text:
University of Birmingham Guild of Students, Records of
Bookmark:https://archiveshub.jisc.ac.uk/data/gb150-ub/guild
GB 150 UB/GUILD
University of Birmingham Guild of Students
Records of the Guild of Students and the predecessor students' union at Mason Science College, comprising minutes and associated papers; financial records; papers of Guild committees; correspondence; printed material; publications; flyers, leaflets and other ephemeral material; photographs; and plans. Records largely date from the 1880s to the 1990s but also include recent and current issues of the student newspaper 'Redbrick'. There is very little material dating from after 1991; what there is largely consists of Guild of Students handbooks and other printed material from the mid 1990s onwards.
Taken together, the records constitute a valuable source for the study of student life at the university from the institution's beginnings as Mason College, to the early 1990s, allowing the researcher to use the records as a resource for the history and organisation of the Guild as an administrative body and its relationship with the university; the development of its facilities; and its engagement and relationships with the university authorities and with the city of Birmingham and its local residents. It is also possible to use the records in a wider context to explore the changing demographic of the student body over time, and to understand the ways in which student life was experienced differently by various individuals and groups of students over an extended period of time, and to make comparisons with the student experience in other British universities.
In addition, the records offer the opportunity to investigate the role of the Guild as a campaigning organisation, both in the charitable and social welfare spheres, and, less obviously until the 1980s, in the political arena. Records from the first half of the twentieth century give hints about the fluctuating levels of political awareness and activism amongst members of the student body, but it is really only in the post 1945 years that political activism among students is reported and discussed by the Guild and only in the 1980s that it is clear that the Guild took an active role in participating in debates about the effects on students of government policy in higher education
This administrative history of the student body has been arranged into three chronological sections:
1880-1900 relating to the Mason College Union
1900-1930 relating to the development and early organisation of the student body at the University of Birmingham under the management of the Guild of Undergraduates committee
1930- relating to the Guild of Undergraduates under the management of the Guild Council, covering several periods of restructuring and reform, and the expansion of administration. The Guild of Undergraduates became known as the Guild of Students in 1971
This is followed by a separate section on student buildings and facilities throughout the whole chronological period
It was resolved to form an association of students at a student general meeting held during the first academic session of Mason Science College. This association was for present and former regular day students, and was modelled on the association for students that had been formed at Owens College [Manchester]. It was to be known as Mason College Union, and the affairs of this student society were to be managed by a committee. The founder of Mason Science College was to be the life president of the society, and the professors and their wives were appointed vice-presidents. Later on the Bailiff of the College served as president. The rules of the society state that any sub-committees would report to the general committee, and that ordinary meetings were to be held every other Friday, with an annual business meeting to be held early each academic session. The general committee included the editor of the Mason College Magazine, which was run by an editorial board. During the 1890s, sub-committees were formed to deal with specific activities of the Union, the most active of which seems to have been the dramatic sub-committee, formed c.1893. There was also a canvassing sub-committee by 1895.
Ordinary meetings of the Mason College Union seem to have had a primarily social function. Lectures and papers were given; debates were organised; and notices of forthcoming social events organised by the Union were read out to those attending. Organised cultural events included readings, plays and musical evenings in which College staff also took part. A common room for students was opened in 1884, and College societies including the Botanical society, Chemical society and Physical society were formed. As well as the athletics club, there were also leisure interest clubs for cycling and tennis. Some of the societies published magazines. These included the Queen's Medical Magazine, the official organ of the Medical Society, established 1895.
Following the establishment of the University of Birmingham, Mason College Union became Birmingham University Union. The Union, run by the general committee, continued to organise social events for the student body. This organisation later became known as the Union Committee. Unlike other universities, the 'Union' at Birmingham continued to refer to the facilities used by the student body, rather than the student body itself. The use of the term Union also became synonymous with the physical buildings.
