If you're single, chances are that you are enjoying dating. And if not, ask yourself, why? Some women forget just how pleasant it can feel to be single and dating. If you've experienced a serious relationship earlier, you should sense the benefits of single dating right away. Do you feel relieved, free and enjoying your single life? Cheer up and feel it right away :o) Often ladies dislike being single since when they're looking around, they all they can see are happy couples.
Yet when they're in relationship, they tend to ignore those obvious limitations. It's all in what you perceive. Stop looking at happy couples and thinking about romantic stuff if it gets you in bad mood.
Instead focus on the things that make you happy to be single. You do not have to worry about letting him down, whether or not he's cheating on you, if he likes your new hair style. You also can go wherever you want and do whatever you want. While you can do this when you're in a relationship, it's not the same. It wouldn't be called freedom because being in a relationship does not necessarily mean you have no freedom. While you're single and dating, it's a great opportunity to find yourself and do all that stuff that you wouldn't do with your boyfriend.
Have a girl's night out and you won't have to worry about hurting his feelings or making him mad. You can actually have fun and enjoy time with your girlfriends. Being single you can watch all the romantic flicks you want and also find a guy that enjoys watching them with you. If the first one doesn't work out, try another one.
The best way to know if a guy is dating material is to go on a few dates with him. The first impression is of course the best way to know, but sometimes you need more. Remember that there's a lot of fun in single dating - YOU choose who you date, where you date and how often. You can also focus more on yourself and figure out just what you want.
Do you want to find a future mate or do you just want to enjoy dating different men? That will be the key factor in your potential dating candidates. You might not realize just how much you never paid attention to when you had a boyfriend. Probably you were always trying to look stunning, or perhaps let yourselg go sometimes. This is the time to have a makeover.
Try different stuff, go out and enjoy yourself. You can set up your own dates or even try going on that blind date your friend keeps telling you about. What would it hurt? It's not like you have to commit to the guy and if it doesn't work you don't have to worry about hard feelings. When you're rejected by your mate or you turn away from him, you both get over it when some time passes. Remember the saying, live life to the fullest? This time is no different than others.
Enjoy your time whether your single, dating, or in a relationship. Make the most of your life and enjoy being who you are. Chances are you will find out more about yourself that you never thought possible.


text:
Home History About Us Directions Calendar Park Usage FAQs Links Contact Us
Preservation Fund
Landmark Campaign
Membership/Donation Form
Wayne Leads the Charge!
HELP US BECOME A LANDMARK!
We have many volunteer opportunities; some are listed below. For more information, please complete the Volunteer Information/Application on this website or e-mail us at volunteers@paolibattlefield.org. You can also call the Borough of Malvern at 610-644-2602 and leave a message to have Paoli Battlefield contact you by phone.
A member of the PBPF Board of Directors will chair committees; co-chairs with specific skills also may be designated.
Teachers and Educators
A committee that includes elementary, secondary and post-secondary educators to recommend activities and lesson plans for the site.
Volunteerism & Fundraising
A committee to identify, recommend and support a volunteer organization and fundraising activities.
Events & Publicity
A committee to recommend, organize and publicize special events including involvement of Borough of Malvern officials.
A committee to research, recommend and oversee efforts to re-introduce indigenous species into the battlefield meadow and the riparian buffer (we are the headwaters of Crum Creek), trail maintenance and archeological protection or development.
Specific tasks and jobs are needed at Special Events. Special workshops, training and preliminary activities will be held for events.
Event Volunteer Coordinator
An event coordinator works with the Board of Directors and the Events & Publicity Committee to organize a specific event, including ensuring sufficient volunteers, adequate training, supplies, set-up and clean-up, coordination with re-enactor or other groups in the event.
Conduct Tours of the Paoli Battlefield, recounting the actual events and interpreting the significance of this battle in the Philadelphia Campaign and the War for Independence.
Tour Guide for School Groups
Conduct Tours of the Paoli Battlefield and explain both the battle and the importance of this period in the Revolutionary War. Must be able to convey history in a clear, age-appropriate manner to students from Grades 1-12.
Assist in set-up and clean-up activities, manning information tables, membership drives, event flyers and mail-stuffing, parking assistance, refreshment service, donations, and all-around helpers.
Preservation & Research
The PBPF works with the Borough of Malvern to protect and enhance the Battlefield site. The meadow of the battlefield had been in continuous agricultural use before and after 1777 however, invasive plants have taken hold. Efforts to re-introduce natural, indigenous plants and to preserve the natural landscape are underway. Historical research and archeological examination are other areas of interest were volunteers are invaluable.
Point Men (and Point Women)
Our front-line observers of the Battlefield who walk and watch over the site on a regular basis and report any observed violations to either Borough of Malvern officials or PBPF Board members. Help oversee our heritage while taking a fitness-walk!
Groundskeepers
Volunteers who like to work with their hands! Planting, trail maintenance and other tasks are constantly in need.
The Malvern Historical Commission and PBPF are setting up a visitor center and museum in the Borough Hall. Volunteers are needed to help review, organize and locate records, articles and artifacts that can be displayed and/or used in educational programs.
Paoli Battlefield • Contact Us
ushistory.org homepage
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To contact the webmaster, click here
Copyright ©2006-2013 by the Independence Hall Association, electronically publishing as ushistory.org.
The IHA is a nonprofit organization in Philadelphia, Pennsylvania, founded in 1942.
On the Internet since July 4, 1995.

