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Interview: Sevendust (Atlanta, GA)
Interview: Enter Shikari (St. Albans, UK)
Interview: Crobot (Pottsville, PA)
Photos + Review: Sleeping With Sirens & Set It Off at Skyway Theatre (Minneapolis, MN)
Photos + Review: Ghost at Armory (Minneapolis, MN)
Photos + Review: Greta Van Fleet at Cal Coast Open Air Theatre (San Diego, CA)
Mezzic Presents
Mezzic Presents: ten-speed (Isaac Pierce) at The Project Lodge (Madison), January 28th, 2012
Photography: Mezzic Presents Deanna Devore and Amy Musser at Mother Fool's (Madison)
Mezzic Presents: Deanna Devore and Amy Musser at Mother Fool's (Madison) April 23rd, 2011
et.cetera December 31, 2013 January 1, 2014
Dan's Top Albums of 2013
by Dan Whitman
10. Cults – Static
I didn't give Static a full listen until about two weeks ago, and I've had trouble putting it down ever since. I enjoyed the duo's 2011 self-titled debut, and the follow-up is a deeper streak of the same charming,'60s-drenched pop vibrance. Dive in with "Always Forever," "We're Before," and is that an Interpol nod on the "High Road" rift?
9. Autre Ne Veut – Anxiety
Last spring I caught a colleague's recommendation for "Play by Play," and after a listen, I was hooked; one of my most played songs of the year. Anxiety is an impressively produced collection of piercing, meaningful and captivating R&B cuts. Autre Ne Veut's Arthur Ashin transcends the pain and heartbreak into some of the best jams of the genre this year.
8. Phoenix – Bankrupt!
After the success of their 2009 breakout album, Wolfgang Amadeus Phoenix, Phoenix did not rush to put out a follow-up while the buzz was still hot. Instead, they shied away from their previous album's hit-heavy pop formula, and in turn reached for a more experimental, encompassing sound, reminiscent of their earlier albums. The result is a fantastic fifth album, nowhere near as immediate as it's predecessor but sometimes the best songs are the ones that soak in ("Bankrupt!" "Bourgeois").
7. Arcade Fire – Reflektor
Arcade Fire are dauntingly good. They've been that way for awhile, and it doesn't appear that's going to change anytime soon. Just when you think there's too much hype, the album drops and everyone shuts up. Here's another soundtrack to race your heart, entrance your mind and make you want to dance all night.
6. Cold War Kids – Dear Miss Lonelyhearts
My most read review in 2013 was that of Dear Miss Lonelyhearts. I honestly feel it's the Cold War Kids strongest album to date. As I put it in my review, Long Beach soul is alive and well. If you like smart, engaging and meaningful rock music, don't pass up Dear Miss Lonelyhearts. My favorite tracks include "Miracle Mile," Bitter Poem," "Tuxedos" and of course, the title track.
5. The National – Trouble Will Find Me
For years now, The National have been my favorite band. I'm not sure if that makes me hold their new albums to a higher standard, or I just buy in to every new note that much quicker. Lately, I've been catching the video ad for "Graceless" on youtube, and each time I think to myself, that is a great song. Trouble Will Find Me follows in High Violet's footsteps of increased accessibility, but the the same beloved passion and uneasiness is still very much present, as heard in the carefully poignant "Pink Rabbits" and sultry "Don't Swallow the Cap."
4. Foxygen – We Are the 21st Century Ambassadors of Peace & Magic
2013 has been a roller coaster year for Foxygen and its two founding members, Jonathan Rado and Sam France. Juggling cancelled tour dates, breakup rumors and a solo album arms race, it's safe to say the peak of the band's year happened back in January with the release of their outstanding second album, We Are the 21st Century Ambassadors of Peace & Magic. It's a collection full of '60s and '70s classic and psychedelic rock inspiration, resulting in a end product that's enthusiastically expansive while still surprisingly thoughtful. Late to the Foxygen circus buzz? Start with the enchanting "San Francisco," Rolling Stones-inspired "On Blue Mountain" or gorgeously arching "Oh Yeah."
3. Frightened Rabbit – Pedestrian Verse
Frightened Rabbit are an amazing band, with a live show that will reaffirm that every time. But, I'll admit, they bring me down. Their previous releases The Midnight Organ Fight and The Winter of Mixed Drinks are both excellent, but they flirt with the notion of being sad just to be sad. This year's Pedestrian Verse triumphantly move beyond that rut by delivering songs that anchor on self-awareness ("Oil Slick," "Nitrous Gas") as well as increased glimmers of hope and beauty ("Acts of Man," December's Traditions"). Their fourth album is a wonderfully endearing sign of growth from the hardworking Scottish band.
2. Vampire Weekend – Modern Vampires of the City
Their debut showed potential, but I never thought Vampire Weekend had the staying power until Contra became a winter favorite in early 2010. Modern Vampires of the City is better. On their latest effort, the New York band tackles the heavy subjects of life, death and the meaning of it all. It could have came off as preachy or overly serious, but instead it was personable and thought-proving while still being lively and fun. There isn't a bad track on Modern Vampires but "Don't Lie" and "Hannah Hunt" may be the best.
1. Arctic Monkeys – AM
I enjoyed the playfully heartfelt "Cornerstone" immensely, but it wasn't until 2011's Suck it and See that I fully took notice of the level of craftsmanship that went into Arctic Monkey songs. At times, that album felt like a window into my mid-twenties heart, mind and soul. That's good songwriting. When I heard AM was going to explore a more hip-hop sound, I didn't know what to expect. But if the infectious stomping single "Do I Wanna Know?" was any indicator, this was going to work. For me, the most sustaining element to music is the words, and with AM, Alex Turner pairs even the album's most adventurous tracks with the utmost sincere and relatable lyrics. It's an album you want to play full volume at a party, but also one to reach for through the headphones on an introspective night in. For me, that's never been the same album, but that's AM.
2013, Best of 2013, List, top albums
Dan Whitman
More from Dan Whitman
Review: Trixie Whitley – Fourth Corner (2013)
Who is Trixie Whitley? The best five-minute introduction to the 25-year-old singer-songwriter...
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Kelli's Top Albums of 2016
Review: Grouplove – Spreading Rumours (2013)
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This Frankincense is the same as Ethiopian Frankincense Select but in a smaller tear form. For information on the difference between Frankincense and Olibanum please see our Frankincense v.s. Olibanum page.
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Constellations that can be seen year round are called circumpolar constellations. These constellations are always around the celestial pole of your hemisphere, and therefore never fall below the horizon. You can see these constellations any night of the year. In order for a constellation to be circumpolar, all of its stars must be within the circumpolar circle. The exact set of circumpolar constellations visible to you varies based on your latitude.
The celestial sphere is the imaginary sphere of the heavens. The Earth is at the center of the celestial sphere. The north and south celestial poles of the celestial sphere are exactly above the Earth's north and south rotational poles, respectively. Hence, as the Earth rotates on its axis, the sky appears to rotate around the north and south celestial poles. The stars appear to make circles around these poles. You can actually see these circles in some long-exposure photographs of the night sky. Any stars that never fall below the horizon are circumpolar stars.
The circumpolar constellations vary based on latitude. If you look at a map of the sky, you can determine the exact circle of circumpolar constellations visible at your latitude. In order to do this precisely, you will need a star chart that displays declination. Declination is the celestial equivalent of longitude. Declinations north of the celestial equator are positive, while declinations south of the celestial equator are negative. The north and south celestial poles are +90 degrees and -90 degrees, respectively. On a star chart, subtract your latitude from the declination of the celestial pole. For example, if you are at 42 degrees north latitude, the stars at a declination of +48 degrees and above will be circumpolar.
At the north and south poles, the entire respective celestial hemispheres are circumpolar. In other words, the stars never rise nor set, they just rotate around the pole. The planets and sun rise and set, but they move along different lines than the stars. As you move from a pole towards the equator, the circumpolar circle becomes increasingly smaller. At the equator, the North Star, Polaris, is on the horizon. Therefore, there are no circumpolar constellations at the equator.
The size of the circumpolar circle is also the size of the circle around the opposite pole of stars that you can never see. For example, if all of the stars between +53 degrees declination and the north star are circumpolar for you, all of the stars between -53 degrees declination and the south pole will be impossible to see at your latitude.
Cornell University: How Do I Polar Align My Telescope?
Murmson, Serm. "Constellations That Can Be Seen Year Round." Sciencing, https://sciencing.com/constellations-can-seen-year-round-12179.html. 25 April 2017.