The Guild of Undergraduates was set up as a body for undergraduates, for the furthering of their common interests, provided for by the Charter of the University, although it appears to have only been formally constituted in 1907. The functions and activities of this student body were managed by the Guild of Undergraduates Committee, elected annually by the undergraduates. It was intended to be the recognised means of communication between the undergraduates and the Court of Governors, Council, Senate and university authorities. It was authorised to make representation to the Council or Senate on any matter affecting the interests of undergraduates, and according to the 1906 Guild Handbook, from its beginnings had representatives on the Court of Governors. For the first few years of its existence it appears to have held very few meetings and it seems that it confined its attention to educational problems. It also only catered for undergraduates, that is, those reading for a degree. The Guild of Undergraduates established a Students' Representative Council [SRC] in autumn 1901, following discussions between the general committee and the Athletic Club, to administer issues relating to self-government of the student body. The stated aims of the SRC were to represent all students, whether reading for a degree or not, in matters affecting their interests; afford a recognised means of communication between the students and university authorities; and promote athletic and social life and unity among students. In effect, the SRC dealt with practical aspects of student life while the Guild of Undergraduates Committee seems to have confined its influence to educational matters during the early years of its existence. A constitution for the SRC was drawn up by a provisional committee, and the SRC took over the management of the student athletic and social societies and the University of Birmingham Magazine from the old Mason College union committee. In the 1902-1903 academic session the SRC consisted of about twenty members elected annually by students; officers of the Guild of Undergraduates; and an Executive Committee. The SRC appears to have been dissolved in May 1903 following a dispute over restrictions on the control that the committee had over how funds from entrance fees provided by University Council were allowed to be spent on athletic and social activities. The SRC's proposal for amendments to arrangements whereby it would become more of an executive and less of an advisory body was turned down, and as a result the committee carried out a resolution to resign. From this point the Guild of Undergraduates began to taken on a greater role as the representative of the entire student body, through the Guild of Undergraduates committee. However, a large proportion of the members of the university were not represented on the Guild of Undergraduates committee because they were not undergraduates and were therefore not eligible for membership of the Guild. This committee decided policy and took major decisions, but the bulk of the work of the Guild of Undergraduates was delegated to sub-committees. Officers of the Guild during the early twentieth century consisted of a Warden, President, Vice-President, Honorary Secretary and Honorary Treasurer. The Warden, Secretary and Treasurer were permanent positions. During the 1920s, a clerk was appointed to the Guild to deal with wage payments, receipt of Union cash, applications for rooms, filing, typing and book-keeping, as well as to act as clerk for the Union Committee and to the Guild of Undergraduates committee, if required. This appointment was recommended by the Union Commission.
Guild Council replaced the Guild of Undergraduates committee in 1930, coinciding with the culmination of the work of the Union Commission and the completion and opening of the first dedicated building for student use on the Edgbaston campus, the Guild or Union building off Edgbaston Park Road. Again, the majority of the work of Guild Council was delegated to sub-committees, but these sub-committees were designated standing committees reporting to Guild Council. The number and nature of these committees, as in the period before 1930, fluctuated to varying degrees over time. There are some committees known to have existed for which no records survive. Brief information about these committees can be found in the description for UB/GUILD/C. There are also administrative histories for some committees and other bodies in section descriptions elsewhere in this catalogue.
The Guild of Undergraduates was, and remains, ultimately accountable to University Council, although the policy of Council is to allow it a large measure of autonomy in order for it to have authority over its own affairs and responsibility for the well being of the student body. Representatives on Guild Council were elected from constituencies formed amongst the academic departments which each returned councillors for one academic session only. These councillors sat as full members. The make-up of Guild Council was completed by the President and Vice-President, elected for one session only, and by the co-option of the chairmen of the sub-committees, later standing committees, that represented the main Guild activities and interests. At first meeting of each session, Council elected the remaining officers of the Guild from its number or from other full members of the Guild, and these officers formed the Executive, who were responsible to Council for the day to day running of the Union buildings and facilities. The Executive acted as the steering committee for Guild Council and in effect initiated Guild policy. It was responsible for the sub-committees, later standing committees of the Guild, and the chairs of these committees sat on the Executive in addition to the Guild President and other senior, later called sabbatical officers of the Guild. By the early 1990s, the Executive committee was made up of thirteen students elected by cross campus ballot which ran the Guild on a weekly basis and were responsible for running Guild campaigns.
Guild Council met fortnightly under chairmanship of the President of Guild, proceeding on the lines laid down by the constitution. General Meetings could be called by President or one hundred members of Guild Council. From the 1938-1939 academic session Guild Council meetings were held in open session. Under the constitution, Guild Council was empowered to make bye-laws to enact the manner under which principles of the constitution were put into effect.
