brand launch campaign was coming up. So she sat down at a pub and pulled out her laptop.
"I thought if I have to work on a Sunday afternoon, I'll do it with a pint," she says. She looked so focused that a group at the table across from her made a passing joke: "Have you finished your novel yet?"
Little did they know Down had in fact finished her novel, which had just won the country's most important literary prize. "The irony is that it is a Sunday afternoon, and I'm doing my money job while at a festival for my non-money job."
Down was named the Sydney Morning Herald's young novelist of the year consecutively in 2017 and 2018. At the time, she was working as an in-house copywriter for an Australian skincare company, being paid less than $50,000. "I was living in a five-person share house, and I could barely pay my bills."
"It is surreal," she says. "Outside of work, my writing is really respected. I had this modest critical acclaim coming in. Then at work, I'm having social media copy corrected by a person who doesn't understand what subordinate clauses are and hasn't read a book in 10 years."
Down currently works as a copywriter full-time. She sets her alarm for 4am to write for herself; the alternative is foregoing social engagement.
"I don't know if it has paid off. It is gratifying to have won prizes, but I feel like it can be incredibly isolating at times."
It also means she's effectively working seven days a week. "I don't really remember the last time I have had two consecutive days off," she says. "It is paid for in the sense I have been able to produce work, but it is not without a cost."
Holden Sheppard: the manual labourer with a TV deal
Holden Sheppard's debut novel Invisible Boys won the 2019 WA Premier's prize for an emerging writer, the 2019 Kathleen Mitchell award, the 2018 City of Fremantle Hungerford award and the 2017 Ray Koppe residency award. He is also the author of The Brink.
Holden Sheppard is well loved among high school readers, with a TV adaptation of his multi-award-winning novel Invisible Boys currently in production. He is now writing his third book under contract; to fund it, he is working as a manual labourer in a timber yard.
"Authors are sole traders," he says. "The part that doesn't get seen is that there is a huge amount of admin."
The Australia Council report found writers spend only half their writing time actually producing original writing. With invoicing, emailing, social media managing, talks at schools, event appearances and podcasting to fit between his work at the timber yard, Sheppard says he is left to write whenever it fits.
The annual income of children's book authors sits at $26,800 – higher than the $18,200 average. Sheppard acknowledges his books have sold well, "but as much as it might appear successful, it is still not enough to live off".
He deliberately looks for casual jobs instead of permanent part-time ones, for the sake of flexibility. "If there is a media interview opportunity, or an event I really want to do on a day of work, it is hard to get it off," he says. "You jeopardise your day job and your income." This precarious work he chooses rarely comes with entitlements such as annual leave and sick leave.
In 2015, Sheppard received an Australian Council Art Start grant for $10,000, but the program was scrapped after his round. "I feel that is needed again." He also advocates for digital lending rights, which don't exist in Australia.
"Each revenue stream helps us. When people take a book out of an e-library, we don't see that revenue."
Michael Mohammed Ahmad: the award-winning novelist who wrote behind the counter
Michael Mohammed Ahmed won the 2015 Sydney Morning Herald Best Young Novelists award for his debut novel The Tribe. His second novel The Lebs won the 2019 NSW Premier's Multicultural Literary award and was shortlisted for the 2019 Miles Franklin. He also founded the Sweatshop literacy movement.
"I am a multi-award winning author, and I have a doctorate in literature. I am about as educated as you can get. I have sold tens of thousands of books. Still, I don't have the job security of a manager at McDonald's."
While writing three acclaimed novels – The Tribe (2014), The Lebs (2018) and The Other Half of You (2021) – and setting up the western Sydney-based literacy agency Sweatshop, Michael Mohammad Ahmad worked at his father's army disposal shop.
"When customers weren't there, I'd be writing my novels behind the counter," he says. "I only stopped working there about two or three years ago."
He's proud he was able to support his family this way, he says. "But it is insane that I had to do that. The industry isn't set up to support people."
Mohammad Ahmad still works seven days a week, with weekends spent writing. "I feel fortunate that in my case it is a job I am passionate about," he says. "Writers didn't enter the industry for money.
"It is an activity we've been participating in since humans could begin to think. It is fostering the next generation of thinking. It is something we find valuable outside of the capitalist construct of wealth. Even though writers aren't making ends meet, they are still going to do it.
Anna Spargo-Ryan: the acclaimed author doing everything all at once
Anna Spargo-Ryan won the inaugural Horne prize in 2016 for her essay The Suicide Gene. She was longlisted for ABIA's Matt Richell award in 2017 for her novel The Gulf. She is also the author of novel The Paper House and 2022 memoir A Kind of Magic.
According to the research, more than one-fifth of authors have a day job that's related to being a writer – but that doesn't make it easier for them to write a book.
Since 2013, Anna Spargo-Ryan has been balancing a full-time freelance mix of jobs, from ghostwriting and advertising copywriting to writing podcasts, websites, brand guidelines and feature articles.
"I do a lot of writing," she says. "But all of it is for other people. A very small proportion of it is for my own writing work."
Spargo-Ryan once held a romanticised idea of working as a writer. "But over the past 10 years … I have realised that the only way to get writing done is to fit it in."
This year she published her first nonfiction book, A Kind of Magic. Although she spent the last three years writing it, she "barely remembers" the process. "I had a deadline, I had a contract, so I had to write it, but I didn't have the leisure of having lots of time to get that done," she says.
"So I wrote it in all kinds of small gaps. Waiting for the kids at school, before meetings, during meetings, editing on the treadmill. Whenever I could get bits of time … which I don't really recommend as a writing process."
Spargo-Ryan recommends writers learn to diversify their craft. "You might get an advance that is like a tenth of your annual salary, and that would be quite a good advance," she says. "Then you are going to earn like three cents a word, for 100,000 words. In itself it isn't sustainable.
"No one has a patron who pays for you to do your creative work. Part of being a writer is the hustle, trying new things, and diversifying the work you are doing."
Omar Sakr: the PM's literary award-winner looking for a day job
Omar Sakr won the 2020 Prime Minister's Literary award for poetry for his collection The Lost Arabs. It was also shortlisted for the NSW Premier's Literary award, the John Bray Poetry award, the Judith Wright Calanthe award and the Colin Roderick award. He is also the author of These Wild Houses and Son of Sin.
"[It was] easy enough to do at first because I was couch-surfing and didn't have much in the way of expenses," he says. "But it has become increasingly difficult as I settled down and started a family."
Grants and prizes gave him time to write his debut novel Son of Sin, but publishing involves a "relentless grind" of writing and touring, which has been "impossible" to sustain since his wife gave birth to their son this year.
The report finds more than half of authors find searching for income elsewhere to be a competing demand on their writing time.
"Now I find myself in a very precarious financial position, and actively trying to find a day job," Sakr says. "Full-time freelancing relies too much on uncertain outcomes and requires too much of me, on top of being a dad. I already knew that our society doesn't support artists enough, but it's brutal to realise we also don't support parents in a meaningful way either."
Posted in Commentary, Uncategorized, Writers
Have Celebrities Ruined Kids' Books?
Ben Lawrence has an article in today's Daily Telegraph which makes the arguments that not only have celebrities seriously reduced the quality of kids' books, but they have also captured the publishing space to the detriment of competent kids' writers.