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For several decades, Japan has been the chief producer of giant monster movies in Asia. But with Godzilla and Gamera currently in retirement, South Korean film studios have taken up the slack and so far been tremendously successful with their own creations. Last year's THE HOST (Gwoemul) became the highest-grossing domestic release in Korean history and was named Best Picture at the Korean Film Awards, sold in more than 30 countries, and praised by fans and reviewers worldwide. DRAGON WARS: D-WAR (2007) is currently tearing up the box office in Korea, and on September 14 opened on 2,275 screens in the United States to become the first Korean film ever to have a wide theatrical release in America.
By coincidence, the same week that DRAGON WARS began its US run, South Korea's first giant monster movie received a long-overdue official Region 1 DVD release. YONGARY, MONSTER FROM THE DEEP (1967)— described as "the quintessential giant monster movie of Korea" — is now available as a "MGM Midnite Movies" double-feature disc with the British giant ape picture KONGA (1961).
Known in its homeland as THE GREAT MONSTER YONGGARY (Daeguesu Yonggary), the film was produced by the Keukdong Entertainment Company (Keukdong Heungup, meaning "Far East Entertainment Co."). The 1960s were the heyday of Korean cinema, with Keukdong one of the many studios responsible for a number of critically and commercially successful films that are still fondly remembered today. The company was co-founded by Cha Tae-jin — producer of nearly a hundred movies during the 1960s and 70s— and director Kim Ki-duk. Kim was one of the most prominent directors of that era, and some of his pictures such as THE FIVE MARINES (O In-Ui Haebyeong, 1961) and THE BAREFOOT YOUNG (Maenbal-Ui Cheongchun, 1964) are considered classics.
Korean poster for THE GREAT MONSTER YONGGARY.
In late 1966, Keukdong Ent. was looking for new genres to explore. At that time, Japan was in the midst of a "giant monster boom"… each of the five major Japanese studios (Toho, Daiei, Shochiku, Toei, and Nikkatsu) produced at least one monster movie, and monster-themed TV programs like ULTRAMAN and THE SPACE GIANTS were routinely bringing in high ratings. In addition, the Japanese productions were consistently sold to distributors in the United States. Keukdong took note of this success and decided that they would make the Korean equivalent of a Japanese monster movie.
As with Godzilla and many of the Japanese monsters, the look and name for the new Korean beast were not chosen at random but actually reflected on its nature and origins. In an interview for the Korean Film Archive, director Kim Ki-duk explained that two words were the basis of the name 'Yonggary'. One of those inspirations was 'Pulgasari', a monster from Korean legends that was featured in an obscure 1962 movie and an infamous North Korean film made in 1985.
The director also chose the word 'yong', meaning 'dragon'… largely considered as a symbol of might in the East. Yong is a Korean pronounciation of the Chinese letter 竜 that is also used in Japan to mean 'dragon' (the Japanese pronounciation is 'ryu'). The Korean word 'gongryong' means 'dinosaur', with the suffix 'ryong' derived from 'yong.' It also shared the same Chinese letter as 'kyoryu,' a Japanese word for 'dinosaur'. Kim and the producers brainstormed many ideas of what the monster would look like, and eventually decided on a dinosaurian appearance that went well with the name 'Yonggary' .
The studio's first major hurdle was in learning how to make a giant monster movie; a difficult task since there had been no such films ever made before in Korea. The producers invited Japanese fx technicians to work on THE GREAT MONSTER YONGGARY, and eventually partnered with Toei Co., Ltd. Kim Ki-duk stated that associate producer Lee Byoung-woo, a Korean cinematographer who was also a naturalized citizen of Japan, acted as an intermediary between the Korean producers and the Japanese crew. Lee, whose Japanese name was Kan Inoue, directly participated in the making of the film and helped train the Korean staff in the special effects techniques used by the Japanese crew. Kim recalled that the Korean special effects and art direction teams were spurred on by the opportunity to improve their craft and create an audience-pleasing motion picture.
Among the Japanese personnel were Masao Yagi, who built the Yonggary suit, and mechanical engineer Akira Suzuki, who had created mechanical props and devices for many of Toho's films. A little over a year before, the pair had partnered with Toho monster maker Keizo Murase to form the special effects house EX Production. The company created the Gamera costume for the original GAMERA (Daikaiju Gamera, US title GAMMERA THE INVINCIBLE, 1965) and went on to work on many of Toei's Masked Rider shows and programs like SECRET TASK FORCE GORANGER (Himitsu Sentai Gorenja, 1975). Many of Yonggary's features such as the tusks and light up eyes call to mind the monster costumes made for Daiei's Gamera films.
The screenplay for THE GREAT MONSTER YONGGARY was written by Seo Yoon-seong. Production design was by Roh In-taek, a regular contributor to Kim Ki-duk's films. The music was created by Jeon Jeong-keun, an incredibly prolific composer with 441 film scores to his credit. The directors of photography were Byeon In-jib and Lee Seong-chun. The film was shot in scope and had a running time of 80 minutes (rumors of a 100 minute version turned out to be incorrect).
The cast consisted mainly of young stars such as Oh Young-il, Kim Dong-won, Kang Moon, and Twist Kim who were regulars of 1960s Korean cinema. Nam Jeong-im, who played Soon-a, the unhappy girlfriend of young scientist Ko Il-woo (top billed Oh Young-il, his character was named 'Illoo Nami' in the English dubbed version from AIP-TV), was a massively popular actress during the mid-1960s and the early 1970s. She passed away in 1992. Twist Kim had a small part as a soldier whose jeep is cut in half by an energy beam from Yonggary's horn. Before fleeing from the rampaging monster, he knelt for a moment and rubbed his hands— a Korean gesture done to beg for life, forgiveness, or mercy. Kim Shin-jae was the mother of the newlywed bride Kim Yu-ri (called On-na in the English dub). The eight year old boy Yoo Young (also known as 'In-cheol', the character was called 'Icho' in the English dub) was played by child actor Lee Kwang-ho, and suit actor Cho Kyoung-min performed the role of Yonggary.
television. © 1967 Keukdong Entertainment Co.
While most of the cast have long since retired, there is one notable exception in Lee Soon-jae, the actor who played Rocket Control Center astronaut Yoo Kwang-nam. Now in his 70s, Lee is still vigorously active in the industry and is highly respected by his fellow actors and fans. He recently starred in the hugely popular television sitcom UNSTOPPABLE HIGH KICK (Geochimeopsi High Kick, 2006) and found a new legion of fans, particularly amongst youngsters.
THE GREAT MONSTER YONGGARY was a massive production by Korean standards of the time. The budget was 13 million won (approximately $50,980 US at 1967 exchange rates), roughly 3 to 4 times the cost of the average Korean film. The movie opened at the Kukje Cinema on August 13, 1967 and eventually had 150,000 admissions (statistics in Korea are unclear if that number describes tickets sold in Seoul or nationwide). The film's impact in Korea is still being felt to this day. In a recent interview for Fangoria, director Hyung-Rae Shim said, "There was a movie that came out in 1967 called YONGGARY which I enjoyed very much. The effects are of course very dated now, but at the time I was very inspired by it." In 1999 he released his own version of YONGGARY, followed two years later by a revised version called YONGGARY: 2001 UPGRADE EDITION. The "reimagining" was a critical and commercial flop, and was quietly released on American DVD by Sony Pictures in 2001 with the new title REPTILIAN. Shim dusted himself off and immediately jumped back into the giant monster genre with the much more successful DRAGON WARS.
Yongary tears through Seoul City. © 1967 Keukdong Entertainment Co.
