text:
History is made at night
The politics of dancing and musicking and other dark matters
Dancing Questionnaires (13): Tom from Cardiff
Tom from Vamos a Bailar: Salsa in Cardiff and Around steps up:
1. Can you remember your first experience of dancing?
Dancing to a rhythm'n'blues band in the 1970s on the beer-soaked linoleum of Cardiff's notorious – and long-demolished – New Moon Club.
2. What's the most interesting/significant thing that has happened to you while out dancing?
My answer to this changes all the time, because it always relates to the most recent dance where I really make a connection with a partner.
3. You. Dancing. The best of times…
Paris last summer. Free dancing on a warm Saturday night in the open air on the banks of the Seine, and then Sunday afternoon in Barrio Latino: I was on form and the dancers and the music were great.
4. You. Dancing. The worst of times…
Cattle markets in Cardiff Students' Union in the late 70s, trying to pluck up the courage to ask for a dance.
5. Can you give a quick tour of the different dancing scenes/times/places you've frequented?
I used to jump about in an uncoordinated way at parties in the 70s. Myself and my (straight, male and female) friends also used to go to gay clubs and dance to disco music around the same time. I only got seriously into dancing around seven years ago: I've become addicted to dancing LA-style and more recently Cuban salsa (and the group version 'rueda de casino'). I also dance merengue and bachata (dances from the Dominican Republic) and reggaeton if I'm sufficiently relaxed, though strictly speaking I'm too English and middle-aged for the latter.
6. When and where did you last dance?
Last night in Jumpin' Jaks, Cardiff. A great night.
7. You're on your death bed. What piece of music would make your leap up for one final dance?
'Este te Pone La Cabeza Mala' by Los Van Van.
All questionnaires welcome - just answer the same questions and send to transpontine@btinternet.com (see previous questionnaires)
Posted by . at 2/25/2009 05:21:00 pm No comments:
Labels: 2000s, Cuba, France, Paris, questionnaire, Wales
Dancing Questionnaires (12): Abbey from Boston
The latest dancing questionnaire has been completed by Abbey who lives in the Boston, MA area. Her summer camp dancing adventures reminded me of going to youth club discos and dancing round in a high kicking circle to Hi Ho Silver Lining by Jeff Beck as well as the perennial awkwardness - for boys and girls - of that last slow dance. We also played the B-52s at that youth club, who would have thought they would end up in the pop canon, but I guess they have - in fact only last week I played Love Shack out withn my ukulele band.
Dancing in my family room to a video of a Parachute Express concert as a very small child. Ever since I've know what music is, I've danced to it.
Probably when I was at the dances at my camp last year. A slow song came on, and instead of wandering around and feeling awkward about not wanting to dance with guys, all of my friends and I broke into faux-ballet moves and just...let go. It wasn't embarrasing, it wasn't awkward, it was...so much fun.
It all happens at camp for me. We're all dorks, on the fringe of society at home, but when we get together, we just go crazy. Not just at the dances, but one incredible moment when it started pouring rain, and instead of running for cover, we danced. And sang Bohemian Rhapsody, but that's a longer story.
I was at a dance at home, at a private boy's school that my friend goes to. He invited me and a few of my friends, and after slight worry over the sex-deprived boy schoolers, we decided to go. A guy asked me to dance, and I was weirded out, since that never happens to me, but I said yes. ...Before I realized what was happening, he started grinding with me. I was freaked out, and had no idea what to do, just sort of stood there until he stopped, said it was nice to meet me, and walked away. Apparently I'm not a very good grinding partner, which is nice, because I find it disgusting.
Not much. I'm pretty young, pretty sheltered, and live in the most boring place in the universe. So the craziest I get is school or camp dances, or randomly instigated dancing in random places with my friends. We're awesome like that.
If you mean seriously danced, it was at the winter semi-formal at my school, and it was some crazy awesome fun (as long as we avoided the sea of grinding taking up most of the dance floor). But for any dancing, the last time would be in the car, with my brother and dad, dancing in my seat when Revolution by the Beatles came on the radio. I make it a point to dance pretty much every day.
American Pie. It's played last at every dance at my camp, we know all the words, it's packed with traditional dance "moves" and called responses to the lyrics. It's the one song I've danced to that really affects me emotionally. This could actually be said about a few canon songs from my camp, including Tunak Tunak Tun, Love Shack, and the Time Warp.
Posted by . at 2/18/2009 09:23:00 pm 1 comment:
Labels: 2000s, questionnaire, USA
I've posted this before at my south east London blog, Transpontine, but am reposting here as a follow up to the earlier Club UK post on crime, drugs and London clubbing.
Raving Lunacy: Clubbed to death – adventures on the rave scene (2000) is by Dave Courtney - sometime East Dulwich resident, former Southwark Council dustman (at Grove Vale depot), and celebrity villain. Must admit I'm not big on the loveable gangster genre, violence isn't glamorous - it's brutal, bloody and leaves behind grieving children who are damaged for life. In this book, Courtney plays up to his image and some of the stories can no doubt be taken with a pinch of salt. Still, he does a service in documenting the early days of acid house and raving in late 80s/early 90s South London.
By his own account, Courtney went to some of the first 'acid house' events in London - Shoom in Thrale Street, Southwark and the parties held in old prison museum in Clink Street by London Bridge: 'The Clink was wicked... Very druggy and very housey place, full of proper hardcore havin'-it-larger's in there. And it was good cos it had all these individual cells so it was like having loads of little VIP lounges'.
Soon he started a club of his own: 'near the Elephant and Castle, I found a viaduct arch beneath the mainline railway track running over John Ruskin Street... The Arches was the first all-night, illegal rave in London... All the other clubs in London shut at about 2 am but mine was still banging at 8 o'clock in the morning! ... Under this great big curved, black and red railway arch roof there was the scaffolding gantry holding the DJ on the decks, massive speakers either side and the lights hanging above; and below that this heaving mass of lunatics just going completely mental, arms in the air, whistles and foghorns blowing... Steam and joint smoke hung like a fucking fog, people were dancing on speakers and scaffolding... we'd have a girl walking round in a Playboy Bunny outfit with an ice-cream tray round her neck full of ready-rolled spliffs for a quid each - Get yer Joints 'ere!' And big plastic dustbins filled to the top with ice and free apples and Ice-pops... we had a mad mixture of people: from hardcore ravers, professional clubbers, black geezers, white geezers, plenty of women, football hooligan nutters going all smiley, hardnuts softened by Ecstasy... I had names DJing there before they became superstar DJs like they are now - Danny Rampling, Carl Cox, Fabio & Grooverider, Brandon Block'.
The police at the nearby Carter Street station were not happy, and eventually it was raided by 'army of 150 police, with some fuckers called No 3 Area Territorial Support Group in flameproof overalls, bulletproof body armour and steel helmets with radio microphones, carrying an angle grinder, a hydraulic ram, sledgehammer'. 26 people were arrested and one person was apparently later jailed for five years for his part in running the club.
Later he was involved in putting on free open-air raves - 'I bought a massive removal van with a diesel generator ·and drove in on to fields or grasslands. Tooting Common was one. Peckham Rye was another... I'd open up the back of the lorry, set up the DJs decks and put these dirty big speakers outside. We'd get eight, nine hundred people up there really going [or it. Speakers booming it all out. And cos I didn't charge no one the law had a job Slopping me doing it. It just started attracting loads of gay blokes, which is something I hadn't counted on. But then it was the Common, the well known shag-spot for gay geezers doing some fresh air cruising, so I guess it made sense'.
He also ran a club for a while at the Fitness Centre in Southwark Park Road: 'It used to be the hottest place. It was this windowless basement space made for about 30 geezers to work out in; not two hundred people to get off their tits'.
Then he put on a club called 'Crazy Mondays', at Futures on Deptford Broadway, a club owned by Harry Hayward (later as a 'retired gangster', the Chair of Deptford Action Group for the Elderly): 'It ran from 6 a.m. Monday morning till about 2 p.m. in the afternoon... there was villains, hardcore ravers, pimps, prostitutes, drug dealers, lap dancers, strippers, drag queens, club owners, club promoters, club dancers, celebrities, sports stars (Nigel Benn and Gary Mason were there), doormen, bar staff, waitresses, croupiers, gamblers, cab drivers, sex club people - basically, mostly everyone that had· worked over the weekend in the nightclub trade watching other people having a good time, all came down to mine to have their own'.
Courtney was evidently in that generation of crooks who saw the money-making opportunities in the club scene but he is also obviously a true believer, extolling the wonders of ecstasy and raving in breaking down racism in London and challenging his own anti-gay prejudice.
Labels: 1980s, 1990s, buildings/spaces, drugs, free parties, house music, London
Nigerian Islamists ban Dancing on Screen
Islamic authorities in Kano State (northern Nigeria) have been enforcing a ban on showing 'singing and dancing on screen' claiming it is 'necessary to protect Hausa culture against the influence of Indian Bollywood films, hugely popular in northern Nigeria'. In December 2008, film maker Iyan Tama was jailed for releasing a film without the approval of Islamic censors, and featuring singing and dancing. Last month a mob attacked his home and threatened his family (source: BBC News, 29 January 2009)
Posted by . at 2/17/2009 08:00:00 am No comments:
Labels: 2000s, film, Nigeria, religion/spirituality
Club UK in Wandsworth: Love, Ecstasy and Crime
Heading out to Kew Gardens over Christmas, we drove through Wandsworth. As always on that journey through South West London, my partner and I reminisced incredulously about how we used to drag ourselves for miles across the capital by public transport to visit that part of the city. And we weren't alone - because from 1993 to 1996, Wandsworth was the home of Club UK, attracting people from all over London and beyond to queue in Buckhold Road next to the Arndale Shopping Centre.
Like many new clubs at this time, it was launched in a blaze of publicity about its luxurious decor and facilities. Like most, the reality was that the money was mainly spent on the sound system, and it was in fact a 'utilitarian, cavernous warehouse' (to quote DJ magazine), with 3 different music rooms - the 'techno room', the 'pop art room' and the main room - there is a detailed description of the place at 'the Club UK experience' site.
There were two main nights. On Fridays, it was Final Frontier, a techno/trance night put on by Universe (who promoted the Tribal Gathering festivals with the Mean Fiddler). The flyer below exemplifes the rhetoric of that scene, with its talk of a 'our weekly marriage of spirituality and technology in perfect harmony' and its call for 'No rules, no limits and no sell out'.
Final Frontier flyer, January 1995 (click to enlarge)
Saturdays was a house night, with a dominant soundtrack of the kind of anthems despised as 'handbag house' by tedious musos, but which I loved (and indeed still do- hooray for funky!). Yes lots of disco diva vocals and four to floor rhythms. When I think of Saturday nights at Club UK, the tracks that come to mind are things like Your Loving Arms by Billy Ray Martin (the Junior Vasquez Soundfactory mix), To the Beat of the Drum by La Luna, Wildchild's Renegade Master, Push the Feeling On by the Nightcrawlers. Oh and that piano break track with the sample of Blur's Girls and Boys (Pianoman - Blurred).
Club UK flyer, February 1995 (click to enlarge)
What made Club UK special was a crowd of 1400 people for which the term 'up for it' seems completely inadequate. I can still vividly picture walking in there for the first time on a Saturday night - as soon as we stepped through the doors it felt like we were in the middle of an explosion of energy. The track playing was Reach Up (Papa's got a brand new pigbag) by Perfecto Allstarz - the whole place was erupting, there didn't seem to be any sense of a dancefloor, everybody in the place was dancing including the bar staff. You would meet all kinds of people there from public school kids (there were press reports of Etonians being suspended for taking drugs there) to squaddies - I remember on that first visit chatting to a couple who had done a bunk from a local children's home to be there.
Club UK was the opposite of cool, in every sense of the word. It was a sweatbox with little or no air conditioning, condensation dripping off the ceilings and sometimes unbearably hot and crowded. One night when we there they had to open the fire exit into the Arndale to let people breathe - so there was an impromtu chill out area on a balcony overlooking the deserted shopping centre (pretty sure this was on their second birthday party, July 1st 1995, with Danny Rampling playing). I remember sucking ice pops to try and cool down. The place was ecstasy fuelled, so many people would go the whole night without buying a drink. Many dubious clubs at that time used to turn off the water in the bathrooms so that people had to buy water from the bar. I don't recall Club UK going to that extreme, but sometimes the cold water taps were reduced to a dribble and they certainly made a small fortune selling their own brand of bottled water. Like in many clubs, there were many random acts of kindness as strangers offered each other sips of water on the dancefloor.
South London Press, 17 October 1995 (click to enlarge)
One hazard was the sporadic police raids. The first one was in December 1994 on a Friday night. Then in October 1995, 150 police raided it on a Saturday. Operation Blade involved dogs, horses, and the Territorial Support Group. 800 clubbers were turned out on to the streets, and many searched. 10 people were arrested. The police raid on Club UK was carried out with TV cameras in attendance, correctly described by the clubowners as a 'media circus'. It seems the raid was deliberately timed to provide a story on which to hang the launch two days later of a new anti-drugs campaign called SNAP (Say no and phone). Ironically the police launched this campaign at Club UK's South London rival, The Ministry of Sound, a place where drug use was just as widespread.
Mixmag, November 1995 (click to enlarge)
With hindsight, there were though some very dodgy people involved with Club UK. As in the United States when prohibition of alcohol led to the Mafia control of drinking clubs, the prohibition of drugs like ecstasy created a huge market for UK gangsters to fill.
In December 1995, three men were found shot dead in a Range Rover in a country lane near Rettendon in Essex: Tony Tucker, Pat Tate and Craig Rolfe. There are different versions of why they were killed, as they had many enemies from their involvement in violence and drug smuggling. But it is well established that Tucker ran security at Club UK. According to Tony Thompson in 'Bloggs 19: the story of the Essex Range Rover Triple Murders' (London: Warner, 2000), 'Controlling the doors of a club instantly means that you control who sells drugs inside. Tucker began to charge dealers 'rent' of around £1000 per week in return for granting them exclusive access to the club... in March 1994, twenty-year old Kevin Jones died at Club UK in south London after taking ecstasy. In a bid to track the source, police put two of the club's suspected dealers under surveillance and discovered they had been paying Tony Tucker, the man responsible for security at the club, £1000 per weekend for the exclusive rights to sell ecstasy and cocaine'. Thompson also suggests that Tucker supplied the ecstasy to a dealer at Raquels nightclub in Basildon, the source of the infamous E that caused the death in November 1995 of Leah Betts at her 18th birthday party.
In a statement to police after the murders, Christoper Hall of the (unrelated) Club UN in Tottenham stated: 'I first met Tony [Tucker] when I was operations director for 'First Continental' the Hollywood chain of nightclubs. The directors of this company was Marios George Ellides and Chris George Ellides. My duties at that time included the operation of each club my role was a supervisory management role. At each club the security staff were controlled by Tony Tucker. The clubs were Hollywood Romford, Hollywood Ipswich, Club Art Southend, Club UK Wandsworth'.
The Rettendon events are fictionalised in Jake Arnott's novel True Crime, where one of the characters declares: 'It's who runs the doors, Gaz. That's what this thing is going to be all about. It doesn't matter who runs the club, who promotes the event or whatever. It's who's in control of security, that's going to be the thing. That way you decide who can bring in drugs and deal inside the place'.
The real story of criminal gangs in the 1990s club explosion remains untold. There were all sorts of rumours - e.g. that members of the Inter City Firm ran The Leisure Lounge club in Holborn - and surely most of the players in that scene - DJs, promoters etc. - must have been on more than nodding terms with some very dubious people, whether they liked it or not. That gangsters like Tucker controlled the drugs trade in clubs is not surprizing, but as they made more and more money it seems likely that some must have crossed over to investing profits in buying and running clubs. It would be interesting to know where some of the money came from for some of the high profile new clubs that opened in that period. And its a sobering thought that in any counter-culture/alternative scene organised around drugs, you are only ever two degrees of separation away from a thug with a gun.
More memories, flyers and mixes on the Final Frontier and Club UK groups at Facebook. Great to remember all the good nights, but let's not forget those who didn't make it: Andreas Bouzis (18) and Kevin Jones (20) who died after collapsing at the club.
See also Clubbed to Death
Posted by . at 2/15/2009 11:06:00 pm 103 comments:
Labels: 1990s, buildings/spaces, drugs, England, Essex, flyers, house music, London, policing
F.Scott Fitzgerald - May Day
F. Scott Fitzgerald's story May Day, first published in 1920, is an account of a drunken night in New York in May 1919. Drunk socialites dance and argue before hitting an all night cafe, drunk soldiers attack socialists in the streets. He describes the different stages of alcohol intoxication, from feeling good to fighting: 'At the second highball, boredom, disgust, the monotony of time, the turbidity of events, sank into a vague background before which glittering cobwebs formed. Things became reconciled to themselves, things lay quietly on their shelves... as he sipped his third highball his imagination yielded to the wann glow and he lapsed into a state similar to floating on his back in pleasant water'. Before the end of the story, the same character has been in a brawl with bouncers.
A key setting is a dance to a jazz band at Delmonico's, with the author conjuring up its smell: 'From the room she had left drifted out the heavy fragrance left by the passage to and fro of many scented young beauties - rich perfumes and the fragile memory-laden dust of fragrant powders. This odour drifting out acquired the tang of cigarette smoke in the hall, and then settled sensuously down the stairs and permeated the ballroom where the Gamma Psi dance was to be held. It was an odour she knew well, exciting, stimulating, restlessly sweet - the odour of a fashionable dance'.
Fitzgerald also notes the trance-like sensation of dancing and its stimulation of memory : 'this dance, first of its kind since the war, was reminding her, with the accelerating rhythm of its associations, of something else - of another dance and another man... another roving beam... threw flickering shadows and changing kaleidoscopic colours over the massed dancers. Edith had danced herself into that tired, dreamy state habitual only with debutantes, a state equivalent to the glow of a noble soul after several long highballs. Her mind floated vaguely on the bosom of her music; her partners changed with the unreality of phantoms under the colourful shifting dusk, and to her present coma it seemed as if days had passed since the dance began. She had talked on many fragmentary subjects with many men. She had been kissed once and made love to six times... her mind was passive now, her senses were lulled to trance-like sleep; only her feet danced and her voice talked on in hazy sentimental banter'.
Labels: 1910s, F. Scott and Zelda Fitzgerald, jazz, literature, New York, USA
Must admit I know very little about pirate radio outside of England, but here's a few interesting stories that caught my attention:
Florida: One Love Radio (ABC Action News, 12 February 2009)
.... the Winter Haven Police Department arrested Anthony Davis after searching his Lee Avenue in Winter Haven. Detectives found audio mixers and DJ equipment and a 100 watt transmitter that they say Davis was using to broadcast his reggae music style radio station on 87.9 FM.
Complaints about his station came from a local Orlando TV station, Channel 6 which uses the freqency for their TV audio. Davis called his station format "One Love Radio". A third degree felony charge of unlawful transmission of radio frequency was filed against Davis who told detectives he worked as a security guard in Haines City.
Israel: RAM FM (Ynet news, 4.7.08)
RAM-FM, an English-language radio station broadcasting from a Jerusalem studio, was shut down by police on Monday for transmitting without a proper permit. The West Bank station broadcasts Western music in an attempt to bring Israelis and Palestinians closer together. The station's headquarters are located in the West Bank city of Ramallah, where it broadcasts on 93.6 FM.... The station's headquarters are located in the West Bank city of Ramallah, where it broadcasts on 93.6 FM...The station attracts a diverse audience of tens of thousands, from Israeli soldiers and Palestinian students to West Bank villagers, English speaking immigrants, migrant workers and foreign diplomats. It is one of the numerous pirate radio stations broadcasting throughout Israel, which are often blamed for dangerous disruptions in airport air traffic communications and interference in regular radio broadcasts. (see also this)
Free Radio Berkeley - Liberating the Commons
'Within the first year after the initial broadcast of Free Radio Berkeley [in 1993], it became clear that the Free Radio Movement was part of a much larger global endeavor. Community radio is rooted in the struggles of people for a just and humane existence. Whether it was: Bolivian tin miners establishing radio stations in the late 1940's as part of a campaign to improve working conditions; Radio Rebelde's role in the Cuban Revolution; Czech citizens creating clandestine radio stations after the crushing of the Prague Spring in 1968 by the USSR; or the supportive role of community radio in the recent uprising by indigenous people in Bolivia to reclaim their natural resources – community radio has always been a tool of expression and organization... After the first coup against Haitian President Jean Bertrand Aristide, Free Radio Berkeley supplied transmitters to peasant organizations fighting against the coup. Transmitters also went to both the Chiapas jungle and the urban streets of Mexico City... Embracing Free Radio as a form of media expression that is genuine and real is the first step on the road to liberation from the society of the spectacle. Only by coming together as communities can people begin to: form the relationships that really matter, tell the stories which impart a collective identity, history and purpose; dance, sing and celebrate life together; and forge new bonds of commitment and support. Free Radio is the Peoples Drum'.
Labels: Israel, Mexico, radio, USA
Datacide Archive Online
12 years of articles from the great 'noise and politics' zine Datacide are now online. Spend some time there, it will be worth your while!
Online for the first time you can now read my article from the latest Datacide 10:
Neil Transpontine: A Loop Da Loop Era: towards an (anti-)history of rave