redpajama_set_name: RedPajamaCommonCrawl


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How is it that some people just shoot upwards through a hierarchy almost at the speed of light while others flounder in low-level jobs for years? Answer: they mastered the art of becoming a shooting star.
Below is a list of critical mechanisms you would need to master and implement, to be considered a shooting star.
When given an assignment or assigned to a project or a team, do your job extremely well. You want to rack up consistent "Exceeds" performance ratings on your bi-annual and annual job appraisals.
Always innovate, even if it is a small one, and be certain the innovation is comprehensible to all other parties, especially management who may not be as savvy as you are.
Be more effective with resources than others would have been. Almost always aim to come in under budget and ahead of schedule. Whenever possible use fewer resources than originally planned. Be the low-cost, high-quality, superior-output person. If leading a team, apply this to the team and coach the team toward these same parameters.
Step up to challenges that are somewhat risky. However, respect the adage: don't gamble. My very first management job was filled with huge risks, and the P & L was in such terrible shape that even my new V.P. suggest I not consider the department failure to be my fault. I was the only person in the company to put my name forward and to insist that I could do the job. Instead of failing, my team and I succeeded spectacularly. The experience became a very successful turnaround and with it my team saved a division that became one of the most profitable.
Whenever you are called upon, find a way to enhance the overall worth of the effort as a result of you being involved. As an example, when I was recruited to the 6-Sigma, (corporate analysis and statistical improvement) team, I was the only one to remodel, restructure, and increase the efficiency of the tools used within the program, a productivity improvement that benefited thousands of employees and the company itself.
Be actively hunting for jobs that you can take on. That may be assignments or jobs themselves. Don't be afraid to step up, as I did, as mentioned two points above.
Raise up others. Help give them public recognition. Help them to deal with a difficulty they may be experiencing. Speak well of everyone. Contribute constructively to meetings and other events. Help organise events or meetings when others are swamped.
Position yourself to win favours and to be owed favours from all levels of the hierarchy.
When things are confusing to other people, try to sort it out. Help settle debates, not by taking sides, but by clarifying what people are trying to say.
Balance negatives events by seeking the positive or the benefits that can be extracted, especially if corrective action is taken or if the experience or event is turned into a learning opportunity. This is a variation on the notion of regrouping and then re-attacking the problem from a different vantage point.
Become better known THROUGHOUT the entire company. Don't restrict your exposure to your immediate boss and the people within your division. Think "outside that box" else you will remain boxed in for the rest of your career.
You've read in my other nuggets of the importance of continuing education, training, etc. When you are handed a new job or a new project, seek out any unique training opportunities that might come with that. If there are association seminars or association-sponsored courses, get involved to learn more. Here's how this works. When I was promoted to another division, I was quick to enrol in an international training course designed to teach our technicians, not to teach upper management like myself. I was the ONLY upper-level manager to have taken the entire program, shoulder-to-shoulder, with technicians. My reputation was enhance and spread further. I also learned a ton of stuff I would otherwise have not learned. That complemented my ability to manage throughout the years that followed.
Make your boss a shining star by working hard for him or her. If you are an ace worker who has a genuine and sincere interest in helping your boss succeed, and if you are a person who is always able to make progress in ways that make your boss look good, he or she will not want to share you with anyone else who may become his or her career competitor.
PreviousRemoving Confusion from Health and Nutrition Studies.
NextCAPITALISM'S Push for PRODUCTIVITY. Result: E.L.E., (Extinction Level Event).