Just as the Keukdong Entertainment Company had hoped, THE GREAT MONSTER YONGGARY was quickly sold to a US distributor. American International Pictures picked up rights to the film and released it through their television division in 1969 as YONGARY, MONSTER FROM THE DEEP. AIP-TV turned to post-production supervisor Salvatore Billitteri to handle the Americanization of YONGARY. Billitteri had supervised the English language versions for many Japanese films, including ALAKAZAM THE GREAT (Saiyuki, 1960), FRANKENSTEIN CONQUERS THE WORLD (Furankenshutain tai Chite Kaiju Baragon, 1965), DESTROY ALL MONSTERS (Kaiju Soshingeki, 1968), DESTROY ALL PLANETS (Gamera tai Uchu Kaiju Bairasu, 1968), YOG: MONSTER FROM SPACE (Gezora, Ganime, Kameba: Kessen! Nankai no Daikaiju, 1970), and GODZILLA VS THE SMOG MONSTER (Gojira tai Hedora, 1971). The English dub was done by Titra Sound Corp., AIP's chief dubbing facility. Oddly, the American version of YONGARY does not provide names for many of the main characters, and the names that are used are a strange mishmash of Korean and Japanese.
YONGARY, MONSTER FROM THE DEEP was regularly shown in television syndication throughout the 1970s until FCC deregulation brought an end to most independent UHF stations in the early 1980s. Over the next few decades, US ownership of the film repeatedly changed hands. AIP was bought by Filmways, Inc. in 1979, and three years later Filmways merged with the Orion Picture Corporation. In November 1989, Orion Home Video released YONGARY on video for the first time, both on VHS and as a pan & scan laserdisc double-feature with the Shochiku giant monster movie THE X FROM OUTER SPACE (Uchu Daikaiju Girara, 1967).
Following Orion's bankruptcy in 1992, the company was acquired by Metro-Goldwyn-Mayer Studios in 1997. In 2003, MGM reissued YONGARY to cable television (where it is occasionally shown on the Starz/Encore channels and Monsters HD) and now finally on DVD. MGM Home Entertainment's DVDs are currently distributed by 20th Century Fox Home Entertainment, which brings YONGARY's rather convoluted history in America to its current point.
Even more baffling than YONGARY, MONSTER FROM THE DEEP's travels in the United States is the fact that no original negatives of THE GREAT MONSTER YONGGARY survived in South Korea. According to director Kim Ki-duk, at the time the film was made very few Korean movies were exported, so when YONGGARY was sold overseas the producers shipped all the original materials abroad, including the negatives. While such actions are almost unbelievable from today's point of view, they were simply the results of Keukdong Entertainment Company's inexperience four decades ago. The Korean Film Archive has only a section of a release print, running 48 minutes. Reportedly, even this part is not in playable condition because of perforation damage. Therefore, despite its historical value as the first giant monster film in Korea, THE GREAT MONSTER YONGGARY has never been officially released on home video in the country where it was made.
Fortunately, the elements for the AIP version of YONGARY were preserved, and the film looks absolutely stunning on the new MGM DVD. While the release is "bare bones" in terms of extras (the only features are English audio in mono and stereo, mono French and Spanish tracks, and English and Spanish subtitles), the movie itself is presented for the first time in the correct 2.35:1 theatrical aspect ratio… a far cry from earlier unauthorized DVDs sourced from worn 16mm TV prints. The B side of this flipper disc features KONGA, in 1.85:1 widescreen and apparently ported over from the earlier MGM/Sony DVD (the previews are all for Sony titles, including GODZILLA: FINAL WARS). For finally giving viewers a chance to see YONGARY, MONSTER FROM THE DEEP in widescreen, MGM's Midnite Movies DVD is a steal at the SRP of $14.98.
The new Midnite Movies YONGARY, MONSTER FROM THE DEEP DVD was supervised by James Owsley, the former Director of Technical Services for MGM. James began his career as a freelancer working in music videos and commercials, as well as researching materials such as deleted scenes and alternate takes for movie laserdiscs. He worked at MGM for eight years, preparing films for both television and DVD. Since the studio had acquired so many movie libraries they had a tremendous selection of older titles, and much of James' job involved going through the archives in search of the original materials, and painstakingly restoring the film and audio.
SciFi Japan: Have you done a lot of the Midnite Movies line, or was YONGARY a specific case?
James Owsley: The Midnite Movies were something that was set up by MGM Home Entertainment. When we acquired the Orion library [which included American International Pictures] it did need a lot of work because all of the masters were done a while back and there was a lot of restoration work that needed to be done. I got a lot of the more challenging ones, let's say, and it turned out that a lot of the ones I worked on have come out in the Midnite Movies. Some of the ones I worked on were CRY OF THE BANSHEE, MURDERS IN THE RUE MORGUE, WILD IN THE STREETS, GAS-S-S-S, and SQUIRM. And a lot of those films, I personally liked them and they were kind of a kick to work on because sometimes I had to piece them together a little bit and make sure I had the right version.
So at that time it wasn't necessarily market driven, but as we acquired this library obviously the sales department is going to be going, "Oh, new films to sell!" and we had to get these films ready. Being that these films hadn't had anything done to them in years, it was really nice to go in and check out what kind of condition these films were in and what we could do to bring them back a little bit. There's just a lot of films that have a loyal following; if you read anywhere there's always people going "When is this film coming out?" I tried at MGM and I'm trying now at Sony to get the most correct version as possible and really try to get what the director wanted in the film.
Astronaut Yoo Kwang-nam's wedding night gets off to a very rocky start.
One of the big projects I worked on at MGM was the Bond restoration, in which I did a lot of work on all the Bond films that came out in those boxed sets. I'm working right now on the Three Stooges, and we're doing restoration on all of those which is a lot of shorts.
SFJ: I'm a Three Stooges fan, so before we get back to YONGARY I have to ask if these new DVDs will be in chronological order.
JO: They are going to be done in order. We've made new film elements, new transfers… we've done a lot of work in cleaning them up… definitely doing all the research that these are the definitive versions of each of these. That in itself takes a bit of work, because when they were re-released in the 1950s and 60s for the television market they would often edit them, taking out the more risqué jokes. So we want to make sure that we're putting out the full versions with nothing edited, nothing cut. And it will be every one, all the way to Joe Besser. And hopefully even include some of their solo shorts… some solo Shemp Howard, some solo Joe DeRita, and some solo Joe Besser. Plus, the Stooges were also in various lesser known Columbia films like musical revues and we're working in all of that. News reels… we're trying to restore everything Stooge.
SFJ: The big thing with YONGARY is that the film is finally available in widescreen. Back in 1969, American International Pictures sent the movie straight to television so it was always shown pan & scan in the US. How were you able to finally present it in the correct aspect ratio?
JO: American International bought that film specifically for television. In those days, what they would do — because it was before video — is make a 16mm print. That would be what was shown on TV. Films of that time were pretty much widescreen, whether they were scope or 1.85:1 so they would do what is called a 16mm reduction and actually do the pan and scanning when they were doing the reduction. It was really tough, and a lot of times you would get shots where there are things like two noses talking.
With AIP, they would sometimes pick up the rights to films and make a Color Reversal Internegative from the original negative [an inexpensive way to make a printing negative without having to go to an interpositive], cut that, and never touch the original negative. Sometimes I would go back to a film like MURDERS IN THE RUE MORGUE and there's the original English version, untouched and in great condition. Other times, unfortunately, they would cut the original negative and that would be a much tougher situation. On VAMPIRE LOVERS I was able to find that Hammer Films still had some of the parts that had been cut out of the original negative that American International did and we were able to put things together from color separations.
