Late orders, incomplete orders, and orders where quality has been compromised will only cost you money, and it may even jeopardize your relationship with your customers. Every product on your shelves and every plate of Hispanic food you sell must be consistent, fresh, and most importantly, available. Nothing is worse than telling your customers that their favorite Mexican food dish is not available, or hearing complaints from customers that you don't have the products they need.
When you order from our Mexican food suppliers, you can trust that your order will be in stock and delivered in a timely manner. We pride ourselves on establishing a relationship based on trust with each and every customer we work with, so if you have any special needs, don't hesitate to ask one of our Mexican food distributors.
Quality customer service is another core business principle we maintain, and it's yet another reason why we've been doing business in the Seattle region for so many years. When you need help, simply give us a call and one of our friendly customer service representatives will be ready to answer your questions concerning any of our Hispanic food products.
Today's restaurant industry is more competitive than ever. For your Hispanic or Mexican food restaurant to succeed, you have to offer quality food at a reasonable and competitive price. Whether you run a taco stand or offer more complex traditional Mexican fare, you have to prevent food cost overruns that kill profits and could lead to business failure.
All of our authentic Mexican and Hispanic foods are sold at wholesale prices. By shipping direct and eliminating the middle man, we can offer our valued customers the best prices on just about any food item you need to create culinary masterpieces that will keep your customer's mouths watering.
Best of all, you can count on the quality and freshness of our products, even when ordering perishables like seafood and dairy products. The timeliness of your delivery always guarantees that you have the ingredients you need to cater to the Mexican food lovers that frequent your Seattle restaurant.
If you own a grocery store that caters to the Hispanic community, then you have unique demands that must be met. Your customers demand variety, freshness, and an affordable price. You can only make money if your Mexican food distributor ensures you get the products you need in a timely manner.
It's especially important to offer fresh dairy and seafood products, and the only way to accomplish this is by working with reliable Hispanic food distributors that understand the importance of timely delivery. If your shelves are empty, or your Mexican food products are of poor quality, you will lose customers to other grocery stores that can accommodate their needs.
Additionally, brand recognition is vital to customer satisfaction when you're in the grocery store business. We are wholesale Mexican food distributors that offer the brands that your customers want. Keep your grocery store customers coming back week after week, by making their shopping experience pleasant and affordable.
For well over twenty years, Los Compadres has been the distributor of choice for grocers and restaurateurs who use wholesale Mexican, Central American, South American, and Caribbean foods. When reliability, freshness, and quality matter, you can trust that the distributors at Los Compadres will provide you with the highest levels of customers care.
We value every customer, and we are happy to work directly with you to solve problems, keep you happy, and ensure that you get the Mexican food products you want at the best price possible. If you would like to know more about our Mexican food distribution company, we invite you to visit our facilities in Federal Way. You can also contact us by phone and talk to a customer care representative who is more than happy to provide you with the information you need.
Our number-one goal is to help your business succeed by offering the most reliable, consistent, and quality Hispanic food products available. The success of your grocery store, restaurant, or catering services hinges on the level of service that your supplier provides to you. Make sure you're working with the most trusted and reliable Mexican food supplier in the Greater Seattle area. We offer consistency, reliability, brand recognition, and the most affordable prices on fresh, quality products.
Contact us today, or place an order using our handy online store, and find out why we are the Mexican and Hispanic food distributor of choice serving the Seattle area.


‡Things are likely to get more complicated when one starts playing with the spin state of the molecule. Here it is modelled as a closed shell singlet, but open shell (triplets) may well also decide to get involved. †By virtue of a hidden intermediate (HI), which can be seen at IRC = +2, where the symmetry breaks and an unsymmetrical product forms exothermically. This really is an artefact of using just a naked Be atom in our game.
This entry was posted on Monday, August 4th, 2014 at 9:16 am and is filed under Interesting chemistry, pericyclic.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Using a polar bond to flip the (stereochemical) outcome of a pericyclic reaction. is licensed by Henry Rzepa under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.


High-end Emaar residential building rising 44 storeys and consisting of 276 apartments.
Al Sahab 1 is a 44 storey tower that is part of the Al Sahab complex which has one other building (Al Sahab 2). These two buildings are considered to be amongst the best projects in Dubai Marina. Al Sahab complex borders the Marina Promenade complex (also by Emaar) where there are a range of high-end restaurants and cafes.
Get general information and commentary on Al Sahab 1.
Origional and High quality images of Al Sahab 1.
What's it like to live or own in Al Sahab 1.
These tables provide an average sale and rental price by number of bedrooms in Al Sahab 1. This average is based on a summary of live listings on Propsearch.ae. These are asking prices not transaction prices.


The LI range of internal air source heat pumps has seven models with heating outputs ranging from 9kW to 40kW. The LITES units are designed for indoor installation on an external wall or in a corner, making them ideal for installations where it is not practical to install an external unit.
The SITU range of ground source heat pumps is able to meet heat loads from 18kW to 138KW with a single unit and if banked together can achieve outputs up to 1932kW. The high efficiency design delivers excellent seasonal performance which helps to meet building regulations and reduce running costs.
Reversible brine-to-water heat pump with waste heat recovery in cooling operation.


Feel Good Group – Is your work space supporting or sabotaging you?
You're a busy woman! You have a home to take care of, a family to look after, and on top of that, you decided to run your own business. You're passionate about what you do, you love your work, and still, you feel like there's something missing.
You've got it going on, you have happy customers, it's all ticking along nicely. But shouldn't you be getting better results for the effort you put in? Is this as good as it gets?
You get those things down pat, you'll be flying in no time. And guess what? I can help you. And I'd love to.


Oof. That was an exciting night. There are only 11 players left, at least 2 of which are mafia and probably more. If we stop and think, maybe we can figure out what happened.
I'm interested in knowing why gurev voted for me.
Are we at a point where we can immediately assume that everyone who is cleared for any future kills is probably not mafia? As in, do we think Sir Nico was mafia, and therefore there's one bad person left?
@achester, what was up with your investigation proxy about m2w?
pretty unlikely mafia plot, considering that if true achester dies soon. if achester doesnt die, then we will know thats its elaborate mafia plot. which makes me question why do elaborate plot when it will be clear that it is a lie.
Yep, that was my secret admirer investigation; I didn't have time to actually proxy it, so I "proxied" for myself.
tl;dr: vote for Chiller for today.
5-2 kclisp: The missing bad guy?
Is there a reason nico couldn't have done that?
If Nico did, then it looks like m2w and Sir Nicoeus both made kills on two consecutive days, which requires both scheme and an extra-kill role. That doesn't rule it out, just makes it less likely.