How to Update LG G2 Mini to Android 7.0 Nougat CM14 ROM .
Update LG G2 Mini to Android Nougat 7.0 Using CyanogenMod 14 Rom .
1 Update LG G2 Mini to Android Nougat 7.0 Using CyanogenMod 14 Rom .
1.1 Download CM14 Nougat 7.0 N Rom update for LG G2 Mini .
1.1.1 How to update LG G2 Mini to Android Nougat 7.0 N .
Do you want to update LG G2 Mini to Android N 7.0 Nougat ? And want to Download Cm14 for LG G2 ? if yes then you are at right place . Today we are here with the Guide on How to Update LG G2 to Nougat 7.0 using a Custom rom .
LG G2 mini is a smaller version of the Lg G2 . Some days ago we wrote on How to update Lg G3 to Android nougat and today we are here with the Android 7.0 upgrade for LG G2 mini . G2 mini was launched in 2014 and since then the smartphone is running on android kitkat . The smartphone comes with Qualcomm Snapdragon 400 Quad core processor and 1Gb of ram . As the processor is average so we cant expect any official nougat 7.0 update for G2 mini , But still we can use a Nougat based custom rom to update the device . Android 7.0 N is the latest android version which comes with many new features and upgrades . So in this guide we will tell you How to Update to G2 Mini to android n 7.0 Nougat .
Download CM14 Nougat 7.0 N Rom update for LG G2 Mini .
The custom rom is based on android 7.0 N Nougat .
This is a CM14 rom for G2 mini .
The rom supports Gravity box .
How to Update LG G3 to Android 7.0 Nougat .
List of Devices Cm14 Supported Devices .
This is a custom rom so it may contain some bugs .
It is recommended to always flash the latest build of the rom .
Dont try to flash this rom on any other smartphone .
Make sure there is more then 70% battery available in your device .
There should be more then 4Gb of free space available in the internal memory to flash the update .
CWM or TWRP recovery is required to flash the update .
A USB Cable and a Laptop or computer is required to flash the update .
How to update LG G2 Mini to Android Nougat 7.0 N .
First of all Download the CM14 rom for LG G2 Mini .
It is recommended to download the rom in Laptop or computer .
After Downloading the rom Connect your Device to computer using a Usb cable .
Now copy the downloaded rom and paste in the root of Sd card or Internal memory ( Sd card is recommended ) .
Now make a backup of all files and Contacts .
Now you have to boot your LG G2 Mini in recovery mode .
To boot In recovery mode Press Volume UP + Power button .
Now press back key and tap on backup .
Now again press the back key and tap on Install button .
Now choose the Update.zip .
Just tap on yes install android nougat 7.0 in LG g2 mini .
As soon as you Confirm the flashing procedure will start .
After the flashing completes you will get a notification " CM14 flashed successfully " .
The first boot will take 2-3 minutes .
Thats all !!! You have successfully updated your LG G2 mini to android n 7.0 nougat .
So this was our guide on How to Update LG G2 mini to android N 7.0 Nougat , I hope you liked CM14 rom for LG G2 Mini .
The Sensor bug will be solved in next update .


text:
Habukkuk
1And Abram goeth up from Egypt (he and his wife, and all that he hath, and Lot with him) towards the south;
2and Abram [is] exceedingly wealthy in cattle, in silver, and in gold.
3And he goeth on his journeyings from the south, even unto Bethel, unto the place where his tent had been at the commencement, between Bethel and Hai —
4unto the place of the altar which he made there at the first, and there doth Abram preach in the name of Jehovah.
5And also to Lot, who is going with Abram, there hath been sheep and oxen and tents;
6and the land hath not suffered them to dwell together, for their substance hath been much, and they have not been able to dwell together;
7and there is a strife between those feeding Abram's cattle and those feeding Lot's cattle; and the Canaanite and the Perizzite [are] then dwelling in the land.
8And Abram saith unto Lot, 'Let there not, I pray thee, be strife between me and thee, and between my shepherds and thy shepherds, for we [are] men — brethren.
9Is not all the land before thee? be parted, I pray thee, from me; if to the left, then I to the right; and if to the right, then I to the left.'
10And Lot lifteth up his eyes, and seeth the whole circuit of the Jordan that it [is] all a watered country (before Jehovah's destroying Sodom and Gomorrah, as Jehovah's garden, as the land of Egypt,) in thy coming toward Zoar,
11and Lot chooseth for himself the whole circuit of the Jordan; and Lot journeyeth from the east, and they are parted — a man from his companion;
12Abram hath dwelt in the land of Canaan, and Lot hath dwelt in the cities of the circuit, and tenteth unto Sodom;
13and the men of Sodom [are] evil, and sinners before Jehovah exceedingly.
14And Jehovah said unto Abram, after Lot's being parted from him, 'Lift up, I pray thee, thine eyes, and look from the place where thou [art], northward, and southward, and eastward, and westward;
15for the whole of the land which thou are seeing, to thee I give it, and to thy seed — to the age.
16And I have set thy seed as dust of the earth, so that, if one is able to number the dust of the earth, even thy seed is numbered;
17rise, go up and down through the land, to its length, and to its breadth, for to thee I give it.'
18And Abram tenteth, and cometh, and dwelleth among the oaks of Mamre, which [are] in Hebron, and buildeth there an altar to Jehovah.
maintained by the British and Foreign Bible Society
Abram and Lot Separate
1Abram went north out of Egypt to the southern part of Canaan with his wife and everything he owned, and Lot went with him. 2Abram was a very rich man, with sheep, goats, and cattle, as well as silver and gold. 3Then he left there and moved from place to place, going towards Bethel. He reached the place between Bethel and Ai where he had camped before 4and had built an altar. There he worshipped the LORD.
5Lot also had sheep, goats, and cattle, as well as his own family and servants. 6And so there was not enough pasture land for the two of them to stay together, because they had too many animals. 7So quarrels broke out between the men who took care of Abram's animals and those who took care of Lot's animals. (At that time the Canaanites and the Perizzites were still living in the land.)
8Then Abram said to Lot, "We are relatives, and your men and my men shouldn't be quarrelling. 9So let's separate. Choose any part of the land you want. You go one way, and I'll go the other."
10 # Gen 2.10 Lot looked round and saw that the whole Jordan Valley, all the way to Zoar, had plenty of water, like the Garden of the LORD#13.10 Garden of the LORD: a reference to the Garden of Eden. or like the land of Egypt. (This was before the LORD had destroyed the cities of Sodom and Gomorrah.) 11So Lot chose the whole Jordan Valley for himself and moved away towards the east. That is how the two men parted. 12Abram stayed in the land of Canaan, and Lot settled among the cities in the valley and camped near Sodom, 13whose people were wicked and sinned against the LORD.
Abram Moves to Hebron
14After Lot had left, the LORD said to Abram, "From where you are, look carefully in all directions. 15#Acts 7.5I am going to give you and your descendants all the land that you see, and it will be yours for ever. 16I am going to give you so many descendants that no one will be able to count them all; it would be as easy to count all the specks of dust on earth! 17Now, go and look over the whole land, because I am going to give it all to you." 18So Abram moved his camp and settled near the sacred trees of Mamre at Hebron, and there he built an altar to the LORD.
Good News Bible. Scripture taken from the Good News Bible (r) (Today's English Version Second Edition, UK/British Edition). Copyright © 1992 British & Foreign Bible Society. Used by permission.