As I went through the inventory on what AIP had on YONGARY it was kind of limited beyond a lot of 16mm elements that they made. Because there was no theatrical release they did not have the original negative. They did have one 35mm interpositive, which is a positive picture element that's made from the original negative. And that one was an anamorphic scope film. So we were very fortunate to have a picture element that was widescreen. It didn't have any main or end titles; it just was the picture itself. The titles and all the credits never existed on the 35mm element.
SFJ: Finding the IP for YONGARY must have been a surprise.
JO: Sometimes you find a welcome surprise and sometimes you have to keep looking. You have to check with the filmmakers if you're lucky enough that they're still around.
We went back and did a lot of research in trying to find more original elements because it would have been nice to put out this film in Korean as it was originally made. It would have been nice to find all the original titles and everything like that, but after doing a lot of research and going back and forth… we were told by the Korean production company that the original material for the film had been 'terminated'. I don't know exactly what that means, but it kind of put us at a dead end.
SFJ: So the studio [Keukdong Entertainment Company] that made YONGARY is still in business?
JO: We were in touch with whoever had taken over for the original production company, and it may well be that they did not know for sure what elements they had. We tried as much as we could to find the Korean YONGARY. And again, sometimes there are problems because of the language barrier, but we were told that it was terminated. That how they said it… terminated, y'know? It is kind of surprising when that happens, but sometimes a production company is really small and they just can't afford the storage, or the company is sold and things get lost. These things happen, unfortunately.
I've since heard that there are some materials in the Korean Film Archives, but it doesn't even sound like a complete original negative [see the main article above for more info]. And that was long after we had worked on the film, and you sometimes have to play the hand that's been dealt you.
Following in Gamera's footsteps, Yongary gains energy by feasting on fire.
Knowing that, we may have some of the few full picture elements in existence and that was kind of exciting. A little frustrating too, because the IP had some problems; things that film elements of that time would normally have because they're a little bit older. The good thing was it hadn't been used much, and because of that it was in great condition.
So we were able to go ahead and use the dub track that was made by AIP so it's in English. And we viewed 16mm prints that they had done and reconstructed the main and end titles, following the font and look of the original AIP version. We actually did find the outer space footage from the opening of the movie; we found a scope version of that in some trim boxes. So rather than blow up the 16mm elements — which were pretty beaten up, too — we were able to find the textless backgrounds for the main and end titles and in video write in all the English titles. Since we didn't have a guide on how to do it from the Korean release we tried to follow the original AIP release from TV.
I wish that I had a better "Indiana Jones" type story with YONGARY but I don't. Unfortunately it's not one of the ones where you say, "Ah ha! I found the Korean version!" but we were able to put together the scope version. On the DVD you'll be able to see something that no one has ever seen.
When a film was shot in scope and you finally see it in scope it's almost shocking. You can see that the movie was set up and lit as a scope film. There's set design and placement… to actually see it in widescreen is startling.
SFJ: Having the film in widescreen alone makes this DVD worth picking up. And, like you said, by all accounts the Korean version is lost and hasn't been shown in Korea for decades. It sounds like you did everything you could at this point.
JO: Personally, I always try to go at the end of the day, "Well, we tried as much as we can," because I really do feel that every film is important to somebody. There was a lot of time and effort put into making YONGARY and it means something to— not just one person, but a group of people. No matter how obscure or unknown a film is, it's worth going to the mat for because it's not easy to make a film. There's a lot of costs and all… I mean, I'm sure a lot of people can look at parts of it and laugh a bit — and obviously the dance that Yongary did is for fun and all — but it does have a certain style to it that is a little bit different from the monster movies of the time. I think it's a fun film.
When we did the transfer we did do it in high def, and we did digitally clean it up. We also did some sound restoration… we "no noised" the sound elements and made sure that it was nice and clear. The presentation is pretty good on this one.
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JO: With YONGARY, it took me a little longer on this film because I did not want to do anything until I really exhausted every possibility. I really wanted to make sure that we 100% could not find something. The film was one that I was working on for probably about four years just because it was a lot of phone calls, a lot of trying to follow up on leads, and taking time opening up every box I could find. And I reached a point where I said, "That's what I got to work with".
JO: That one had a lot of research, and it wasn't the only thing I was working on. It was pretty much calling, waiting for a response, calling, waiting for a response, following a dead end here, there, and everywhere. I could have started as soon as I looked at the elements I had but I really wanted to make sure I had the correct elements… or in this case, the only elements to work with.
It took about four years, but not four consecutive years if you know what I mean. There were starts and stops, and at any time I was working on 30 to 50 films. But YONGARY was always on my plate and I did not want to proceed until I was as certain as I could be that I had everything.
SFJ: Was there anything in the way of advertising materials for YONGARY? I've seen television promos for some of the AIP-TV titles… was there anything like that for YONGARY?
JO: They did have a trailer for YONGARY, but it was very much unfinished. I never found any sound elements for it, but I don't know if anything was done after I left MGM [there is no trailer on the DVD]. Trailers are somewhat — not less important — but for older films you may find a trailer, and it will be missing narration or text, and that may be all that they've got. They were several elements, and this was the only material they could find. I don't know about any other kinds of publicity because that would not be in my area.
SFJ: Thank you for taking the time to talk about the work that went into the YONGARY DVD. The Japanese monster movies have been covered extensively in the US, but very little is known about this film or the people who made it because it's Korean.
JO: It's a little different situation. Toho Studios is pretty strong about keep the elements for a lot of their stuff so its is a little easier trying to restore those films than something like this. YONGGARY was a Japanese/Korean co-production. As vibrant as the Korean film industry is now, back in 1967 it wasn't nearly as big.
SFJ: It's really started booming in the last few years.
JO: Oh yeah, it's amazing. And they've got some terrific films… I loved THE HOST. I thought that was really great. OLDBOY… they've got some great stuff coming out now. I have to say THE HOST is probably one of my favorite monsters from the last few years; it was fantastically designed. It was terrific. I was in Hong Kong last year and caught it in a theater there. I didn't even think it would get released here because it's got that anti-American thing going through it. It's fun to have something that's kind of scary, kind of funny, and kind of touching all at the same time. You see that in a lot of Chinese and Korean and some Japanese films; those kinds of tone shifts. I find it refreshing because it keeps you off guard.
As for YONGARY, I'm not at MGM anymore but I'm seeing some of my "children" from those days come to light and it's neat to see that. I like to peek in and see what the reviews are like. Literally, this Tuesday [September 11], three films I did a lot of work on came out. One is YONGARY, one is FROM BEYOND, and the other is WITCHFINDER GENERAL. It was good to see all three come out, and they're getting pretty good reviews and feedback. It's kind of nice to see that.