"We are all familiar with those superficial overviews of 'popular culture' in which the same clichéd images are used to denote entire social movements – a few naked hippies at Woodstock standing in for the 1960s counter-cultures, a couple of Mohicans for punk and some gurning ravers in smiley t-shirts for twenty years of electronic dance scenes from acid house to breakcore. In this way history affirms the status quo by suggesting that nothing fundamental ever changes, and the multiple possibilities of negation and creation opened up by these movements are denied... There is no single history but numberless trajectories that converge and pass through the various sonic, social and chemical phenomena grouped under that unstable term 'rave'...."
Labels: Theory, zines
You're on hold
I've just read a short pamphlet 'Muzak to my ears: Canned Music and Class Struggle: Public Space and Muzak as Policing'. I will write a review of this at some point, but one thing that struck me was the reflection on the music used when you phone a bank or other institution while you are kept on hold: 'music is now used as environmental material to enhance sales techniques and marketing, usually to soothe the nerves and irritation of impatient phone callers but, as Ballard points out, also to jangle the nerves and exacerbate the irritation of dissatisfied service customers, probably to make them stop holding on'. It includes a great quote on this from JG Ballard (I think sourced from the book Elevator Music):
"...the subject is fascinating - all part of mood-control. For me the intentions of background music are openly political, and an example of how political power is constantly shifting from the ballot box into areas where the voter has nowhere to mark his ballot paper. The most important political choices in the future will probably never be consciously exercised. I'm intrigued by the way some background music is surprisingly aggressive, especially that played on consumer complaint phone lines and banks, airlines and phone companies themselves, with strident, non-rhythmic and arms-length sequences that are definitely not user-friendly."
In the course of my own personal credit crunch I have spent a fair amount of time waiting for calls to be answered, and yes the music remains more than irritating - but at least suggests that you are waiting in a queue with some prospect of speaking to a human being, even more frustrating is going round and round in circles through endless menus of options (press 1 if you would like to get further in debt, press 2 if your house is going to be repossessed etc.) - none of which include the possibility of any kind of conversation.
Still if you think listening to Music on Hold is bad, spare a thought for the Call Centre workers on the other line - wearing headphones all day and therefore susceptible to serious damage to their hearing from Acoustic Shock caused by 'a sudden, unexpected noise, often delivered at a very intense frequency'.
'Muzak to My Ears' is available as a pamphtelt from Past Tense publications, c/o 56a Infoshop, 56 Crampton Street, LondonSE17 3A (£1.50 including post and packing, cheques made payable to A. Hodson. Most of the text is available online here.
Labels: 2000s, Theory
Liverpool Street Closed by Silent Dance
Even though I stand by my critique of last month's T-Mobile pseudo-flashmob, the advert may have had the effect of amplifying the real silent rave phenomenon, judging by last night's events in London:
'Liverpool Street Station was overrun by dancers who had congregated on the concourse for a silent disco, organised via the social networking website. The crowd, who were all listening to music through headphones, broke into dance at 7pm on Friday night in a scene which aped the advert which was filmed at the station last month. The flash mob caused police to close the station for around 90 minutes due to fears of overcrowding. Participants, some of whom had travelled hundreds of miles to take part, said the station was so packed that there was no room to dance. Some revellers climbed on top of a ticket office to perform their routines, while others climbed notice boards and other station furniture... Word of the the event, called Liverpool Street Station Silent Dance, was circulated on the internet through Facebook.
Jennie Tuck, 16, a student from London, said: "It was an amazing atmosphere. Everyone assembled underneath the departures board and watched the clocks for a 10 second countdown to seven o'clock. When the clock struck seven, everyone went mad. People were dancing and screaming and jumping up and down. One guy completely stripped off and loads of others were crowd surfing."
A City of London Police spokeswoman, who was on the scene said: "We had to close the station because it was completely overcrowded. There were around 12,000 people here" (source: Telegraph, 7 February 2009).
On Facebook, people already seem to be planning a similar event in Trafalgar Square next Friday 13th February at 7 pm. What we really need is somebody to turn up with a sound system on a truck to really take this to another level.
Labels: 2000s, England, flashmobs and silent raves, free parties, London
Dancing and Class Formation
How do social classes come about? From a Marxist point of view, class is defined by people's relationship to the means of production - there are those who own (or who own substantial share holdings in) banks, factories, land and various large companies, the 'independently' wealthy who don't rely on a wage to survive. Then there are the mass of the population without reserves, who can only make a living by selling their labour. In this perspective, the middle class doesn't really exist - as most middle class people are also only a couple of pay cheques away from the same destitution as the rest of the proletariat.
But I digress. The point I want to make is that the objective economic conditions for classes are only part of the story - as the radical historian E.P. Thompson argued in his The Making of the English Working Class, for classes to become social actors with a particular world view, acting in their perceived interests, a cultural process has to happen in which people develop common ways of socialising, thinking and acting. For Thompson, class is not just about "so many men who stand in a certain relation to the means of production" and class formation "is a fact of political and cultural, as much as of economic, history".
So where does dancing fit in with this? With a nod to Jurgen Habermas, Geoff Eley extended Thompson's idea to talk of "a working class public sphere", a self-conscious independent culture with its own publications and diverse organisational forms. He argued that in addition to formal political meetings, there emerged in the nineteenth century "new forms of collective sociability" that created "a distinct public space of independent working-class activity". Dancing was part of this, with Eley identifying the tea parties and balls of the Chartist movement as examples of this collective sociability.
But dance aspects of the public sphere are not specific to the working class. Anyone who has read Jane Austen knows how important balls were in the early industrial period as a means for the wealthier members of society to meet, interact and ultimately marry and reproduce. Over time they were one mechanism by which landed aristocrats and new money bourgeoisie came to form a new dominant class (or rather for an existing dominant class to accommodate newcomers).
Something similar happened in the 1960s, as the doors of the ruling class opened to admit new moneyed stars from the media and entertainment industries. Once again dancing - this time in 'Swinging London' nightclubs - facilitated this. Terence Stamp (left) a working class boy turned actor who benefited from this recalled: 'In the sixties, amongst ourselves, our age group, there was an absolute coming together. And what made the coming together was basically music and dancing. In a way it was a new aristocracy. But the main thing was that there was suddenly access between the classes. Had the sixties not happened, I would never have been able to spend the night with a young countess because I would never have met her. And as the great Mike Caine once said to me, 'You can't shag anyone you don't meet.'"
Of course social mobility between classes is not to be confused with classlessness - the former implies the continued existence of classes, just with the potential for a few to move up and down the ladder. As Shawn Levy has written of that era: ''As the sixties emerged, proponents of the theory of classlessness could point to the likes of Quant and Stamp and the Beatles and a dozen other exceptions- people who'd broken into a new class where talent and the wealth that followed success mattered more than who your parents were. But it was inarguably the case that this meritocracy- with its members-only restaurants and nightclubs -was just as exclusive as the old upper class of money and birthright; you may no longer have needed to be born to position but earning it was, arguably, a harder and rarer feat. And, too, entrance to the new world only lasted as long as the traditional elite chose to allow it. "The rich people let us play in their back garden for a few years," said tailor Doug Hayward, "and then they said, 'Right, lads, very nice, you've all had a good time, now let's get back to it".'
Sources: E.P. Thompson, The Making of the English Working Class, 1963; Geoff Eley, ;Edward Thompson, Social History and Political Culture: the. Making of a Working-Class Public, 1780-1850', in H. J. Kaye and K. McClelland (eds.), E.P. Thompson: critical perspectives, Cambridge, Polity, 1990; Shawn Levy, Ready Steady Go! The Smashing Rise and Giddy Fall of Swinging London, 2002.
Posted by . at 2/05/2009 10:43:00 pm 3 comments:
Labels: 18th century, 1960s, 19th century, London, Theory
Zines, Blogs and the Historical Record
Simon Reynolds writes in the Guardian about the continued existence of printed zines in the age of the blog (he's also put up an interesting series of interviews with zine editors here, including John Eden of Uncarved/Woofah). Simon concludes:
'What's going on here is what academics describe as "slippage of the auratic". Walter Benjamin theorised about the "aura" possessed by the singular artwork, the painting or sculpture, in the age of mechanical reproduction. Yet as digital culture takes over, "aura" is being conferred on things that not long ago would once have been considered mass produced and characterless. In the age of the webzine and MP3, it is solid-form cultural artifacts – vinyl records, vintage DJ mixtapes, yellowing magazines – that become attractive in the face of the infinite dissemination and seeming ephemerality of web culture.'
I agree that part of the attraction of zines might be a nostalgia for material culture in the age of digital reproduction. But as a sometime wannabe social historian there is also something special about the printed zine as a contemporary artifact of a specific time and place. When I pick up, say, a riot grrrl zine from the mid-1990s, it tells me many things - not just what the writer was thinking at that time, but where they were based (from the address), what wider scene they were linked in with (from the listings) etc.
A future historian relying on blogs won't have to search through obscure archives in search of old hardcopy documents but they will face other obstacles. For a start blogs are much harder to locate in time and space - posts may be dated, but they can be revised, edited and re-written, making it difficult to be sure what is a contemporary record of something and what is something amended with hindsight. Many blogs don't even state what country they are published from, let alone city, so linking utterances to people's actual experiences of particular scenes is also problematic.
But the biggest problem is that while printed sources can last for many years, blogs can be deleted at will by the authors or other parties. In some cases the only documentation for something occurring can we wiped from the historical record because somebody forgets to pay their bill, because a host company goes out of business or because somebody is embarrassed by their juvenilia.
So please don't delete your websites and blogs even if you are sick of them - and if it's really good, maybe think about printing out a hard copy and sticking it in a library somewhere. Or maybe do a zine and send me a copy!
Posted by . at 2/04/2009 07:33:00 am 1 comment:
Labels: riot grrrl, zines
Bad Attitude was a 'radical women's newspaper' published in the early 1990s from 121 Railton Road, Brixton (among other things, home to the famous Dead by Dawn speedcore nights). Some of the women involved it had previously been involved in the young women's zine Shocking Pink, including my late friend Katy Watson. Here from issue 7 (1995) is one of Katy's music columns.
Welcome to my second review column of punk/indie women's bands. I'm pleased to say that this time a much higher proportion of them are independent/DIY bands, rather than on major labels, which I think is something worth supporting. Once again, I've only mentioned things that I found reasonably enjoyable. Is this a good idea? I don't know. Maybe you'd like to tell me.
So first off it's time to get your leopard-print bikinis on and... Spend the Night with the Trashwomen! For this is the title of my most highly recommended LP of this issue. It's by the Trashwomen, as you might guess, and is entirely wonderful. The style is garage, as in Sixties-style surf songs, a little like the Cramps, only belting along at about twice the speed and very cheaply produced which makes it seem even more rough'n'ready'n'fab. There are quite a few instrumentals and their lyrics are mainly along the lines of love, sex and dates, except for the self-explanatory 'I'm Trash'. So not a night out with Sheila ]effreys (not that I've anything against her). Several songs are complete classics, to my ears. It came out last year and I don't even know what made me buy it. I can only think it was the hand of the Goddess. (On Estrus records) And now it seems they have a favourablyreviewed live LP out....
Also in garage area though slightly more punky is a 4-track EP Punk or Die by Pink Kross, who are three girls from Glasgow. 'Doll core', apparently. The first track 'Drag Star Racing Queen' is a real cracker. I loved it. Catchy, thrashing, tuneful, fast, with lyrics either winning or daft, depending how you're prepared to take them. The other three tracks aren't as wondrous, but who cares when the first one's so brilliant? (Bouvier)
36C (LP) by Fifth Column, a Canadian dyke band. The first song, 'All Women are Bitches', is a classic, one of the best things I've heard this year - a powerful and catchy piece of pop-punk. But after that I found the others a let-down. The tunes are good, the singer has a fine voice and the lyrics are feminist, but it's all much slower. On the other hand if you appreciate melodic guitar songs this is good stuff. Personally I wish I'd just bought the 7" of 'All Women .. '/Donna'. (K records)
Alien's Mom (3-track 7") by Tribe 8. A San Francisco dyke band, much thrashier than the above. The title track is an OK thrash-punk tune with likeable lyrics about a woman leaving her husband for another woman. As for the drippy B-side - some things are best kept to ones therapist. I like Tribe 8 a lot, but this isn't the best I've heard from them. (Outpunk)
Out punk Dance Party (compilation LP). A variety of mainly north American dyke and queer bands from hardcore punk to one rap number. It gets off to a great start as a house beat familiar to any gay club-goer is wiped off the turntables with a satisfying needlescreech, but the tracks themselves are variable. Includes a good 'un (though not new) from London's own Sister George and I found the CWA rap story pleasantly amusing, plus a couple of the boys' bands a pretty good. However, though this could have been the definitive queercore comp, only half of it is up to scratch. (Outpunk)
You're Dead (4-track 7") by lovable youngsters the Frantic Spiders. I think this is their first record (?) and in their letter they say "this is very old and not indicative of the rousing live experience that Frantic Spiders are famed for". This may be, but all the same it's not bad. It's punky pop at a good pace, quite clear-sounding and there's a funny metaillic sound to the guitar, like slide guitar wthout the slide, which is also good. 'Retard' is the most memorable song, but don't they know it's not nice to call people that? (Weirdness).
American Thighs by Veruca Salt (LP) The most mainstream-indie of this issue's reviews. It sounds very much like The Breeders, ie US alternative pop-rock, tuneful, female vocals, expensive production, loud bits... quiet bits ... To be honest this is a bit too slow and mild to be my cup of tea, but I can see it's not bad, the guitars have a reasonable grind and if you like that sort of indie e stuff, you could well like this. The single, Seether, taken from the LP, is fairly lively and rockin'. (Both on Hi-Rise/Minty Fresh).
Suck (4-track 7") by Witchknot : I suppose this is roughly in the vein of hardcore but it has the unusual addition of a fiddle. They're six women from Bradford and I'd describe it as being something like a cross between the Dog Faced Hermans (one of their favourite bands, it seems) and the Au Pairs. Political lyrics, a strong vocalist and a fairly dissonant sound. And can you beat 'Pianist Envy' for a song title? (£2 (payable to D Taylor) from Witchknot, PO Box 169, Bradford, W Yorks BD7 1YS.)
I also got hold of records by a couple more all-women bands (both from the US) though I don't know how recent they are. 7 Year Bitch are feminist punksters whose EP Antidisestablisbmentarianism (the longest word in the English language - don't say you don't learn anything here) is pretty good fast political hardcore, though the lyrics are stronger than the tunes. 'Dead Men Don't Rape' is an obvious crowd-pleaser. (Rugger Bugger) I also found a split single called Can We Laugh Now? with Thatcher On Acid on the other side. Musically this is good, though paradoxically the lyrics are a bit irritating. (Clawfist)
Also worth checking out are US dyke band Team Dresch. Basically this is a little too gentle for my taste, but more mellow types might like it. I got a 3-track 7"; 'Hand Grenade' and 'Endtime Relay' are good, melodic guitar pop with a nice catch to them, a little dreamysounding. The other song 'Molasses in January' seemed painfully slow to me, but on the whole I'd recommend it. (Kill Rock Stars)
At the other end of the scale are Delicate Vomit, an all-women punk band from Newcastle. In case you hadn't guessed from their having 'vomit' in the name they are towards the hardcore end of punk. I haven't got a record to review, but the one song I heard sounded interesting.
Posted by . at 2/03/2009 08:00:00 am 5 comments:
Labels: 121 Centre, 1990s, Brixton, England, feminism, Katy Watson, London, punk, zines
Pope promotes another fascist
No it's not just disco bombing Islamists who think that people who enjoy nightclubs deserve to die. Pope Benedict 'has promoted to bishop an ultra-conservative Austrian clergyman who called Hurricane Katrina "God's punishment" and condemned the Harry Potter books for "spreading satanism"... Gerhard Maria Wagner, 54, is to become auxiliary bishop in the Austrian city of Linz, where he is viewed as a controversial figure by churchgoers and clergy alike. In 2005, he wrote in a parish newsletter that Hurricane Katrina was an act of "divine retribution" for the sins of a sexually permissive society.
He said it was worth considering whether environmental catastrophes should not be seen as a result of "spiritual environmental pollution" - a type of "divine retribution" for New Orleans' relaxed attitude towards sexual promiscuity and homosexuality. "It is surely not an accident that all five of New Orleans' abortion clinics, as well as nightclubs were destroyed," he wrote, adding: "It's not just any old city that has gone under, but the people's dream city with the 'best brothels and the most beautiful whores'.' (more in today's Guardian)
The news comes just a couple of weeks after another extreme right wing bishop, the holocaust denying Richard Williamson, was readmitted to the Church.
Labels: 2000s, Austria, New Orleans, religion/spirituality
Pakistan: Eunuch Dancers Protest
The Hijras of Pakistan, sometimes described as 'eunuchs', are generally gay transvesites/transsexuals, some of whom have had some kind of sex change operation. Life for them is tough, with harrassment and poverty. For many of them, dancing at weddings and other functions is a key source of income. They have been organising in defence of their rights, as shown in this week's protests following the arrest of several Hijras on their way home from dancing:
'Over 100 eunuchs on Tuesday protested against Taxila police's alleged excesses outside the senior superintendent of police's (SSP) office. Shemale Rights President Bobby led the protestors, who carried placards and banners with messages against police. A large number of policemen and traffic wardens stayed up there until the eunuchs dispersed following the suspension of three policemen accused of torturing, looting and detaining five eunuchs in Taxila...
Bobby told reporters that the three policemen in question had held five eunuchs from a village on January 23 night when they were on the way home after performing at a dance function. She alleged policemen tortured eunuchs and snatched Rs 150,000 cash, jewelry and five cellphones from them during confinement. She demanded that eunuchs be released and culpable policemen be punished.
(Pakistan Daily Times, 28 January 2009)
As many as three eunuchs sustained wounds in police baton-charge when they tried to go to the SSP's office for withdrawal of an FIR [First Information Report] against their colleagues who were booked at a function in Taxila and sent to the Adiala Jail. Police baton-charged eunuchs, including Bobby, Sana and Gul, in front of the SSP's office near Peshawar Road. They were protesting against the arrest of eunuchs at a function in Nawababad, Taxila. Police had arrested Sitara, Aalia, Robina, Saim and Akmal when they were dancing at a function on January 23 and sent them to the Adiala Jail. All Pakistan Eunuchs Association President Bobby told 'The News' that the Taxila Police had arrested five eunuchs when they were dancing at a function and sent them to the jail after registering cases against them. Police also snatched Rs150,000 from them, Bobby added. According to Bobby, the arrested eunuchs had not committed any crime rather they were dancing which is the only source income for them. Bobby said that eunuchs wanted to stage a peaceful protest but police baton-charged them in which three eunuchs were wounded...
Earlier, some 200 eunuchs gathered in front of the SSP's office and blocked the Peshawar Road. They carried banners and placards inscribed with different slogans against police. When they tried to enter the office of the SSP (operation), police officials started beating them with batons. In retaliation, eunuchs pelted stones and eggs on police. They tore uniforms of some police officials during the scuffle that continued for half an hour. They also broke windowpanes of SSP's office. However the situation was controlled after SSP (operation) Sardar Maqsood reached the spot. The traffic on Peshawar Road remained blocked during the clash between police and eunuchs.
(The News - Pakistan - 28 January 2009)
Labels: 2000s, lesbian/gay, Pakistan, policing
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Politics of Dancing
'People have always come together to move to music. In the process communities have been created, social divisions challenged, pleasure exalted over work and a billion relationships have blossomed. At the same time dancing bodies have often been subject to regulation – rules about when, where and how they can move, rules about who is allowed to dance with who, rules about what dancers can wear and put inside their bodies… That, in essence, is the 'politics of dancing'.
Musicking
'musicking... is an activity in which all those present are involved and for whose nature and quality, success or failure, everyone present bears some responsibility. It is not just a matter of composers, or even performers, actively doing something to, or for, passive listeners. Whatever it is we are doing, we are all doing it together—performers, listeners... dancers, ticket collectors, piano movers, roadies, cleaners and all' (Christopher Small).
Dancing Questionnaire
The aim of the 'dancing questionnaire' is to get a sense of the diversity of people's experiences of dancing and musicking. If you want to contribute, please answer the following questions yourself and send to transpontineblog@gmail.com
1. Can you remember your first experience of dancing? / 2.
What's the most interesting/significant thing that has happened to you while out dancing? / 3. You. Dancing. The best of times… / 4. You. Dancing. The worst of times… / 5.
Can you give a quick tour of the different dancing scenes/times/places you've frequented? / 6. When and where did you last dance? / 7. You're on your death bed. What piece of music would make your leap up for one final dance? (Previous Questionnaires)