By the 1933-1934 session the clerk, a post created in the 1920s, was responsible, under the Treasurers, for accounts of the Guild, Union and Entertainments committees and also assisted with Athletic Club book-keeping. Income of the Guild was used in the support of Athletic Club, Union and Mason College branches and consisted of membership fees paid by students. The Guild Secretary was responsible for the secretarial work of the Executive, Guild Council and General Meetings, and also for the explanation of interpretation of the constitution and bye-laws. Other administrative work was undertaken by the small number of permanent staff employed by the Guild. As student numbers expanded in the years after the Second World War, the officers responsible for the management of the Guild also increased. By the 1956-1957 session, for example, officers consisted of a Warden, Senior Treasurer, President, Vice-President, Guild Secretary, Guild Treasurer, Union Secretary, Union Treasurer and Guild Club Secretary. There was also a Chairman of External Affairs, an Internal Affairs Representative and a Permanent Secretary. The Guild Treasurer acted as secretary to the Finance Committee, and the Union Secretary was responsible for the day-to-day administration of the Union building as well as being secretary to the Union committee. The Union Treasurer was also Chairman of the Union Catering committee and represented the Guild on the University Refectory committee. By 1965, this post was known as Chairman of the Catering committee.
By the 1962-1963 session, additional posts included the Assistant Guild Secretary, who acted as secretary of the Executive committee and was responsible for the conduct of Guild elections; and the Guild Relations Officer, responsible for publicity within the Guild and general public relations. This post was created for the 1960-1961 session. The creation of other officers to join the Executive committee continued during the 1960s with the creation of new standing committees. The chair of the External Affairs committee, the National Union of Students committee chairman, from 1963, and the chairman of the Guild Athletic Union, from 1965, became officers on the Executive committee. The Internal Affairs Representative, responsible for the provision and organisation of entertainment within the Guild was also chairman of the Entertainments committee. The posts of Union Secretary and Union Treasurer had been abolished by the late 1960s, and their responsibilities presumably taken over by the chairman of the Union Services committee. It appears to have been traditional for the President of the Guild to be male, and for the Vice-President, most years, to be female, although Elizabeth Stephens Impey was first female President of the Guild of Undergraduates for 1907-1908, and a male was elected to the Vice-President post in 1969-1970.
As part of the changes introduced following the 1968 dispute between members of the student body and the university authorities concerning the level of student representation within the university, the Arts and Science and Engineering faculties gained student representation on Faculty Boards by 1970-1971, co-ordinated by Faculty Councils, which were democratically elected bodies bearing responsibility for presenting student opinion to Faculty Boards. There was also a Faculty Council of Commerce and Social Science. Students were also represented on the University Centre committee by 1971-1972. In addition, by the 1974-1975 session there was also a system of student representation through Junior Common Rooms in halls of residence. These were initially completely autonomous of the Guild, although there was co-operation on matters of policy concerning Halls which were increasingly being decided jointly. The Guild represented all hall students on other issues. Reforms to Guild Council including the establishment of an independent Chairman were introduced for the 1975-1976 session, and during the early 1980s there were further reforms to the composition of the Executive. In addition to the President, officers during the 1980-1981 session consisted of Vice Deputy President, Vice-President Internal, responsible for running the Union building and other administrative tasks, Vice-President External, dealing with the Guild's relationships with the city of Birmingham and the university authorities, and Vice-President Academic Affairs, as well as Guild Secretary, Guild Treasurer, the Independent Chairman of Guild Council and the Deputy Independent Chairman of Guild Council. There was also a short-lived post of Vice Deputy President during the early 1980s. The Vice-Presidents chaired a number of standing committees each during this period. Further re-structuring of officers took place during the late 1980s and 1990s to reflect the changing focus of Guild activities. Officers for the 1989/90 session consisted of President, Vice President Welfare and Finance, Vice President Services and Building, and Vice President Education and Communication as well as Guild Secretary and Guild Treasurer and the chairs of standing committees in existence at the time. More officers were to be elected to the Executive Committee including sports officer, officers acting for groups like the Women's Association and for International students, and officers without portfolio.