Ben Lawrence, Commissioning Editor of the Telegraph
In the article, he says: "Long ago, when I was young, I had a vivid imagination that needed feeding. While TV shows and computer games went a little way to inspiring me, nothing shaped my thoughts like a good book. This was the 1980s, so I caught the tail end of the second golden age of children's literature. I happily lost myself in the vivid, sometimes strange worlds of Nina Bawden, Alan Garner, Leon Garfield and Susan Cooper, while supplementing my addiction with the classics: Kenneth Grahame, E Nesbit, C S Lewis and Eve Garnett. Books build a child, and my career in writing and editing would not have evolved without them.
I was lucky: I had bookish parents, both acting as in-house curators, full of ideas of what I should (and shouldn't) read. Yet if I were small now, I am not sure that I would have the same access to great children's fiction. You could make the usual noises about social media and attention spans, but there are other worrying factors in regard to the 21st-century child.
First, I benefitted greatly from my local library, which had a staggering selection of books both old and new – and we all know what has happened to Britain's libraries. There were, I remember, plenty of friendly librarians, armed with incredible knowledge and an infectious love of reading, who could make recommendations to me. In an age when primary-school teachers were less constricted by a national curriculum, we also had the luxury of "reading afternoons": we could sit and browse the books in both the school library and the shelves which lined our classroom.
There is now also the serious problem of brand recognition. Writers today (whose average salary, in Britain, is down to £7,000 per annum) are unable to gain a foothold in the children's market because they are being muscled out by celebrity names whose publishers can afford the most prominent slots in bookshops and supermarkets.
It never felt like such a problem in the days of JK Rowling's reign: she, at least, was a career writer whose works – though not, I'm afraid to say, that well written – displayed a vivid imagination, and who did a great deal to get children interested in reading.
For the harried parent trying to find a book for their child, a familiar name on a bookshelf is always going to be the obvious option. The Duchess of York went first in 1989, with Budgie the Little Helicopter. But in truth, blame Madonna: 14 years later, her wafty Kabbalah nonsense, The English Roses, started a ghastly trend. Fearne Cotton's Yoga Babies, Katie Price's Perfect Ponies, Clare Balding's The Girl Who Thought She Was a Dog – they all feel like cynical cash-ins.
Perhaps the most egregious example, however, is the comedian David Walliams, now the most successful children's author in Britain. Anecdotally, I'm told by parents who've bought his best-selling books that they're appalling: sub-Roald Dahl (of whom Walliams is a fan), and devoid of heart or writerly flair.
The only thing worse than a child deprived of books is a child immersed in bad ones. Defenders might say that at least a writer such as Walliams gets more children interested in reading, but I see no evidence that he is acting as a gateway drug to better quality gear.
All of this is heartbreaking, because there's so much to recommend. A quick ring-round to friends and colleagues resulted in my being bombarded with names. You should mention Emma Carroll, they said. Julia Copus is brilliant, said another. MG Leonard, Ross Montgomery, Nadia Shireen, SF Said, Katherine Rundell, Jenny McLachlan… Yet with the exception of Rundell, I'm ashamed to say that I hadn't heard of any of them (even if, not having any children of my own, I have a reasonable excuse).
It was enough proof to me that children's literature is as strong now as it was 40 years ago when I was young. So: enough is enough. It is time to attempt to end the depressing monopoly of a small selection of not-very-talented writers. A concert pianist never achieves success by being mediocre, so why should a children's author?
There is, I admit, a slight air of nostra culpa here. Children's fiction has always been the Cinderella of the book world, and we journalists need to work much harder in highlighting works for children. As the children's author and scriptwriter Frank Cottrell-Boyce argued persuasively on Radio 4's Today programme on Tuesday, newspapers run plenty of restaurant reviews, featuring swanky places that 99.9 per cent of the population are never going to actually visit. Books, on the other hand, are comparatively cheap, and even cheaper if they're loaned or shared.
So I'm going to make a pledge. From January, we will review a new book by a children's author once a week. It could be a picture book for younger readers, a novel for pre-teens, or perhaps some Young Adult fiction. It could be a book by an established (professional) author, or a debut by someone brilliant and unknown. What you won't see, I promise, is anything by a non-writer who is pushing larger talents out of the way in order to extend their personal brand."
It seems to me that publishers bear some responsibility for this situation. They certainly know what a good quality children's book is. To favour a celebrity brand-builder, who offers a short-term sugar rush of poor quality sales, over a professional author, who offers long-term sales to happy customers, is making bad business decisions.
Posted in Commentary, Novel types, Publishing, Writers
Are Publishers Becoming Censors?
There is an article by Anita Singh in Yesterday's Daily Telegraph in which Chimamanda Ngozi Adichie is quoted as saying that it is unlikely that Salman Rushdie's novel The Satanic Verses would have been published had Rushdie written it today. Adichie goes on to say that it is unlikely that Rushdie would have decided to write it today.
Chimamanda Ngozi Adichie was born in Enugu, Nigeria in 1977. She grew up on the campus of the University of Nigeria, Nsukka, where her father was a professor and her mother was the first female Registrar. She studied medicine for a year at Nsukka and then left for the US at the age of 19 to continue her education on a different path. She graduated summa cum laude from Eastern Connecticut State University with a degree in Communication and Political Science. She has a Master's Degree in Creative Writing from Johns Hopkins University and a Master of Arts degree in African History from Yale University. Her first novel, Purple Hibiscus (2003), won the Commonwealth Writers' Prize, and her second novel, Half of a Yellow Sun (2006), won the Orange Prize. Her 2013 novel Americanah won the US National Book Critics Circle Award. Her most recent work, Notes On Grief, an essay about losing her father, was published in 2021. She was named one of TIME Magazine's 100 Most Influential People in the World in 2015. In 2017, Fortune Magazine named her one of the World's 50 Greatest Leaders. She is a member of both the American Academy of Arts and Letters and the American Academy of Arts and Sciences.
The article says, "In the first of this year's BBC Radio 4 Reith Lectures, Ngozi Adichie spoke about freedom of speech.
She said: "Here is a question I've been thinking about: would Rushdie's novel be published today? Probably not. Would it even be written? Possibly not.
"There are writers like Rushdie who want to write novels about sensitive subjects, but are held back by the spectre of social censure.
"Literature is increasingly viewed through ideological rather than artistic lenses. Nothing demonstrates this better than the recent phenomenon of 'sensitivity readers' in the world of publishing, people whose job it is to cleanse unpublished manuscripts of potentially offensive words."
Ngozi Adichie said that publishers are also wary of committing "secular blasphemy".
She claimed that the issue went far beyond the publishing world, with young people caught in an "epidemic of self-censorship" because they are too afraid of being cancelled.
The author faced her own backlash in 2017 after stating in an interview: "When people talk about, 'Are trans women women?' my feeling is [that] trans women are trans women."
In her lecture, Ngozi Adichie said: "We now live in broad settled ideological tribes. Our tribes demand from us a devotion to orthodoxy and they abide not reason, but faith.
"Many young people are growing up in this cauldron afraid to ask questions for fear of asking the wrong questions. And so they practise an exquisite kind of self-censorship. Even if they believe something to be true or important, they do not say so because they should not say so."
Ngozi Adichie said the alternative to this "epidemic" of self-censorship was people stating their beliefs and as a result facing a "terrible" online backlash of "ugly personal insults, putting addresses of homes and children's schools online, trying to make people lose their jobs".
She said: "To anyone who thinks, 'Well, some people who have said terrible things deserve it,': no. Nobody deserves it. It is unconscionable barbarism.