Last year's DX-pedition to Lista didn't result in many new stations for us. A couple of new stations came through though, one of them being WPKZ in Fitchburg, Massachusetts on 1280 kHz. The dominant station on 1280 kHz is NotiUno in Arecibo, Puerto Rico, but WKPZ fought its way past the Puerto Rican one morning with a clear "K-Zone" identification in a sports programme.
Engineer Mark Bisbee confirmed my reception with a kind e-mail. He says their ground system of the antenna array has seen better days. Some of the copper radials have also gone missing over the years, so the efficiency of the antenna is not as good as when it was built back in 1950. The station is listed with a night time power of 1 kilowatt.


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Cascade refrigeration systems
significantly large temperature and pressure difference), one vapor compression refrigeration cycles become impractical. One of the solutions for such cases is to perform cooling in two or more stages (i.e., two or more cycles), who work in the series. These refrigeration cycles are called cascade refrigeration cycles. Thus, cascade systems used in order to obtain high temperature differences between the heat source and heat sink and are applied at temperatures from -70C -100C. Application of the three-stage compression system for boiling temperatures below -70C is limited, due to difficulties with the refrigerant temperature of freezing. The irrelevance of a threestage vapor compression systems can be avoided by applying a cascading steam-compression refrigeration machines.
Cascade refrigeration systems commonly used in the liquefaction of natural gas and some other gases. In large industrial cascade refrigerating system is shown in Fig. 3.37.
The most important advantage of these cascading system is that refrigerants can be selected with the appropriate properties, avoiding the larger components of the system.
In these systems with several evaporators can be used in any stage of compression. Refrigerants used at each stage may be different and selected for optimum performance at a given temperature of the evaporator and condenser.
Ordinary one pump, mechanical cooling system condensing units are capable of reaching temperatures of the order. At lower temperatures required then cascade refrigeration systems have to be used. A two-stage cascade system uses two refrigeration systems, connected in series to achieve a temperature of about -85C. There are single compressor system, which can reach temperatures lower than, but they are not widely used. These systems are sometimes called auto cascade systems. The main disadvantage of these systems is that it requires the use of a proprietary blend refrigerant. This characteristic results in three of problems connected with:
A leak in the system can easily lead to the loss of only some of the refrigerant components of the mixture of the refrigerant mixture, which consists of different types of refrigerants with different boiling points), as a result of an imbalance in the ratio of the remaining refrigerants. To return the system to function, all the other refrigerant should be replaced with a new and potentially expensive cost, to ensure the correct combination of attitude.
The mixture is proprietary and may not be readily available from traditional refrigerant power sources and therefore may be difficult and expensive.
These types of cascade systems are not widely used, it is difficult to find highly skilled field service staff who are familiar with repair and maintenance procedures.
Of course, these and other issues may cause unwanted costs and downtime.
Absorbent refrigerant combination Approach temperature Carbon steel pipe fitting Electronic expansion valve wiki Evaporating temperature Finned tube evaporator Forced draft cooling tower Gas furnace operation High side of a refrigeration system Oil separator in refrigeration cycle Setting epr valve Shell and coil evaporator Slow freezing and fast freezing