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Vague Patch Notes: The many flavors of 'boosting' in the MMO genre
The other day MOP's Bree and I were having a discussion about boosting. This is not entirely unusual, but it was unusual insofar as the reality is we were talking about multiple totally different kinds of boosting that have entirely different causes, effects, and expectations. This of course prompts the reasonable commentary that there are a lot of different things that the MMO community refers to as "boosting" at the moment, and they're not all the same, and they all have different impacts, and all of them are at varying degrees of acceptability.
Unfortunately, this is just a reality of the world we live in. The term "boosting" has become overloaded whether we like it or not, and a whole lot of things that used to be called something other than boosting are now all called boosting, and so it's worth examining all of the boosting we have and which boosting is good, which is bad, which is neutral-if-a-bit-shady, and so forth. Let's talk about boosts, baby.
The origin of the term "boosting" in this genre is hard to be sure of, since it refers to… you know, an actual thing. As near as we can guess, though, the term was inherited for MMOs from the well-known and ill-regarded practice known as Elo boosting, which is basically a result of people trying to game their Elo ratings in competitive games like League of Legends. (Fun fact: As part of the research for this article I learned that the Elo rating is named after its creator, Arpad Elo, a Hungarian-American physicist who developed the system for chess. The more you know!)
Elo boosting is usually frowned upon in MOBAs since it involves someone intentionally throwing the match to artificially inflate someone else's rating. The idea is making someone eligible for more desirable placement or advancement via a higher rating, although what it really means is gaming the system in a way that's harmful to people who are playing legitimately. Usually it results in the boosted players losing their ill-gotten ratings pretty quickly anyhow, since they don't actually have the skill to get or stay there.
So it appears that the terminology was imported into MMOs, where Elo ratings aren't as much of a thing throughout the game, but there are still some different things related to boosting. Notably, basically all "boosting" runs in MMOs are sold either via real money or in-game currency, which may or may not be possible to exchange back into some value. The former is definitely not acceptable; the latter sometimes is but is usually discouraged.
So what is boosting in an MMO? Well, the broad definition would be "getting something that you didn't earn through skillful gameplay." But there are a lot of things that qualify, so let's just run down a quick list of common types of boosting:
Expedited leveling through exploits and tricks that involve clearing enemies quickly with minimal risk and no participation by the boosted player. This has become a pretty consistent problem in WoW Classic, where this kind of boosting is so endemic that Blizzard sprang into action to stop it… after it had been ongoing for years since the classic servers launched. Right intent, but lacking hustle.
Improving ratings in some form of competitive play, either by being carried by much more skillful players through PvE content or by having the other team throw the match in PvP content. World of Warcraft's consistent problem with boosting of M+ keys and boost runs being sold openly falls under the former category; basically any structured PvP format has accusations of the latter.
Carrying people through content they otherwise are unable to clear for achievements, unlocks, or even bind-on-pickup loot. How possible and realistic this is depends a lot on the game. People will definitely carry a spare member through content in Final Fantasy XIV, but rarely on current progression stuff, and because of the structure of the game it's often easier (and definitely cheaper) to just assemble groups for older things. But it does happen.
I could go on, but the point is made. The goal of any kind of boosting is basically to simply buy your way past the problem. Is this raid too long and you don't feel like learning the mechanics? Find someone to boost you. Don't feel like actually leveling? Buy a boosting group. Want that championship reward for PvP without actually developing the skill to get into the winner's circle? Buy a boost only to realize it only gets you part of the way and the gold ring still eludes you. Shame.
None of these things is new in the MMO sphere. We've had variants on these for ages. Back in the original Guild Wars people would happily sell you "runs" to Droknar's Forge, a run that I actually paid for (with in-game gold, obviously) on an alt when I just wanted to get her kitted out early. Powerleveling is hardly new, and back in Final Fantasy XI it was considered both intensely kind and polite even if it was generally not terribly efficient.
And yet if you look at any talk of boosting, it's usually regarded as awful. So what gives? What's the deal with this having been a common thing for years but people are now finding it particularly distasteful? Well… it's complicated.
Two big things have changed over the years in terms of MMO design. The first is business models. Whereas buying a raid spot in World of Warcraft back in 2005 was pretty lame but still meant you had to earn all of that gold somehow, buying an M+ boost now can be as simple as taking out your credit card and buying a WoW Token through legal channels. Even in games without direct currency exchanges, there's still an RMT ecosystem, and opinions on that have only gotten more negative over time.
But the other thing that's changed is that some games have gotten more top-heavy over the years. WoW is kind of a perfect case study in this regard. With more and more difficulty levels and more and more competition over gear, and M+ runs adding a competitive aspect on to just dungeon runs… at a certain point you get the sense that the game is actively encouraging you to spend money and just buy a run, either because it's too difficult or too time-consuming to be worth bothering with otherwise.
And the games where these boosting issues are the most pervasive are also the ones where the people in charge seem either wholly unconcerned or actively complicit in the system. It's not good when players are doing something that leaves a bad taste in the mouth of others and the people in charge say "sounds great," after all.
Is there a solution to the problem? Not a single solution, no, because as demonstrated, there are lots of different kinds of boosting and lots of things that could be considered in the same wheelhouse (or at least seen as adjacent). Rather, the best thing to understand is that it's a problem that doesn't necessarily have to be a problem.
Put another way: The more your MMO relies on an exclusionary setup, the more people are going to want to pay to bypass it. The fewer direct means you allow for that, the more people will rely on shady boosting tactics. So from a design standpoint, you just have to make sure that your structure is inclusive.
Which… in some games is the opposite of the design goals. Therein lies the problem.
Sometimes you know exactly what's going on with the MMO genre, and sometimes all you have are Vague Patch Notes informing you that something, somewhere, has probably been changed. Senior Reporter Eliot Lefebvre enjoys analyzing these sorts of notes and also vague elements of the genre as a whole. The potency of this analysis may be adjusted under certain circumstances.
ffxi
mmo design
wow token
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Perfect Ten: 10 MMOs that waved goodbye without ever making it to launch
Massively Overthinking: The problem with MMO 'dailies'
Perfect Ten: The unique pitfalls of licensed MMOs
Vague Patch Notes: Returning MMO players need tutorials too
Vague Patch Notes: Having fun in an MMO doesn't actually mean it's any good