"It is a virtual vigilante action whose aim is not just to silence the person who has spoken but to create a vengeful atmosphere that deters others from speaking. There is something honest about an authoritarianism that recognises itself to be what it is.
"Such a system is easier to challenge because the battle lines are clear. But this new social censure demands consensus while being wilfully blind to its own tyranny. I think it portends the death of curiosity, the death of learning and the death of creativity."
Ngozi Adichie called for a raising of standards on social media, and reforms including the removal of anonymous accounts.
She suggested that "opinion sharers, political and cultural leaders, editors [and] social media influencers" across the political spectrum should form "a coalition of the reasonable" to moderate extreme speech.
I agree with Ngozi Adichie that social media needs drastic reform to stop harmful misinformation, libel and threats. She seems to believe that the 'tech' owners of the social media platforms will not regulate properly because of the cost. She is right, but the cavalry is coming in two regiments. One regiment is government regulation and legislation which is starting to be announced and enacted. This will say 'reform or pay billions' and if social media platforms want of survive, they must change their business models. The other regiment is the digital advertisers, who, as the defunding of Twitter shows, do not want to be a part of their customers' misery.
Publishers and authors are different kinds of problems. Publishers have historically had to navigate a fine line between capturing the public interest on the one hand and not causing public outrage on the other. Some authors face a similar set of choices. But neither publisher nor author has an incentive to lie or cover up the truth. On the contrary.
It seems to me that The Satanic Verses is a special case that has nothing to do with current truths or falsehoods. Most Muslims would regard passages in Verses as blasphemous, though is seems doubtful that Rushdie actually intended such severe criticism of Islam. To me, it seems that he intended the dream sequences featuring Mohammad (the Messenger), the polytheistic deities, the devil and the Prophet's companion as a demonstration of how absolutist systems can go horribly wrong – one of the themes of the book. But the author framed the example with fictional characters and action which are completely contrary to Islam.
In September 2012, Rushdie expressed doubt that The Satanic Verses would be published today because of a climate of "fear and nervousness". I agree that it wouldn't be published even today, in 2022, but I wouldn't attribute the decision to 'fear and nervousness'. Today, most publishers would look at the manuscript and think, Muslims won't like it and there will be mass protests. If he wants us to publish it, the dream sequences have to go.
You can call it the 'sensitivity reader effect', but really it's a question about what's good for the business.
Posted in Commentary, Freedom of Speech, Novel types, Publishing, Reading, Writers, Writing best practice, Writing topics
A Banned Author Talks
This week, I've decided to post the commentary from a black, gay author whose book has been banned from US school districts. The commentary is on HuffPost, 24 September 2022. I haven't read the book, so I have no basis for deciding whether it should or should not be banned. But the author, George M Johnson, says he wrote it for 14 to 18 year olds, and it's about his experience growing up, so, if I were a school librarian, I might discourage a ten-year-old from reading it on the basis that he or she probably wouldn't have the life experience to deal with the book emotionally. But, I might not refuse a 15 year-old.
George M Johnson
"It was sometime during 2019, before COVID turned the world upside down, that I had the first meeting with my publisher. Her team and I sat in a room around a table and discussed the strategy — the marketing and promotion, mostly — for dropping my first book, which I'd recently finished. I was truly living my dreams. Amid the excited conversation, something in my spirit told me to ask a question: "What happens if you need security at an event?" They all looked puzzled. One of them asked why I'd need that. "I know this book will be banned, " I replied. "I don't know when or how widely, but I know that it will be."
"A report from PEN America this week showed that my book, having survived various criminal complaints, was the second-most banned in the United States, with bans in 29 school districts. States' continued efforts to ban my work is not easy to wake up to daily. For the past year, there have been constant Google alerts, messages on social media from people calling me a "pedophile or groomer," and other unsavory attempts to deny my story and the very existence of Black queer people everywhere. I never thought I would be at the center of a political issue moving into an election — nor should I ever have been.
"My book, "All Boys Aren't Blue," is a young adult memoir about my experience growing up Black and queer in America. In my story, I discuss growing up in a Black family who loved and affirmed me; the good, bad and ugly truths about what teens really deal with; and my journey through gender and social identity. My life was and still is full of joy, but also include some painful moments involving nonconsensual sex, as well as my experience with losing my virginity. Unfortunately, my sexual experiences have been deemed "an issue" — pornographic by some. To be clear, this book is for ages 14-18 and it contains truths that many of us have experienced and are healing from.
"Books about our experience are not too "explicit" just because they discuss gender, race and other crucial topics that teen readers need to process as they learn about themselves and the world they live in.
"Our books (the banned ones, if you will) often tell stories that are uncomfortable and important. Book banning is nothing new in the U.S., but it has rarely been seen at this magnitude in recent decades. But we can't just talk about book banning without discussing the suppression of storytelling. Books written by enslaved people, that described their reality, had to be written under pseudonyms to protect the authors. Some of the greatest literary icons of our time — Toni Morrison, James Baldwin and even Harper Lee — have had their books banned despite their works being part of the landscape and foundation for many generations of writers.
"But that is why writing and other types of storytelling are such revolutionary rights.They change lives, provide community, and serve as a lifeline for those who feel unseen, unheard and alone.
"When I first wrote my memoir, I kept reminding myself that this was not for the 33-year-old version of me. This was for my 10-year-old self who had important things to say and had been silenced for so many years. And as I wrote about my experience, I felt lighter. I felt freer. I felt I had tapped a power I never knew existed.
"And then I watched as reader after reader, from teenagers to people well into their 70s, discussed how this book made them feel — how the stories healed and informed them. I was told that my simple existence (me being out here and sticking to my intentions) was something that they could hold on to on their roughest of days. And that's the truly revolutionary thing about art. Toni Morrison once said, "If there is a book you want to read and it hasn't been written yet, then you must write it." That's what I did. And while all the book bans are weaponizing my words, I know that they're providing armor for those who have gone through anything I did.
"I have more books to write and more stories to dismantle this system. And I'll be damned if anyone denies my right to write them."
I say, "Carry on, George!"
Posted in Commentary, Freedom of Speech, Novel types, Publishing
Review: Life after Life
This novel by Kate Atkinson won the Costa Novel Award in 2013. Her novel, A God in Ruins,which I greatly admired, also won the Costa. I wasn't quite as taken by her third World War II novel, Transcription, but I was fascinated by the blurb on the back cover of Life after Life: "What if you had the chance to live your life again and again, until you finally got it right?"
The novel begins in 1910 with the birth of Ursula Todd into an upper class English family in the London suburbs. There is a heavy snowstorm at the time and the doctor is unable to reach the house. The chord is wrapped around the baby's neck, and unfortunately, she died. But there is another version where a 14 year-old maid recognises the problem, cuts the chord and the baby survives. And there is another version in which the doctor arrives in time. Similarly, when Ursula is a toddler at the beach with her older sister, they wade out into the sea and they are struck by a huge wave. Ursula drowns. No, she is saved by an elderly artist on the beach. Then, there is the time when she is taken advantage of as a teenager by the American friend of her brother and becomes pregnant. Or is she? No, she bats him away.
The story continues to the run up to the war. Ursula visits a family in Munich where she meets Eva Braun and her older lover, Adolf Hitler. Ursula's family includes some remarkable and memorable characters, like her aunt, Izzie, who is a loose cannon socially, financially and romantically. Then there is Teddy the much-loved younger brother who becomes a bomber pilot and is killed in the war. Or no, he was shot down, parachuted, spent the remainder of the war in a prison camp, and finally made his way home.