In the year 1964, director Hunasur Krishnamurthy introduced his nephew BS Dwarakish to the silver screen in the film Veera Sankalpa. There was no looking back for Dwarakish after this. Within five years, in 1969, he turned producer and made Mayor Muttanna with Rajkumar directed by debutant Siddalingaiah. So far, he has acted in over 300 films, produced 49 filims and directed some films as well. He made films with budgets unheard of before and locations never attempted before. Kannada audience for the first time were able to see places like Singapore and Africa, thanks to Dwarakish. He made films with a passion unmatched. From comedy film starring himself like Kulla Agent 000, Cowboy Kulla to Guru Shishyaru to films with huge budgets like Kalla Kulla, Africadalli Sheela, Kittu Puttu and introducing talents in films like Shruti, Dwarakish ventured where no Kannada film producer had ventured before him.
The first Kannada film to be shot abroad was Dwarakish's Singapuradalli Raja Kulla. Africadalli Sheela was the first Indian film to be shot in African forests. He made a few films in other languages too and these were no exception to his lavishness. He made films in Hindi and Tamil with Rajinikanth. He also turned to direction along with production in films like Ne Bareda Kadambari, Ni Tanda Kanike, Dance Raja Dance and others.
The adventure of Dwarakish continues even today. His Apthamitra ran for a year while his last film as producer, Vishnuvardhana was a success as well. He celebrated his 75 years recently. This year marks his 50 years in the film industry.