redpajama_set_name: RedPajamaCommonCrawl


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All posts tagged: Exhibition review
Curatorial Fabulations: Difference, Subversion, and Exhibition-as-Form in 'Outliers and American Vanguard Art'
Published by Kendall DeBoer
Review of Outliers and American Vanguard Art written by Kendall DeBoer, University of Rochester Outliers and American Vanguard Art: National Gallery of Art, Washington D.C., January 28 – May 13, 2018 High Museum of Art, Atlanta, June 24–September 30, 2018 Los Angeles County Museum of Art, November 18, 2018–March 18, 2019 Seraphine Louis, "Feuilles," (c. 1928), oil on canvas. Attempts to highlight non-canonical artworks and their makers tend to fall into common traps. Some fetishize the identities of the artists; others gloss over identity in favor of formalist readings. Many erase narratives of inequality that the artists had intended to address with their reparative work. Lynne Cooke's exhibition Outliers and American Vanguard Art, remarkable for its breadth and depth, evades these pitfalls in its examination of difference. Cooke's show presents an ambitious, complex web of works connected across aesthetic, temporal, geographic, cultural, and political lines. Through her curatorial choices informed by her practice of critical fabulations, Cooke proposes new areas of inquiry and inspires meaning-making in a field that has often felt foreclosed and inaccessible. …
How Heritage Feels: An Artist's Sensuous Archaeology of Iraqi-American Relations
Exhibition review by Hilary Morgan Leathem, University of Chicago Figure 1 Michael Rakowitz, Backstroke of the West, Installation view, Reproduced with permission of Museum of Contemporary Art Chicago. Michael Rakowitz: Backstroke of the West, Museum of Contemporary Art Chicago, September 16, 2017—March 4, 2018. "It bemoans its lost wisdom There's nothing left Its heritage is lost And one question follows the other…" —Tarek Eltayeb, "A Hoopoe"1 While heritage has become a subject of sustained interest across disciplines in the last few decades, most studies focus on its economic dimensions, allowing the moral, symbolic, and affective power of heritage to fall to the wayside.2 A recent exhibition at Chicago's Museum of Contemporary Art, Michael Rakowitz: Backstroke of the West, curated by Dr. Omar Kholeif, gives us a window into how to address this absence, exploring the moral economies of history and heritage, in part, by reconstituting missing, looted, or destroyed artifacts from Iraq. It also builds on the assertion that there still remains a palpable disconnect between the socially constructed "self" and "other," "us" and "them," …
If Only Radiation Had Color: The Era of Fukushima
Exhibition review by Line Ellegaard, associate lecturer at The University of Copenhagen. "If Only Radiation Had Color: The Era of Fukushima." X AND BEYOND, Copenhagen. April 1, 2017 – July 2, 2017. In March 2011 a 9.0 earthquake hit the near-off shore of Japan creating a tsunami that, caused tremendous damage on land, initiating a series of explosions, and the meltdown of three reactors at the Fukushima Daiichi Nuclear Power Plant owned by the Tokyo Electric Power Company (TEPCO). The ensuing release of radioactive material contaminated a large part of Fukushima and prompted the evacuation of another 154.000 citizens, in addition to the 470.000 already evacuated because of the earthquake and tsunami.1 During summer 2017 a three-part exhibition-series at X AND BEYOND surveyed work made by contemporary Japanese artists in the wake and aftermath of this nuclear disaster. "If Only Radiation Had Color: The Era of Fukushima", co-curated by director of X AND BEYOND, Jacob Lillemose, the Tokyo based curator, Kenji Kubota, and independent critic and curator Jason Waite, looked at reconfigurations of the social in …
My East Is Your West
Review by Sophie Knezic, University of Melbourne. Shilpa Gupta and Rashid Rana, My East Is Your West. 56th Venice Biennale. May 5 – October 31, 2015. A satellite exhibition of the 56th Venice Biennale, My East is Your West was presented at the Palazzo Benzon, whose interior architecture of adjoining rooms, narrow corridors and cordoned-off, dimly-lit spaces suggested a mise en abyme of thresholds and crossings. Commissioned by the Gujral Foundation, conceived by its Director Feroze Gujral, and curated by Martina Mazzotta and Natasha Ginwala, the exhibition juxtaposed Pakistani artist Rashid Rana and Indian artist Shilpa Gupta's respective explorations of geographical divides and subcontinental tensions. As nations locked in postcolonial conflict for much of the second half of the 20th century, neither India nor Pakistan has had the privilege of a permanent national pavilion at Venice, making this a particularly pointed curatorial pairing. Choosing to deploy a method of appropriation, Rana covered two walls with pixelated digital prints of two canonical works from Western art history: Caravaggio's Judith Slaying Holofernes (1598-99) and Jacques Louis David's Oath of the Horatii (1784), …


Nov 30 2010 ? Nov 30. In some countries, like the Netherlands, FOIA-requests can take a very long time. Some agencies have such slow systems that queries for recent digital documents can last up to two months, easily. When data is released a lot of crucial data is often withheld triggering a slow legal procedure. Fortunately for many documents there is a better, quicker way to get more and quicker info: file a FOIA in Norway.
Compared to many nations the Norwegian government is more transparent. For starters all government-documents can be found in an online register: http://www.oep.no/ (English description). Don't worry if you don't speak Norwegian, because Google Translate (http://translate.google.com/) will help you out. Through an advanced search you can query for subject, party involved and of course the age of the documents. In principle all documents should be in the system, because it is a crime not to enter all information in the national document register.
As soon as you find something of interest you can easily add this to a basket like in any webshop or search for more related documents with the same casenumber. As soon as you are done you "check out" from the webshop by leaving some details, like your e-mail address. Of course the service is free. In some cases documents won't be released for restrictions in the FOIA, but in most cases they will. Sometimes documents may arrive in minutes but in other cases you'll have see a response within a few days. The law says they should answer within three days, but mileage may vary and sometimes you have to wait a week.
The good is that the documents are less redacted than in other countries and often help finding clues what to ask in slower operating FOIA-systems. For starters this is a easy way of getting access to information, understanding policy and getting a feeling for topics you want to research. Beginning is simple: take some time to understand the site, experiment and start searching. In less then ten minutes Per Anders Johansen from the Aftenposten learned me how to begin and my first Dutch stories are bound to be published soon on Norwegian FOIA-requests.


Cake Wrecks: This site had me laughing so hard I couldn't breathe. Funny mistakes, and some desserts that are just plain wrong.
The "Blog" of "Unnecessary" Quotes: For the grammar geek who needs a laugh. Has a blogroll of "humorous" grammar sites.
Passive-aggressive notes: For the non-confrontationalist in each of us.
Bad Parking: Now you have a place where you can rant about those annoying people who don't know how to park.
Now, why can't my research always be this fun? Got any humorous sites to share?
NO I must not go to these sites. Quick… erase now.
I go to YouTube or watch American Idol auditions if I want to get a good laugh.
Oh no, Christine! You've got to check out the passive-aggressive site… hilarious! Thanks, Gwen!!
Cake Wrecks and Unnecessary Quotes were my two favorites, but I try not to spend too much time at any of them. I did have fun researching, though!


Pinot now serves as the data analytics foundation for at least 25 products in the LinkedIn portfolio, including popular features such as "Who Viewed My Profile" and "Who Viewed My Posts."
LinkedIn is open sourcing one of its newer big data products crafted in house in a move to satiate developers.
Pinot was first uncorked last fall as the social network's new web-scale real-time analytics engine.
Cultivating for roughly two years, Pinot was designed for monitoring, managing, and utilizing massive quantities of big data generated by multiple products across LinkedIn's budding empire of professional social and digital publishing products.
"Pinot was born as an answer to our problems," wrote LinkedIn engineer Praveen Neppalli Naga at the time.
Pinot now serves as the data analytics foundation for at least 25 products within the LinkedIn portfolio, including popular features such as "Who Viewed My Profile" and "Who Viewed My Posts."
Since September, Pinot has piqued the interest of many "consumer internet companies," according to Kishore Gopalakrishna, a software engineer specializing in data infrastructure at LinkedIn.
Gopalakrishna elaborated in a blog post on Wednesday that these other unnamed organizations with "similar needs" as LinkedIn could benefit from Pinot's support for crunching real-time analytics at massive scale.
As far as LinkedIn goes, those needs previously included drumming down response times to sub-seconds, near real-time data refreshing and a system that could still serve up data-based insights even as hardware goes down.
But gifting Pinot to the open source community is not necessarily an act of pure generosity as Gopalakrishna acknowledged a few benefits for LinkedIn in the deal as well.
"Open sourcing is a win-win situation," Gopalakrishna said, noting LinkedIn both benefits from further contributions by others in the open source community as well as attracting more top engineer talent to its platform.