Ms Atkinson's descriptions of the London blitz of 1940 when Ursula worked as an area warden are astonishingly authentic, the settings devastating and the characters memorable. There are so many twists and turns in Ursula's life, that one can't be away from the story for very long.
There is a passage which occurs at the beginning and the end of the book in which Ursula assassinates Hitler in 1930 in a Munich cafe with a family handgun which she takes from her purse. She, in turn is killed in both versions, yet she lives to work into the 1950's. Perhaps this is just her imagination of how the war may not have been.
For me, the idea of living one's life again until one get's it right is misleading and doesn't actually happen in the book. Rather, it is a question of slightly different circumstances and reactions of the characters which make for a different result. So, the point for me is how a small bit of fortune – or misfortune – can dramatically change one's life.
Posted in Commentary, Reading, Writers, Writing techniques
Questions for Harry
In an email last year, Harry Bingham of Jericho Writers answered some questions about getting published. The answers are useful for many of us.
"But to get back to the deluge of responses to last week's email, there were a few themes that stood out.
1. Small publishers
A couple of small publishers wrote to me, reminding me their universe constitutes another credible path to publication. They're right. It does. And it's a good route, too. For literary fiction, especially, there are some brilliant tiny publishers who have an adventure and enthusiasm you might find hard to find at a bigger firm. If you have troubles finding an agent (but have reason to believe your book is good enough), then definitely explore a direct submission to a small publisher in your area.
2. Is there a particular problem with literary fiction?
Those of you writing literary fiction seemed to think there was a particular problem in getting your work accepted. Well, yes and no. Yes: in the sense that literary fiction doesn't generally sell a lot, which means publishers – and you – have to work harder to establish a commercial case for your book. As far as you're concerned, that means coming up with an elevator pitch which is compelling, albeit literary. The exemplary case here is Hilary Mantel and her Wolf Hall trilogy. Before Wolf Hall, she wrote terrific, but small, books, that were widely respected but of minor consequence in terms of sales. Then an idea occurred to her with clear "tell me more" potential – and the result was the literary phenomenon of the decade.
In other words, if you're writing excellent literary fiction with a strong elevator pitch, it'll sell every time, I promise.
3. I'm a man, I'm old, I'm …
Yes, most literary agents are white, metropolitan, left-leaning, middle-class women with liberal arts degrees. But for one thing, they aren't all like that. And for another, agents' tastes range right across the market. My own agent represents high-end literary fiction, and serious non-fiction, and heart-warming women's fiction, and crime fiction … and really any book that tells a strong story and tells it well. In the end, it's the manuscript that makes the sale not you. One of the glorious democratic advantages of the slushpile is that agents don't know your age, your background or a great deal else. If you worry (let's say) that your age is a disadvantage, then don't mention it. It's the manuscript that matters. You – thankfully – are somewhat unimportant.
4. How much is personal taste a factor?
It is and it isn't.
It is, in the sense that an individual agent needs to chime with your book. If your book is set at sea, for example, and a particular agent just has a dislike of the ocean, that's probably a tough sell. But you're going to get your book out to 10-12 agents, perhaps even 15. So those personal taste issues even themselves out. And in the end, agents are looking for assets they can sell at a good price. That's a largely objective question. Any two agents will agree much more than not. Finding and selling manuscripts is their job.
5. Is there a self-pub market for X?
There's a self-publishing market for pretty much everything, but especially any sort of genre fiction. t's also a terrific way of selling niche subject-led books that address specific topics. So "How To Prune Fruit Trees", for example, will sell – in small volumes, but constantly – to people looking for help on that exact subject.
The only area where I think self-pub is not likely to help you is with literary fiction. I don't know of any contemporary example of successful self-published literary work.
It's also worth saying that you can't meaningfully self-publish without also marketing your work. Books very seldom sell themselves. But there are tools for marketing and a well-known, well-worn approach that works. Needless to say, Jericho members can get all the help they need there, and for free.
6. Can I make a living from genre X / publishing approach Y?
Probably not. Across the whole of publishing history, it's rare for authors to make a living from writing. That remains true today. You can go into your local flagship bookstore and look at the books on the front tables. Most of the writers there, aside from the world's major bestsellers, won't be able to rely on writing income alone.
That said, the people who make the most money these days are successful and hard-working self-pub authors. If you're happy with the marketing challenge, and write good quality genre fiction, then a regular six-figure income is within your grasp."
I write literary fiction – at least that's what most of it it. Some of it's pretty terrible, some is quite good. It's all self published, in spite my efforts at great elevator pitches. And I have to confess that I haven't put anywhere near the effort I put into writing that I put into sales and marketing. I enjoy writing; for me, selling is a lot less fun.
Harry Bingham of Jericho Writers had some interesting thoughts in his email of a couple of weeks ago.
He said, "Let's talk car crashes."
"What if you have a writing car crash? A complete and total failure?
And, by the way, we need to be a bit careful to define terms here. If you're writing your first novel and you make some plotting cock-ups, that's not a failure – that's just writing.
If you complete your work, edit it hard, then come to us for a manuscript assessment, only to be told that there are still a lot of issues, that too is not a failure. It's just writing.
Same thing, indeed, if you go through the whole process, and send your stuff out to agents, and get some agents wanting to see the full manuscript only, ultimately, to say no. That's disappointing, of course, but really, that's a success. You wrote your very first novel and got it good enough, on that first outing, to have serious agents toying with the idea of taking you on? How is that not impressive?
So, yes, I have high standards for what constitutes a car crash. I think the key ingredients are (A) your work is way below the standard to be expected from someone of your experience – plus, (B) you're completely in the dark about how bad things are. If you have the first element without the second, you don't have a car-crash, you just have an unresolved editorial problem, and we all have those. Again: that's just writing.
But, even on a strict definition, I had a total car crash early in my career – my only really bad experience.
I'd already sold my first book, via a highly contested auction, and the book went on to be a bestseller. So: good outcome, right?
Better still, I'd delivered the draft of my second book before the first was even launched. So: good author, right?
The trouble was that second book was AWFUL. I haven't kept a draft of it and never re-read it, so I now only have a nightmare-style recall of what was in it. But – plotting, bad. Elevator pitch – worse. Writing – subpar. Characters – patchy and (yeugh) a bit icky too.
The draft was so bad that I got called into HarperCollins' nice London offices for an editorial discussion. My editor and publisher, both very nice humans, told me – gently – how bad the book was.
I didn't need a lot of telling. I wasn't defensive. As soon as they started to talk it through, I realised they were right. Luckily, I had plenty of time to do a re-write. So I got home, copied the document into a Drafts folder that I could plunder for paragraphs here and there, then selected the whole document and hit delete.
This bestselling author had just deleted his second novel.
My redraft was about a million times better than the version before, and it was still the least good thing I've ever written. But it's also where I really learned to be a writer. My first novel had just come too easily. The core idea had been a good one. My delivery was fine, or more than fine. But the absence of struggle had also meant an absence of knowhow. I'd read nothing at all about the craft of writing. It hadn't occurred to me that I might need to do so. (We all know how to write, no? You just glue enough sentences together.)
That second novel was a wrestling match, start to finish. I read every book I could find on craft. I didn't agree with everything I read, but even the process of disagreeing made me more reflective, more considered.
And that second book didn't do badly. I got a sort-of film deal for it, which admittedly never quite materialised. The book was shortlisted for one of the big annual writing prizes. It sold a plump five-figures number of copies.
I still don't love the book, but it did OK.