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The Dispossessed: On Time and Meaning
written by Isaac Yuen
"You are our history. We are perhaps your future. I want to learn, not ignore. It is the reason I came. We must know each other. We are not primitive men. Our morality is no longer tribal, it cannot be. Such ignorance is a wrong, from which wrong will arise. So I come to learn."
– The Dispossessed, p. 75
Welcome to the final part in the series exploring one of my favourite novels: Ursula K. Le Guin's The Dispossessed. You can read the previous entries here:
Part 1 – Crossing the Wall: The Dispossessed
Part 2 – Urras and Hope Betrayed
Part 3 – Anarres the Promise Kept
In this last piece, I'll touch on the theme of reconciliation that runs through the novel and look at one of its key recurring image: the wall. Finally, I'll explore how the idea of the promise, as expressed by Le Guin's ideas and embodied by the protagonist Shevek's actions, has implications for my own personal journey in forging a meaningful and fulfilling life.
Reconciling Past with Future
The Dispossessed features two diametrically opposing societies: Urras is technologically advanced and ecologically balanced, but suffers from extreme social injustice. Anarres is strong in the areas of equality and human relations, but lacks non-human connections and entrepreneurial innovation. A lot of Le Guin's personal Taoist philosophy can be seen in this fictional universe – Each world's weakness is its counterpart's strength and vice versa, the yin to the other's yang. Yet Urras and Anarres also share something in common, a tragic fundamental flaw. Both are only aware of the present, ignorant of the realities of their shared pasts and the possibility of new futures. On Urras, Vea proclaims that the horrific injustices of past centuries "couldn't happen now" (p. 217), even as fellow citizens suffer in nearby slums (p.291) and are shot dead by the State (p. 302). On Anarres, Shevek's mother Rulag clings stubbornly to isolationist attitudes seven generations old, perceiving the rest of humanity as enemies of society. (p.355) Indoctrinated by propaganda and shaped by social norms, many Urrasti and Anarresti can no longer envision change, have become afraid to take risks, and so have lost the ability to imagine a better society. Things are as they are and must always be. Shevek serves as witness to both worlds' failings. Acting out of his own initiative, he disrupts the status quo, embarking on a journey to "shake things up, to stir up, to break some habits, to get people asking questions." (p.384) Whether he succeeds in affecting lasting change in either society is left deliberately unresolved (a wise decision, I think). The A-Io government crushes the working class demonstration. Shevek travels home not knowing what kind of reception he will receive when he steps foot on Anarres. True to real life, nothing is ever safe or certain for revolutions or revolutionaries. But by the end of the story, new conditions have been created, and with it, new hopes and possibilities.
Reconciling the Arrow with the Circle
"There is the arrow, the running river, without which there is no change, no progress, or direction, or creation. And there is the circle or the cycle, without which there is chaos, meaningless succession of instants, a world without clocks or seasons or promises." (p.223) Image from fdecomite.
Shevek's struggle to connect Urras and Anarres parallels his work as a physicist. Throughout The Dispossessed, Shevek attempts to merge the theory of Sequency – the notion that time is linear and successive, with the theory of Simultaneity – the idea that time is cyclical and eternal. This proves impossible until he learns to embrace and accept time's inherent contradiction, to grant legitimacy for its dual nature to coexist as a whole. One of the things I love about The Dispossessed is how Le Guin portrays science and those who do science – I find that few authors do either justice. Her depiction of temporal physics strikes a careful balance- it feels real without getting too abstruse or explanatory. In Shevek Le Guin beautifully captures the temperament and nuances of a great scientist: That innate curiosity towards the world; a singular dedication to work; the craving for an exchange of ideas; a lifelong passion for grasping a larger truth. To me, Shevek embodies the essence of the scientific spirit, with roots in the natural philosophy of the ancient Greeks.
"We don't want purity, but complexity, the relationship of cause and effect, means and end. Our model of the cosmos must be as inexhaustible as the cosmos. A complexity that includes not only duration but creation, not only being but becoming, not only geometry but ethics. It is not the answer we are after, but only how to ask the question…" (p.226) Image by Stephen Youll.
Many people think science is about the end products – novel inventions, new technologies, gadgets for easier living. But while it may lead to such things, The Dispossessed's portrayal of science and scientists reminds me that science is at its heart a method of inquiry, a process used to both better understand and appreciate the universe, and done by real and flawed human beings to derive meaning and purpose. As Shevek's story demonstrates, this can be an extremely frustrating and difficult journey. But it is one well worth taking.
Unbuilding Walls
"Those who build walls are their own prisoners. I'm going to fulfill my proper function in the social organism. I'm going to go and unbuild walls." (p.332) Image by Esparta Palma.
Walls are the central recurring image in The Dispossessed. Throughout his life, Shevek encounters many negative ones, constructed upon foundations of manipulation and exploitation. In a supposedly egalitarian society, he experiences how his colleague Sabul wields public opinion and ignorance to control the flow of new ideas and gain power over others. On Urras, Shevek sees how the elites wall themselves off from the suffering of their brethren with their possessions and status. On a societal level, he recognizes how Anarres has barricaded itself not only from Urras, but from the planets of Hain and Terra and the rest of humanity. At each turn, Shevek strives to unbuild these walls, but at great personal cost: He is dismissed from the Physics Institute, branded a traitor by his fellow Anarresti for reaching out to other worlds, and targeted as an insurrectionist by the A-Ioti government. Yet Shevek continues to take the risks. His story makes a strong case for Roosevelt's adage that "nothing in the world is worth having or worth doing unless it means effort, pain, and difficulty." By suffering dearly, by understanding that "even pain counts," by "working with time instead of against it" (p.335), Shevek comes to realize what he is capable of, how he can best serve his society, and how to walk the path towards a meaningful life.
Happiness Vs Meaningfulness
"If you evade suffering you also evade the chance of joy. Pleasure you may get, or pleasures, but you will not be fulfilled. You will not know what it is to come home." (p.334) Image by Jeff Belmonte.
In a fascinating paper forthcoming in the Journal of Positive Psychology, Harvard researchers explore the differences between living a happy versus a meaningful life. Happiness, they found, is "mainly about getting what one wants and needs, including from other people or even just by using money." (p.14) Meaningfulness, however, is "linked to doing things that express and reflect the self, and in particular to doing positive things for others" (p.14), with its undertaking often involving choices that directly diminish happiness. While there are overlapping factors that contribute to both qualities, the researchers argue that happiness is primarily a present-oriented endeavour, while meaningfulness involves integrating past, present, and future. This connects strongly to The Dispossessed. As one who sees life through the lens of time, Shevek uses temporal physics to frame his thoughts on pursuing happiness without meaning and on fidelity's role in creating purpose:
"Fulfillment, Shevek thought, is a function of time. The search for pleasure is circular, repetitive, atemporal. The variety seeking of the spectator, the thrill hunter, the sexually promiscuous, always ends in the same place. It has an end. It comes to the end and has to start over. It is not a journey and return, but a closed cycle, a locked room, a cell. It is not until an act occurs within the landscape of the past and the future that it is a human act. Loyalty, which asserts the continuity of past and future, binding time into a whole, is the root of human strength; there is no good to be done without it." (p. 334)