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Peace Returns To PDP As Sheriff, Makarfi Reconciles
Editor Posted On Sep 20, 2016
The crisis rocking the opposition Peoples Democratic Party, appears to be reaching its end as the two factions jostling for the soul of the party on Tuesday resolved to work together.
The Ahmed Makarfi-led National Caretaker Committee of the PDP and a faction of the party led by Ali Modu Sheriff met in Abuja where they agreed to put their differences behind them to enable it to perform its role as a viable opposition platform.
Both factions later appeared at a joint news briefing in Abuja on Tuesday where they disclosed the new understanding.
They said they would now embark on extensive consultations with their respective loyalists to fashion out a way to cement the new unity after about four months of bitter rivalry.
The caretaker committee was led to the meeting by its National Secretary, Ben Obi, while Cairo Ojougbo, the deputy national chairman of the Sheriff faction, led its members.
At the joint press conference, the groups said they had resolved to bring about a united, focused and constructive opposition party in order to achieve sanity in the nation's democratic process.
According to Mr. Ojougboh, who read the text of the conference, the groups also agreed to constitute a joint committee which would embark on a holistic reconciliation of the aggrieved members of the party nationwide.
He said, "In reviewing the crisis that has engulfed our party, the PDP since the loss of the 2015 general elections, after 16 years of uninterrupted leadership at the centre, it became obvious to both of us as principal actors that it is time to heal the wounds, and bring about a united, focused and constructive opposition party that can bring sanity to our democratic process, bringing relief to the teeming supporters of our great party, the PDP and to the benefit of our country Nigeria.
"Based on the above, we have both agreed to consult widely with all relevant organs of the party; set up a joint committee that will carry out a holistic reconciliation of all aggrieved segments of our party across the country and in diaspora; pursue the vision of the founding fathers of our great party the PDP."
He said the groups asked their members to remain calm and refrain from actions and utterances that could further bring about division and dispute in the party.
It was the first time they would agree to work together since the party split into two factions after the national convention of the party in Port Harcourt, the Rivers State capital, in May.
At the purported convention, Mr. Sheriff was removed as acting national chairman of the party and replaced with Mr. Makarfi.
The development led to conflicting court judgements on which of the groups was actually in control of the one ruling party.
In August, a meeting between the party's Board of Trustees, backing the Makarfi faction, and the Sheriff faction, to resolve the contentious issues before the August 17 rescheduled convention, ended in a deadlock.
Atiku, PDP Will Fail Again At Supreme Court -BMO
Attempts To Discredit Presidential Tribunal Outcome Will Fail – BMO
25-year Old Hindatu Umar Appointed LG Chairperson In Kebbi State


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Home > Events > Fast track to recovery: US-China collaboration on COVID-19 prevention and treatment
Fast track to recovery: US-China collaboration on COVID-19 prevention and treatment
Fast track to recovery: US-China collaboration on COVID-19 prevention and treatment table
8:00 am — 9:30 am EST |1:00 pm—2:30 pm GMT
https://www.brookings.edu/events/fast-track-to-recovery-us-china-collaboration-on-covid-19-prevention-and-treatment/
As the COVID-19 pandemic continues, spawning new variants around the world, few issues are more pressing than controlling its spread. There is an urgent need for the world's two largest economies — which have come together on virtually every global health crisis of the 21st century — to join forces again to stop the pandemic. With addressing COVID-19 a top priority for leaders in both Washington and Beijing, it is a critical time for collaboration.
On Monday, March 1, the Brookings Institution and Tsinghua University will provide a forum for leading public health and medical experts in both countries to explore the way forward with concrete policy recommendations for medical and research cooperation, vaccine development and distribution, and international protocols for global travel and trade.
Viewers can submit questions via email to events@brookings.edu or join the conversation on Twitter using #USChina.
Risk Management and Decision Making Under Uncertainty in Afghanistan | GISF Webinar
Thursday 16th February, 2:00pm-3:30pm GMT / 9:00am-10:30 ET The Taliban takeover of Kabul in 2021 forced humanitarian organisations to make crisis decisions under conditions of radical uncertainty. This uncertainty has continued, with the Taliban recently banning female NGO staff from working in Afghanistan, provoking varying responses by humanitarian actors, and…
Asia Virtual Members only 2023
Haiti 1 | GISF Roundtable
Friday 10th February, 14:30-16:00 GMT / 09:30-11:00 EDT. The purpose of this roundtable is to provide an opportunity for members to share updates, ask questions and learn from what others are doing regarding the context. Members may invite colleagues from within the same member organization to attend. This roundtable will…
Central and South America Virtual Members only 2023
Online Risk to Real Life Harm: a disinformation simulation and introduction to social listening | GISF Two-Part Workshop
7 and 9 February 2023 Timings: 13:00 – 16:00 GMT | 08:00 – 11:00 ET Workshop overview: The topic of digital security in the humanitarian and development sector is a relatively new one and not particularly well understood by many. References to digital issues are typically referred to IT departments. While technical…
Global, Virtual Virtual Members only 2023


Discussion in 'Cat Behavior' started by bea.the.cat, Aug 9, 2018.
I come to this site often to get advice and get a better sense of my cat's behaviour. So first, thanks for always posting such helpful information. This is going to be long. TLDR; I think I've lost my cats trust and I'm heart broken.
We adopted our cat almost 2 months ago from our local shelter. We had gone to see a different cat who was sleeping when we arrived, but the cat next to her was wide and awake and waiting for us. I couldn't have been happier. I was never allowed to have pets growing up, so adopting a cat was a dream come true for me.
She's always been incredibly playful, and we learned quickly not to play with our hands or feet. We've increased her playtime and bought her several exercising toys, along with a cat wheel. She is really bonded with us, wanting to be wherever we are, head butting is, being very sweet in general.
We've had to move because our old building is being demolished, and through the packing process, she seemed really stressed. We decided that her and I would move over first, while the rest of our things (along with my partner) will move on Saturday. I know this has been a lot for our cat, so we've tried to keep as much routine and play time as possible but it never seems like enough.
Tonight, though, I am in tears. Sometime during the night she'll attack our legs to get our attention and when we ignore her, she stops. Well, tonight she didn't. I have psoriasis on my ankle, and she bit down particularly hard in that area. Instinctually, leg kicked and her along with it. I let out a scream and the next thing I know she's on the the ground running around pushing her toys aggressively, and running then cowering and running from me.
It's all my fault. I feel so horrible. All I want to do is comfort her, but I know she needs space. I've put her things into the living room, so she can time away from me. I love her so much and it hurts that I could have ruined our relationship. I'd let her bite off my whole ankle if it meant she wouldn't be scared of me.
Sorry that this was so long, I just needed to get this out there. Thanks for reading.
Bless, it's very scary. I accidentally kick my blind cat when she walks into me and once it was particularly hard as I nearly tripped. She runs away but I go after her, pick her up and cuddle her. Sadly she's not the most cuddly cat ever but she soon comes around with a treat or two. Your baby will be fine but try not to let her pick up on your emotions.
With Milo I've yelled at him before and chased him downstairs when he gave me a black eye with his claw - it's an instinctive thing, as with you - but I've acted all jolly and called for him and used his favourite toy and he soon comes around. But judges me lol.
Let us know how you get on but don't give up hope or beat yourself up.
maggiedemi, silkenpaw and bea.the.cat purraised this.
Awww, you didn't mean it. Half asleep too, I'm sure. I made the mistake of scaring my Raja recently. I had picked up a laser pointer to help out during some construction on my bathroom. We've had them before from time to time only this time, Raja seemed frightened of it. She would run off and hide in the living room or bedroom. Mizu loves it, so we would play in the kitchen. Little did I know that Raja was becoming more frightened of me by the minute. After a day or two I noticed that she was running from me no matter where I was in the house. It took a little while before I connected her behavior to the pointer but after 24 hours of not using it, speaking softly to her and giving her a treat or two, she's stopped.
Sometimes we do things without intending harm. Your baby will forgive you. Just be super soft and kind with her and I'm sure she'll come around.
silkenpaw, sdkfjlasdf and bea.the.cat purraised this.
You haven't ruined your relationship from one incident! She'll be fine. Just approach her calmly this morning and speak softly to her, and sit on the ground so that you're closer to her level before you try petting or playing. I'm sure she'll get past it in no time.
bea.the.cat and Minxrat purraised this.
Bless you both. She's in a SECOND new place in a very short time, and will be particulary skittish for a while yet. She will get over this. You can help her by sitting on the floor and talking softly, or even reading aloud, without trying to approach her. You didn't break that trust, you only bruised it (and accidentally) a little. Breathe deep. Become calm. She feels your anxiety over this, and reacts to it. The calmer you are, the calmer she can become. Patience is the key, here.
And give yourself a break. EVERYONE who lives with a cat manages to scare, trip over, kick, knock down, or otherwise "hurt" that cat at some point or another. Just as they accidentally hurt YOU at some point or another. Even with the very best will in the world, stuff happens.
bea.the.cat, maggiedemi, silkenpaw and 1 other person purraised this.
I agree completely with Mamanyt1953. Take a deep breath and try to calm yourself down first. Sit on the floor and just talk to your baby. If she is not ready to interact right away that is fine. It is just going to take time and patience for things to go back to normal. What happened was an accident while you were half asleep. You did not ruin your cat's trust. She has been through a lot and may be just overwhelmed by all the changes before she accidentally got kicked.
I had something similar happen to me years ago with one of my cats. I had a severely sprained ankle and one of my cats decided to try sit on it while I was laying down watching tv with it elevated on a pillow. I took pain meds and dozed off. In my half asleep state my cat got kicked off the couch by me. I did not even realize it had happened. My hubby was watching tv in the room with me when it happened. He checked on the cat to make sure he was ok after he ran upstairs and hid under the bed. Neither one of us could touch him for about 24 hours. He kept running away from us. After that things went back to normal. You can and will fix your relationship with your baby. It just needs to be done in her time frame. This cat had lived with us in the same place for years when this happened. He got over it and your baby will too. I have had a multi-cat household for many years and accidents do happen no matter how much we tried to avoid them.
Mamanyt1953, bea.the.cat and silkenpaw purraised this.
My kittens Finn and Sasha get pretty rambunctious running around and, from time to time, I'll get in their way (or they'll get in mine). I don't know how we time it, but every so often I'll end up kicking Sasha (and it's ALWAYS him- the shy and quiet one). Or he'll run into my leg. It doesn't feel good for me and can't imagine it's any better for him. It takes both of us a couple minutes to calm down after it happens, but soon enough he's ready for pets and treats and playtime and love all over again. Wouldn't it be great if both humans and cats could keep their clumsiness in check?
Give her time to adjust to the new place and I bet things will be back to normal in a snap.
Mamanyt1953, bea.the.cat and catlover73 purraised this.
Thank you guys so much! This support means the world to me. If it wasn't obvious, I am a first time owner. The lack of sleep from moving plus the behavioural changes she's been going through, it all made for a perfect storm of awfulness. I took some calm breaths and just spoke gently to her, and by morning she was sleeping next to me. She still skitters when I come into the room unexpectedly, so I've started announcing myself entering a room.
Mamanyt1953, RajaNMizu, danteshuman and 2 others purraised this.
I've tripped over mine, stepped on tails, sat on Connor a few times - he's black and blends into things, dangit! They always get over it rather quickly. I apologize and give them a cuddle, suffer through a few hours of dirty looks, and get cuddle mauled again in no time. Don't worry.
Mamanyt1953 and bea.the.cat purraised this.
I have had the same thing happen to me with my black cat Casey. He likes to hang out on our black recliner on top of a black fleece blanket. He has also tripped me at night a few times and had has tail stepped on due to almost making me fall down the stairs.
Mamanyt1953, danteshuman and bea.the.cat purraised this.
Mine "hate" me at the moment so I'm just leaving them to it whilst letting them know I'm here for them. I talk to Poppy a lot because she's blind. I hope their behaviour goes back to normal now the heatwave has finished!
If it wasn't obvious, I am a first time owner. The lack of sleep from moving plus the behavioural changes she's been going through, it all made for a perfect storm of awfulness. I took some calm breaths and just spoke gently to her, and by morning she was sleeping next to me.
There. All's well, after all. Now, should you find that you have to move again in the future, start a thread about moving with a cat, and we'll all jump in to help you do it with as little upheaval as possible!