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Home Opinion A Battle for Flying Cars is Looming – Meet AeroMobil Flying Car...
A Battle for Flying Cars is Looming – Meet AeroMobil Flying Car Ready for Pre-Orders
For now this will be a toy only to be enjoyed by the rich due to its steep price
The number of new startups and big corporates keen on building a flying car has exploded in the past few years.
Big and small companies including Airbus, Uber, Cormorant, Kitty Hawk are vying to deliver a safe flying car.
The battle for flying cars is on.
In October Uber unveiled Uber Elevate, an ambitious program to get cars—or at least Ubers—off the road and into the sky, according to Time.com.
Airbus Group plans to test a prototype for a self-piloted flying car as a way of avoiding gridlock on city roads by the end of the year, according to Reuters.
After 15 years of development, an Israeli tech firm hopes it will finally get its 1500 kg (1.5 tonne) passenger-carrying drone off the ground and into the market by 2020, according to the Financial Review. The Cormorant, billed as a flying car, is capable of transporting 500kg (around half a tonne) of weight and travelling at 185 km/h.
New York Times reported on Monday that the Kitty Hawk Flyer is one of several prototypes being designed by Kitty Hawk, a start-up based in Mountain View, Calif. The concept is spearheaded by Sebastian Thrun, CEO of Kitty Hawk and a former Google executive.
Watch this all-electric 'flying car' takes its first test flight in Germany: The Verge
While many companies have been talking and testing some of their prototypes flying cars they have never invited the public to buy them as they are not ready to be used.
The Future is Coming
Enter a Slovakian start-up AeroMobil that launched its flying car in 2014 but when it test the vehicle in 2015 it crashed. The company has fixed the problems and is ready to take the car to the public as possible the first flying car in the world.
It has unveiled the new model of the AeroMobil Flying Car at Top Marques Monaco, the world's most exclusive supercar show.
The company said in a statement that this launch fulfills its commitment to deliver a commercially available flying car in 2017 and be ready to take pre-orders for the limited first edition.
It added that the unveiling of the ground breaking AeroMobil underlines its leadership in this innovative field and its determination to transform travel by making the flying car a reality.
"Today is a transformative day for the future of travel as the launch of the AeroMobil means and that everyday flying transportation will soon be a reality," said Juraj Vaculik, co-founder and CEO of AeroMobil.
"To get to this point has seen us bring together a strong team of the best minds and experts in cutting edge automotive, motorsport and aerospace to redefine the boundaries of what is possible in transportation. From today we are ready to take the first pre-orders and we are honoured His Serene Highness the Prince of Monaco will unveil the AeroMobil today at the Top Marques Autoshow."
The production of AeroMobil's first vehicle will be limited to a maximum of 500 units and is priced between R16 million to R21 million (1,2 million – 1,5 million Euro) depending on final customer specifications.
The first 25 vehicles will be a Founders Edition and will contain series specific product content along with an expanded benefits package, details to be announced separately.
AeroMobil is powered by an internal combustion boxer engine with a FADEC digital control unit.
Key Facts about the AeroMobil Flying Car
• Full transformation into flight mode in less than 3 minutes.
• Automotive Range -700km (estimated using NEDC cycle)
• Aerospace Max Cruise Range ~750 km @ 75 % (1 200 m, ISA)
• Fuel Capacity 90 liter (95 RON Gasoline)
• Direct Drive variable pitch propeller (speed 2 400 rpm)
• Automotive – Top speed 160 kph
• Aerospace – Vs / Vc / VD – 112 / 259 / 360 km/h
• MTOW Take Off Distance ground roll / 50 ft – 397 / 595 m
• Max Take Off Weight – 960 kg (useable load 240 kg)
While driving, AeroMobil will use a unique glass cockpit system, with a display setup familiar to those in the aviation world. These integrated digital displays will show the necessary information pertaining to the automotive operation of the vehicle and on take-off will transform seamlessly into the perfect display system for use in flight mode.
The interior of AeroMobil is efficiently optimised to deliver comfort and operational simplicity
On the road, AeroMobil is powered by a hybrid electric system. The generator is the same engine that powers the vehicle in the air; this in turn powers a pair of electric motors located in the front axle.
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Beth Leonard: Age, Bio, Net Worth & All You Need To Know About Darius Rucker's wife
Country music singer-songwriter Darius Rucker's wife, Beth Leonard, has been by his side for over two decades. Get to know more about Darius Rucker's ex-wife; her bio, age, net worth, family, and relationship.
Who Is Beth Leonard?
Beth Leonard Profile
Beth Leonard Early Life And Education
How Old Is Beth Leonard?
Her Professional Career
Beth Leonard Love Life And Family
What Is Beth Leonard Net Worth?
5 Facts About Beth Leonard You Need To Know
Beth Leonard is a retired Television personality and philanthropist; she came into recognition for being married to the famous country singer and songwriter Darius Rucker.
Darius Rucker married Beth Leonard in 2000, but after 20 years of marriage, the couple separated in July 2020. Beth Leonard is the co-founder of a non-profit organization called "Just Be You."
Full Name Beth Leonard
Birth Place New Jersey, USA
Husband Darius Rucker (Ex)
Net Worth $255 Thousand
Beth Leonard was born in 1978 in London. However, the correct date of birth is not known to the media. A middle-class Christian family raised Beth Leonard with her three sisters in New Jersey, USA. Her mother was a school teacher but later chose to become a housewife. Her father was an engineer and a businessman.
Details of Beth Leonard's academic life are not yet known to the public. However, some online publications have confirmed that she owns a degree in Business Management.
Beth Leonard age is 43 years old as of 2021. She was born in 1978; however, her exact birth month is unknown to the media.
Beth Leonard started her career in event management and planning even in college days. She later pursued a career in event management, for which she has got the chance to work for several organizations, including VH1.
Her job required her to manage the schedules of artists and musical bands. She also served as a mediator for clients when booking artists and musical bands for entertainment events.
Besides, she ended her career as an event manager. After she met her husband Darius Rucker, she decided to become a housewife to become a loving and caring mother and wife.
She is the founder of "Just Be You", a non-profit organization. The organization helps teenagers to build up their self-confidence through motivational talks and interactive workshops.
Beth Leonard met Darius Rucker in 1998, and this pair started falling for each other. Darius was playing with his music band, Hootie and the Blowfish, in New York City. And Beth was also working as an event manager at VH1.
This duo started dating and afterwards decided to start a family together. On December 9, 2000, this pair got married and together have raised three children. The names of their children are Carolyn Pearl Rucker, Daniella Rose Rucker, and Jack Rucker.
There lived peacefully with their family in Nashville, Tennesse, until an incident happened in 2020. Before then, Darius acknowledged his wife, Beth, for marrying a musician like him in an interview.
He stated, 'Beth is a strong woman. It takes a strong woman to be married to a musician, especially a musician who drank and partied as hard as I was. It took a long time for us to get to where we are now, and we say to each other all the time. I love us. I love our family. I love us."
Unfortunately, on July 11, 2020, Darius and Beth Leonard Rucker surprised fans by announcing the end of their marriage via social media.
A post shared by Darius Rucker (@dariusrucker)
This is the message Darius shared via Instagram:
"Beth and I would like to share that after 20 years of marriage and much reflection we have made the decision to consciously uncouple. We remain close friends and parenting partners and continue to be each other's biggest cheerleaders. Our priority will always be our beautiful family. We have so much love in our hearts for each other and will continue to encourage growth and expansion in one other. Please be kind as we take on this journey, and we thank you for your love and support always."
Beth Leonard once worked at VH1 before her relationship with Darius Rucker. As of writing this post, Beth Leonard, the ex-wife of Darius Rucker net worth, is $255 thousand.
Darius Rucker's 2008 song "Alright" was inspired by his marriage to Beth.
"Cause I've got a roof over my head,
The woman I love laying in my bed
And it's alright, alright
I've got shoes under my feet
Forever in her eyes staring back at me…"
2. Beth Leonard is from New Jersey and used to work for VH1 in New York City.
3. Beth is the founder of Just Be You, a non-profit whose mission is to build teens confidence through self-compassion and self-love. The organization focuses on life's daily challenges as a modern teen and provides workshops, school assemblies, and motivational speakers.
4. After being asked out by Darius multiple times and turning his down, Beth eventually invited the musician to see a Broadway play for their first date.
5. Beth has an interest in art and enjoys painting.
Lil Uzi Vert Net Worth And Biography