text:
Catch the Best Train in Town!
by Borderstan.com October 11, 2012 at 9:00 am 1,293 0
Train is coming to GWU. (Courtesy Train)
From Mike Kohn. Find him on Twitter at@mike_kohn or send him an email at mike[AT]borderstan.com.
Following their sold-out North American tour, Grammy Award-winning band Train returns to Washington, DC for a performance on Saturday, October 20 at 9 pm at the Charles E. Smith Center at the George Washington University.
Purchase tickets for Train here. Tickets range in price from $45 to $115.
Formed in San Francisco in 1994 by Pat Monahan, Jimmy Stafford and Scott Underwood, Train has released six studio albums, including platinum-debut album "Train," double-platinum album "Drops of Jupiter" and platinum album "My Private Nation."
"Drive By," the first single off their new album, "California 37," peaked at number 10 on the Billboard Hot 100 chart. Their second single, "50 Ways to Say Goodbye," is currently number 16 on the iTunes Top Songs chart.
If you'd like to purchase a block of tickets, or for more information, please contact [email protected].
DC concerts, George Washington University, Mike Kohn, Train
BorderSound: Miike Snow's Triumphant Return at 9:30 Club
by Borderstan.com May 14, 2012 at 10:00 am 1,398 0
Miike Snow is back. (Khelan Bhatia)
From Khelan Bhatia. Follow Khelan on Twitter @KhelanB or email him at khelan[AT]borderstan.com. You can find him at the 9:30 Club, U Street Music Hall, Blackbird, American Ice Company, or dj'ing every other Thursday or so at the Duplex Diner."
Hi there, Borderstanis. Yep, still pinch hitting for the music column. Nope, they still haven't found a regular. BTW, what do we all think of the column name "BorderSound?" Too on-the-nose? Too gauche? Well, it's a work in progress.
As I mentioned last week, I'm a nut for music (there's an argument to be made that I'm a nut. Full stop. But that's neither here nor there). There are few things more elating than listening to a truly magnificent debut album from an up-and-coming artist. Especially when you can feel the raw talent traveling from the speakers (or earbuds) directly to your eardrums. It's euphoric, really. Conversely, there's nothing more disappointing than a mediocre (or truly terrible) second album by same artist.
You ask yourself, "This is not my beautiful band? This is not my beautiful sound? How did I get here?" (BTW, if you caught that reference, you're my soul mate.) You can call it a sophomore-slump. You can call it sequel-itis. I'll never call it back (or rather, I'll pass by each track when I have my iPod on shuffle). Don't get me wrong. There's a tremendous amount of pressure the second time you come out of the gate. Make it too similar to the first and everyone calls you a one-trick pony. Make it too different and you risk alienating your audience.
And there are the few, wonderful, marvelous times, when an artist (or band you love) just outdoes his or herself. And that's exactly how I felt when Miike Snow released their second album, "Happy to You" a couple of months ago. When I first discovered them (yes, them, it's not just one guy, despite the misleading name), I was mesmerized by their ethereal, yet slightly sinister sound. Think of them as an electronic version of a Post-Revolver Beatles, without the Ravi Shankar influence. And then I went to their show back in February or March of 2010. It was one of those moments (well, the moment lasted about 45 minutes) that made me wish I could bottle up exactly what I experienced during their show at the 9:30 Club. It was completely superior to the already-excellent recorded album.
Fast forward a couple of years. I've been listening to "Happy to You" for the last few weeks, coming to the conclusion that it's a worthy, if not slightly better, sophomore effort (IMHO, the percussion on the second album is better than the first). I'm anxiously awaiting their April 28 concert at 9:30, having bought my ticket months in advance. The day of the show arrives and in true OCD fashion, I get there right as the doors open so I can find just the right spot (and, of course, to catch Penguin Prison, the opening act — fantastic BTW). During that period between the end of the opening act's set and before the main event begins (I affectionately refer to it as the Twilight Zone), a wave of panic passed through me. What if they're not as good as I remember? What if the new album is a bit shit live?
And then… they come out. And there's a spaceship on the stage.
M*therF*cking.
Spaceship.
It goes without saying that the fear was replaced by a sense of… awesomeness? Is that the right word? Whatever, it was g*ddamn transcendent. Truly. Miike Snowe opened their set with "Enter the Jokers Lair," the initial track on their second album. What followed was an hour-and-change of a back-and-forth between songs from the new album and the first album. The highlights for this reviewer were "The Wave," a surreal pop song that begins with a military drum and "Paddling Out," essentially their response to mid-90's Mobyesque house music. After the concert finished, I left 9:30 with the realization that I saw lightning strike twice.
I just hope we won't have to wait another few years before they return to the District. In a spaceship.
Like Borderstan's Arts & Entertainment stories? Get an RSS Feed for the A&E Section, or an RSS Feed for all Borderstan stories.
9:30 Club, DC concerts, Khelan Bhatia, Miike Snow
Borderstan Weekend July 24th/25th
by Borderstan.com July 24, 2009 at 4:00 am 1,309 0
Here are some suggestions of things to do during the weekend in Borderstan, really close by or in the city.
RedRocks Pizzeria is at 1036 Park Road NW in Columbia Heights.
Thai Tanic is in Borderstan at 1326 14th Street NW.
RedRocks Firebrick Pizzeria at 1036 Park Road NW opened in 2007 and has some of the finest pizzas in the city (in my opinion). It has a patio and makes for a smart choice for a quick good meal.
Thai Tanic Restaurant is one of the pioneers business in the area, located at 1326 14th Street NW. It is also a favorite of ours with an extensive menu and affordable prices.
Capital Fringe Festival: "Revolutionary! Isadora Duncan," at the Mount Vernon Place United Methodist Church. (Photo: Chelsea Bauch.)
"Storefront Churches: Photographs by Camilo José Vergara" is at the National Building Museum. (Photo: Camilo Jose Vergara.)
Capital Fringe Festival: "Revolutionary! Isadora Duncan," is showing at the Mount Vernon Place United Methodist Church, 900 Massachusetts Avenue NW. Showtime is this Saturday at 11:30 a.m.
"Storefront Churches: Photographs by Camilo José Vergara," is at the National Building Museum at 401 F Street NW. Vergara says, "I quickly understood churches to be crucial to my project, and a separate study of them began to develop." The exhibit includes areas of Chicago, Detroit, Los Angeles and New York.
"King Lear" plays downtown at the Sidney Harman Hall.
The Bannaba Project performs at the National Museum of the American Indian on The National Mall.
William Shakespeare's "King Lear" is at the Sidney Harman Hall, 450 7th Street NW. A production of the Shakespeare Theatre Company, "King Lear" is both an "intimate family drama and an explosive political epic".
The Bannaba Project is at the National Museum of the American Indian at 4th Street and Independence Avenue NW. The Bannaba Project is nine-member band from Panama that "blends pre-Columbian sounds and sensibilities with jazz, pop, calypso and other rhythms of the Caribbean."
"Vincent" by Leonard Nimoy is playing at the DC Arts Center.
The Bob Dylan Show, John Mellencamp, and Willie Nelson and Family are at Ripken Stadium.
"Vincent," written by Leonard Nimoy: "The show offers an evening of laughter, tears and insight into van Gogh's passion and suffering, while considering the meaning of art and artistry in a world where success is judged in terms of sales, by which measure van Gogh fell short during his lifetime." It is at the DC Arts Center, 2438 18th Street NW.
Bob Dylan & His Band, John Mellencamp, and Willie Nelson and Family are playing at Ripken Stadium at 873 Long Drive in Aberdeen, Maryland, on Friday, July 24.
Borderstan, D.C. museums, DC concerts, DC theater, Smithsonian