Out of everything in the novel, it is Shevek's realization of promise as temporal reconciliation that most resonates with me. For Shevek, fulfillment comes from understanding the consequences of one's past actions and using one's freedom to create a responsible, compassionate, and ethical future. This line of thought is tremendously appealing.
The Promise: A Personal Take
"Because our sense of time involves our ability to separate cause and effect, means and end. The baby, again, the animal, they don't see the difference between what they do now and what will happen because of it. They can't make a pulley, or a promise. We can. Seeing the difference between now and not now, we can make the connection. And there morality enters in. Responsibility. To say that a good end will follow from a bad means is just saying that if I pull a rope on this pulley it will lift the weight on that one. To break a promise is to deny the reality of the past; therefore it is to deny the hope of a real future. If time and reason are functions of each other, if we are creatures of time, then we had better know it, and try to make the best of it. To act responsibly." (p. 225)
I've always wondered what draws me to environmentalism. It is not guilt like it is for so many, nor anger – I have not the stamina to sustain it. Yet love, that all encompassing reverence so many feel towards nature doesn't quite fit either. As I reread The Dispossessed and reflect upon my life, I can see that perhaps like Shevek, it arises from a desire to understand cause and effect, means and ends. Blessed with the freedom to do anything, perhaps I chose environmentalism because it brings to light the consequences of human action on the global community, casts the widest net for responsibility, and is the most challenging to develop an ethic for. How shall I empathize with an ecosystem? What are my duties to a swarm of mosquitoes? How should I feel about the farmer who burns down a forest to provide for his family? What can I do to connect with a CEO who whole-heartedly believes his company makes the world a better place? These are hard questions to grapple with. But as Le Guin writes, "the human being likes to be challenged, seeks freedom in adversity." (p. 246) Neither is the label of an environmentalist an easy thing to take on. It is an identity steeped in hypocrisy and contradiction, often saddled with despair and uncertainties. But I realize now that it has never occurred to me to escape the difficulty by denying the commitment, for the cause has grounded my life and given me purpose, even as it leads to much headache and heartache, especially in light of the ecological crisis we face today. But promises are like that, as Le Guin again notes:
"A promise is a direction taken, a self-limitation of choice. As Odo pointed out if no direction is taken, if one goes nowhere, no change will occur. One's freedom to choose and to change will be unused, exactly as if one were in jail, a jail of one's own building, a maze in which no one way is better than any other. So Odo came to see the promise, the pledge, the idea of fidelity, as essential in the complexity of freedom." (p.244) Portrait of Ursula K. Le Guin done by Benjamin Reed.
And so I choose to keep coming back, to my path, and to this book. As it is for Shevek, the process of undertaking and keeping promises gives me direction, affords me the chance to try, to do better and be better, as an individual, a partner, a steward, and a citizen. I may never get there, and things always going to be a work-in-progress, but I am excited to continue to learn, grow, write, think and connect. There's so much more to say about the intellectual and emotional journeys The Dispossessed continues to take me on, but I fear doing what Hannah Arendt warns against: To define the story so much that its power is lost. So I will leave things "a bit broken loose" (p. 384). For those who have read the novel, I hope this revisit helps spark what the book means to you. To those who haven't, I hope this series will help you discover Shevek's story for yourself. Until next time.
Related Ekostories
Here, Home, Us: Sagan's Pale Blue Dot
Winter's Tale: The Left Hand of Darkness
On Love, Change, and Possibility
From the Tidepool to the Stars: The Log from the Sea of Cortez
Baumeister, Roy F., Vohs, Kathleen D., Aaker, Jennifer L., Garbinsky, Emily N. Some Key Differences between a Happy Life and a Meaningful Life. The Journal of Positive Psychology, Vol (8): 6, 2013.
Davis, Laurence & Stillman, Peter. (2005) The new utopian politics of Ursula K. Le Guin's the dispossessed. Rowman and Littlefield Publihers, Inc. Oxford.
Le Guin, Ursula K. (1974) The Dispossessed. New York: HarperCollins, Eos Paperback Edition, 2001.
This entry was posted in: Literature
Tagged with: Change, Dispossessed, Environmentalism, Ethics, Happiness, Meaning, Promise, Science, Ursula K. Le Guin, WPLongform
by Isaac Yuen
Exploring connections between nature, culture, and identity.
artistatexit0 says
The segment in your post where you speak to the differences between happiness and meaningfulness resonated with me.
Isaac Yuen says
I mulled over that section for quite a while. I hope I don't come across indicating that the pursuit of happiness is a bad thing. Happiness without meaning is shallow, but a really purposeful life filled with angst and sadness is no good either. I want a life with both, but given a choice between the two, I hope I choose meaning more often than happiness, even if it is hard.
Karen Wan says
I appreciate what you write about why you are an environmentalist. A sense of connection to nature and the impact of a close friend moved me in this direction. I sometimes feel awkward about the anger and shaming coming from some environmentalists. I believe that love is a more powerful motivator. And you're right too that the way ahead isn't always clear about right action. I enjoyed your post about the Dispossessed. Le Guin is a brilliant writer.
Thanks Karen. I wanted to tie the story back to myself, and the more I wrote about theme of meaning and purpose in the book, the more that question came up for myself. I think the uncertainty in the way ahead makes it more interesting for me 🙂
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Genealogy & Family History Meta
Genealogy & Family History Stack Exchange is a question and answer site for expert genealogists and people interested in genealogy or family history. It only takes a minute to sign up.
Where do I find records for artist competitions from the 1880s?
Family writings describe Blanche Elliott Watson (Sydney, 9/5/1863 - 27/3/1919) as a good artist by the age of 17. It records how she beat close on a thousand competitors in "black and white" (pencil sketching?). Where could I find information about these exhibitions?
australia new-south-wales 1880s
Harry V.♦
PeterPeter
It has been suggested that the question be edited to refer to competitions "in Australia". I believe that this invalidly narrows the question. Colonial artists frequently submitted works in competition "back home" in the UK.
– Fortiter
The reference to "in black and white" seemed sufficiently distinctive to use as a search term. Since Blanche turned 17 in 1880, the period 1875-85 seemed appropriate.
From The Sydney Morning Herald Thursday 12 January 1882 (page 5)
AT a meeting the Art Society of New South Wales, held on Monday evening last, Mr. Edward Combes, C.M.G., presiding, it was resolved to invite the members to send in by the 1st May next designs in black and white water medium for a picture of some Australasian subject. A premium of twenty guineas will be awarded for such design as may be considered suitable for reproduction for presentation to the subscribers to the society's next art union in connection with the third annual exhibition to be held in October next. The picture selected will be the property of the society.
Note however that on Friday 13 October 1882, there was a (very) similar announcement with a January closing date for entries. It is possible that these were regular events in Sydney's art circles.
FortiterFortiter
Thanks for contributing an answer to Genealogy & Family History Stack Exchange!
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Q: proving that an angle in a triangle is 60 if and only if a certain condition satisfied I have the following problem with me:
" Let ABC be an acute angled triangle with angle bisectors BL and CM, with L lying on AC and M lying on AB Prove that angle A = 60 if and only if there exists a point K on BC(K is neither B nor C) such that triangle KLM is equilateral"
I am amazed as to how the angle of a triangle can be determined by such a property. Tried angle chasing but didn't work. Any ideas?