Discover some of the many production challenges concept artists face during the production of video games, and how to overcome them.
Concept artists play an important role in the development of video games. They're the bridge between the art director's vision of the game and the artists who produce the in-game assets. They're responsible for making sure that the concept art tasks follow the designated production schedule; showcase the established design pillars that have been established early on; and track down relevant production information from other departments if this is missing.
As a lead concept artist, my team and I face exciting and fun challenges every day. Not only do we need to embrace the technology changes within the digital painting process and learn new software, we're also expected to continuously grow as artists by practising traditional drawing and painting techniques.
Here, I want to discuss in detail the role of a concept artist within a video game production, and the significant impact this role has on the game's finished look. Hopefully it'll inspire you to channel your efforts into breaking into the games industry, or if you're already a busy concept artist, help you to up your game!
Concept artists are the link between the art directors and the 3D artists. We have the crucial role of reinforcing the established art pillars through our work and having daily conversations with the 3D artists. This is the bread and the butter of our job. You should know the check list of the visual benchmarks like the back of your hand.
Your art director should be an integral part of the concept art process. Don't submit the final piece of artwork without going through your design process with them first. Talk about how you'll be approaching a shot, and then continue with composition sketches and colour palette proposals, and then show the final artworks.
Not only will the art director give you valuable insights, but you'll also be able to explain and justify the thought process behind your aesthetic choices, which may lead to further discussions.
Photo references are the foundation that will generate realism in all your works. Even sci-fi video games will feature a significant amount of real-world designs. References increase the soundness of your artistic choices and show that you've done your visual research properly. They also serve as great visual support when your deadline is tight and you have to do something loose. Provide the reference materials along with your speed painting: this will make the 3D artists' lives much easier.
Before the level artists start a big map, they need some visual prompts to get things rolling. It can be looking through photos together, navigating in the game engine, or providing sketches to give a general direction of how the silhouette of the map should be approached. A sketch can generate ideas and iterations can be done quickly. Many level artists like this type of interaction, because they're directly involved in the design phase of their assigned map.
Lighting has a strong influence on how your concept art will be interpreted in the game. Make sure you sync with the lighting crew and seek their feedback. If your shot is dependent on the time of day or specific lighting fixtures, the shadow shape or how the light diffuses can affect your composition. Lighting artists can let you know how much artistic freedom you would have based on engine constraints and how you can use that freedom more efficiently.
Highly rendered concept art, with lots of mood, ambiance and VFX, doesn't always help the level artists. They usually need clarification on modelling and texturing. Listen to their requirements before deciding on what kind of concept art you'll be generating. A piece of line art or a material chart can be more efficient for delivering design clarity.
A production has a limited budget and timeline, so you need to use all the available tools to be productive and efficient. If a 3D screenshot can help you to nail the perspective faster and more clearly, go for it. If render passes can speed up the process of polishing high-level concept art, don't hesitate. If you need in-game assets to be part of your concepts, ask a level artist to export those objects. You need to be a fast thinker and a pro-active team player.
Deadlines are crucial within the production process, especially when a lot is dependent on concept art being created at the beginning of the pipeline. Missing the deadline can affect all the departments that have scheduled their tasks based on the date of completion of the concept pieces.
It's important to let others know as soon as possible that you might miss the deadline, so that alternative approaches can be discussed, such as a looser rendering level with supporting references, or start the task with the available in-game assets instead of painting from scratch.
Not sure about something? Ask for more details!
Some shots might have size or navigation constraints. If in doubt, ask. Level designers are always there to answers such questions. If the purpose of a task isn't clear, ask which department will benefit from the artwork. This will enable you to gather information about their needs. If the deadline isn't specified, ask for details so that you can plan your painting process accordingly.
Concept art can trigger fresh ideas for the VFX team, so keep them in the loop. While we provide level artists modelling, texturing and layout information through concept art, we also need the VFX team's support on the realisation of the ambiance and the mood portrayed in the concept art. What kind of smoke, fire or steam effects will suit certain maps? Effects artists are the experts, and can provide you the most accurate answers.
Don't keep everything to yourself; share and enjoy!
I believe that a culture of sharing is the key to ensuring that a concept artist progresses artistically and technically within the production. It can be custom-made brushes, 3D components, cool plugins, nice cut-out shapes or relevant photo packs. Sharing those tools can make our work more consistent in terms of quality and it can avoid repetitious art tasks.
If one artist cut out 10 types of vegetation from references, it doesn't make any sense that another concept artist should spend time cutting out the same elements. Sharing tools and resources can give you more time to concentrate on the areas that need your design talents, instead of tackling run-of-the-mill art tasks.
Your colleagues are your best advisers, because they know the production requirements and you see them on a daily basis. They can also provide you with bonus information or materials that you wouldn't expect if they happen to be are working on some shots that are relevant to yours. Furthermore, the fact that all the concept artist share a similar vocabulary, in terms of composition, value, colour and lighting, will make the feedback sessions smooth and efficient.
Any video game production is expensive and complex, and the concept art aspect is only one of the many important cogs in this machine. Your concept art is a tool to deliver the final game product, rather than being a finished product in its own right. Yes, there's a quality bar to reach, but your concepts aren't fine art masterpieces that you can spend hours polishing to perfection.
You need to learn when to stop. Being an idealist in this environment can have a negative impact, both on your work productivity and on the project's schedule.
All artists have a gut instinct to make their work as visually appealing as possible. However, it can help to shift this point of view when it comes to evaluating the worth of concept art pieces. A concept artist may deliver a piece of line work that has a significant impact on the level artist's task. You could then say that the line work has a high production value, because it makes a strong contribution to the overall production efficiency across different departments.
This article originally appeared in issue 134 of ImagineFX; buy it here!