text:
I've been a fan of Jeph Loeb and Tim Sale as a creative partnership for a very long time, all the way back to their underrated and nearly forgotten DC CHALLENGERS OF THE UNKNOWN miniseries of 1991. Any time these two get together for something, you know you're in for something special, as their various SPIDER-MAN, DAREDEVIL and HULK miniseries for Marvel can attest. While these books aren't all perfect, the voice that emerges from Loeb and Sale's collaboration is such a unique one that the prospect of anything new from the duo is much anticipated around these parts.
Their newest project, CAPTAIN AMERICA: WHITE (the color subtitle being a thematic tool they've used for all their Marvel work) has been long delayed, with only a "Zero" preview issue emerging a few years back. Now, finally, issue #1 has arrived, and it doesn't disappoint. Just from the double-page splash on page 2 showing Cap waking up on the Avengers' submarine after decades in the ice, I knew this was going to be something special.
Appropriately, this series looks to be mostly set in the Golden Age of Cap's WW II service, which I think best fits Loeb and Sale's classic sensibilities. As Cap adjusts to his sudden emergence in the modern day, he thinks back to his wartime exploits, and the shift in the colors (courtesy of colorist Dave Stewart) is just short of breathtaking.
While the story is just beginning to coalesce, it's looking like Loeb has found an interesting throughline to his tale, and one that hasn't really been explored before: the relationship between Captain America and Bucky and then-Sgt. Nick Fury and his Howling Commandos. How would the battle-hardened soldiers feel about these "super-types" suddenly outranking them and overshadowing them on missions, and what would get them to change their minds about them? It's too early to tell if that's going to be the thrust of the series, but the taste of that we get here is very intriguing stuff.
Also included in this debut issue is the aforementioned zero issue, helpfully reprinted since it has been eight years since it first hit the stands. A smart move, too, as this story, telling the tale of how the teenaged Bucky came to be Captain America's partner in the first place, is necessary background for a relationship that's going to be so important in this series. More than that, it's just a great done-in-one Cap and Bucky story.
Now let's just hope it's not another eight years before we get issue #2…
Captain America, Comics 101, Scott Tipton
A New Icon: Reading LADY KILLER
Warm Up America!


