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How SASE Can Help to Reduce Security Team Burn-Out
Security personnel have a lot on their plates, and the problem is only getting worse. SASE vendors may have a solution that can help. Security Team…
Neutral Hosts: The Future of Cellular Enterprise Connectivity Coverage
As the world becomes increasingly interconnected and device use surges exponentially, difficulties in providing constant full connectivity have also g…
AWS, DISH Aim to Transform Telecom
Amazon Web Services (AWS) and DISH Wireless announced a partnership naming AWS its preferred cloud provider and plans to builds its 5G network on Amaz…
Can Physical Safety Applications be Addressed by Open Source Software Systems? The Linux Foundation's ELISA Project Says Yes
The physical and digital worlds are continually coalescing, especially as "co-botting" and other solutions are enabling human beings to work side-by-s…
Nvidia Buyout of Arm Faces UK Roadblock Due to Security Concerns
The UK government is raising objections to the planned Nvidia buyout of semiconductor maker Arm due to national security implications. Authorities wil…
Apple Will Allow Parler Back In App Store
After a multi-month ban following January's Capitol riot, Apple has announced that conservative social media platform Parler will be allowed back in i…
Tesla Autopilot Leaves Two Dead with No Driver Behind Wheel
Investigators are looking into a crash that left two dead, allegedly after the passengers engaged autopilot without a human driver.
Journey Mapping: Cultivating a Mindset for Security Awareness
When was the last time you crawled inside someone's mind? You would probably perceive it as not a very comfortable place to be. After all, people are …
Cisco Named Official Technology Partner of NFL
Cisco and The NFL have formed a strategic partnership to form a league-wide platform for unified network connectivity.
Finding the Right Chemistry: Investing in the Future of Advanced Materials
Like Gorilla Glass for smartphones, the application of Advanced Materials has the potential to revolutionize products, and this is driving an increasi…
Driving the Future Forward with Advanced Lithium-Ion Batteries: Made in Alabama
The current limitations of battery technology are the main obstacles preventing the widespread adoption of electric vehicles (EVs) - including their c…
3 Types of Interactive Content and Why Marketers Use It
Content is good, interactive content is better. We all know content is king, and while nobody would deny this, it's actually interactivity that makes …
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Why You Should Invest In an IWMS
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A USB Drive Which Cannot Get a Virus
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The Development of Successful Online Casino Gaming Software
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Boubacar Traore | Dounia Tabolo
ARTIST: Boubacar Traore
TITLE: Dounia Tabolo
LABEL: Lusafrica
75 year old Boubacar Traore has been playing his blues-inflected music since Mali gained its independent in 1960. Unbelievably, he didn't make a recording until 1990, but he was there (and popular) before Ali Farka Toure, Tinariwen and the desert blues boom. On his tenth album Traore is joined by a well-curated group of guest stars: his frequent collaborator, harmonica player Vincent Bucher; singer-cellist Leyla McCalla, formerly of the Carolina Chocolate Drops; fiddler Cedric Watson (ex-Pine Leaf Boys); and Richmond's own Corey Harris. It's a fun parlor game to match up West African blues musicians with the American blues genres they most closely resemble. In Traore's case, it's got to be the Piedmont style familiar to Virginians – when he and Bucher get up a head of steam as on track 1, they remind me of John Cephas and Phil Wiggins. This is a long album with long songs that give the players and the groove a lot of room to stretch out. McCalla is a standout: 3 is one of the best things Traore has ever recorded, thanks in no small part to her exquisite cello playing. A terrific album, perhaps my favorite in Traore's oeuvre. Long may he run.
TOP TRACKS: 1 3 4 9 10
ALSO RECOMMENDED: 2 5 6 7 8 11 12 13
Program November 29, 2017
Charts November 26, 2017
Les Filles De Illighadad | Eghass Malan
Hamad Kalkaba & The Golden Sounds | 1974-1975
WRIR's Afropop Dance Thang, Saturday November 11
Charts November 5, 2017

redpajama_set_name: RedPajamaCommonCrawl


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Verse Chorus Hurts: Listen to 'Sappy', Kurt Cobain's demo cut of a future Nirvana song
In National News
By Michael Marottaon October 6, 2015
The companion soundtrack to Kurt Cobain documentary Montage of Heck is set to be released next month, and last night, a first taste of The Home Recordings surfaced online. An acoustic demo of "Sappy," a track Cobain struggled with for years, which, after several different attempts, finally appeared as Nirvana track "Verse Chorus Verse" for the 1993 No Alternative compilation, is available to hear below.
The lo-fi track is part of a collection Cobain reportedly taped by himself on a home stereo between 1986 and 1994. In addition to The Home Recordings release, "Sappy" will be available on 7-inch, accompanied by a cover of the Beatles' 1964 track "And I Love Her."
SPIN reports this morning that "Sappy" became available after pieces of a jigsaw puzzle were rearranged on the Montage Of Heck website. The Home Recordings album is out November 13, the same day Montage of Heck gets the DVD and Blu-ray release treatment.
Listen to "Sappy" and check out The Home Recordings album artwork below.
Kurt CobainMontage of HeckNirvanaSappyThe Home Recordings


1. Understand what constitutes plagiarism – Simply put, plagiarism is borrowing another person's text, words or ideas without giving them credit. Remember that unless you use material that is common knowledge or write on your own, you must give citation for all material, including quotations, paraphrases and ideas.
2. Stay away from Ctrl C + Ctrl V – We get so used to using the copy and paste commands on our computers that unknowingly it turns into a habit. While writing your MBA thesis, ensure that you never copy paste any content. If you must take something, ensure you include it with citation.
3. Paraphrasing is still plagiarizing - Don't think that changing a few words can get you away with the plagiarism problem. Even if you are changing the order of words, you are still using someone else's idea, so make sure you cite.
4. Outsourcing editing will help – Sometimes, it might be beneficial to get another set of eyes to look at your work and check for editing and plagiarism issues that might arise. This will save a major hassle in the future.
5. Pay attention to styling and formatting – If you don't use the right style of formatting, you might not be able to cite references in the right way and you might still get caught for stealing content.
Last but not the least, when in doubt, always cite! It pays to add sources in your content to stay away from plagiarism. Write original MBA thesis and you will surely go a long way in your career.


text:
Clicklaw Wikibooks β
Neil Chantler
Revision as of 13:03, 3 December 2015 by Nate Russell (talk | contribs)
A contributor to Clicklaw Wikibooks.
See the full list of contributors.
Recent edits by Neil Chantler
Neil Chantler, Chantler & Company
www.chantler.ca
Neil Chantler is a lawyer and the proprietor of Chantler & Company, a boutique civil litigation firm with offices in downtown Vancouver, BC. He has a special interest in matters involving civil liberties and police misconduct, and frequently represent individuals with claims against municipalities and the Provincial and Federal governments. He has appeared at all levels of court in BC, before several tribunals, and in two public inquiries, the Missing Women Commission of Inquiry and the Commission of Inquiry into the Death of Frank Paul.
Trevor helped review the Complaints about Authorities section of the wikibook Legal Help for British Columbians.
Retrieved from "https://wiki.clicklaw.bc.ca/index.php?title=Neil_Chantler&oldid=27499"
Clicklaw Wikibooks