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Tuis > Teater
Athol Fugard documentary coming to Fugard Bioscope
Athol Fugard
The great South African Playwright Athol Fugard, celebrates his 80th birthday today, Monday 11 June 2012.
This past Friday 8 June 2012, Sky Arts in the United Kingdom broadcast the first major documentary film on Athol Fugard to honour his 80th birthday. Entitled Falls the Shadow: The Life and Times of Athol Fugard, it was followed by a screening of the South African Academy Award-winning film Tsotsi – based on Fugard's novella and was introduced by Sir Anthony Sher. Sky Arts then screened the film of Fugard's Boesman and Lena, introduced by Dame Janet Suzman.
The Fugard Theatre Bioscope will screen the 100 minute documentary at the Fugard Theatre Bioscope on Monday 16 July 2012 to coincide with the season of Fugard's new play The Blue Iris, playing at the Fugard Theatre Studio from 4 – 28 July. The production forms part of the Fugard Theatre's celebrations of Fugard's 80th birthday year.
Falls the Shadow is directed by the multi-award winning British film-maker Tony Palmer and produced by Eric Abraham – founding producer of The Fugard Theatre – and British television executive David Elstein.
Athol Fugard is considered to be the world's greatest living playwright in the English language. Falls the Shadow: The Life and Times of Athol Fugard is a new film and is the first ever full-length profile of Fugard that explores his past, his influences, his artistic development and his continuing themes. At the centre of the film is an extensive interview with Athol Fugard.
The film features unprecedented access to some of the world's most remarkable performers and associates who are most familiar with his craft including Alan Rickman, James Earl Jones, Dame Janet Suzman, Nadine Gordimer, Sir Ben Kingsley, Sir Antony Sher, and Pieter-Dirk Uys. The film also features extracts from some of his best-known plays and performances by award-winning actors including Danny Glover, Angela Bassett, Matthew Broderick and Oscar-winning Kathy Bates.
Latterly Fugard has become best known for the Academy-award winning film adaptation of his novel Tsotsi, but it was the success in the 1960's and 70's of his intensely political plays, which brought him to prominence and into considerable conflict with the apartheid government.
A one-time student of philosophy, Fugard's works are marked by a drive for truth, a rallying cry against injustice and a celebration of humanity, no matter how impossible the individual's conditions.
Fugard has charted the lives of a nation that has struggled to reconcile the terrible scars of its past with its indefatigable hope for the future. He has been the recipient of countless awards from around the world, including a Tony Award for Sizwe Banzi is Dead/The Island and a London Evening Standard Award for Master Harold and the Boys. His plays include Boesman and Lena, Statements after an Arrest Under the Immorality Act (1972) and The Road to Mecca (1984). In 2011, Fugard received a Special Tony Lifetime Achievement Award – the highest honour the American theatre community can bestow. He has also received honorary doctorates from Yale, Brown and Princeton universities in the US.
Director Tony Palmer specialises in profiling exceptional figures, and Athol Fugard is no exception. His work includes over 100 films, ranging from early works with The Beatles, Cream, Jimi Hendrix and Frank Zappa (200 Motels), to his classical portraits which include profiles of Maria Callas, Richard Wagner, Yehudi Menuhin, and Ralph Vaughan Williams. Among over 40 international prizes for his work are 12 Gold Medals from the New York Film Festival as well as numerous BAFTAs and Emmy Awards. Last year Tony Palmer won a Grierson Award for his astonishing film on Leonard Cohen: Bird on a Wire.
Founding Producer of the Fugard Theatre and producer of the documentary, Eric Abraham said: "I can think of no other playwright living today whose work embodies moral clarity and a common humanity to the same extent as that of Athol Fugard. I commissioned this documentary, and invited Sky Arts to join in as a co-producer, to fill a gaping hole in Athol's audio-visual legacy. I was astounded that there was no other substantial documentary on this exceptional man. Vuka South Africa! Honour this great son in every way you can in his lifetime. Minister of Education ensure that Fugard's works are included in the school syllabuses. SABC screen this documentary. South Africa needs his brand of common humanity across the colour lines now more than ever."
Tickets for the screenings of the documentary, on Monday 16 July at 8pm, can be purchased through the theatre's box office on 021 461 4554 for R75. Bookings open on Friday 15 June.
Fugard's new play The Blue Iris, directed by Janice Honeyman and starring Graham Weir, Claire Berlien and Lee-Ann Van Rooi, will have its World Première at the National Arts Festival in Grahamstown at the end of June before being presented at the Fugard Studio Theatre from 4 to 28 July 2012, Monday to Saturday at 8pm. Tickets are R110 to R140 via the Theatre's box office on 021 461 4554 or visit Computicket.com. Special discounts are available to the Friends of the Fugard.


In March we sounded the word that a spanking new Equinox is in the cards for the Whole Foods territory on North 4th Street and Bedford, likely opening in October. That whole building is so full of chains, what with Levi's, G-Star, Scotch & Soda, a Citibank, and a WeWork, it's pretty much Brooklyn's answer to an average suburban strip mall. It's no surprise Equinox would want to get in on the free-flowing $$ from health-conscious folks with cash to burn (perhaps tapping their day away over a laptop at WeWork?).