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Irish scientists have recently discovered how to produce electricity from human tears. It is very obvious to get tears when we cry and even when we laugh. So far we have known that tears are salty. But the shocking matter that hidden in the tears is it can produce electricity. Till now we have look at tears as worthless drops. But this research is an eye opener for everyone to know the value of tears. Now tears are most valuable drops that too in the form of electricity. We can generate electricity by applying a pressure on the protein that found in tears, Irish scientists said.
The researchers from the Bernal Institute, University of Limerick (UL), Ireland, observed the crystals of lysozyme protein in the tears. This protein is abundant in the tears. Scientists said we can generate electricity from tears by applying pressure on the lysozyme protein. Not only in tears this modern protein is also present in egg whites of birds. It seems that egg also contains electricity.
Even milk also contains lysozyme crystals and these crystals belongs to protein category. The research team has observed the presence of lysozyme in the egg whites of birds, as well as in the tears, saliva and milk of mammals. Their report was published on October 2 in the journal, Applied Physics Letters.
Scientists are saying that milk has the quality to convert the Mechanical energy into Electrical energy. This process is known as Piezoelectricity. Piezoelectricity is the property that the ability to generate electricity by applying pressure. The capacity to generate electricity from this particular protein has not thus far been explored. Because it is a biological material it is non-toxic. Prof Tewfik Soulimane we are the first to use these crystals to show the evidence of piezoelectricity".


text:
Gremio refute claims of €40m Arthur agreement with Barcelona
Written By Ryan Benson
Getty Images https://images.daznservices.com/di/library/omnisport/63/74/arthur-cropped_1smlk9h028oah1kz36ycfgp4vq.jpg?t=-1189319943&w=500&quality=80
Reports of a €40million agreement between Gremio and Barcelona for midfielder Arthur are wide of the mark, according to the Brazilian club's president Romildo Bolzan.
Barcelona's interest in the 21-year-old midfielder is long-standing, having been linked with him regularly towards the end of 2017, when Arthur was a key part of the Gremio side which won the Copa Libertadores.
Arthur was photographed wearing the Catalan club's jersey in a meeting with their sporting director Robert Fernandez in December.
Although that angered Gremio, they have been in regular dialogue with Barca ever since over a potential move, with reports in Spain claiming on Tuesday that an agreement had finally been made.
But Gremio insists such claims are purely speculation, with a deal still to be struck.
Speaking to Radio Bandeirantes, Bolzan said: "A deal has still not been finalised.
"There have been plenty of discussions, but at this stage the transfer cannot be considered a foregone conclusion."