The 1992-1993 annual report of the Guild of Students uses the term 'Sabbatical Officers' for the roles of President, VP Education and Welfare, VP Finance, VP Communications and VP Services and Buildings, indicating that these were paid positions. The other members of the Executive were non-sabbatical officers, and by the 19961-1997 session these included the Guild Secretary, Women's Officer, International Students Officer, Sports Officer, Campaigns Officer, Residence Liaison Officer, Postgraduate Students Officer, and Union Users Officer. Further re-structuring of the roles and responsibilities of the sabbatical officers was implemented for the 1997-1998 session. The role of President was now shared by the President and General Secretary, who also took on the role previously carried out by the VP Communications. The work of the VP Finance was now split between the VP Sport and Student Activities and the VP Leisure and Resources. This latter post replaced that of VP Services and Buildings. Finally, the work of the VP Education and Welfare was now undertaken by a VP for Education and a VP for Welfare. For the 1998-1999 session further changes seem to have been implemented; the Executive was made up of the President, VP Welfare, VP Education, VP Internal Affairs, VP Finance and Services, VP Sports and Student Activities, Union Users Officer, Residences Liaison Officer, providing a link between the halls of residence and the Guild, and two non-portfolio officers. During the 1990s, a division appears to have been made between the activities of standing committees dealing with Guild commercial services and those dealing with Guild welfare services. Permanent staff at the Guild from the mid 1990s consisted of a permanent secretary, deputy permanent secretary, director of the Guild Athletic Union, Director of student activities, Director of marketing, and Director of Finance and Planning.
In February 2008 the student body voted in a Referendum to change the way the Guild of Students was legally structured, resulting in the re-writing of the constitution and bye laws, and the review of the structure of key committees. The Guild became a Charitable Company Limited by Guarantee.
Union buildings and facilities
The first student facilities consisted of a Club House in Great Charles Street which was opened in 1905 with the support of lay Vice-Chancellor Beale. Membership of the Club was voluntary, and it was used mainly by Edmund Street students. For students at Edgbaston there were common rooms and a refectory. In 1909 facilities on both sites were open to all students and a compulsory annual subscription fee was introduced. By the time Charles Grant Robinson was appointed as vice-chancellor and principal in 1919, there was a growing realisation that students would need a dedicated building on the Edgbaston campus. Grant Robinson was interested in student life, and made efforts to better organise Guild financial affairs, and to call for better social facilities for students at Birmingham, culminating in the construction of a dedicated students' union building at Edgbaston. This was made possible by an unconditional gift of £100,000 by Sir Charles Hyde in 1925, who specified that part should be used for that purpose. The 1923-1924 annual report refers to the existence of a sub-committee discussing the possibility of a Union building, but indicates that the report had not yet been compiled. The Union Commission was established by the 1925-1926 session to investigate the possible merger of the various clubs under a central management and to prepare a scheme for the construction of a Union building. The Union Commission was made up of representatives of the Guild of Undergraduates; the Council; the Guild of Graduates; the Men's and Women's Clubs; and the Athletic Club. Recommendations were made after visits by members to other Students' Unions. The committee recommended that the Students' Union building be under the control of a Union Management committee responsible to the Guild of Undergraduates, consisting of fifteen members: eight appointed by the Guild of Undergraduates committee; two by the Council of the University; two by teaching staff; and two by the Guild of Graduates. The remaining member was to be the Treasurer, who would not be a member of the Guild of Undergraduates, but would be appointed by the Guild of Undergraduates committee, on the nomination of the Union Management committee. The President of the Guild of Undergraduates would be the President of the Union Management committee. The Commission also recommended that a Students' Union building be erected at Edgbaston 'on or about the site immediately East and South-East of the Physics building, where there is at present a bowling green, property of the staff'. The report gives details of the accommodation to be provided in this new building. By the time of the 1927-1928 annual report of the Guild of Undergraduates, the University had purchased the site on the corner of University Road and Edgbaston Park Road and final plans for the Students' Union building had been approved by the Union Commission and passed by the University Council. Building was to commence in 1928. A Temporary Advisory committee was set up by the Guild committee March 1928 to consider the launching of a Union Appeal. Four sections were appointed by the Union Commission during the 1928-1929 session to deal with matters concerning the Guild of Undergraduates, the Athletic Club, the University Club and the Women's Club. The building was to be named the Guild of Undergraduates Union. The Union Commission completed its work during the 1929-1930 session and presented an interim report and final comprehensive report to the Guild committee, which was passed 27 May 1930. This report contained a complete draft constitution and bye-laws for the Guild and Debating Society since changes were necessitated by the inclusion of arrangements for the management of the Union. The Guild of Undergraduates committee was dissolved, and replaced with the Guild Council. Management of the Union buildings and facilities remained under the control of the Union committee.