text:
4 schools still in double sessions
PSS gets OIA funds for school repairs
By Erwin Encinares
Nearly seven months after Super Typhoon Yutu's onslaught in late October 2018, four public school remain on double sessions, according to the Public School System.
Acting Education commissioner Lynnette Villagomez said the schools remaining on double sessions include Oleai Elementary School, San Vicente Elementary School, William S. Reyes Elementary School, and the Francisco M. Sablan Middle School.
"They will remain in double sessions for the remainder of the school year," she noted. "While we are waiting for the buildings without roofs to be hardened, we are going to be receiving additional tents for these schools so that they can have temporary structures they can move into… to move into full-day sessions," she continued.
Villagomez assured that all students eligible for graduation would be graduating on time—including those on double sessions.
"We extended the school day for them [so that] they have more hours instead of starting school early and ending at 2:30pm," she said.
PSS also said it was successfully awarded $1 million in disaster-response money from a federal office in preparation for the upcoming school year 2019-2020.
Villagomez, in an interview, confirmed that the Office of Insular Affairs was able to award PSS with $1 million in grant money for school repairs that she noted would be used in preparation for the upcoming school year.
"…We need to follow the timeline of the Federal Emergency Management Agency so that we can make permanent repairs to our schools," she said.
She noted that coordinating with FEMA allowed for the reinforcement of school campuses, including harder roofs; sturdier walls; and more.
"Following the FEMA schedule is critical so that we are eligible and [keep] the opportunity to use funds that are available [for repairs]," she said.
Erwin Encinares | Reporter
Erwin Charles Tan Encinares holds a bachelor's degree from the Chiang Kai Shek College and has covered a wide spectrum of assignments for the Saipan Tribune. Encinares is the paper's political reporter.
Severe drought thru May
MPLT loan bill heads to Torres
Ship catches fire off Tinian
Traction in Congress
'Over $50M to reopen COP'
Discrepancy in 2 PWS muddles CW petitions
$130M hotel project down to 30 workers