Home Our story: Summer All Year Long Collections Matching Point!
The football World Cup in Russia begins from June 14th. We will all be asking the same question: "who will be the new champion?" The brand Vilebrequin already has some clues!
Get ready for prognoses at the beach, wearing a new swim trunk. The iconic turtle, symbol of Vilebrequin, shares the spotlight this time with an especially clever cephalopod: the octopus.
Virtuoso, with eight tentacles to dribble, and very…tactical! We all remember the famous Paul who captivated the crowds with his predictions. The octopus is one of the sea creatures celebrated by the brand Vilebrequin.
The classic cut of the house is dressed in this joyful print dominated by shades of blue and a touch of red. 100% polyamide, this swimsuit for father and son ensures comfort at all times and promises beautiful matches throughout the summer. In stores as from May 2018, this swimsuit is the official vacation outfit for football lovers! A unique lifestyle and philosophy since 1971.


text:
Sounds of War
Posted on July 25, 2012 by Derek Gregory
In my post on War and Distance, I referred to a BBC radio broadcast of a Bomber Command raid on Berlin on the night of 3/4 September 1943. There had been previous British broadcasts of bombing raids, notably by Richard Dimbleby who flew on twenty-odd missions with the RAF, but his commentaries were all recorded after the event. This one was different. Reporter Wynford Vaughan-Thomas and his sound engineer Reg Pidsley made their recording during a flight in a Lancaster bomber, "F for Freddie", part of a force of over 300 Lancasters that attacked Berlin that night. Their live recording was edited for transmission a couple of nights later. You can listen to an extract here, and there is a lively discussion about whether the recording was fake or not (it evidently wasn't), together with more details of the recording and the raid, here.
This episode is of interest for reasons that spiral beyond my original post. Much of the discussion of the histories/geographies bombing – my own included – focuses on the visual, and there are good reasons for this. During the combined bomber offensive against Germany, as I try to show in 'Doors into nowhere' [see DOWNLOADS], what today would be called the kill-chain was choreographed through a sequence of air photographs, maps, charts and visual displays. In 1941 Harry Watt produced an extraordinary drama-documentary, Target for Tonight, for the Crown Film Unit and the Ministry of Information that tracked this visual sequence in vivid detail. The film used RAF personnel (not actors); it was shot at RAF Mildenhall and on special sound stages at Elstree and Denham, where Bomber Command's Operations Room at High Wycombe was recreated (with twice the number of available squadrons listed on the walls); and it followed the fortunes of a Wellington bomber – also "F for Freddie" – on a strike against a "military-industrial target", an oil refinery at Freihausen.
The film was a huge success. Writing in the Spectator Graham Greene marvelled at the way in which ordinary men and women carried out 'their difficult and dangerous job in daily routine like shop or office workers.. What we see is no more than a technical exercise…' The New York Times reviewer said much the same; the film 'shows the manner in which the Bomber Command lays out its operations, how instructions are transmitted to the squadrons which are to participate, how the plan of attack is "briefed" by the men of one particular squadron and then how the crew of one powerful Wellington conducts its appointed task….The true, thrilling quality of it lies in the remarkable human detail which Mr Watt has worked into it — the quiet, efficient way in which each man goes about his job.' You can watch it here (and marvel at the cut-glass English accents: "Bad luck, Catford!"; how did the language change so much between then and now?)
[There is a much longer discussion in K.R.M. Short's account of the film in the Historical Journal of Film, Radio and Television 17:2 (1997) 181-218 (which includes the script) and, again, I discuss its visual thematics in "Doors into nowhere"].
In the Second World War air raids were often described in cinematic terms, by observers in the air and on the ground. As Lara Feigel notes, 'accounts of the Blitz in both Britain and Germany frequently figure the bombs as photographic and cinematic.' Partly, she says, this is a matter of lighting – and given the growing importance of incendiaries in the bomb mix, and the emphasis on bombing by night, you can see why – but she thinks there is also a deeper reason. 'In seeing the war as a photograph,' she suggests, writers were 'detaching themselves from the world around them.' The sense of detachment, if she is right, is not only one possible effect of the visual (or of a particular visuality); bombing was abstracted from the horror it brought to bodies through its bureaucratization – Greene's 'technical exercise'; the locus classicus for this discussion is still Henry Nash's 'The bureaucratization of homicide' in the Bulletin of the Atomic Scientists 36: 4 (1980), describing his experience in the USAAF's Air Targets Division in the 1950s and 60s – as well as specific forms of its visualization, and the two often operated together (as in the kill-chain, in fact).
The emphasis on the visual and, in particular, the cinematic recurs again and again – most generally in Paul Virilio's War and cinema: the logistics of perception (which was originally published in 1984 and is surely long overdue for critique). Virilio draws attention to the elective affinity between flying and filming and, in relation to the combined bomber offensive in particular, describes how