Before the union building was established at Edgbaston, and even afterwards for students on the Edmund Street site, there was a Men's Club and Women's Club in the city centre. The Men's Club in Great Charles Street consisted of the Founders room, used for concerts, socials and meetings, a dining room, billiard room and a room for reading and writing. Rooms granted to University Club members at buildings at Edgbaston included a common room and dining hall during the 1920s, but social events and functions had to be held at Great Charles Street because of the lack of space. Before the 1923-1924 session, the University Women's Club consisted of the Edmund St branch with a sub-section at Edgbaston with its own sub-committee. There was also a separate Education Department Club. Following a change to the constitution in 1923-1924, the Women's Club now consisted of three sections: Edmund St; Education Dept; Edgbaston. There was one president and each section elected its own vice-president and officers and was self-governing. No student could belong to more than one section. During the 1927-1928 session, the Edmund St and Education Dept sections of the Club were merged. The Union premises at Great Charles St were converted into the University Overseas Club by the British Council during the 1942-1943 session, to provide a meeting place for social and cultural activity in Birmingham for members of Allied and Dominion forces stationed near Birmingham who were graduates and undergraduates of Birmingham and other universities. The Club was administered by a committee containing representatives of the University, the British Council, the Guild of Undergraduates, and the Guild of Graduates. The British Council withdrew from the Club at Christmas 1945 and the Club was to again become a Union branch. There had been a Student Reception committee and Programme committee for the Overseas Club, and a Finance committee was also started. The varied membership was seen to be an improvement on the days when it was a simple 'Union Branch'.
Improvements to facilities at the Union building at Edgbaston included the construction of a catering wing, which opened in June 1951. This wing provided two dining rooms known as Priestley and Vernon halls. Evening meals were provided in addition to lunches. Further extensions to the Union building were completed in 1960-1961 and the university buildings at Edmund St and the University Guild Club premises at Great Charles St closed down July 1960 due to the consolidation of all university departments on the Edgbaston site. Women students living in University House and men students living in Chancellor's Hall and Manor House during the 1950s were catered for in the evenings, but by 1969 all the Vale halls of residence had opened, allowing many more first year students to eat in hall rather than being catered for in the Union building. However, the eating places and bars in the Union continued to be heavily used, along with the other social and leisure facilities there, managed by the Union committee, later known as the Union Services committee, which was eventually replaced by the Finance and Services committee.
Records are arranged into ten series:
A: Minutes and meeting papers
B: Financial records
C: Reports and other papers of Guild committees
D: Early correspondence and administrative files
E: Guild publications
F: Student newspapers and magazines
G: Ephemera
H: NUS material and other students unions publications
I: Photographs
J: Plans
There are restrictions on access to some parts of this collection. Some files, and some items within files, have been closed under the terms of the Data Protection Act 1998 because they contain personal information about individuals. 'Closed' files are indicated as such in the catalogue.
Please see the full catalogue for further details
Digital images of issues of 'Guild News' and 'Redbrick' from 1958 to 1972 have been made
Catalogued by Helen Fisher, May 2011. Prepared in compliance with General International Standard Archival Description, ISAD(G), second edition, 2000; and National Council on Archives Rules for the Construction of Personal, Place and Corporate Names, 1997
Permission to make any published use of any material from the collection must be sought in advance in writing from the Director of Special Collections (email: special-collections@contacts.bham.ac.uk ). Identification of copyright holders of unpublished material is often difficult. Cadbury Research Library: Special Collections will assist where possible with identifying copyright owners, but responsibility for ensuring copyright clearance rests with the user of the material.