text:
Dirty Harry (1971)
Confessions of a Film Freak 2020
My Collected Film Writing for 2020, free to download
On The Rocks (2020)
Dressed To Kill (1980)
Hour of the Wolf (1968)
Grizzly (1976) / Alligator (1980)
Medium Cool (1969)
Troy (2004)
The Driver (1978)
The Shanghai Drama (1938)
The Adventures of Robin Hood (1938)
The Good, The Bad, and the Ugly (1966)
Star Trek: The Cage / Where No Man Has Gone Before / The Man Trap (TV, 1964-66)
Zabriskie Point (1970)
Stagecoach (1939)
Idaho Transfer (1973)
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Film essays and commentary by Roderick Heath
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2010s, Action-Adventure, Historical, War
July 22, 2017 filmfreedoniaChristopher Nolan, Dunkirk, Harry Styles, Mark Rylance, Tom Hardy, WW2 20 Comments
Director/Screenwriter: Christopher Nolan
By Roderick Heath
The evacuation of the British Expeditionary Force from the beachfront of the French coastal region of Dunkirk remains one of the most legendary intervals of World War II. The beaten, bedraggled force of 400,000 men, left without recourse after the infamous Nazi blitzkrieg attacks that invaded Belgium and outflanked the Maginot Line, had to be rescued in a military operation that saw the Royal Navy mount a frantic ferry service, with hundreds of smaller craft, borrowed from civilians and even crewed by them, pressed into service to get men off the beaches. As a result, the core of the British army was saved, the Nazi advance found a limit in Western Europe, and the seeds were sown for eventual resurgence and victory. Or as the comic writer and performer Spike Milligan once reported a veteran of the event telling him soon after, "It was a fuck-up, son – a highly successful fuck-up." Not that you'll encounter such brusque and irreverent description of it today. Today, the appeal of Dunkirk as an event has an obvious wellspring as a moment of great communal action, one not without its dark side and its ahistorical mythologising attached, but still essentially true, an epic event that allowed the future to happen. It is the first act in the modern world's creation myth, with D-Day the second, the turning of the worm. It also has a less agreeable facet now, as the rhetoric of Churchillian resolve and the epic stature of the age have been highjacked by sectors of contemporary society to service how they fondly imagine themselves and their quarrels with the realities of our common inheritance. But perhaps the event's other aspect speaks equally to others, the background of calamity and resolve, the need for this-far-and-no-farther grit in the face of adversity.
Perhaps that's part of the reason why Warner Bros. felt reasonably comfortable expending a huge sum of money on recreating the event. That, and the fact that Christopher Nolan is now fully testing the near-unique reach he's gained as one of the few popular auteurs standing in contemporary Hollywood. Whatever else one thinks of Nolan, it is certain he's a distinctive, ambitious talent who wants to reach a mass audience but in terms that don't compromise his specific vision and methods. Either way, Dunkirk hasn't had a particularly good time when it comes to movies. The event was encompassed but not depicted in William Wyler's Mrs. Miniver (1942), and the subject of a torpid and flimsy Ealing Studios production, Leslie Norman's Dunkirk (1958). Although the film around it was wounded by the half-hearted pretensions of its source material, Joe Wright's 2007 adaptation of Ian McEwan's Atonement contained a mini-movie depicting the event that has stood as certainly the finest to date, a five-minute tracking shot of extraordinary choreography and artistry following the film's tragic hero in the midst of the evacuation chaos, a scene of cruelty and camaraderie, bleak immediacy and woozy surrealism, a desperate search for a locus of order and meaning only to be faced with its dissolution. The overt technical conceit succeeded in its aim of reordering the viewer's sense of reality.
By comparison, in the first minutes of Nolan's film, when one of his main characters stumbles onto the beaches, Nolan's eye surveys great expanses dotted with soldiers spaced and grouped into the kind of geometric compositions Nolan is extremely fond of. Although Nolan's Dunkirk proposes to plunge the viewer into a hectic event, even at its most madcap, this film is rather the by-product of a relentless eye and mind, one always imposing calculation and mechanistic contemplation upon the happenstance business of popular art. Nolan takes a familiar conceit from this kind of panoramic drama in depicting action from three different viewpoints – one from a soldier on the beach, one a pilot in the air, and one the owner-captain of a boat pressed into the citizens' flotilla – but gives it a tweak by presenting them in different time frames. Thus the aerial swashbuckling of RAF pilots Farrier (Tom Hardy) and Collins (Jack Lowden) takes place over a one-hour period; the voyage of Mr. Dawson (Mark Rylance), son Peter (Tom Glynn-Carney), and their young friend George (Barry Keoghan) unfolds over a day, and the survival run of battered soldiers Tommy (Fionn Whitehead), Gibson (Aneurin Barnard), and Alex (Harry Styles) lasts a week. All intersect eventually during the flux of events, with Nolan cross-cutting between the three different time frames, thus finding a real-world way to recycle the dream-state levels of Inception (2010).
The humans in these scenes, many of whom are scarcely invested in specifics of character or identity and quite often unnamed on screen (thank you, internet), are intended in part deliberately as blank slates and avatars, clotheshorses for Nolan to drape the experiential finery of his filmmaking on: Tommy's very name signifies him as the essential British soldier. Kenneth Branagh and James D'Arcy pop up, looking windswept and uncomfortable as two officers, Commander Bolton and Colonel Winnant, who stand in for the higher rank's perspective and to offer fillips of exposition for an event that is otherwise left sketched only in the vaguest of terms as to why and how it came to such a pass. The mission statement here is to thrust the audience headlong into gruelling situations alongside these avatars in events that present, in their microcosmic way, extrapolations of the drama as a whole, in its various layers of eye-level experience. Great history is given a man-sized makeover (and I do mean man; no weepy mothers or sultry French hookers a la war movies of decades past get in the way here; a couple of nurses do get the odd line). Tommy and Gibson are two young privates thrust into each other's company on the beach, when Tommy, who has just managed to beat a gauntlet of German besiegers on his route to the British pocket, sees Gibson burying the body of another soldier. Although Gibson will not or cannot speak, the two men join forces to try to find a more expeditious route onto a rescue ship, and so volunteer as stretcher bearers, carrying a man aboard a hospital ship, dodging the queues and the bomb craters punched in the long wharf, or 'mole.'
Although they're then kicked off the ship, the two men clamber down onto the underside of the mole to await a chance to slip back aboard this craft or another. But a Stuka bombing raid sinks the ship, and the pair help pluck Alex and other men from the water before they are crushed by lolling weight of steel. The trio flee down along the beach and take refuge with other soldiers in a beached boat, hoping to sail it for home when the tide dislodges it from the sand. But this plan goes awry when Germans beyond the British perimeter start using the boat for target practice, and the tide starts to flood the hold instead. Meanwhile Dawson, a gentleman of the coast who seems to have experience from the last war, sets to sea with a desire to help with his son and his friend aboard, having lost his elder son, an RAF pilot, already in the conflict. They pick up a soldier (Cillian Murphy) who's survived the sinking of a rescue ship and is suffering badly from traumatic stress. The soldier panics when he realises his rescuers are heading on back to Dunkirk. During a tussle for control of the vessel, George is knocked back down into the boat's interior and hits his head. Blinded at first, George soon dies of an aneurysm, but Dawson continues with his mission to save more men. Above their heads, Farrier and Collins try to ward off the Luftwaffe bombers playing havoc with the rescue; Farrier can't tell how much fuel he has left after bullets knock out his gauge, so his fight is defined by uncertain guesswork as to how long he can continue it, whilst Collins is shot down over water.
I've had many issues with Nolan's films in the past, but I had started to come around with him after the messy yet fitfully interesting third chapter to his very profitable Batman trilogy, and the sometimes excellent science fiction epic Interstellar (2014), a film that eventually foundered on Nolan's uneasy attempts to fuse Kubrickian grammatics with Spielbergian emotionalism and a glum retreat into sub-2001 mind-bending, but conjured a genuinely epic brand of realist scifi along the way. It was a real movie, as opposed to a cinematic conjuring trick or pseudo-intellectualisation of genre and comic book fodder. Dunkirk sees Nolan venturing into historical drama and factual portraiture for the first time in his career, a choice that promises in abstract to discipline the writer-director within new parameters. And yet for better and worse, Dunkirk is a Nolan film through and through. Few contemporary filmmakers are as confident in wielding the infrastructure of a big-scale movie production in such a way that it remains touched with a strong personal aesthetic, which in Nolan's case means scene after scene shot in a dingy colour palette, showy editing patterns, and cunningly orchestrated sound effects. Never in the history of cinema have the sounds of men's muffled screaming as they drown been so peerlessly communicated.
A fascinating disconnection lays at the heart of Dunkirk, as it did with Interstellar. Nolan is a filmmaker who wants to engage in a voluble sense of human vulnerability, and yet he has little gift as a dramatist, and his human figures tend to stand in for states of mind and feelings rather than experience them. Many said that about Stanley Kubrick, one of Nolan's evident and oft-cited inspirations, as well, but there were qualities to be picked up in Kubrick, from his coal-black humour to his sarcastic sensuality and the genuine rigour of his shot-for-shot cinema, that are totally absent from Nolan. Take, for instance, the early scenes that see Tommy escaping German bullets, and, when he gets his first time out on the beach, squats down to shit. No worry about mess. Nolan offers this sequence like a bonsai tree, lovely and potted and carefully groomed of all offensive detail as a sop to the supposed grit of his vision, and yet like everything else we see here, it's preeningly aestheticized. Still, Dunkirk is very much a work of contemporary cinema style, and for a time, this is bracing: there's no nostalgic gloss or air of antiquity to proceedings here even as the technology tends to look quaint now, like the Spitfires drilling the sky, battling opponents only with a pair of machine guns and their own good eyes to give them effect, and the Lee-Enfield rifles that seem so paltry a defence in the face of mechanised war.
Nolan stages action scenes as a constant scruff-of-the-neck scramble, as when Tommy and Gibson, apparently delivered upon a rescue ship only then to be torpedoed, are forced to survive near-drowning, or later, when a different ship is sunk and we're treated to a harum-scarum cacophony of images as some manage to swim for safety and others are cooked by spilt fuel oil lit up by a crashing Nazi bomber. Nolan's images come on coolly at first but soon begin to pile on with ferocity as hell breaks loose. Yet to make a film about such an event takes a streak of madness, of understanding of what it feels like to have the world drop out beneath your feet, and the capacity to revel in it. And if there's one thing certain about Nolan, it's that he doesn't have a mad bone in his body. This is, after all, the man who remade the id-shaped heroes and villains of the Batman tales into creatures of witless literalism and who structured tales of romantic tragedy and adventures into the mind's recesses as puzzles with placards at their hearts in Memento (2001) and Inception. The trouble with this approach steadily unveils itself, stripping out such niceties as personality, context, and interest in the authentic players of history and replacing them with these pasteboard exemplars who wear looks of hangdog gravitas. This suits what Nolan actually does with his account of Dunkirk, which is to essentially reduce the event to a particularly gruelling fantasy adventure camp and theme park. Survive the sinking ship. Shoot down the Messerschmitt. Crap on the beach. Dodge the broken pier of death. It's no wonder Nolan is a god for millennial film buffs; he speaks fluently the language of video game.
In Spielberg's Saving Private Ryan (1998), the famous D-Day beach opening had its calculated side but successful realised a maelstrom of chaos and gore; death comes from every direction, in every manner. Here, Nolan winds up one shot of a creeping barrage of Stuka bombs advancing towards Tommy and blowing up a neighbour with the precious, self-satisfied smirk of a talented child arranging the elements on stage for a puppet theatre. Nolan compensates for his cynicism towards traditional drama by conveying dread through his films' constant steely mood lighting. Hoyte Van Hoytema's photography is fine and crisp but plays the same relentless game as Hans Zimmer's scoring. Before going into the film I kept in mind the way Nolan uses Zimmer's music to propel his drama and quite often provide it, and with such awareness in mind I became acutely conscious of how marvellously the music is used to high-pressure the viewer, as Zimmer mimics a ticking clock and surging tide. Much like James Brown made his band into a giant percussion instrument to fuel funk's polyrhythms, Zimmer's orchestrations are less music than metronome, shunting the images along with false urgency, Pavlovian cues steamrolling us into obedience. The crowds of extras are supposed to be stoic and sullen in patient anxiety whilst occasionally showing their humanity, mostly by roaring approval of certain acts of bravery. But in fact they're as subject to Nolan's relentlessness as a moulder of elements as any of Fritz Lang's crowds depicting citizens of medieval Europe or futuristic Metropolis, devoid of raucous communal life.
Nolan's dedication to studying the event through more of a communal than individual lens has a certain worthiness and aesthetic potential, but in comparison to a filmmaker like Miklos Jancso who really could realise historical events in a way where the mass enacted a tale (e.g., Red Psalm, 1972), Nolan is a clodhopper who reduces characters to switchable pieces of a crowd rather than finding character in the crowd. No one swears, plays cards, tells dirty jokes, sings a ditty, gets drunk. This is our contemporary realism: the stuff of life in the margins is excised. It is not important. Importance is now measured in venturesome suffering. Nolan's attempt to synthesise a restrained emotional palette suits the material, and Rylance in particular handles this well. But dialogue barely serviceable as expressions of human communication drops from the characters' lips on occasions, as when Branagh's Bolton stares out to sea and pronounces, "You can almost see it from here." "See what?" asks Winnant. "Home." Later, he stares out to sea (he does a lot of this) and, beholding the small boat flotilla heading to the rescue, he's asked, "What do you see?" "Hope," he replies. Nolan got paid to write this stuff, folks. Occasional flickers of anger are displayed, mostly with the RAF for their sparse attendance of the festivities, and by the finish Nolan suddenly makes a thing out of the soldiers' shame in defeat only then to find they're being greeted as heroes anyway.
Nolan makes some effort to invest some complexity in his portrait of the situation, particularly in the scenes on the beached boat where Tommy, Gibson, and Alex have taken shelter with a gang of similarly unmoored men from the Highlander regiment. The young soldiers quickly reveal unreasoning ferocity in the face of blind terror. As the boat starts to flood with the rising tide, they turn on each-other. One soldier (Brian Vernel) gets it in his head, in Nolan's efforts to generate a moral crisis, that they need to throw someone overboard to lighten the boat, in spite of the fact they're on a sizeable craft where such an action would be utterly useless: they pick out Gibson in his silence as the odd man out, forcing the man to admit that he's actually a French soldier who's put on an English uniform to make his escape, his silence a ploy rather than a manifestation of shellshock. Tommy still bleatingly defends him: "It's not fair." This sequence reminded me of the similar moral quandary of the two bomb triggers Nolan deployed in The Dark Knight (2008), and it's just as wince-inducing in its clumsiness as a story device and facetious as a depiction of the panicky idiot lurking under the surface of all men. Even as jittery and desperate as the men here are supposed to be, no-one in his right mind could possibly think through one man off so large a boat is going to stop it sinking. Here Nolan reminded me of some other films with blind spots in this regard, like Joseph Losey's King & Country (1964), proposing to stick up for the little man in the face of great men's games but ironically, in portraying that little man as gallant and those others as bestial primitives. When Nagisa Oshima cast David Bowie in his POW drama Merry Christmas Mr Lawrence (1983), it was to exploit a pop star's strange and alien beauty and use it ironically, to make him emissary of the human race in a way a Byzantine religious artist might have appreciated, as a vision of the rarefied soul. Nolan casts Styles, likewise a pop star foraying into acting, and buries him in the avalanche of lookalikes, a nobody in a sea of nobodies.
The same weakness is evident in another of narrative's strands, as young George collapses and dies, killed in part by the war and its effect on people. If we actually, properly knew who George was, his end might offer some pathos. Peter doesn't let the man responsible know George has died. He chalks it up to a fortune of war instead, choosing rather to seek memorialisation for George as a young hero of the great event. Nolan makes a nod here to John Ford's famous dictum of "print the legend" evinced in The Man Who Shot Liberty Valance (1962). And yet for all its avant-garde visual force and desire to communicate survivalist urges as an overriding trait, Dunkirk is actually astonishingly square as an historical portrait, the exemplification of "print the legend." There is no political or institutional anger evinced here, or attempt to assess the failures of a mindset as a way of learning what goes wrong in war and why, as there was in, say, Richard Fleischer's Tora! Tora! Tora! (1970) or Richard Attenborough's A Bridge Too Far (1977). Dunkirk may well have invented a new cinematic genre: the history movie without history. When the great flotilla turns up, envisioned by Nolan as the cavalry running to the rescue, their crews stand upon the decks, chin cocked at noble angles, like they've all escaped from some Soviet Realist poster. Rylance's performance as Dawson is both exceptionally good in its reserve and concision of emotional effect, but it also exemplifies Nolan's assimilation of cliché: he's an archetype of everything homespun and simple, soft-spoken and naturally gracious, exactly what we'd fondly like to imagine everyone engaged in this enterprise was like. Hardy's handsome mug is hidden behind a mask most of the time, elected as stand-in for the Few.
It feels particularly tempting to compare Dunkirk to Michael Bay's Pearl Harbor (2001), a lumbering and ridiculous melodrama that at least signalled some understanding of itself as such, an attempt to visit the past through the lens of that past's own methods of mythmaking – sweeping cinematic romance and archetypes. Nolan's efforts here pose as deep and true, but commit the same fraud as Bay did, reducing warfare to an obstacle course whilst affirming movie star credentials through flyboy antics, as Hardy's masked but dogged hero shoots down about six German airplanes. Man, Tom Hardy is cool. The aerial combat scenes are easily the best thing about Dunkirk however, as Nolan, usually not a director who gives any great thought as to where and why he places a camera, here often tethers his perspective to that of the pilots, their enemies appearing as flashes in the rear-view mirror to the clatter of bullets on the fuselage, or trying to catch a glimpse of a friend or enemy in the water far below. There are only pure equations to survival up here – what you can and can't see, how long until the fuel runs out. Nolan manages something reasonably original in this way, but then undercuts the exacting practicality as he strains credibility by having Farrier continue to shoot down enemy planes even when he's run out of fuel, and then barrels in for a perfect landing on the beach, struggling with recalcitrant landing gear all the way.
Whilst Nolan's temporal gimmick is engaging on some levels, inviting the viewer to piece together how everything fits in the mind and feel the pleasure of certain actions gaining context at length, I wish it didn't often provoke to wonder if it wasn't a great ruse on Nolan's part to cover up how bad he's been in the past at tracking action. Dunkirk both held my attention but constantly frustrated it, and by the end left me cold in a way that infuriates. Once, ambition and vision in Hollywood could mean works like Apocalypse Now (1979) and Heaven's Gate (1980), giant, shambling, endlessly rich mosaics composed of history, dreams, ideas, and fervent emotion. By comparison, Dunkirk reveals how small-minded and blankly impersonal such cinema can be even as Nolan expands the limits of his frames and the impact of his sound and vision. Dunkirk demands to be described in hip clichés like "immersive" and "experiential," but the cause such aesthetic aims are supposed to serve, in sensitising us to the meaning of individual perspective and placing us in the shoes of people overwhelmed by circumstances, are swiftly transmuting into the opposite, a method used by contemporary filmmakers to turn the art form into something more like virtual reality, sapped of dramatic – and therefore human – values. Along with it, history becomes fodder for a simplistic action-survival thriller – one without the pleasures of pulp or the tatty, bratty cornball of folk history, but instead decked out in its own borrowed finery of import. Kubrick could give you both a moment of profound sentiment like the famous singalong at the end of Paths of Glory (1957) and also a stinging moment of personal rage and black comedy like the anointed martyr who makes his prayers to wine rather than gods. Nothing like that subsists here. This is a cold, barren, sterile beach to die on.
→ The Immortal Story (TV, 1968)
← The Lost City of Z (2016)
20 thoughts on "Dunkirk (2017)"
Christopher Potter says:
Oh, Roderick! I must vigorously protest your description of "Atonement" as a film "fatally wounded by the half-hearted pretensions of its source material." I assume — and forgive me if I'm reading this wrong — you're dismissing the novel as a piece of overblown hooey. I must fervently disagree: McEwan's book left me shaken for days, lost in the grief-inducing truth of the spiraling effects of an innocent lie; of shunning the consequences of one's own actions until it's too late to rectify the damage.
I'm aware of course that your reference to "Atonement" is merely a sidebar to your provocative, against-the-grain review of "Dunkirk." But I felt duty-bound to stand up for one of the most brilliant, heart-stabbing works of literature I have ever read. I agree that save for the Dunkirk sequence "Atonement" the movie wasn't up to snuff. But when you refer to "source material," I must conclude you mean the novel. And I can't let that pass.
Christopher, I'm actually kinda glad you like the book so much. It left me with mixed feelings, as I couldn't quite shake the feeling McEwan's final sleight of hand was more a last-ditch attempt to avoid being skewered by littérateur mates for writing a multi-genre epic and had to go po-mo. Also, the film couldn't quite find a way to realise what was a specific literary conceit in apt cinematic terms, so all this finished up wounding the movie more than the book. That said, both are very fine works in so many ways.
Although the film around it was fatally wounded by the half-hearted pretensions of its source material, Joe Wright's 2007 adaptation of Ian McEwan's Atonement contained a mini-movie depicting the event that has stood as certainly the finest to date, a five-minute tracking shot of extraordinary choreography and artistry following the film's tragic hero in the midst of the evacuation chaos, a scene of cruelty and camaraderie, bleak immediacy and woozy surrealism, a desperate search for a locus of order and meaning only to be faced with its dissolution. The overt technical conceit succeeded in its aim of reordering the viewer's sense of reality.
As you no doubt remember Rod, ATONEMENT was my #1 film of 2007, so I am always ready to go to the mat for it. However, I think you were fair enough to her, by standing by that incomparably extraordinary steadicam sequence at the film's center that did more to capture the dizzying chaos on the beaches of Dunkirk than we say in any cohesive terms in the full run of DUNKIRK. I am most pleased to see we are largely in agreement on this overrated film, one that to these eyes goes steadily downhill after that brilliant opening. Your review is damn brilliant I must say – you work hard to give the director his due and rightly acknowledge the gimmick of this film is at least worthy of conditional commendation. I feel much that way as well. Angry defenders of the film keep saying that protests against the lack of characterization are moot because Nolan deliberately took another route, similar to the trails we've seen from Malick. But my own essential argument is that the route he took is wrought with cinematic peril when he doesn't connect the dots. Dunkirk isn't all pyrotechnics, it is a wrenchingly human story.
Again, this is as superb and all-knowing a review on this film I am likely to see.
Hi Sam. Look, Atonement is a damn good film, but I had problems with it that niggled at me then and now, and I've tried to nail them down. I just could do without twist endings, I suspect. I think the point about how what Nolan tries here to do is similar to Malick is worth unpacking at length and perhaps not done service here in a comment. But to boil my feelings about that down; firstly, Malick's actors create manifold effects that he refines to communicate the essence of people. Nolan's actors here are only communicating basic emotions playing placards, vague avatars for his cinematic bullying of the audience to obey his cues. I'm not necessarily against minimalist use of character (for instance, I adored the recent Lady Macbeth, which strips back understanding of its protagonists to raw and virulent emotions defined in sociological terms rather than as psychological beings), but in spite of the pseudo-artistry this movie is wrapped in, a complex and, as you say, very human event has been reduced to a series of cliffhanger situations, utilising an aesthetic that dazzles but ultimately does nothing to actually make us understand this event in any mode but the visceral and the suspenseful. It reminded me Gravity in many ways, another film put across with such wow-the-crowd technical effect and pseudo-intellectual pizzazz that for a while many people thought that was some kind of deep statement too. So yes, we are in firm agreement, and I'm glad of it. I'm sick of these orgiastic receptions of these tinpot fauxteurs.
André Dick says:
Great review. The greatest war movie of all time? Please. I loved "Interstellar", but this movie is extremely overrated, the Mad Max 2017. Congratulations.
"The greatest war movie of all time" Oh, man, people haven't really been saying that have they? JFC.
I haven't seen this and probably won't given my antipathy to Nolan, particularly his visual illiteracy when it comes to well-choreographed action. I've heard reviewers talk about this as an experience in sensory overload, which put me in mind of Platoon. I admit the experience of seeing Stone's movie still lives in me. It made me feel like I'd been fighting in a jungle. You seem to imply that's what happened with this movie as well. Do you feel in the thick, or is it just a lot of noise that overwhelms?
Hi Mare. Platoon and this are both war movies and do share an aspect of immediacy, that's certainly true. There are some expert set-pieces here, particularly the sinking of the destroyer Tommy and Gibson manage to board at one point, which do bear some similarity of method. But there's also a great gulf between the films. Platoon, tho I'm not such a great fan of it either, is certainly the product of a man's lived experience, and it boils with feelings of betrayal and horror and the desire to communicate an experience of war that refuses to conform to anyone's exterior expectation of it. Dunkirk, on the other hand, for all its spectacle and desire to thrust you into thrilling situations, has no such specificity; it's vague and platitudinous on those levels. I've seen defences of it in this regard as an attempt to depersonalise moral horror and render it more as a cosmic state, but it doesn't work for me in that regard, and remains a subtle failure in generating any authentic sense of true madness – certainly not in the manner, say, Come and See does, or The Big Red One. It reveals its game early on as a series of rolling situations closer in narrative structure to something absurdist like The General or Raiders of the Lost Ark. Also, Stone's desire to indict political history couldn't be further from Nolan's stolid cliches in the same regard. Although the film is filled with death, it's remarkably bloodless, to the point of seeming sanitised: the violence rarely has any messiness to it (except, as I mentioned, the use of the sounds of the drowning men – very effective). "A lot of noise that overwhelms" certainly has its true side; it's not *only* that, even I as someone who didn't like it will admit, but I do think it's the larger part of why it's wrung such general praise.
Ah, thanks for that excellent precis of the differences as you see them. I would have suspected as much.
As is often the case I'd be interested in your reaction whilst at the same time not really being able to argue with your desire not to see it. If you were to see it, it would certainly have to be on the big screen. I expect it will evaporate like morning fog on TV.
I'll consider it. It's still playing here in 70mm.
I suppose I could say my like-affair or ok-affair with Nolan continues. He hasn't done a movie I can say I really loved or wanted to watch again, but I keep going to see them. If you ever check them on IMDB, I think everything he does ends up in their top 250 as determined by viewer ratings, so I seem to be out of step with the average movie goer, although not with you guys here it seems.
Of the 3 stories (or settings) in Dunkirk, I think 2 worked reasonably well, one was a total bust. The aerial stuff was exciting and well shot (and I'd say to Marilyn well choreographed). The boat was good, the Mark Rylance character I think carried that off. The third story, on land, the 2 characters trying to get off the beach just wasn't very compelling or engaging. I suppose Nolan was going to at least some extent for the fog of war idea, where the characters only know what is going on in the immediate vicinity, and that's all we know too. For a while I guess that can work, but not the entire movie. I also had a slightly different problem, which is that the entire sequence was mostly passive. The characters were trying to get off the beach at least, but that didn't occupy a lot of the screen time. Mostly they were waiting and sitting, and no dialog so as has been said, we don't really even know them. For the most part there wasn't much sense of forward momentum. I'm not really sure I'd recommend it to someone.
Hi Patrick;
I think part of the problem here is inherent in Dunkirk as an event, one that makes it, in spite of its epic scope, actually rather uncinematic: it's essentially just a bunch of guys waiting to get on boats, sitting around on the beach. It's an event defined by mostly passive action. And boats sailing back and forth. And Nolan is not the sort of filmmaker who can make something of that, as Joe Wright did, by surveying humanity amok in such dire straits. So it's both inevitable that the weight of actual action filmmaking would fall to the pilots. Even at the risk of betraying Nolan's project of being representative about the event, as the RAF made a conscious decision mostly to sit the action out, deciding they were more needed for defence against invasion. Interesting that the film also makes no mention of the long-rumoured story Hitler mostly left the pocket alone in the hope Britain would make peace. I know what you mean about the weird siren call of certain filmmakers even if you don't particularly like what they do, in large part because you keep hearing everyone rave so enthusiastically over them. Nolan's one for me – David Fincher another. I personally have reservations about how well-orchestrated the aerial scenes were. It might merely require a second, attentive viewing, but I kept losing track of how many enemy aircraft there were and the like. I thought when Hardy's pal is shot down that that was him standing on the nose of his plane; then we get that elaborate sequence of him actually being trapped in his cockpit. Perhaps it was a German. I found that sort of stuff more than a bit garbled.
I think I know the scene you are referring to – the plane in the water part. At first I thought the pilot was out on the nose of the plane, that was actually the propeller sticking straight up and looking from the longer view shot like a person. When they cut in close you could see it was just the propeller and the pilot was still in the cockpit.
Ah yes, I remember now. I did think the games with perspective from the planes were the film's best aspect, all that said. But Nolan should also have had more courage to maintain that viewpoint.
"Interesting that the film also makes no mention of the long-rumoured story Hitler mostly left the pocket alone in the hope Britain would make peace.'
There was an element in the British government that was willing to cut a deal with Hitler around this time as you probably know (Lord Halifax), although I did not know about that rumor you mention. And speaking of Joe Wright, his movie "Darkest Hour" is coming out in November. That's going to be dealing with events right around this period. That one I am really looking forward to.
Roderick and Patrick, sorry for the intrusion I know Roderick is an admirer of "Anna Karenina", in my opinion one of the most underrated films of all time, and I agree that this "Darkest hour" promises more than Dunkirk. I hope that criticism does not destroy it, as it did with "Pan".
I'm interested in Darkest Hour too, but casting Oldman as Churchill irks me a bit. Oldman's a damn good actor, bless him, but this is his least apt casting since he played Beethoven. Criticism will probably be harsh from the hipstery side of criticism, as Wright isn't popular there much, but Pan was a genuinely fascinating mess; I remember being struck during The BFG about the films' similarities and how much livelier Wright's was.
"Pan was a genuinely fascinating mess." I agree, Roderick. In my 25 best movies/2015.
Frank Gibbons says:
You've written an excellent and highly accurate critique, Rod.
The average "Tommy" doesn't fare well in "Dunkirk". The movie opens with a group of them lollygagging down a village street when they're fallen upon. Their first instinct is to run rather than hit the pavement and return fire. Running proves to be a fruitless decision as most of them get it in the back. I wouldn't say that Tommy (the character) and Gibson "volunteer" to carry the wounded. Rather, their ruse reminded me of the infamous guy on the Titanic who wore women's clothes to get off the ship. As you point out, the Tommies are a sullen lot who descend into a "Lord of the Flies" routine when the going gets tough. The pilots, on the other hand, behave with honor, courage and self-sacrifice. Is this a perhaps a commentary on class differences? We see anger (envy, perhaps?) expressed toward Collins by a foot soldier near the end. Mr. Dawson is the only other character who exhibits the mythic indomitable British spirit.
After this extraordinary rescue one doesn't leave the theater feeling exhilarated or celebratory. There's not much to cheer about.
My wife and watched three films this weekend: "Le Trou, "Canyon Passage" and "Dunkirk". For us, "Dunkirk" was the least interesting of the three. We spent much more time discussing the other two films than we did "Dunkirk". And, the sad fact is, in an age of "Transformers", "Dunkirk" passes for excellence in film.