The geographical isolation is one of the most difficult things to deal with. I must admit that the first four months brought upon a despair that was almost suicidal in intensity; but as time passed I began to accept that humans have an amazing trait: we excel in adaptability. Personality and spirit strives to give the fortitude that allows survival under the adverse conditions.
Any person that has been subjected to prolonged periods of isolation will have mental and emotional scars that will never heal. Such detrimental effects will obviously become chronic and then sever as the period endured increases. It's frightening to observe these effects on a personal scale; I see them in others, and myself on a daily basis, and it's truly appalling.
As an organisation, Prisoners Abroad and its supporters, staff and volunteers perform the almost impossible in providing contact and most of all, care, to those 'isolated' overseas.


A guest post by @Princeroyal99!
The Duchess of Kent has always been in love with music, in her childhood she's started playing piano, organ and violin. At her final exams unfortunately she got low grade with music what foreclosed her studying at Royal Academy of Music. In final year at Runton Hill she organised school recitals as elected music secretary. Her dream was playing at Carnegie Hall. Katharine graduated from Oxford University and got degree in music. Thanks to a documentary by Christopher Nupen "Who is Jacqueline du Pré?" we know she has liked very much cellist Jacqueline du Pré. For always she just wanted to teach music but marriage with Prince Edward The Duke of Kent made impossible realizing her dreams ( at least on the beginning).
In 1996, Katharine took up a position as a Music teacher in Wansbeck Primary School in Hull, where she was known as Mrs Kent. She was involved with the school 13 years. Only her close friend and family knew about her job. Her dream came true. She also taught playing piano in rented flat near to Kensington Palace.
In 2004 The Duchess together with Nick Robinson founded a charity, Future Talent, which aims to give every child an equal opportunity to excel in music. As we can read on the The home of the Royal Family The Duchess of Kent is passionate about the power of music and particularly the positive impact that music can have on young people. She came up with motto of Future Talent: " We are changing young lives through music." The Duchess supports them in many ways, for example in 2016 organised concert at Buckingham Palace for young musicians, in 2018 at Windsor was hosted a concert as well.
"I love those children, I loved being there and I love Hull, I wouldn't have stayed there if I hadn't." She is a great fan of Michael Bublé, raper Tinie Tempah and singer/songwriter Dido, whose song "Thank You" she chose as one of her favourite pieces of music.
Recently she came back to teaching part-time at the local school attended by children who lived in Grenfell Tower.
I am so happy The Duchess of Kent managed to realize her dreams! I hope you enjoyed my post.
Go follow @Princeroyal99 on Twitter!


Well, that didn't go to plan.
After much hype and excitement, Ivan Cleary's second tenure at the foot of the Mountains got off to an horrific start last Sunday afternoon against arch rivals Parramatta.
The Panthers looked flat, slow and uninspiring in attack, a real worry given the side is also dealing with off-field distractions that could really dog the weeks ahead.
But Penrith fans have learned that patience is indeed a virtue, and anyone willing to write this side off after just one week need only be reminded of the side's effort against the Dragons in the opening round two years ago. It was diabolical, but the team not only turned things around and won the next week, they went on to make the Finals.
Ironically, the side was also dealing with an off-field crisis at that time, involving star player Bryce Cartwright.
Truth is the bounce-back factor in round 2 of the NRL is prominent and it gives Penrith fans plenty of hope this weekend.
With last Sunday's performance put quickly behind them, Penrith will head up the M1 on Saturday to take on a Newcastle side full of confidence after their opening round victory against Cronulla last Friday night.
The Knights were impressive with new recruit David Klemmer leading the way up front and the spine of Connor Watson, Kalyn Ponga, Mitchell Pearce and Danny Levi justifying why many think Newcastle will return to Finals footy this year.
The Panthers defended well for the majority of their game but were caught out by a much more enthusiastic Eels side, and a baffling attacking display that saw way too many dropped balls from experienced players. In fact, I doubt Penrith's back five will have a worse game collectively all season.
Despite the gloomy start to the season, there were still some positives out of the eight-point loss to Parramatta.
James Tamou was a menace up front, dominating the forward battle and even grabbing a four-pointer as a reward. If this was a taste of what the premiership winner will deliver this season, we're in for a real treat.
James Maloney also played well and earned Penrith several repeat sets, something the side has struggled with in recent seasons under Anthony Griffin. Maloney's defence – often a fault of his game – also appeared much better than in recent times.
Penrith faces a tough task against this positive-looking Newcastle side, but again on paper there's no question that Penrith should be favourites. Penrith have a far superior pack.
We can only hope that the cobwebs are now wiped away for the likes of Dylan Edwards, Josh Mansour and Dallin Watene-Zelezniak, while Nathan Cleary will surely be looking to stamp his authority on this match after a very disappointing performance against the Eels.
Penrith need much better service out of dummy half than they got from Wayde Egan last week, though his time on the field was probably unexpected given Sione Katoa was a late withdrawal. Katoa has been named to return on Saturday.
I'm sticking with Penrith to win this election night battle, but I admit it's a wobbly old tip given last week's effort.
Penrith and Newcastle do battle at McDonald Jones Stadium on Saturday, March 23 at 5.30pm.


text:
Q: No Error Report From mysqli_connect mysql_connect will give me an error report.
mysqli_connect gives me a blank page.
This does gives me an error report
$mysql_con = mysql_connect($mysql_host, $mysql_user, $mysql_pass, $mysql_table);
if(!$mysql_con) {
   die("Some error occurred during connection " . mysql_error($mysql_con));
}

This does not give me an error report:
$mysql_con = mysqli_connect($mysql_host, $mysql_user, $mysql_pass, $mysql_table);
if(!$mysql_con) {
   die("Some error occurred during connection " . mysqli_error($mysql_con));
}

Nor does this
$mysql_con = mysql_connect($mysql_host, $mysql_user, $mysql_pass, $mysql_table)
or die("Some error occurred during connection " . mysqli_error($mysql_con));

I have tried both and same thing: Blank white page
error_reporting(E_ALL);
error_reporting(-1);

When I say blank white page I mean nothing at all is displayed. None of my HTML or css or anything. It completely stops the script. mysql_connect seems to function and loads the page fully even with an error.
When do do this locally (localhost), mysqli_connect works just fine and gives an error when needed. The DB im connecting to is the same one, the only difference is in the above script Im letting it execute from a remote server to access my db on my local system. Even if it cant access it for whatever reason, why would it give me a blank screen?

Edit
Its magically working and giving me errors properly now using the following code.
$con = mysqli_connect($mysql_host, $mysql_user, $mysql_pass, $mysql_db);
if(mysqli_connect_errno()) {
   echo "Failed to connect to MySQL: " . mysqli_connect_error();
}

A: Instead of appending mysqli_error to the die statement, check for an error after the connection like so:
$mysql_con = mysqli_connect($mysql_host, $mysql_user, $mysql_pass, $mysql_table);
if($mysql_con->connect_error) {
   die($mysql_con->connect_error);
}

redpajama_set_name: RedPajamaStackExchange


In order to offer a client a more equitable approach to entering into an agreement for commissioning a work of art, I have found the following to be the most reasonable.
A client selects a basic style from examples of my previous work; either a specific piece or a combination of pieces may be selected. I will then design 3 concepts, laid out to scale and including the additional specifications regarding overall sizes, colors and materials, for a fee of $5,000.00. Upon completion of the designs, a selection is made and the design/drawing chosen becomes the property of the client. Following this, if there are no additional changes or input from the client, I am able to give a firm estimate as to the cost of constructing the design selected.
If a price is agreed upon and the time frame for completion of the project is acceptable, a contract is entered into. Upon signing of the agreement a one-third down payment is required, a second third is to be paid by the end of the halfway point and the final third is to be paid upon completion. The final payment will include a reduction for the initial $5,000.00 design fee.
Throughout the construction period, the client may, upon a 12-hour courteous notification, visit the studio to view the progress on their piece. Upon completion, I also encourage the client to take the opportunity to view their work of art, before crating. As all costs for the crating are our responsibility, shipping, insurance and hanging of the piece, will be the responsibility of the client.