'The Allied air assault on the great European conurbations suddenly became a son-et-lumiere, a series of special effects, an atmospheric projection designed to confuse a frightened, blacked-out population. In dark rooms that fully accorded with the scale of the drama, victims-to-be witnessed the most terrifying night-time fairy theatre, hellish displays of an invading cinema that reproduced the Nuremberg architecture of light.'
I think the emphasis on the visualities of military violence is extremely important, though I also think we need to disentangle different modes and effects, and James Der Derian's discussion of the military-industrial-media-entertainment complex (MIME-NET) suggests that, in the decades after the Second World War, the cinematic entered even more fully into the conduct of warfare [for a discussion between Virilio and Der Derian, see here].
But what of other registers? Specifically, what of the son that accompanied, and on occasion substituted for the lumière? In the 1940s British cinemas showed endless black-and-white newsreels of RAF (and USAAF) bombing raids, with rousing commentaries and jaunty music; but try this rare colour version, with a contemporary soundtrack provided by Italian musician and historian Vincent Romano, and pay particular attention to the effect of the new score, especially from 2.20 on.
My point here is not about politics or aesthetics, particularly, but, first, to note that – in contrast to that recurrent emphasis on the visual — for many civilians, at least, the experience of an air raid was a matter of sound: the wail of the air-raid sirens, the crump-crump of the anti-aircraft guns, the boom of the explosion, the crash of glass shattering and buildings collapsing, the whistles and bells of the fire and ambulance services. 'Especially in darkness, and during bombings,' Patrick Deer in argues in his brilliant Culture in camouflage, 'the sounds of war took on extraordinary power.'
Pete Adey gets this exactly right, I think, when he writes:
'For geographer Kenneth Hewitt, sound "told of the coming raiders, the nearness of bombs, the plight of loved ones". The enormous social survey of Mass Observation concluded that "fear seems to be linked above all with noise." As one report found, "It is the siren or the whistle or the explosion or the drone – these are the things that terrify. Fear seems to come to us most of all through our sense of hearing." Yet the power of the siren came not only from its capacity to propagate sound and to alert, but the warning held in its voice of 'keeping silent'. "Prefacing in a dire prolepsis the post-apocalyptic event before the event", as Bishop and Phillips put it, the stillness of silence was incredibly virtual in its affects, disclosing – in its lack of life – the lives that would be later taken.'
This isn't a purely historical affair, of course, and in an interesting post on what he calls 'warsound' Geoff Manaugh mixes Dexter Filkins' brilliant account of the visuals of The forever war with an arresting litany of its sounds:
'The night sky echoed with pops and pings, the invisible sounds of frantic action. Most were being made by the AC-130 gunships, whose propellers were putting out a reassuring hum. But over the droning came stranger sounds: the plane's Gatling gun let out long, deep burps at volumes that were symphonic. Its 105mm cannon made a popping sound, the same as you would hear from a machine that served tennis balls. A pop! followed by a boom! Pop-boom. And then there was the insect buzz of the ScanEagle, the pilotless airplane that hovered above us and beamed images back to base. It was as if we were witnessing the violent struggles of an entire ecosystem, a clash of airborne nocturnal beasts we could not see.'
Those who live in the Federally Administered Tribal Areas of Pakistan know of other terrors, by day and night. Here is Rasul Mana, who lives in Waziristan:
'When the drone is 5 km away the sound is very different. It sounds like a missile. As they come closer, it turned into a repetitive humming. Bangana is the word we use for drones. It means bee in Pashtu. I first heard that term in 2005, and the killer bees have been all over us ever since. The kids know what the voice of the drone now. Every day we hear the voice of the drones at least six or seven times. We listen for the voice 24 hours a day. We are afraid at night as we lie in our beds. The drones are going around and around over our heads. There may be four or five at any given time. They are normally very high, but sometimes they come down if there is a dust storm or it is cloudy. They also tend to come down lower to attack, which is when you get very scared. When the missile is launched it makes a loud noise – zzhhooo – as it drops onto its target…'
Mana talks of the voice of the drones, but there are other voices in war too. And so, thinking of Vaughan-Thomas and Pidsley, and the audience gathered around their radio each night (not only in Britain), I also want to remind myself how important it is not to gloss over radio as temporary static in the inexorable mobilization of an insistently visual economy – from photographs through film to television and video – since, as Patrick Deer also writes, in the Second World War 'radio shaped the sensory landscape of wartime like no other medium'. And that matters because a soundscape elicits a profoundly imaginative response on the part of its auditors (which is why Romano's new soundtrack is so immensely powerful)…
These thoughts have been prompted by a series of conversations with one of our graduate students, Max Ritts, who has also pointed me in the direction of Steve Goodman's Sonic warfare: sound, affect and the ecology of fear (MIT, 2010)
This entry was posted in bombing, World War II and tagged air raids, film, radio, Target for Tonight by Derek Gregory. Bookmark the permalink.
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Revolt over UAW's Chrysler deal
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Revolt over UAW's Chrysler deal

October 26, 2007 | Page 15

LEE SUSTAR reports on widespread opposition to concessions in the tentative Chrysler contract.