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Is Tim Pawlenty the Front-Runner?
Ed Kilgore presents the case against Tim Pawlenty as the Republican front-runner. (I've previously argued that Pawlenty is the favorite.) Ed makes the right case, which is that Pawlenty might simply fade away and fail to catch any fire with the base:
These elites seem to be hoping that if they choose someone who appeals to all sides, and cuts a profile as close to"generic" GOP candidate as possible, they will have a winning hand next year. But are the conservative activists who actually dominate primary and caucus events really in the mood for a safe, unexciting choice? Or are Tea Partiers in the mood for a crusade, led by someone who can energize them as Palin was meant to do in 2008? Will a political movement that perceives itself as "taking the country back" from socialists and baby-killers really find its general in a man so unremarkable that he was described in a sympathetic home-state magazine profile as "The Cipher"?
I agree that this is the right way to think about the Pawlenty downside scenario: Not crazy enough to be mayor of crazytown.
But I still feel good about my Pawlenty pick. His ridiculous videos may have the Colbert audience laughing, but I see no evidence that conservatives are laughing. (Conservative elites may be chuckling to themselves, but all that matters to them is Pawlenty's usefulness as a nominee.) Furthermore, the candidates who do catch fire with the base -- like Michelle Bachmann -- are such damaged goods that the party elites will coalesce around whichever alternative stands the best chance of consolidating the non-crazy vote.
I'm not certain here. Since 2009, we've seen the rise of tactical radicalism as a force strong enough to overcome elite opposition in the GOP. This could finally be the presidential contest the elites lose. But I don't expect them to lose, and Pawlenty seems like their best bet, and a figure the base can get excited about.
Jonathan Chait, Republican Party, Tim Pawlenty, Tea Partiers