A: Part One
Let us first prove that if $\angle A=\alpha=60^\circ$, you can construct an equilateral triangle $MLK$:

$$\angle LSM=\angle CSB=180^\circ-\frac\beta2-\frac\gamma2=180^\circ-\frac{180^\circ-\alpha}{2}=90^\circ+\frac\alpha2=120^\circ$$
This means that quadrilateral $LSMA$ is cyclic (sum of opposite angles $\angle LSM$ and $\angle LAM$ is $180^\circ$).
This implies:
$$\angle SLM=\angle SML=\angle LAS=\angle MAS=30^\circ\\LS=LM$$
WLOG, suppose that $CA\le CB$. This means that $CL<CA$. Find point K symmetric with respect to bisector $CM$. That point lies between points BC (because $CK=CL<CA\le CB$).
Obviously $ML=MK$ and triangle $MLK$ is isosceles with $\angle MLK=\angle MKL$. On the other side $LK\bot MC$ and $\angle LMC=30^\circ$ so $\angle MLK=\angle MKL=60^\circ$. So the triangle $MLK$ is equilateral.
PART TWO
Let us prove the opposite statement. We'll start with equilateral triangle $KLM$ and prove that $\angle A=60^\circ$.

The locus of points B such that $\angle LBM=\frac\beta2$ is the blue arc (a part of a cirlce with some radius $R$). The locus of points B such that $\angle LBK=\frac\beta2$ is the green arc (a part of a different cirlce). Because $\angle LBM = \angle LBK$ and $LK=LM$, these two arcs (circles) have the same radius and are symmetric with respect to common chord $LB$.
This means that $LB\bot MK$. In a similar way you can show that $MC\bot LK$. So angles $\angle CSB$ and $\angle LKM$ have perpendicular legs with one of them being acute and the other one obtuse. So it means that:
$$\angle CSB=180^\circ-\angle LKM=120^\circ\tag{1}$$
But in part one we already proved that:
$$\angle CSB=90^\circ+\frac\alpha2\tag{2}$$
From (1) and (2) you get that $\alpha=60^\circ$.