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The Untold Truth Of Chumbawamba
Brian Rasic/Getty Images
By Mina Elwell/Updated: March 4, 2022 12:28 pm EST
Chumbawamba shot to international fame in 1997 with their upbeat party jam "Tubthumping." The song was ubiquitous in the late '90s, spending nine weeks at #1 on the Billboard pop chart. Guitarist Boff Whalley explained to the Guardian, "To 99% of people we just had that one song." "Tubthumping" doesn't have any immediately obvious political message. Its title can be defined as "noisy, violent, or ranting public speaking," but its lyrics are more about the joys of drinking than any particular political beliefs. While band members have been quick to stand by their hit, it was very different from their usual work.
That's because Chumbawamba was "an anarchist collective" making punk rock music to spread the word about their beliefs. Like all of the group's songs, "Tubthumping" was written by the members of the band as a collective, as described in the Guardian. While most people know them for that one hit, their other songs are titled things like "The Day the Nazi Died" and "In Memoriam: Margaret Thatcher" (both joyous, sarcastic celebrations at the idea of their enemies' deaths). They typically played their music at strikes and on picket lines.
A series of unlikely events and coincidences thrust the anarchist collective into the public eye – but fame didn't change the band. Chumbawamba stuck to their anarcho-communist guns for their entire 3-decade-long career.
Chumbawamba were anarchists
Jmenternational/Getty Images
Chumbawamba made music, but they were always an anarchist collective before they were a band. Throughout their decades-long career, in obscurity or fame, their commitment to their radical principles never wavered. As described by Aaron Lake Smith, the writer/editor who released an extensive series of zines on the band's history, Chumbawamba was particularly interested in bringing the movement to the people. Sometimes they did this through music, but other times it was through political activism.
The liner notes on the "Tubthumping" album described their profound dislike for people who engaged intellectually with political ideas but failed to take action, calling it, "Lifestylism ... the practice of wrapping yourself in a blinkered, self-perfecting, ideologically-sound cocoon." It condemned those who stayed in their bedrooms, making "pronouncements on how other people should live" and criticizing people on their own side for not being ideologically pure enough, while ignoring their true enemies.
While the band was unwilling to compromise on their beliefs for fame, they were willing to adjust their message to make it more accessible to the working-class people they championed. As described in the documentary, "Well Done. Now Sod Off," at the beginning of their career they were pacifists who talked about animal rights often, but over time reevaluated both positions. One reason is that, after the British Miners' Strike, they spent much of their time promoting solidarity with organized labor. Their hardline stance against eating meat was alienating to the people they were trying to support. They also changed their stance towards pacifism, and supported anti-apartheid bombings.
They were punk (kind of)
Martyn Goodacre/Getty Images
Chumbawamba was mostly about class politics, and as such spent more time on the picket line than in the music scene. The band is generally considered punk, and was influenced by classic punk acts like The Clash and Sex Pistols, as well as the influential anarcho-punk band Crass. As noted by guitarist Boff Whaley in an interview with The Guardian, however, Chumbawamba was always interested in a different kind of music. "We wanted to sing harmonies and have singalong choruses."
Unfortunately, "I couldn't play any instruments..." Whaley explained. "But then when punk happened it was like, oh right, you don't need to know how to play an instrument."
Over time, the band became more familiar with their instruments and their sound evolved, but at the beginning, the members of Chumbawamba had very little musical experience. As described in the 2000 Chumbawamba documentary, the band's instruments were out of tune, and it seemed like they didn't actually know how to tune them. They started recording albums before they figured out this basic part of being in a band. An engineer, who described Chumbawamba as "a gang of anarchists," helped them record their first album, but it took him a while to realize that's what they were doing. He explained, "I didn't actually realize they were trying to be musicians. I thought they were some kind of circus troupe."
They all lived together
The band lived together in an old falling down building together, which, according to a documentary on Chumbawamba, was known to the neighbors as "the house with weirdos in." It was a red brick building with old farming machinery in the yard. The household had strict rules, including that no meat was allowed in the building. The group already lived together before they made music, but the housemates would eventually become bandmates.
Their home had been a derelict abandoned building, but the group "squatted" in the house communally. While vocalist Dunstan Bruce admitted the place was "an absolute wreck," he explained that it was "trash" when they moved in. The band spent a lot of time and money repairing the house and decorating it in their preferred style. The handmade sign in their home practice room declared: "No war but the class war."
The band didn't just share a house, they shared everything. They worked odd jobs, and whenever one of them was paid, they put it into a communal pot that everyone in the house owned. According to people who knew them at the time, everything, even clothing, was owned by the group, not by any individual. This feeling of communal ownership extended to their music. As guitarist Boff Whalley explained in an interview, they wrote all of their songs collectively.
They started Chumbawamba as a joke
Dave Benett/Getty Images
The future members of Chumbawamba were together as an anarchist collective before they ever tried their hands at music – but that didn't stop them from pretending to be a band when the moment came.
Longtime collaborator Simon Lanzon explained in a documentary about the band that he had been trying to put together a musicians' cooperative. The group went to a meeting and when Lanzon asked how many people there were in a band, the group raised their hands "for a laugh." They were punk, however, and everyone believed them. When they were asked to write down their band's name and members, they listed themselves as members and decided they were called "Chimp Eats Banana."
Shortly after, they got a call confirming that they had a gig in two weeks. No one in the group knew how to play an instrument, so they assigned each other roles almost randomly. They borrowed instruments and played the gig. "With punk you could do that," Whaley explained. "Before that you had to practice. You had to want to be in a band."
Nobody knows what their name means
Even though most people know Chumbawamba from their big hit, the band is also often remembered for their name. There are lots of different stories about what "Chumbawamba" means – and that didn't happen by accident.
The band was officially dubbed "Chumbawamba" in 1982. As described by Jacobin Mag, they initially changed their musical style with every gig (which they apparently sometimes performed with toy instruments). The band also changed their story about the origin of the band's name.
It became a running joke between the bandmates to see who could tell the most ludicrous story about the band's name. In his memoir, Boff Whalley claimed that "Chumbawamba" was an African drumming chant they'd heard busking in Paris. Vocalist Danbert Nobacon said that it came from a dream he had, in which he tried to use a public bathroom, and instead of gender designations, the signs on the doors said "Chumba" and "Wamba." As stated in the episode of "One Hit Wonderland" about "Tubthumping," the name is almost certainly just a nonsense word with no inherent meaning.
They had a sense of humor
Graham Burnett/Wikimedia Commons
"Onstage, I don't think we looked like we were having fun early on," drummer Harry Hamer said in the documentary "Well Done. Now Sod Off." Unlike many of their punk contemporaries, Chumbawamba's approach to political music was snarky and sarcastic.
The band's transformation into a truly political punk band came with Prime Minister Margaret Thatcher's anti-union and anti-worker policies. Guitarist Boff Whalley explained, "Thatcher's attack on social conditions, whether it was work or arts, or whatever was so obvious and so in your face that it meant even the most ignorant of people had to wake up and think, 'ah, it's me. I'm getting attacked.'"
The band continued to be overtly political, but they also infused their work with a sarcastic sense of humor. One track, titled "Scab Aid" uses the melody of the Beatles' "Let It Be," and mocked the very concept of charity singles, with the lyrics, "Nothing sells like disaster/let it be." It was released the week after an actual charity single, in the style of "Live Aid." They also released an EP titled "In Memorium: Margaret Thatcher," to be played on the Prime Minister's death. It included an upbeat song with the lyrics, "So long, so long/you kept me waiting so long/let me serenade you with one last song/you're back where you belong" and the Wicked Witch of the West's theme from "The Wizard of Oz."
They tricked skinheads
John Downing/Getty Images
Chumbawamba was an explicitly anti-fascist band. Usually, they made their feelings about fascism and racism explicit, with tracks like "The Day the Nazi Died" which calls for rooting out and eliminating Nazi ideology that survived the end of World War II. On one occasion, however, they kept their ideology a secret, so that they could infiltrate the growing movement of skinhead punks known as "Oi!"
Oi! was a punk music movement brewing in late '70s Britain. It formed in opposition to the bands with "pretentious lyrics" that were attractive to the music press, and as noted by the Guardian, received the unflattering nickname "Punk's stunted idiot half-brother." Its bands' names were often crudely humorous, the shows were notable for brutal brawling, and a growing number of its fans were far-right extremists. The genre was especially attractive to Neo-Nazi Skinheads. The music journalist Garry Bushell, who championed Oi!, explained that there was a "Nazi subculture all the way through punk. Malcolm McLaren [the manager of the Sex Pistols] started it all with the swastikas, which thick people saw and thought, 'Oh, they must be Nazis.'"
A documentary about the band details how Chumbawamba once invented a fake band called Skin Disease and recorded an Oi! song, which they tricked the press into believing was legitimate. As described by Boff Whalley, the single was called "I'm Thick," and consisted of them shouting the title over 60 times.
Chumbawamba was signed by EMI
David Pimborough/Shutterstock
The major shift in the career of Chumbawamba came when they signed with behemoth British record label EMI. Many fans felt that Chumbawamba had sold out their principles. The band had a years-long history of hating EMI. As detailed by Aaron Lake Smith in his retrospective about the band published in Jacobin Mag, after they learned EMI had been involved with manufacturing weapons in apartheid South Africa, they appeared on a 1989 album called "F-CK EMI." Once, they had even smeared blood on the outside of the EMI building. As much as they obviously hated EMI, they were having issues with their own indie label – which had just told them that they wouldn't be releasing the "Tubthumper" album unless they re-recorded it to be more traditionally punk. Then EMI offered Chumbawamba what would be the equivalent of almost $250,000 to sign.
There was deep debate within the band. They knew it would upset their fans and make it seem as though they cared more about money than their beliefs. Ultimately, Chumbawamba decided that they could reach more people with the exposure that came with a major label.
The decision transformed the underground band that had been going for over 10 years into international pop stars with "Tubthumping." Rather than going corporate, however, the band became more outspoken and militant in the face of their success.
Chumbawamba encouraged fans to shoplift their CDs
Tim Mosenfelder/Getty Images
Chumbawamba might have gotten paid thousands of pounds to sign with EMI, but the band proved they didn't care about the money when they encouraged people who wanted the "Tubthumper" album to steal it.
The band had a history of shoplifting from before they were stars. Drummer Harry Hamer explained that the band used to have "shoplifting competitions" to see who could steal the largest and unlikely items. Alice Nutter (who was a vocalist for Chumbawamba for 20 years and is now a successful television writer) stated in a documentary that she wasn't particularly good at shoplifting, though she always wanted to be. She might not have been winning the band's contests, but it was Nutter who caused a media flurry around the band. During an interview, she suggested that fans could steal their album if they wanted to – though only from big chain stores.
"You're expected to condemn [shoplifting]," Nutter recalled in 2000, "You're expected to say that all stealing is wrong, and all stealing isn't wrong."
The band supported causes
Chumbawamba might have gone mainstream with their hit "Tubthumping," but they didn't water down their message for their new fans. As noted by the Phoenix New Times, band members talked openly about their beliefs in TV interviews. They sold out amphitheaters and played their old anarchist songs. They used their new international platform to promote their favorite causes. The band had a long history of supporting causes they cared about. Aside from their pro-union stance, they also played benefits for animal rights and gay rights. They even wrote an upbeat pop tune with harrowing lyrics titled "Homophobia" about the hate crime that killed a young gay man.
"When [Tubthumping] went global ... we made a decision about what we would do, having that platform," vocalist Dunstan Bruce told Democracy Now, "We've got to do something with it ... How often does anybody get that sort of global audience?" On talk shows, they sometimes changed their hit's lyrics to support Mumia Abu-Jamal, a journalist and former leader of the Black Panther Party who had been accused of murder and put on death row. When the band was offered $100,000 from GM to use one of their songs in an ad, they agreed – but only so that they could donate the money to a variety of anti-corporate charities.
If you or a loved one has experienced a hate crime, contact the VictimConnect Hotline by phone at 1-855-4-VICTIM or by chat for more information or assistance in locating services to help. If you or a loved one are in immediate danger, call 911.
They once threw water on a politician
In 1998, Deputy Prime Minister John Prescott attended the Brit Awards. Chumbawamba was performing at the music awards show. During the event, the band's vocalist Danbert Nobacon dumped a bucket of cold water over Prescott. Later, the band would stand by their actions, saying, "If John Prescott as a representative of the Government has the nerve to turn up at events such as the Brit Awards in a vain attempt to make Labour seem cool and trendy, he deserves all we can throw at him."
As described in a report from the Guardian, both Nobacon and Alice Nutter were taken out of the award show by security and turned over to the police. It's likely that this didn't bother the band. In 2000, Nutter told a documentary interviewer that at some demonstrations it felt like "you'd failed if you didn't get arrested. It took me quite awhile to realize that it weren't cool to get caught." Prescott didn't file any formal complaints about having water poured on him, but he did release an accidentally amusing statement claiming it was "utterly contemptible that his wife and other womenfolk should have been subjected to such terrifying behavior."
As described in PinkNews, they were no less appalled when Nigel Farage used "Tubthumping" in 2011. Multiple former members spoke up to express their outrage at the misappropriation of the music, including Nutter, who referred to Farage as "an arse" from a party "mainly made up of bigots."
Chumbawamba went for 30 years
Schorle/Wikimedia Commons
"If there were ever a Chumbawamba manifesto, it would read in the inconsistent, contradictory language of the Dadaists – part strident belligerence and part foolishness," the band stated on their website, "The ending is no different; it comes almost as much of a surprise to us as it may do to you."
While the band is sometimes thought of as a "one-hit wonder," their career actually lasted for 30 years. During their multi-decade run, they lived, wrote, recorded, and performed around the world together, as equals in every part of their collective.
The group announced their decision to end the group in 2012, saying that they'd reached the point where they didn't feel they were able to commit to the amount of "time and enthusiasm" a band like Chumbawamba required. The band has not yet reunited for another album, but in May of 2021, Dunstan Bruce announced that for the past five years he had been working on a documentary about the band.