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How Hatred Of Women Is Fueling The Far-Right
A new report finds that misogyny is flourishing online and motivating gun violence.
When Lyndon McLeod fatally shot two men and three women in a rampage that included two tattoo parlors, a hotel and a private home in Denver last month, it didn't come from nowhere.
In one of the novels from his self-published trilogy, he described killing people — and two of the characters who end up dead share names with his real-life victims. McLeod was also active on online forums where he touted masculine supremacy and disdain for the "weak."
Denver police eventually shot and killed McLeod after he shot an officer. The police department had received a warning about McLeod about a year before the shootings, from a German man who grew concerned after reading McLeod's books and online chats. But in a statement released after the shootings, Denver police said they had determined "there was not sufficient evidence to file criminal charges or a legal basis for monitoring McLeod at the time."
The department also told HuffPost that there were two previous law enforcement investigations into McLeod, but neither resulted in criminal charges. Continue Reading
(SOURCE) https://www.huffpost.com/entry/guns-men-violence-women-mass-shootings_n_61df281ae4b09724bb95d1a8
US Supreme Court Delivers Blow to Women's Rights
Share this (SOURCE) https://www.hrw.org/news/2021/12/10/us-supreme-court-delivers-blow-womens-rights
Bangladesh: Protests Erupt Over Rape Verdict
Share this (SOURCE) https://www.hrw.org/news/2021/11/16/bangladesh-protests-erupt-over-rape-verdict