My reasons for offering you this story is threefold:
1. Car crashes happen
They're not terminal. Don't fret. Move on.
2. Use them to learn
I'm a huge believer in the importance of craft.
Writing technique is the sword and shield that protects you from disaster. It won't protect you from mistakes – nothing does. But the better your basic writing craft, the quicker you'll pick those issues up and the more rapidly you'll solve them.
3. Protect yourself
The best way to avoid major problems, however, is to stop making them in the first place. The single strongest tool you have for doing that is a powerful idea for your book. The stronger that idea, the better your delivery is likely to be – and the less any errors of execution are likely to matter. Dan Brown is the ultimate exemplar here. He is a poor writer – but his Da Vinci Code idea was (for his particular market niche) one of genius. You could, I guess, say the same about EL James and Shades of Grey, except that her writing is even worse.
The reason I called my own personal car-crash a worst-best experience is because it made me a far better writer. It was the single biggest learning development of my writing life.
My first book was gifted to me. The rest? They were all worked for. And if I'm technically competent now, that's largely because of the kick in the pants I got from that terrible second novel of mine."
Posted in Commentary, Writing techniques


Today, the House of Commons will again be voting on the manner in which Britain leaves the EU. I want to explain to constituents how I am voting, and why.
Last week, the EU Withdrawal Bill, having already been signed off by the House of Commons, came back for MPs to consider amendments made in the House of Lords. After twelve hours of debate to consider these amendments, the proposal was rejected by MPs and the clauses of the Bill stood as the House of Commons had signed it off. The House of Lords has responded by sending another two back to us along similar lines to those considered or rejected last week.
No deal has been reached by January 2019. In reality, this amendment would give MPs the power to force the Prime Minister to go back to the EU if, as is intended, a deal is agreed between the UK Government and the EU which MPs do not consider acceptable.
There are 650 MPs and I am sure we all have a different view on what any EU deal should look like. Some MPs would believe we should not pay a penny to the EU to leave. Some will not accept any deal which means us leaving the EU single market. Some are pragmatic and sit in different places along the spectrum between these two ends. I just do not believe it is practical to expect 650 MPs to effectively become the hand of the negotiators. Our job, as MPs, is to scrutinise and make law. Admittedly, we usually decide to trigger the change as well but, in this instance, Parliament voted to allow a referendum to make that position. That referendum saw a majority of those who voted trigger the decision that the UK should leave the EU.
Given that my objective is for the best possible transaction for citizens in the UK to now take place, I am particularly concerned that the EU negotiators would use any overriding right of MPs to tilt a negotiation to the EU's advantage. This would ensure that the UK cannot be overly bold in its negotiations, with the EU negotiators relying on MPs to clip the wings of the Prime Minister when the deal or position is returned to the House of Commons. The EU negotiators will confidently tell the Prime Minister that she will not be able to get her terms or position past MPs. It is hard enough negotiating across the table with the EU as it is. We must not weaken our position or increase the chances of terms not being agreed.
As I have stated numerous times, as someone elected by the majority of the vote, I will abide by the decision reached by the majority of all those who voted in the referendum. Accordingly, my job is to now help the UK get the best deal for the future. I passionately believe that however anyone voted in the referendum, putting the national interest first is something which all voters could now unite behind. Not only would this amendment blunt the UK's negotiation hand, it would also be impracticable because the EU negotiators have to settle a position later this year so its 27 member states, and the EU Parliament, can sign it off. There is no ability for the UK, or the EU negotiators to extend time for the UK to have a further attempt at negotiating, Article 50 sees the UK leave the EU in March 2019.
This amendment is, for the reasons set out above, and for many more, not in the best interests of the UK so I will be voting to reject it today.
For constituents who have not been through my views on the EU withdrawal and referendum process up to now, I would invite you to read through the remainder of the website section devoted to the Leaving the EU. I do my best to update constituents with the latest news and views in order for the process to be understood.


Domine, non sum dignus is an exquisite setting of words spoken by a centurion when Christ offers to come to his house to heal the man's servant (Luke 7: 6–7), a text most often used as a preparation before receiving the host at Mass. Byrd displays his usual madrigalian features, especially at the words 'sed tantum dic verbum' ('but only say the word') where the imitation comes thick and fast before the healing of the final section.
Domine, non sum dignus exprime exquisément les paroles prononcées par un centenier quand le Christ offre de venir chez lui soigner son serviteur (Luc 7: 6–7), un texte très souvent utilisé pour se préparer à recevoir l'hostie, à la messe. Byrd déploie ses habituels traits madrigalesques, surtout à «sed tantum dic verbum» («mais dis seulement un mot»), où l'imitation se densifie et s'accélère avant la guérison de la section finale.
Domine, non sum dignus ist eine exquisite Vertonung der Worte, die ein Zenturio spricht, als Christus anbietet, in sein Haus zu kommen und seinen Diener zu heilen (Lukas 7, 6–7), ein Text, der zumeist als Vorbereitung eingesetzt wird, bevor bei der Messe die Hostie empfangen wird. Byrd setzt seine charakteristischen madrigalischen Elemente ein, insbesondere bei den Worten "sed tantum dic verbum" ("aber sprich nur ein Wort"), wo die Imitation sofort danach folgt, bevor der heilsame Schlussteil erklingt.
sed tantum dic verbum, et sanabitur puer meus.
but only say the word, and my servant shall be healed.


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text:
Habs celebrate 110 years | Captains' Reunion
For me, when I meet a legend, it's easy to think about his good moments. It's easy to get caught up in his memories and moments. But it would be nice in 15 years, that the team we have here and the players to have memories that… people can look back on and see we won. [And now, a 24th Stanley Cup banner will hang from the rafters of the famous Forum in Montreal!] [The Canadiens win the Stanley Cup!] Nobody would believe that we would do this. And I guess nobody still believes that we've done it. Some of my obviously earliest memories were, you know, when they won the Cup in '93. You know, they were obviously the last team in Canada to win, and I think I was eight at the time, and I knew at that time how much it, that team meant to the whole country of Canada. Well, I was always racing home, 4 o'clock games, watching Toronto-Montreal on Hockey Night in Canada. That was the big rivalry at the time. For me, it was the Saku Koivu years. It was during those years that I really started watching hockey, and I really got to know the Canadiens. And my biggest memory was when Saku came back from cancer. When I came to Montreal, the history was written all over the walls. Plus, all the legends, we had the chance to meet them too. Just Guy Carbonneau, I played a round of golf with him which was special for me. I had just arrived with the Canadiens and he was a former captain and coach here. Just to get the chance to have someone like him to talk to, to hear what it can be like to play in Montreal, was good. Yeah, I was going through kind of a rough patch early in my career, and I got to talk on the phone with Ken Dryden for a while. And it was a very cool and humbling experience to talk with him and it was special for him to to take the time out of his busy schedule, just to chat it up with me. This year I got to shake Cournoyer's hand, and he came over to me, too. I didn't even… He stared at me, and I was like, "oh… that's kind of cool." And he came right over, and we caught up a little bit. And his smile is amazing. I always get a little bit of a kick talking with Mr. Cournoyer. When he shows his 10 fingers and his 10 rings, and he tells you he had to retire because he ran out of fingers. There are so many legends that have played here, and it's… You know, the opportunity to walk in that room and you know, shake Guy Lafleur's hand… Yvan Cournoyer… All these guys, and the list goes on. It's guys who have got five, ten Stanley Cups, just like it's nothing. It's an honor playing here, knowing the history, knowing the men who have worn the sweater before me. Looking up at the stands and seeing all those retired numbers. Probably the most powerful day was the day that Jean Beliveau passed. Our coach at the time, Michel Therrien, came in the room and just… He was trying to give us an understanding of how important the game meant to Montreal. And we came out and we were flat, and we took some criticism from the city, that game, that we didn't play better for
Jean Beliveau. And as a younger player, I still didn't really understand it. I still didn't really get it, what it meant. And the funeral proceedings were going on, and that was when it really hit me as a young player, how much Jean Beliveau meant to this city and what he meant to the Montreal Canadiens, and the tradition going forward. I'm more focused on like, the whole history of the game. Like, the NHL itself and how much that is built on the Montreal Canadiens history. It's like, you look at the… at all the Greek gods, and to me like… The Zeus of the Gods in the NHL is the Montreal Canadiens. It's… I mean. It's as simple as that.