Material has been brought together from material already held in Special Collections which was listed, for the most part, in paper catalogues for the University Collection and University Archive, and from a large deposit of material from the Guild of Students that was made in 2004. This last material is subject to a separate loan agreement
The University Archives also contain records of a number of departmental and social student societies, some of which were established by students at Mason Science College before 1900, and continued to function into the late twentieth century

redpajama_set_name: RedPajamaCommonCrawl


text:
Effective Date: 24-10-2020
It is https://binakhanmakeup.com's policy to respect your privacy regarding any information we may collect while operating our website. This Privacy Policy applies to binakhanmakeup.com (hereinafter, "us", "we", or "binakhanmakeup.com"). We respect your privacy and are committed to protecting personally identifiable information you may provide us through the Website. We have adopted this privacy policy ("Privacy Policy") to explain what information may be collected on our Website, how we use this information, and under what circumstances we may disclose the information to third parties. This Privacy Policy applies only to information we collect through the Website and does not apply to our collection of information from other sources.
This Privacy Policy, together with the Terms of service posted on our Website, set forth the general rules and policies governing your use of our Website. Depending on your activities when visiting our Website, you may be required to agree to additional terms of service.
Click below to jump to any section of this privacy policy
Personally-Identifying Information
Https://binakhanmakeup.com uses Google AdWords for remarketing
Contact Information & Credit
1. Website Visitors
Like most website operators, Https://binakhanmakeup.com collects non-personally-identifying information of the sort that web browsers and servers typically make available, such as the browser type, language preference, referring site, and the date and time of each visitor request. Https://binakhanmakeup.com's purpose in collecting non-personally identifying information is to better understand how Https://binakhanmakeup.com's visitors use its website. From time to time, Https://binakhanmakeup.com may release non-personally-identifying information in the aggregate, e.g., by publishing a report on trends in the usage of its website.
Https://binakhanmakeup.com also collects potentially personally-identifying information like Internet Protocol (IP) addresses for logged in users and for users leaving comments on https://binakhanmakeup.com blog posts. Https://binakhanmakeup.com only discloses logged in user and commenter IP addresses under the same circumstances that it uses and discloses personally-identifying information as described below.
2. Personally-Identifying Information
Certain visitors to Https://binakhanmakeup.com's websites choose to interact with Https://binakhanmakeup.com in ways that require Https://binakhanmakeup.com to gather personally-identifying information. The amount and type of information that Https://binakhanmakeup.com gathers depends on the nature of the interaction. For example, we ask visitors who leave a comment at https://binakhanmakeup.com to provide a username and email address.
4. Https://binakhanmakeup.com uses Google AdWords for remarketing
Https://binakhanmakeup.com uses the remarketing services to advertise on third party websites (including Google) to previous visitors to our site. It could mean that we advertise to previous visitors who haven't completed a task on our site, for example using the contact form to make an enquiry. This could be in the form of an advertisement on the Google search results page, or a site in the Google Display Network. Third-party vendors, including Google, use cookies to serve ads based on someone's past visits. Of course, any data collected will be used in accordance with our own privacy policy and Google's privacy policy.
You can set preferences for how Google advertises to you using the Google Ad Preferences page, and if you want to you can opt out of interest-based advertising entirely by cookie settings or permanently using a browser plugin.
5. Aggregated Statistics
Https://binakhanmakeup.com may collect statistics about the behavior of visitors to its website. Https://binakhanmakeup.com may display this information publicly or provide it to others. However, Https://binakhanmakeup.com does not disclose your personally-identifying information.
6. E-commerce
Those who engage in transactions with Https://binakhanmakeup.com – by purchasing Https://binakhanmakeup.com's services or products, are asked to provide additional information, including as necessary the personal and financial information required to process those transactions. In each case, Https://binakhanmakeup.com collects such information only insofar as is necessary or appropriate to fulfill the purpose of the visitor's interaction with Https://binakhanmakeup.com. Https://binakhanmakeup.com does not disclose personally-identifying information other than as described below. And visitors can always refuse to supply personally-identifying information, with the caveat that it may prevent them from engaging in certain website-related activities.
7. Privacy Policy Changes
Although most changes are likely to be minor, Https://binakhanmakeup.com may change its Privacy Policy from time to time, and in Https://binakhanmakeup.com's sole discretion. Https://binakhanmakeup.com encourages visitors to frequently check this page for any changes to its Privacy Policy. Your continued use of this site after any change in this Privacy Policy will constitute your acceptance of such change.