The A and B cases are intended for undergraduate, MBA, executive education, and MBAExec audiences. They were used as an exam case for "Data Analysis and Optimization," which is both a first- and second-year MBA elective. They were also used as the first class of an undergraduate business statistics class. The A case begins by explaining that Thomas Jefferson fathered five girls (and one stillborn son) and Randolph Jefferson (Thomas's brother) fathered six boys (and no girls). An author of a 2009 book used these facts to argue that Randolph is more likely the father of Eston Hemings (a boy born to Sally Hemings, who was one of Jefferson's slaves) because "some men have boys and others have girls." Although 1998 DNA evidence suggested that a Jefferson had fathered Eston, the question remained as to which Jefferson. In the B case, data are provided on the gender and birth order of children from 700,030 Danish families. Students use those data to test the idea that "some men have boys and others have girls." There is a supplemental Excel file for students (UVA-QA-0797X) that accompanies the B case.


A senior South Yorkshire Police officer has assisted in launching a pioneering new mobile phone app helping victims of domestic abuse across the country.
The Bright Sky app, launched by the Vodafone Foundation and domestic abuse charity Hestia, is the first of its kind in the UK, and is designed to signpost victims of domestic abuse to help and support services, as well as offering advice to people who believe loved ones could be victims.
The discreet app has been built and designed with the absolute safety of users in mind and allows people to log incidents of domestic abuse in a secure journal using either text, audio, video or photos, without content actually being saved on the device.
Policing experts on protecting those vulnerable to domestic abuse have worked closely with Vodafone, Hestia and TecSOS – specially adapted technology enabling people to contact police quickly and discreetly – to inform the policing element of the app.
Chief Superintendent Natalie Shaw, former head of the force's protecting vulnerable people unit, sits on a steering group with the organisations, helping to inform them on the best ways we can work together to help people at risk of domestic abuse.
"Bright Sky will be a massive help to anyone vulnerable to domestic abuse, as well as to anyone who has concerns for someone. It will direct and connect people to local support services while also providing a discreet yet quick and easy way for people to contact police," said Chief Supt Shaw.
"My role in this has been helping to inform the content on the app while also providing a short video clip explaining what the police will do if you call 999.
"If you call 999, a marked police car with blue flashing lights will arrive at your address, along with a uniformed officer. This is to make sure that you're not in any immediate danger and we can ensure your welfare.
"We've also got officers in plain clothes who can visit you, either at your home or elsewhere, in an unmarked car to talk to you and explain your options and how we can help you.
"A large part of our work is of course arresting offenders but an equally large part is about protecting people and keeping them safe.
"We want to help as many people affected by domestic abuse as we can, whether that be physical, sexual, emotional or financial abuse.
"If you're concerned, I'd encourage you to download the Bright Sky app, it's free, discreet and easy to use and enables you to find out more information on the support available and the different types of abuse.
Bright Sky is available in English, Urdu, Punjabi and Polish and is free to download on both iOs and Android devices via the Apple Store and Google Play Store.


No PS4 Until 2014, Japan. But Here's An MMO For Your Trouble.
The PS4 launch looks to have a wider variety of play options than previous generations. Now it looks like Japan will be getting an extra option.
Video game and entertainment developer, CyberStep has announced a new MMORPG for the PC and PS4. Oni-Giri (鬼切 "Demon Slash") will be a free-to-play online action MMO featuring characters, stages, and creatures based on Japanese mythology and legends.
Currently, CyberStep is planning to release the PC version this upcoming December and begin service for the PS4 version next February when the PS4 launches. CyberStep has not specified if players will be able to use the same accounts on either platform, however, judging from previous business models (Phantasy Star Online 2 and Final Fantasy 14), that seems fairly likely.
Basic gameplay will be free with purchasable in-game items.
The PC version of Oni-Giri is scheduled for release in Japan on December 12th. The PS4 version is scheduled for February 22nd, 2014. A Western release is currently projected for mid 2014.


Cristiano Ronaldo has announced that he is the father of a baby girl.
Ronaldo posted a photo on Twitter on Sunday of him with the baby's mother, Georgina Rodriguez, and his oldest son in a hospital in Madrid.
The Real Madrid and Portugal forward accompanied the image with the message written in Portuguese: "Alana Martina has just been born! Both Geo and Alana are fine! We are all very happy!"
The baby is Ronaldo's fourth child. He had two children earlier this year, reportedly through a surrogate mother.
Ronaldo made his relationship with Rodriguez public last year.