Tagged and, brendan gallagher, captains' reunion, carey price, game pres, jonathan drouin, paul byron, pregame, Shea Weber, the, was, yt:cc=on
Greg Schiano Returns As Rutgers Football Coach
BSU Hockey Player named WCHA Forward of the Month
30 thoughts on "Habs celebrate 110 years | Captains' Reunion"
Pokemon michael says:
Go habs go
BronteBoy89 says:
I think price needs another chat with Dryden to kick some sense into him
Roland Tinker says:
Playing like they don't care con guys GO HABS GO
Daniel Paquet says:
They need inspiration , well if this doesn't give it to them I don't know what will. GO HABS GO!!!
Philip S says:
N. Never give up
I. It won't be a 9-game losing streak
C. Captain Canadiens
E. Every day: Go habs go!
CommanderCodyHD says:
I wish Patches made it to the reunion, wasn't a good captain but i still loved the guy
philou 13 says:
congratulations 👏👏👏
JoE 420 says:
🔵⚪🔴
🔵BLEU
⚪BLANC
🔴ROUGE
REMEMBER THE HABS
Habs Fan _1984 says:
Greatest Hockey Team Ever. Hands down!
Go Habs Go!
Boo 23 says:
Love this team
Brandonfedor says:
I cant even understand the French parts…but I still sat through the whole video 😂 habs since i was born, habs till the day I diiie.
Juvan says:
kanye track fire
Sean Creswell says:
Great video! Great Team! Great Past, Present and Future! Go Habs Go!
Alexandre Jodoin says:
Ça fait déjà 5 années que nous avons perdus notre #4. Je me rappelle encore de ses funérailles comme si c'était hier
Marc-Olivier Bergeron says:
What is the song in background ?
Daryn Laberge says:
Legends remembering legends. Loved by current hab fans legends. Carried on from the old fan legends. Habs for life.
Drezilla says:
"Cournoyer had to retire because he ran out of fingers" LOL
Alex Teck Goaltending says:
gave me the chills
mickser101 says:
Montreal are the Greatest most storied NHL Franchise ever but they are not the most successful, that honour goes to CSKA Moscow. Fact
O B says:
wow! Impressive how rich this sport's team history is
bobby boucher says:
ses domage quon a pas de premier centre a montreal 🙁 et u bon def pour weber. pe un jour nos taxe vont pas etre trop redicule et jai comprend de pas vouloir signer a montreal 🙁
Dylan Osmond says:
Mohamad Chbeir says:
Gallagher will be a legend one day for the Montreal Canadiens
ällistySSiili says:
Saku Koivu😍
Scott Egbert says:
Wow, Montreal Canadiens is 110 years old! Goes back to the original six! The founding father of the NHL
Daveyboy _ says:
And these Fags cant even MAKE the playoffs !
Coalescence & The Rav3n says:
That was epic
Niko K says:
Should put Koivu up to the rafters.
Ms Goose says:
Wow…110 yrs❤❤❤
IShitOnTheWorld420 says:
The only canadian team I respect.
Im A Canadian living in Ontario, but am a duck fan.
But yeah the Habs are the only CDN team that matters. Toronto, ottawa, vancouver, winnipeg, calgary & deadmonton dont matter!


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Assault Video: How Onyeama, Envoy to Togo, Adesina, Saved Nigerian Passengers
Some Nigerian passengers seen being maltreated at the Gnassingbe Eyadema International Airport, Lome on Saturday in a viral video have been successfully evacuated to the country.
It was learnt that both the Nigerian Foreign Affairs Minister, Geofrey Onyeama, and the Ambassador to Togo, Debo Adesina, had immediately moved in on Saturday after getting wind of the incident where some of the Nigerian passengers were shown being assaulted by airport security operatives.
It was gathered that the Nigerian passengers aboard the Ethiopian Airline from New York got to Lome only to be informed that their connecting flight to Nigeria through ASky Airline was full.
This infuriated the Nigerian passengers, leading to a protest within the airport and for which some of the them were shackled and manhandled.
In the viral video, some people were seen with their hands tied to their backs while uniformed men believed to be Togolese airport security men were seen assaulting a lady who was on the floor.
A man could be heard screaming "This is bad, this is bad."
It was gathered that Adesina, who was said to have briefed the minister, personally went to the airport on hearing the news of the development.
It was learnt that he, alongside the boss of the country's civil aviation company, one Colonel Dokisime Gnama Latta, immediately worked out an arrangement for two flights to evacuate all of the passengers Saturday night.
ASky Airline, which is said to be a strategic partner of the Ethiopian Airline, has been facing challenges in the last three weeks due to traffic volume.
It was learnt that the same airline had almost aborted a trip by former Nigerian President Olusegun Obasanjo, last week when he was on his way to Kenya from The Gambia where he went for election monitoring.
Tags: ASSAULT VIDEOONYEAMA
Ghanaian lawmakers exchange blows over electronic tax bill


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A Tweet For Everything: What Trump Said About the Stock Market Just Six Months Ago
The current President of the United States has shown repeatedly that he is an unstable and ill-informed custodian of the nation's resources. Donald Trump has a tenuous grip on the complexities of economics, and reacts out of panic and vengeance more than careful study and reason. As a result the country has been burdened with policies that work against the interests of its citizens.
About six months ago Trump joined with the Republican Congress to pass a tax reform bill that was widely criticized as a giveaway to the wealthy that would balloon the national debt by trillions of dollars. Trump celebrated the legislative victory at a White House ceremony where he reduced it to flagrantly personal terms saying that "It's always a lot of fun when you win." It didn't get a single vote from Democrats.
Republicans, however, were swelling with pride, despite the unfavorable public response shown in most polls. The Republican Speaker of the House, Paul Ryan, said confidently that "When people see their paychecks getting bigger in February […] that's going to change its popularity, I am convinced." The GOP Senate Majority Leader, Mitch McConnell, gloated that "My view of this is, if we can't sell this to the American people, we ought to go into another line of work."
I hope he's dusted off his resume, because the latest polling shows that the Trump Tax Scam is less popular now than ever. It currently has about thirty-four percent approval from the American people. Which isn't surprising considering the fact that it was crafted to benefit corporations and the rich. Which makes this Trump tweet from December 14, 2017, all the more ironic and sad:
Republican Tax Cuts are looking very good. All are working hard. In the meantime, the Stock Market hit another record high!