redpajama_set_name: RedPajamaStackExchange


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Q: Using if Manipulation / method on button array I am trying to create a TIC TAC TOE application in Android.
I have created a array of buttons
 public Button buttons[] = null;

In the onCreate() method I fetch the Buttons from the XML file.
    buttons[0] = (Button) findViewById(R.id.button9);
    buttons[1] = (Button) findViewById(R.id.button3);
    buttons[2] = (Button) findViewById(R.id.button4);
    buttons[3] = (Button) findViewById(R.id.button8);
    buttons[4] = (Button) findViewById(R.id.button);
    buttons[5] = (Button) findViewById(R.id.button5);
    buttons[6] = (Button) findViewById(R.id.button7);
    buttons[7] = (Button) findViewById(R.id.button2);
    buttons[8] = (Button) findViewById(R.id.button6);

For each button, there is a different function. For example
    public void midBTMCLicked(View arg0) {

    if (Clicked == true) {
        buttons[7].setBackgroundResource(R.drawable.x);
        Clicked = false;
    } else {
        buttons[7].setBackgroundResource(R.drawable.o);
        Clicked = true;

    }
    buttons[7].setEnabled(false);
    Log.i("buttonCLicked","button middle at the lower line clicked,");
}

and now, after i  wrote the code of the Onclick , I'm trying to check for the winner
There is a problem inside my if statement.
I want to check if the background of the button changed.
public void CheckForWinner(View arg0)
{
    if ( buttons[0].setBackground()== buttons[1].setBackground()
        && buttons[1].setBackground()==buttons[2].setBackground())
     {}
}

The problem is that: buttons[1].setBackground()... gives me an Error.

A: First, you cannot initialize an array like that
public Button buttons[] = null;

You should use the array contructor :
public Button buttons[] = new Button[9];

Secondly, you cannot compare the backgrounds like this.
Construct another array that save the state of the button like :
Integer[] buttonState = new Integer[9];
And then you can say that if the case is empty, buttonState[i] = 0, 1 for X and 2 for O . And in your if condition you compare the states like that :
public void CheckForWinner(View arg0)
    {
    if ( stateButtons[0] == stateButtons[1]
        && stateButtons[1] == stateButtons[2] )
     {
       // Do something
     }
}


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Q: What is the difference between passing a function and array as an AngularJS controller? Both of these work, but what is the actual difference between each implementation? I'm sure there is a logical reasoning behind each method, and I wish to be enlightened.
angular.module('app').controller('GeneralCtrl',
    function($scope, $location, exampleService) {
        $scope.variable = exampleService.getExampleVariable();
    }
);

angular.module('app').controller('GeneralCtrl',
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);

What is the actual difference between these? Where would you use them differently? Why?
Answer: Turns out the latter is minification safe as minifiers rename parameter names, so dependencies cannot be inferred from their names, and so must be annotated.

A: This is what Angular calls "inline notation" for dependency injection (see http://docs.angularjs.org/guide/di for a whole lot of detail).
In the example you gave, the ng-controller directive is actually doing the work behind the scenes, of hooking up $scope, $location, and exampleService into the variables you're providing to that first function. It's doing this by default based on variable names (that is, it assumes that a variable called $scope is asking for the $scope dependency).
That said, when you minify your code, the variable names get chopped down also (ie, $scope might become a). When that happens, Angular now doesn't know what you meant by the variables anymore.
One option is to add
GeneralCtl.$inject('$scope', '$location', 'exampleService')

Another is to provide those strings like you did in the second example. This makes sure that even if the variable names get changed around, you're telling Angular what they were supposed to represent, and it knows how to set them properly.


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The Wairoa community did not hold back on expressing their opinions on the Government's Three Waters Reform proposals with around 60 people sharing their thoughts.
Wairoa Mayor Craig Little said the Wairoa District Council, along with other local authorities, was asked by the government to consider the evidence and whether the government's proposal to reform the three waters sector will deliver benefits to its residents. Council's submission to the Department of Internal Affairs is available here: https://www.wairoadc.govt.nz/assets/Document-Library/Other/Three-Waters/Wairoa-District-Council-Submission-to-Governments-Three-Waters-Reform-Proposal.pdf
"Our Council designed a survey to gather people's thoughts and we also received feedback via email and Action Station Aotearoa- an independent crowdfunded community campaigning organisation."
Mayor Craig Little thanked all the submitters and acknowledged that all feedback was taken on board, and that Council appreciated hearing from a range of community and iwi members.
Elected Members appreciated the engagement from members of the public and encourage all feedback to be sent to Council's central feedback email: 'feedback@wairoadc.govt.nz'
People who completed the Council website-based survey or emailed Council will have received a feedback confirmation notification. However, while the Action Station Aotearoa submissions were received, Council cannot reply to those submitters as the format of the platform does not allow for replies.
People who are using the Action Station Aotearoa platform are encouraged to add their email address into the content if they would like to receive a reply.