RATIFICATION OF a proposed concessionary union contract at Chrysler was in doubt as Socialist Worker went to press.

Despite arm-twisting by leaders of the United Auto Workers (UAW), workers at six union locals voted to reject the deal--which contains not just the same concessions in the recently approved UAW contract with General Motors, but worse.

The final outcome of the vote will depend heavily on a vote at Chrysler plants in Belvidere, Ill., and Sterling Heights, Mich., where the local presidents have not endorsed the deal.

Like the GM contract, the tentative agreement at Chrysler, reached after a token six-hour strike October 10, calls for cutting wages in half for all "non-core" jobs--that is, for workers not directly involved in assembly line production.

At GM, this was understood to mean pay cuts for future hires in jobs like materials handling, janitorial work and jobs in parts warehouses.

In the Chrysler deal, however, the lower-tier wages would also be instituted for all jobs in three key manufacturing plants--Toledo Machining, Detroit Axle and Marysville (Mich.) Axle. Workers at 19 parts depots will also be designated as "non-core," as will transport workers. As at GM, all new hires would no longer get pensions, but a 401(k) plan instead.

And where GM offered full-time jobs for about 3,000 temporary workers, Chrysler refused to do so. That was a key reason why UAW Local 1268 President Thomas Littlejohn, who represents workers at the Belvidere plant, refused to endorse the deal. Out of a workforce of 3,800 in the plant, some 600 are temps.

Further, Chrysler failed to commit to substantial investments in U.S. plants, as GM had done.

The two-tier wage provision was the main reason why Local 1700 President Bill Parker of the Sterling Heights plant also opposed the deal. Parker, elected as chair of the Chrysler bargaining committee, broke with UAW President Ron Gettelfinger and other top union officials to call for a rejection of the deal at a meeting of the UAW's Chrysler Council, comprised of leaders from Chrysler plants.

The meeting was stormy, and opposition was greater than what was reported by UAW leaders. According to Shawn Fain, a skilled trades committeeman in Local 1166 in Kokomo, Ind., his motion for a roll call vote at the meeting was ruled out of order in order guarantee passage of the deal.

"I made a motion for a roll call vote so that we could have an exact count to report to our respective local memberships," Fain wrote in a report to his local. "According to Jim Coakley, who chaired the council meeting, my motion was defeated. Again, this vote was a total sham, due to the fact that there was no way to get an accurate count of those voting in favor or opposed, and the fact that there are numerous people in the council meeting who have no voice, yet they yell out their vote anyway."

Another reason for opposition to the deal is the proposal to eliminate most classifications for skilled trade workers--that is, forcing electricians, millwrights and others to do one another's work and reducing the number of these well-paid jobs.

Like the GM contract, the Chrysler deal would create a union-controlled Voluntary Employee Beneficiary Association (VEBA), which would take over retiree health care costs. But where GM will under fund the VEBA at 70 percent of its liabilities, the Chrysler VEBA will be funded at just 50 percent. "In reality, it's $7.1 billion cash for $19 billion in liability," wrote Gregg Shotwell, a GM worker and an activist in the Soldiers of Solidarity opposition network.

A public memo on the Portfolio.com Web site to Chrysler CEO Robert Nardelli spelled out the benefits of the contract to the management of Chrysler, now owned by the private equity firm Cerberus.

"[The UAW] pretended to strike, and you pretended to cave," reads the memo. "In reality, the $11 billion you paid to get the health-benefit liabilities off your books will soon look outrageously cheap, and limiting job guarantees to the lifetime of the individual products will give you far more maneuverability than anyone is reporting."

Despite the lack of reporting, a large number Chrysler workers recognize the deal for what it is--an unprecedented capitulation to management.

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Born West Chester, Pennsylvania; grew up in Goshen, New York. Developed love of drawing and painting in childhood. Worked at various jobs including hotel porter, furniture crater, and iron molder. Joined the army in 1917 and was sent to France as part of 369th Infantry ("Harlem Hellfighters"), keeping an illustrated journal of his military experiences. Was badly wounded in the right shoulder near Séchault on September 30, 1918 losing the full use of his right arm. Received Croix de Guerre. Returned to United States in 1919 and settled in West Chester, living on odd jobs and his disability pension. Married Jennie Wade in 1920. Resumed activity as an artist, executing oil paintings using his left hand to assist his injured right arm; the first of these, "The End of the War: Starting Home" (c. 1930) took over three years to complete. His work, focused on historical and political themes and scenes of African-American life, attracted local attention and was championed by painter N. C. Wyeth. Began exhibiting in galleries and major museums including the Carlen Gallery (Philadelphia), the Corcoran Gallery (Washington, D.C.), the Art Institute of Chicago, and the Museum of Modern Art. Died in West Chester.