A FAMILY on Universal Credit has been forced to resort to payday loans to pay for Christmas presents.
Ethan Johnston, 20, says he needed to take out hundreds of pounds just to pay the bills - and so he and his girlfriend can get her kids something for the holidays.
After moving in with his girlfriend Ashleigh Hart, 24, in Dumfries, Scotland, a few months ago, the couple have had serious problems with the new benefit system, which rolls six payments into one.
He's just had to take out a £500 loan with Pounds to Pocket to pay off his Wonga loan, and start planning for the holiday period for his "little monsters" - step-kids Mason, 3 and Demi, 5.
"We had no problems before going onto Universal Credit, we were living comfortably," he told The Sun Online.
"We are having to live off loans and handouts from family and friends," he added.
Since going onto Universal Credit every month the couple have received different amounts, so they find it impossible to properly budget.
Ethan, who works full-time as a labourer for the council, said last month the family were left with just £150 a week to live on and pay all their bills, because of the £1300 a month he gets paid.
They were hit with a huge hit to their finances when he got paid some extra money for overtime, which had been backdated.
Because he was paid more for one month, their benefits were immediately slashed.
He reckons they are in debt around £2000 to family, friends and debt firms since going onto Universal Credit, despite working full time.
And it'll take him at least a year to pay them all off, he said.
"We're arguing a lot over money, it's the stress really. And we can't afford to do anything at the weekends.
And he had to ask his mum to help out to buy school uniforms which they couldn't afford to get when the eldest began primary school too.
Ethan claims their family would be better off if they lived apart, as her benefits were affected so much by his income - and has even thought about moving back out again.
Before he moved in with her, she was getting £1400 a month, but now has been told she is unlikely to ever get more than £400 - due to money taken off for debt and advance repayments, and due to his income.
UC has taken up to £1000 off what they are entitled to because of his work allowance.
For every pound above the work allowance threshold, the DWP takes back 63p of it.
The new system has been beset with problems - with Brits claiming they are worse off, are being forced into prostitution, and even that its fuelling domestic violence.
Ministers have said that no one will be worse off when they are transferred onto the new system, but those who have a change in circumstances like Ethan and Ashleigh aren't covered by this rule.
Tory MPs have been battling the Chancellor, urging him to put more money into the scheme in the upcoming Budget.
Ashleigh wants to go back to work but due to the sky-high cost of childcare, she wouldn't be earning anything extra if she were employed, Ethan says.
"Now we're living together, it's put a lot of strain on our relationship," Ethan added.
"I wish the Government could see how hard it is just for a young family to live together.
A DWP spokesperson told The Sun Online: "Universal Credit is a flexible benefit that gives people more control over their working lives and, as a result, is helping people get into work faster and staying in work longer.
"Earnings from work will affect the amount of support people receive and, in the case of a joint claim, the earnings of both parties are taken into account. The amount paid to a couple living together reflects that there will be shared costs.


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Gender and Feminisms
Humanism and Spirituality
Peace and Disarmament
Clubs, Cartels and Bilderberg
31.05.2019 - Countercurrents
(Image by Countercurrents)
'After decades of neoliberalism, we are at the mercy of a cluster of cartels who are lobbying politicians hard and using monopoly power to boost profits."
Joseph Stiglitz, The Price of Inequality (2012)
by Dr Binoy Kampmark —May 31, 2019
~ The emergence of think tanks was as much a symptom of liberal progress as it was a nervous reaction in opposition to it. In 1938, the American Enterprise Association was founded by businessmen concerned that free enterprise would suffer at the hands of those too caught up with notions of equality and egalitarianism. In 1943, it dug into the political establishment in Washington, renamed as the American Enterprise Institute which has boasted moments of some influence in the corridors of the presidential administrations.
Gatherings of the elite, self-promoted as chat shops of the privileged and monstrously well-heeled, have often garnered attention. That the rich and powerful chat together privately should not be a problem, provided the glitterati keep their harmful ideas down to small circulation. But the Bilderberg gathering, a transatlantic annual meeting convened since 1954, fuels speculation for various reasons, not least of all because of its absence of detail and off-the-record agendas. C. Gordon Tether, writing for the Financial Times in May 1975, would muse that, "If the Bilderberg Group is not a conspiracy of some sort, it is conducted in such a way as to give a remarkably good imitation of one."
Each year, there are hushed murmurings and ponderings about the guest list. Politicians, captains of industry, and the filthy rich tend to fill out the numbers. In 2018, the Telegraphclaimed that delegates would chew over such matters as "Russia, 'post-truth' and the leadership in the US, with AI and quantum computing also on the schedule." This time, the Swiss town of Montreux is hosting a gathering which has, among its invitees, US Secretary of State Mike Pompeo and President Donald Trump's senior adviser and son-in-law Jared Kushner.
Often, the more entertaining assumptions about what happens at the Bilderberg Conference have come from outsiders keen to fantasise. The absence of a media pack, a situation often colluded with by media outlets themselves, coupled with a general holding of attendees to secrecy, have spawned a few gems. A gathering of lizard descendants hatching plans for world domination is an old favourite.
Other accounts are suitably dull, suggesting that little in the way of importance actually happens. That man of media, Marshall McLuhan, was appalled after attending a meeting in 1969 by those "uniformly nineteenth century minds pretending to the twentieth." He was struck by an asphyxiating atmosphere of "banality and irrelevance".
The briefings that come out are scripted to say little, though the Bilderberg gathering does come across as a forum to trial ideas (read anything significantly friendly to big business and finance) that may find their way into domestic circulation. Former Alberta Premier Alison Redford did just that at the 2012 meeting at Chantilly, Virginia. In reporting on her results after a trip costing $19,000, the Canadian politician proved short on detail. "The Premier's participation advanced the Alberta government's more aggressive effort to engage world decision makers in Alberta's strategic interests, and to talk about Alberta's place in the world. The mission sets the stage for further relationship-building with existing partners and potential partners with common interests in investment, innovation and public policy."
One is on more solid ground in being suspicious of such figures given their distinct anti-democratic credentials. Such gatherings tend to be hostile to the demos, preferring to lecture and guide it rather than heed it. Bilderberg affirmed that inexorable move against popular will in favour of the closed club and controlling cartel. "There are powerful corporate groups, above government, manipulating things," asserts the much maligned Alex Jones, whose tendency to conspiracy should not detract from a statement of the obvious. These are gatherings designed to keep the broader populace at arms-length, and more.
The ideas and policies discussed are bound to be self-serving ones friendly to the interests of finance and indifferent to the welfare of the commonweal. A Bilderberg report, describing the Bürgenstock Conference in 1960, saw the gatherings as ones "where arguments not always used in public debate can be put forth." As Joseph Stiglitz summarises from The Price of Inequality, "Those at the top have learned how to suck the money out of the rest in ways that the rest are hardly aware of. That is their true innovation. Policy shapes the market, but politics has been hijacked by a financial elite that has feathered its own nest." A nice distillation of Bilderbergism, indeed.
Gauging the influence of the Bilderberg Group in an empirical sense is not a simple matter, though WikiLeaks has suggested that "its influence on postwar history arguable eclipses that of the G8 conference." An overview of the group, published in August 1956 by Dr. Jósef H. Retinger, Polish co-founder and secretary of the gathering, furnishes us with a simple rationale: selling the US brand to sceptical Europeans and nullifying "anxiety". Meetings "unofficial and private" would be convened involving "influential and reliable people who carried the respect of those working in the field of national and international affairs".
Retinger also laid down the rationale for keeping meetings opaque and secret. Official international meetings, he reasoned, were troubled by those retinues of "experts and civil servants". Frank discussion was limited for fear of indiscretions that might be seen as rubbing against the national interest. The core details of subjects would be avoided. And thirdly, if those attending "are not able to reach agreement on a certain point they shelve it in order to avoid giving the impression of disunity."
Retinger was already floating ideas about Europe in May 1946 when, as secretary general of the Independent League for European Co-operation (ILEC), he pondered the virtues of federalism oiled by an elite cadre before an audience at Chatham House. He feared the loss of "big powers" on the continent, whose "inhabitants after all, represent the most valuable human element in the world." (Never mind those of the dusky persuasion, long held in European bondage.) Soon after, he was wooed by US Ambassador W. Averell Harriman and invited to the United States, where his ideas found "unanimous approval… among financiers, businessmen and politicians."
The list of approvers reads like a modern Bilderberg selection, an oligarchic who's who, among them the banker Russell Leffingwell, senior partner in J. P. Morgan's, Nelson and David Rockefeller, chair of General Motors Alfred Sloan, New York investment banker Kuhn Loeb and Charles Hook, President of the American Rolling Mills Company. (Unsurprisingly, Retinger would establish the Bilberberg Group with the likes of Paul Rijkens, President of the multinational giant Unilever, the unglamorous face of European capitalism.)
Retinger's appraisals of sovereignty, to that end, are important in understanding the modern European Union, which continues to nurse those paradoxical tensions between actual representativeness and financial oligarchy. Never mind the reptilian issues: the EU, to a modest extent, is Bilderbergian, its vision made machinery, enabling a world to be made safe for multinationals while keeping popular sovereignty in check. Former US ambassador to West Germany, George McGhee, put it this way: "The Treaty of Rome [of 1957], which brought the Common Market into being, was nurtured at Bilderberg meetings."
Dr. Binoy Kampmark was a Commonwealth Scholar at Selwyn College, Cambridge. He lectures at RMIT University, Melbourne. Email: bkampmark@gmail.com
Categories: Economics, International
Tags: Bilderberg, Economic Violence
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Also in attendance were Deputy Chief State's Attorneys Leonard C. Boyle (Operations) and John J. Russotto (Personnel, Finance and Administration), State's Attorneys David I. Cohen (Stamford-Norwalk), Michael Dearington (New Haven), Patricia M. Froehlich (Windham), Matthew C. Gedansky (Tolland), Kevin D. Lawlor (Ansonia-Milford), Timothy J. Liston (Middlesex), Scott J. Murphy (New Britain), Michael L. Regan (New London), David Shepack (Litchfield) and John C. Smriga (Fairfield), Supervisory Assistant State's Attorneys Warren C. Murray (Danbury) and Dennis J. O'Connor (Hartford) and Senior Assistant State's Attorney Cynthia S. Serafini (Waterbury).
Also present: Michael A. Gailor, Executive Assistant State's Attorney; Judith Rossi, Special Assistant State's Attorney; and Mark A. Dupuis, Division of Criminal Justice Communications Officer; and guests David B. Fein, United States Attorney for the District of Connecticut; Michael Gustafson, Chief of the Criminal Division, Office of the United States Attorney for the District of Connecticut; Linda Cimino, Director, Office of Victim Services, State of Connecticut Judicial Branch; and Tina Bouchard, Court Planner, State of Connecticut Judicial Branch.
Chief State's Attorney Kane introduced United States Attorney Fein and Mr. Gustafson. Attorney Fein spoke about his activities since becoming United States Attorney and took questions about his office and its relationship with the Division of Criminal Justice and the State's Attorneys.
A motion was made by State's Attorney Froehlich, seconded by State's Attorney Murphy to approve the minutes of the previous meeting as corrected by State's Attorney Liston. The motion passed unanimously.
Chief State's Attorney Kane reported that six positions have been posted and/or advertised to be filled. Deputy Chief State's Attorney Russotto reported that the Division anticipates filling eight to ten additional positions during this fiscal year. Positions will be phased in through the fiscal year based on budgetary considerations. The State's Attorneys will be consulted in the process.
State's Attorney Smriga noted the substantial discrepancy in the amount spent on expert witnesses by the Division of Public Defender Services and the Division of Criminal Justice. (DCJ receives substantially less.) Chief State's Attorney Kane acknowledged the discrepancy but stated that if an expert witness is needed, the witness should be retained.
Chief State's Attorney introduced Linda Cimino, who announced that the Statewide Automated Victim Information Notification system (SAVIN) will go into operation on August 5, 2010. Ms. Cimino explained how the system will work and distributed copies of brochures for the State's Attorneys to make available to crime victims. It is anticipated the SAVIN system will ultimately replace the need for many of the manual notifications now required by various statutes. The State's Attorneys were asked to assist in publicizing the SAVIN system to victims.
Ms. Cimino reported that the Office of Victim Services plans to launch the Sexual Assault Forensic Examiner (SAFE) pilot program on October 1, 2010. Six hospitals will be involved in the pilot program, which will include use of cameras to provide high-quality evidence for criminal prosecutions.
Deputy Chief State's Attorney Boyle explained section 64 of Public Act 09-7, September special session. The State's Attorneys were asked for each Judicial District to designate one employee with supervisory duties to process the "certification of helpfulness" on Form I-918 for crime victims applying for U Nonimmigrant Status.
Judith Rossi reported on the Arnold Markle Symposium scheduled for September 27-28, 2010, on the subject of shootings involving police officers. Deputy Chief State's Attorney Russotto asked that each Judicial District select one prosecutor and one Inspector to attend the symposium. There was brief discussion of training possibilities; additional information will be forthcoming.
Chief State's Attorney Kane noted concern among some in Connecticut law enforcement about a National Science Foundation report on forensic science. The State's Attorneys were asked to be on alert for attempts by the defense bar to utilize the report to undermine the prosecution of criminal matters.