text:
Home Fairfield Cenveo CEO resigns as part of bankruptcy reorganization agreement
Cenveo CEO resigns as part of bankruptcy reorganization agreement
Phil Hall
Robert G. Burton Sr., chairman and CEO of Cenveo Inc., will resign as part of a reorganization agreement with the company's major stakeholders that will enable the Stamford-based printing company to emerge from Chapter 11 this summer.
Robert G. Burton Sr.
The company's leadership is being passed to Burton's sons: Robert G. Burton Jr. will become CEO, while Michael G. Burton, Cenveo's chief operating officer, will become president of the company. The senior Burton will serve as an adviser to Cenveo until Dec. 31.
Prior to filing for Chapter 11 earlier this year, Cenveo's liabilities included approximately $1.1 billion in funded debt. Upon emergence from bankruptcy, the company's funded debt will be reduced to under $400 million. As part of the revised agreement with the first lien holders, the funded debt issued upon exit will be reduced from $200 million to $100 million.
"With Cenveo now on a clear path to emerging from bankruptcy in the summer, and after serving as the company's chairman and CEO for the past 12 years, I know I leave Cenveo in the capable hands of my two sons, who have worked by my side at Cenveo since September 2005," said Burton Sr.
Cenveo
chapter-11
Robert Burton Sr.
Previous articleXFL taps Oliver Luck as commissioner and chief executive
Next articleHeineken USA names Maggie Timoney its first female CEO
http://westfaironline.com/
Phil Hall's writing for Westfair Communications has earned multiple awards from the Connecticut Press Club and the Connecticut Society of Professional Journalists. He is a former United Nations-based reporter for Fairchild Broadcast News and the author of 10 books (including the 2020 release "Moby Dick: The Radio Play" and the upcoming "Jesus Christ Movie Star," both published by BearManor Media). He is also the host of the SoundCloud podcast "The Online Movie Show," co-host of the WAPJ-FM talk show "Nutmeg Chatter" and a writer with credits in The New York Times, New York Daily News, Hartford Courant, Wired, The Hill's Congress Blog, Profit Confidential, The MReport and StockNews.com. Outside of journalism, he is also a horror movie actor - usually playing the creepy villain who gets badly killed at the end of each film.
Resignations June 1 – 30, 2018 – Province July 3, 2018 at 11:50 pm
[…] Jun. 6, 2018 Cenveo Inc. USA CEO & Chairman Robert G. Burton Sr. Resigned Cenveo is bankrupt https://westfaironline.com/103486/cenveo-ceo-resigns-as-part-of-bankruptcy-reorganization-agreement/ […]


text:
The Music of The Last Five Years
By Shannon Stockwell
For musical theater actors, there's something magnetic about the music of Jason Robert Brown. "If you studied musical theater any time after 2000, chances are you memorized the original cast recording of Jason Robert Brown's The Last Five Years," says Huffington Post journalist Suzy Evans. The composer's work has such a gravitational pull on this peer group of musical theater enthusiasts that Evans refers to it as the "Jason Robert Brown generation."
Just what is it about Brown's music that has defined a generation? "Jason is a master of making pop-song forms work in a musical theater context," says Matt Castle, music director for A.C.T.'s 2016 production of The Last Five Years, now running until June 5. "To me, pop music feels like a suspended, single feeling. But a theater song can't be that, because there has to be something at risk in a scene, something that changes over the course of the song." Brown's music, Castle explains, has all of the infectious rhythm and groove of a pop song, but he uses the songs to move the story forward.
Brown's composing process is largely instinctual and improvisational. "What I do first is I come up with a title, which I'll generally throw out halfway through," he said in a 1999 interview. "I have a title, and I'll sit at the piano, and I'll just come up with some chord that makes me happy, and I'll sing the title."
Musical theater scholar Ian Nisbet points out that, while Brown's process may come from the heart, his musical instincts are actually very sophisticated. Just judging from the sheer difficulty of the music, Castle would agree that Brown's music is highly intellectual. "Rhythmically, as flowing and natural and funky and groovy as it feels for the audience, it's much easier for the audience to take it in than it is for the two actors to execute," says Castle. "It seems so natural because the rhythms are all based on how a person speaks."
To Castle, the most important device comes from the unique nonlinear structure of the musical. "Each of their stories starts with up-tempo songs and modulates toward an end point of reflective ballads," he says. "When you cross the two streams, it means that there's an alternation between ballads and up-tempo songs throughout the whole show, which is an ingenious way to create the variety that helps make each song distinct from the ones surrounding it."
Castle points out that it's hard to predict how Brown's music will be remembered in musical theater cannon, because his body of work is so varied. "I don't even know what kind of pattern I could form between Parade and 13 and The Bridges of Madison County and The Last Five Years," Castle says. If Brown's work can be labeled as eclectic, he's also productive, and it will be intriguing to see what he creates in the next ten years. For the moment, however, there's no denying that his music has staying power in the minds of everyone who hears it.
To learn more about the music in The Last Five Years , click here to purchase a printed or digital copy of Words on Plays, A.C.T.'s in-depth performance guide series. All proceeds go to our ACTsmart education programs, serving teachers and students throughout the Bay Area.
The High School Musical and Cabaret Ensembles of the A.C.T. Young Conservatory present a celebration of Brown's solo work and musical numbers in Through the Years with Jason Robert Brown, May 20–23, in The Garret at The Geary Theater.
GearyTheater JasonRobertBrown ShannonStockwell TheLastFiveYears


New Delhi: The government has further extended the ban on import of milk and its products, including chocolates, from China for six months till 23 December.
"Prohibition on import of milk, milk products (including chocolates, chocolate products, candies, confectionary food preparations with milk or milk solids as an ingredient) from China is extended for a further period of six months, i.e., till 23 December, 2018 or until further orders," DGFT said in a notification.
The ban was first imposed in September 2008 and later extended from time to time. The last ban imposed by Directorate General of Foreign Trade (DGFT) ended on 23 June this year.
The ban was imposed on apprehensions of presence of melamine in some some milk consignments from China. Melamine is a toxic chemical used for making plastics and fertilisers.
India is the world's largest producer and consumer of milk. It produces around 150 million tonne milk annually.


Windshield Mounting standards are regulated by Federal Motor Vehicle Safety Standard 212.
§ 571.212 Standard No. 212; Windshield mounting.
S2. Purpose. The purpose of this standard is to reduce crash injuries and fatalities by providing for retention of the vehicle windshield during a crash, thereby utilizing fully the penetrationresistance and injury-avoidance properties of the windshield glazing material and preventing the ejection of occupants from the vehicle.
S3. Application. This standard applies to passenger cars, and to multipurpose passenger vehicles, trucks, and buses having a gross vehicle weight rating of 4536 kilograms or less. However, it does not apply to forward control vehicles, walk-in van-type vehicles, or to openbody type vehicles with fold-down or removable windshields.
(b) Except as specified in S6.2, a multipurpose passenger vehicle, truck or bus is loaded to its unloaded vehicle weight, plus 136 kilograms or its rated cargo and luggage capacity, whichever is less, secured to the vehicle, plus a 50th-percentile test dummy as specified in part 572 of this chapter at each front outboard designated seating position and at any other position whose protection system is required to be tested by a dummy under the provisions of Standard No. 208. Each dummy is restrained only by means that are installed for protection at its seating position. The load is distributed so that the weight on each axle as measured at the tire-ground interface is in proportion to its GAWR. If the weight on any axle when the vehicle is loaded to its unloaded vehicle weight plus dummy weight exceeds the axle's proportional share of the test weight, the remaining weight is placed so that the weight on that axle remains the same. For the purposes of this section, unloaded vehicle weight does not include the weight of work-performing accessories. Vehicles are tested to a maximum unloaded vehicle weight of 2,495 kilograms.
S6.4 Tires are inflated to the vehicle manufacturer's specifications.
S6.5 The windshield mounting material and all vehicle components in direct contact with the mounting material are at any temperature between -9 degrees Celsius and +43 degrees Celsius.


Many characters in the play wrestle with the memory of loved ones who are now gone: lost to them or dead. The most prominent "lost" character is Larry, one of Joe and Kate's two sons. Joe believes, ironically, that Larry was more willing to "let slide" some of the small things that help a business to turn a profit. In fact, Larry committed suicide because of his father's criminal negligence at the factory. Kate, for her part, worries that no one in the family wishes to remember Larry. She believes that remembering Larry's life is inseparable from the belief that Larry will return one day, alive. And Kate infuses the tree, planted for Larry, with a kind of supernatural significance, believing that the tree's destruction foretells the destruction of Larry's memory itself.
Joe, Chris, and Annie believe that Larry is dead and have come to terms with his death; they wish to move on. But Kate fears that Chris and Annie want to do so only for "vulgar" reasons, because the two of them wish to be married and have a family themselves. Joe is happy that Chris and Annie have found each other, however, and does not believe that their wedding would in any way "destroy" the memory of Larry. Joe, too, wants to "forget" Larry's death, because there are many parts of the war he wishes to forget, most notably the manufacturing fiasco at the factory. Annie does not harbor a grudge against Joe, in the beginning, because she believes her father really was responsible for the mistake; she has come to terms with the "loss" of her father in prison, and she has not visited him there. George, however, has not come to terms with this "loss," and when he hears from Steve that Joe was actually responsible for the parts' production, then lied about it, George wishes to make sure that no one in the Keller family has forgotten the memory of Steve and the ruin his life has become. George feels he has lost his chance with Lydia, because he (George) was forced to fight in the war, whereas Frank escaped the draft. George is reminded of his loss of Lydia when he returns to the Keller home. And Jim rues what he has lost, the compromises he has made, in marrying Sue and agreeing to settle down.
Throughout the play, then, there is a feeling that characters wish to "put the war behind them," to forget the deaths of those they've loved, and the horrible things the war has caused them to endure. By the play's end, however, this desire to "move on" has unraveled. Chris has lost respect for his father, then his father himself—and Kate loses a husband. And all lose the belief that Larry might still be alive, since his letter to Annie is revealed, showing that he intentionally crashed his plane out of disgust for his father and Steve's actions at the plant.
The ThemeTracker below shows where, and to what degree, the theme of Loss and Memory appears in each act of All My Sons. Click or tap on any chapter to read its Summary & Analysis.
Below you will find the important quotes in All My Sons related to the theme of Loss and Memory.
Schlegel, Chris. "All My Sons Themes: Loss and Memory." LitCharts. LitCharts LLC, 3 Apr 2014. Web. 24 Apr 2019.
Schlegel, Chris. "All My Sons Themes: Loss and Memory." LitCharts LLC, April 3, 2014. Retrieved April 24, 2019. https://www.litcharts.com/lit/all-my-sons/themes/loss-and-memory.