Well, that rosy scenario has wilted. Trump told reporters when the bill passed that "the results will speak for themselves." Six months later it's clear that his prediction is true, in the worst possible way. Workers have not received the benefits they were promised. Businesses are taking their profits and putting them into stock buybacks that benefit the executives. Harley Davidson announced today that is the latest company to be moving some of their operations (and jobs) out of the country.
On top of that, the stock market suffered a serious decline on Monday with the Dow Jones down 328 points (1.33%), and the Nasdaq down 160 points (2.09%). The market is negative by almost two percent year-to-date, and is down over 500 points since the tax bill was signed. Even more troubling is that it is off about 2,300 points from its high in January. You don't hear Trump talking about any of that.
Short term movement in the market is never a good indicator of trends over time. But Trump's boasting about the market's performance has blown up in his face because he doesn't understand it in even the simplest terms. And the trading in the wake of the tax bill, Trump's punitive tariffs, and associated red flags in bonds and overseas markets are telling us a cautionary tale. At some point the markets are going to reverse course, as they always do, and it may come sooner rather than later. But Trump's mismanagement of the economy has left us with few and/or weak tools with which to respond. The smart money is taking protective measures, and so should we all.
Trump Maligns the Red Hen Restaurant as 'Filthy', But It's Cleaner Than Trump's Foul Rattraps
Posted by Mark NC on June 25, 2018 at 10:54 am. 3	Comments :
True to form, Donald Trump is once again demonstrating why he is such a divisive and embarrassing figure. Following the incident where the Red Hen Restaurant in Lexington, Virginia asked Trump's press secretary, Sarah Huckabee Sanders, to leave, Sanders illegally tweeted her reaction. In the process she identified the restaurant, its location, and it's owner. This made the business and its staff the target of vile assaults and death threats by outraged StormTrumpers.
Sanders misrepresented the reason for her ouster as being because she works for the President. That's not true. I t was because of her own support for discriminatory practices, mistreatment of immigrant children, and lying to the American people on a daily basis. There is reasonable debate over whether the restaurant should have asked her to leave, but there is no question that using her official Twitter account to call out the restaurant was a violation of federal ethics laws. And on Monday morning Donald Trump escalated that violation to the Oval Office by tweeting:
The Red Hen Restaurant should focus more on cleaning its filthy canopies, doors and windows (badly needs a paint job) rather than refusing to serve a fine person like Sarah Huckabee Sanders. I always had a rule, if a restaurant is dirty on the outside, it is dirty on the inside!
Technically, the ethics law that Sanders violated does not apply to the president or vice-president. They are specifically exempted for some reason. However the underlying ethics still apply. And Trump's rabid outburst is further proof of his crudeness, dishonesty, and unfitness to serve. His intention is clearly to bring harm to a private business because of political differences. And it's consistent with his sociopathic tendencies and lust for personal revenge.
What makes this even more disgusting is that Trump is maligning the Red Hen falsely. The restaurant has no outstanding violations of any health regulation. But Trump cannot say the same thing about his gross restaurants. The Daily Beast has compiled the rap sheet on Trump's businesses. Here are a few excerpts:
The Red Hen "passed its most recent health inspection with flying colors. State authorities found no violations when they visited the restaurant in February, and gave the Red Hen their best possible health-risk rating."
"In April, Washington D.C. inspectors visited the Trump International Hotel and found 10 health-code violations, including raw meat stored above ready-to-eat foods and containers of flour stored next to a hand sink that lacked a splash guard. Inspectors also found that the hotel was operating a number of on-site kitchens without city permits to do so. The hotel was given a 'moderate risk' rating based on that visit.
"Inspectors conducted a follow-up visit in May, and found that the Trump hotel had failed to comply with instructions to correct some of those violations, including the permitting issue. It maintained the "moderate risk" category."
"BLT Prime, the steakhouse at Trump's D.C. hotel, had many of the same issues. It was also given a 'moderate risk' rating in April, when inspectors recorded the same raw-meat storage issues as the hotel and a lack of signage in the kitchen instructing employees to wash their hands."
"Trump's Doral golf club outside Miami has fared even worse: Between its main kitchen, banquet hall, cafe, patio grill, and bungalows, inspectors have found 524 health-code violations since 2013, including a number that resulted in fines. Among inspectors' findings were multiple spottings of live and dead cockroaches (they noted 20-25 live ones visibly present in the main kitchen during one 2015 visit), 'slimy/mold-like build-up' in coolers and freezers, and holes in kitchen walls."
If Trump really wants people to abide by his "rule," they should avoid his establishments like the plague (literally). What he's done by posting this unethical attack is provide additional evidence of what a nauseating person he is, and what nauseating businesses he runs. There is one thing certain about his rule that most Americans can see: Donald Trump really is "dirty on the inside."


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The mojo behind the MOBOs, Kanya King
Home The mojo behind the MOBOs, Kanya King
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Bernardo Moya, May 28, 2013 August 29, 2016 , Features, Features, Interviews, June 2013, African, amy winhouse, Awards, bernardo moya, beyonce, emeli sande, interview, Kanya King, MOBO, music, music awards, music promoter, rita ora, success, success story, tulisa, 0
A pioneer in the urban music industry, Kanya King, founder of the MOBO Awards, has quite a story to tell. Bernardo Moya gets her to tell it to us.
Effortlessly stylish with an air of old school charm, Kanya King breezes into the studio and settles down for our interview. But life hasn't always been this glamorous for Kanya.
"I'm one of nine children, and I'm the youngest girl. In fact 'Kanya' means the youngest one", says Kanya. "My family definitely faced discrimination. My parents came here at the age of 18 roughly to pursue their goals, and they came here at a time when there were a lot of jokes about the Irish and you'd have notices and boards on windows that said 'No Irish, No Blacks, No Dogs', so you can imagine. And my mother being from Ireland, my father being Ghanaian with a strong African accent, people would make fun. Discrimination was rife at that particular time in the '60s. I think sometimes my mum would try to find somewhere for us to live, and she'd have to persuade the landlord to rent a flat to us, then when my father came home from work they'd kick us out. I suppose being a strong Irish woman, my mother had to get on with it really. She had to provide a roof over our heads so it was hard."
Despite these hardships, her father had faith that Kanya would become a success in this society. He told her something that really resonates with the whole theme of this publication – he said to her "be the best you can be". This spurred her on to make something of her life. A natural innovator, Kanya looked for a gap in the market – something that was in tune with her passions and she stopped at nothing to make it happen.
"Growing up in a family loving music, listening to different genres and having a lot of friends that were phenomenal musicians", Kanya remembers. "But there was nothing that they could aspire to." This is why the idea of the MOBO Awards was germinated. "To be honest, MOBO is not something that I set up to do. I wanted someone else to do it. I was hoping someone else would put on a show where the kind of music my friends and I were into was featured – Hip-Hop, R&B, Reggae. This was what young people were listening to and there was no vehicle or platform where young people could aspire to be on. We have phenomenal talent here in the UK and so I started putting on gigs in my spare time. From no money, because I had no money to market it, just pure word of mouth, which is obviously the strongest form of marketing. And it's low cost."
Looking at what MOBO has become, it is difficult to believe that it wasn't smooth-sailing from the start. When Kanya came up with the idea for the MOBO Awards, Brit Pop was in its prime and not much attention was being given to urban music in the UK. However, Kanya isn't one to give up on her dreams, she fought through and like the resourceful woman that she is, she made a plan.
"I thought to myself, if you believe in it so much, put your money where your mouth is", Kanya says. "I was fortunate because I got on the property ladder from an early age. Coming from a large family, I couldn't wait to move out, so I got on the housing ladder and then re-mortgaged my property."