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Yasser Louati answering RT.Com on the demonstrations against police brutality in France. Seven months after the killing of Adama Traore in police custody, another young black boy is brutally assaulted by police officers who raped him with their baton.
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"In our teachings of our traditional ways, families never inflicted violence towards each other or the children.? Our people believe that the children are gifts from the creator and we are not the "owners" but the caretakers of them.? We were given these children to teach them, to be good role models for them, and to bring forth harmony, peace and understanding.? We have expressed to our children all the teachings we have been given by our experiences in life.? Children must be taught the "good" ways and must be shown to them by their families.? All children are cared for by other members of the family.? A child can be given and shown respect by their auntie who also cares for them.? In a family, everyone works together to help teach the children. Children are taught to listen and respect their parents and family.? Can we now, see the difference in what violence has done to our way of life?? Our children, who are our hope for tomorrow, will only bring pain and destruction to the generations to come, if violence continues to engulf our families." "We are the voices of long ago, who speak to you.? We know that you have made the attempt to change your way, and we know that our children need to learn the way of long ago.
The teachings will come if the people will listen, the teachings will be heard if the people can understand they no longer want this violence to destroy their families.? It is like the war, when we had to stand and fight for what we believed, it is now your turn to fight for the children.? We know that the children will perish if we cannot hold strong to our faith in our beliefs.? We are here to help and to try to give some direction to keep our people from destroying themselves.? No one will know the sadness we all feel inside when we hear and see the pain growing in our children's eyes.? It is not our way to hold the blame onto others, it is our way to change things and make them right.? Hear our voices in the wind.? Listen and carefully remember the ancestors speak to all their people.? Like every sunrise, let us see the hope for a better future.