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A Big Hunk o' Meat: Naomi Wallace's 'Slaughter City'
by Reed Canaan — August 20, 2016 August 20, 2016 No Comments
In an ironic way, "Slaughter City" seems to unintentionally embrace the stereotype that theater is the domain of the elite and educated, not the working class. "Slaughter City" is part of Stanford Repertory Theater's summer festival, Theater Takes a Stand, which celebrates the American labor movement. The story itself takes place inside a meat-packing factory, where blue collar workers spend their days bickering with each other while cutting into slabs of meat. At times, the play is discouraging to watch, and not just because of the injustices that the characters face as part of the struggle for workers' rights. "Slaughter City" also features surrealist elements that go largely unexplained and a nonlinear narrative that leads to some particularly confusing moments.
Brandon (Louis McWilliams) succeeds in consistently bothering his coworkers, Maggot (Nora Tjossem) and Roach (Leontyne Mbele-Mbong). When the three aren't pitted against each other, they are harassing the strange new worker, Cod (Fiona Maguire), or being harassed by their boss Baquin (Thomas Freeland).
This play is unapologetically angry. Characters seem to raise their voices at each other in practically every scene. This uniformity dulls the sense of urgency or intense emotion that these moments are clearly intended to convey. In addition to the obvious focus on worker's rights, racism and sexual assault are both addressed. That's a huge range of serious issues, and in some moments it feels like the play is trying to do too much. There are very few instances of humor or even lighthearted conversation, which dulls the audience's response to anger even further.
Scenes are presented as a series of vignettes, with their beginnings and endings punctuated by a sharp whistle. The speed and sheer number of scenes is engaging, but at times they feel more like different variations on a theme than a plot. Particularly confusing is the role that Cod and the charmingly sinister Sausage Man play in the production as a whole. It's clear that the two of them are able to travel through time, moving from one labor movement conflict to another. This function seems superfluous, however, and results in extraneous confusing details. Cod is always radiating heat, for example, and repeatedly stammers when trying to remember which time period he exists in currently.
That's not to say that the play was devoid of effective scenes or emotional moments. The friendship between Roach and Maggot seems genuine, and as frustrating as the narrative is to follow, the cast members clearly do their best to support both each other and the audience. Cast members who aren't in a particular scene are seated on the edge of the stage, responsible for the sound effects. The use of props is minimal, so the audience's primary focus is on the actors.
Ultimately, "Slaughter City" is telling an important story. Its methods are certainly unconventional, but that perhaps distracts from the central message that it is trying to communicate. All of the actors are earnest in their portrayals of complicated characters. It's just hard to believe that the characters in "Slaughter City" would have enjoyed this play themselves.
Contact Reed Canaan at rcanaan 'at' stanford.edu.
Reed Canaan
Reed Canaan is a sophomore at Stanford and a critic for the Stanford Daily. While currently undecided as to her major, Reed is passionate about the humanities and any class that incorporates film. Originally from Richmond, Virginia, she has spent many years determining which theaters don't ID for R-rated movies. She loves dark comedy, sarcasm, and ice cream.