When the MOBO Awards finally became a reality, the first ceremony in 1996 meant a landmark in the urban music industry. And pulling it off was an achievement against all odds, being put together in just six weeks! If you know anything about event management – even if your only experience is putting together a children's birthday party, then you know that it's no mean feat. The MOBO Awards are associated with the crème de la crème of urban music and have gone on to become a template for that entrepreneurial spirit that has inspired many other companies to set up in business, but how did Kanya get these big names involved in this start-up project?
"They weren't all big at the time; there were some unknown talent that we spotted so we were able to give them a platform," she says.
Since then the awards have gone from strength to strength. It has helped cement the careers of many young artists, from Rita Ora to Emeli Sandé and Amy Winehouse, to name a few. The fact that Kanya has had the opportunity to help make these musicians' dream a reality is something she is very proud of.
"We've been fortunate that we've seen incredible talent coming through", Kanya says proudly. "An unknown Amy Winehouse performed for us. She had an incredible voice and just really mesmerised the industry. What people don't realise is all the hard work and graft that artists like this put into trying to be a success in the music industry. When N-Dubz won Best Newcomer, they said to us they were on the verge of giving up. Their manager had died, they'd been dropped by their label and then they got this platform and a huge amount of support from us and that changed everything for them."
Starting something like the MOBO Awards takes a very business minded person with an entrepreneurial drive. This is something that Kanya seems to have in abundance.
Kanya King is an inspiration as she is representative of a minority group – women in business which sits at about 16 per cent in the UK. She has made something out of nothing and the legacy she is creating is really something she should be proud of. Over the years she has supported various social initiatives, been on numerous panels and inspired many young and older people lately also via speaking engagements for students, starting and established entrepreneurs around the country and beyond.
MOBO has meanwhile become the essential destination for music, the ultimate community digitally whilst still remaining the place that up and coming artists use as a stepping-stone. MOBO believe that any young person regardless of their background should have the opportunity to discover their creativity and fulfill their potential. Through providing the platform whether it be via MOBO.com, Acoustic sessions, MOBO UnSung talent support or tours, MOBO hope to help young people make the most of their lives through the power of music.
All Kanya's achievements have culminated in an event that would be the highlight of many people's lives – she was presented with her MBE by Prince Charles at Buckingham Palace.
"It was so surprising! At that time I had never even known anybody who received that honour before. I got sent this letter saying that the Prime Minister wishes to recommend you for the Queen's birthday honours list. I thought someone was playing a joke on me."
Shortly afterwards she was invited back to the Palace along with JK Rowling and Cherie Blair for lunch with the Queen. This event was to celebrate exceptional achievements by British women. This has been followed by a Fellowship, a few Doctorates and this year she was taken up in the top 100 list of most influential women in the UK (Radio 4 – Women's Hour).
Kanya has accomplished so much in her life, but there are no signs of her stopping or even slowing down. With plans in motion to expand the MOBO Awards internationally, she speaks of the future with relish.
"Now the MOBO Awards Show goes out to an audience of some 350 million people around the world. We've taken MOBO out to other territories before and will be doing more of that as the demand for MOBO and MOBO Music is huge. Just want to continue to innovate, hopefully – continue to pioneer and continue to do things that we're passionate about and help support the next Emeli Sandé, the next Amy Winehouse."
Kanya King at a glance
Kanya is an assertive, soft and gutsy woman
A woman who, from early years, had a very clear vision of who she wanted to be and what she wanted to achieve
She is in touch with her roots and origins and has high moral values
She believes that hard work and the right attitude are key
She comes across as a woman who won't take no for an answer
She has very clear ideas regarding entrepreneurship and business
About Bernardo Moya
Bernardo is the founder of The Best You, author of The Question, Find Your True Purpose, an entrepreneur, writer, publisher, TV producer and seminar promoter to some of the biggest names in Personal Development. He is editor-in-chief of The Best You magazine – a fascinating voice in the Personal Development world.
http://www.bernardo-moya.com
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Finance and technology: Interview with Shane Caniglia
The Best You, February 11, 2014 August 29, 2016 , 21st Century Living, 21st Century Living, Interviews, March 2014, apps, education, finance, games, rich dad poor dad, shane caniglia, technology, 0
Shane Caniglia was searched out by The Rich Dad Company to take on the President position and spearhead technology...
What does it take to be a director?
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Part of being the best you can be is focusing on what it takes to get there. We're...
Oprah Winfrey – The Name of Success
The Best You, July 22, 2013 August 29, 2016 , August 2013, Features, Features, august, cover story, hard life, issue, oprah, Oprah Winfrey, successful, talk show, television, wealthy, 1
Oprah Winfrey is the world's first African-American woman billionaire, yet she had none of life's advantages. In many ways...
7 Little Letters That Spell Emotional Independence by Gillian Jones
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Becoming confident and improving your self-esteem can be a scary task. Gillian Jones, co-founder of Emerge Development Consultancy, gives...
The Creative Entrepreneur: an interview with Michael Jacobsen
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Michael Jacobsen tells The Best You about his brand of entrepreneurship. Although the millionaire businessman comes from a showbiz...
Paul McKenna – A Self-Educated Man
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In the past 20 years, Paul McKenna has been one of the world's widest-reaching life-changers. With his groundbreaking...
Modern Family by The Best You
The Best You, May 25, 2013 August 29, 2016 , June 2013, Live Love Legacy, Live Love Legacy, editorial, families, family, june issue, live love legacy, modern, modern family, relationships, the best you, the best you magazine, 0
Perceptions of the family unit have changed a lot since the nuclear family heyday of the 1950s, and...
Time to think by Elliot Kay
The Best You, March 29, 2016 August 29, 2016 , Interviews, March/April 2016, The Best Practitioners, business growth, Elliot Kay, mentor, sales, Strategy, The Best Practitioners, The Best You Expo, turnover, 0
Elliot Kay has a vision for his clients' businesses' growth, and it all starts with strategy – Tell...
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Honduras Football Fans - Wednesday, January 27th, 2021
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Following Honduras at the World Cup!
WIGAN CHASE ESPINOZA
by isport on January 16, 2013 February 13, 2017
The Premier league club Wigan Athletic have had moved in to secure the signing of the Honduras midfielder Roger Espinoza. The 26-year-old has been signed from the MLS club Sporting Kansas City.
Due to the fact that he now has a work permit to play in England, he is expected to be handed his first taste of English football in the FA Cup third-round match against Bournemouth. Wigan have had a lot of success with signing Honduras players with several from the past like Wilson Palacios and Maynor Figueroa having important roles at the club.
Roger Espinoza has been in the United States of America since 12 years of age. The new manager Roberto Martinez has stated that foreign players usually require time to settle at the club, but Espinoza is extremely keen on showing what he can do that he is likely to play against Bournemouth. This is one of the numerous fixtures that will see Premier league position being pitted against lower league opposition in the third round of the FA Cup this season. The transfer fee paid by the club has not been revealed. Espinoza was one of the impressive players for Honduras at the London Olympics 2012.
"Usually players would have more time preparing for their debut and getting used to their new team mates, but Roger is so desperate to play as soon as he can that we hope to see him on the pitch on Saturday. He is an excellent talent and every time we have seen him play he has shown the desire that as a club we like to see from our players. The Olympics in the summer gave a great example of just what he can do on the pitch, especially in his performances against Spain and Brazil," said Roberto Martinez.
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