8. Contact Information & Credit
This privacy policy was created at privacyterms.io privacy policy generator. If you have any questions about our Privacy Policy, please contact us via email or phone.


text:
Лави:

Фамилия
 Лави, Ализа (род. 1964) — израильский педагог и политик, депутат кнессета 19-го и 20-го созыва.
 Лави, Генрих (де) — лектор французского языка в Московском университете.
 Лави, Далия (урождённая Далия Левинбук; 1942—2017) — израильская актриса, певица и модель.
 Лави, Вейкко (; 1912—1996) — финский писатель, поэт.
 Лави, Нета (род. 1996) — израильский футболист.
 Лави, Орен (; род. 1976) — израильский певец, драматург, композитор и театральный режиссёр.
 Лави, Рафи (; 1937—2007) — израильский художник, график, фотохудожник, преподаватель изобразительного искусства, музыкальный критик (классическая музыка) и журналист-искусствовед.

Населённые пункты
 Лави () — кибуц, расположенный в Северном округе Израиля.
 Лави — деревня в Эстонии.

Прочее
 «Лави» (, «молодой лев») — опытный образец истребителя, созданный компанией IAI.
 Лави — язык бахнарской ветви австроазиатской семьи.

redpajama_set_name: RedPajamaWikipedia


Hitchin rubbish and house clearance service, collection of rubbish or unwanted item's to be taken to the tip, we can do this for you. Skip hire alternative, no planning permission required.
We have provided many rubbish clearance services throughout Hitchin and all sourounding town's and villages, our client's can range from estate agents, housing association contractor's and the general public, We offer a promt reliable rubbish removal service.


My property is listed, thatched in water reed and I am having a new ridge which is currently a block cut one. Do I need to get listed building planning consent if the Thatcher wants to change the pattern and cut on it?
No – this is between you and your Thatcher. If your property is thatched in Long straw some councils like to see a flush ridge. With a Long Straw roof it is best to check first especially if the roof does have a flush ridge.
My property is listed and needs re-thatching, do I need to get listed building planning consent?
No – as long as you are not changing the thatch material or making any changes to the roof such as adding windows.
A Thatcher is currently re-doing the ridge on my roof and half way through the job has said he can't also remove the moss, though he told me when offering a quote that he would. I am a bit annoyed because I will have to pay the same amount and not get the moss removed which I thought I was getting. He says removing the moss will damage the reed. Can you help? I would like a second opinion as to whether this is the case or not.
A 12 year old roof is not old and so I would have thought removing the moss should not be a problem.
I have never heard about a Thatcher carrying out a re-ridge and leaving the moss in situ?
The cold weather we have had in the last few days makes the moss freeze to the roof and so it could damage the roof as it will pull out chunks of thatch with it.
The weather is returning to about +8 degrees on Friday so this should be a better temperature and would alleviate this problem.
Sometimes depending on the type of moss/lichen and its severity we would power wash it from a roof or use a hedge cutter to cut about a quarter of an inch of the thatch away – as do many Dutch Thatchers.
You couldn't have picked a worse week for this job!
We have quite heavy snow up here so not sure if you can realistically do anything tomorrow and snowing now. My slight concern is that if the thatch is going on in wet layers then is this not likely to have an adverse effect on the integrity of the roof?
Don't worry –if Thatchers only worked when the weather was not wet we would only work 8 months of the year!
A lot of Thatchers prefer to put straw on the ridge wet as it compacts better.
We will brush any snow from the ridge tomorrow.
A Thatch Owner phoned me to say that when she returned from work she found a Thatcher on her roof carrying out repairs.
Not that unusual except she had not asked him & and he had not told her he was going or had ever given her a price! She had asked him several weeks earlier for a quote. She asked me what she could do.
I said to her that she should ask him to stop work and not to pay him for any work as she had not authorised this.


text:
Q: Angular template interpolation Angular version 11
I have a template which uses a method of the typescript file which returns the current date time.
The thing is that if in the interpolation of the template I call this method, the first time I render the page, it works properly, but after 1 minute, the value should change to the next minute... which it does not....
How can I make that angular refreshes the template if the result of this method is different ?
template:

   {{getCurrentDateTime()}}

Method in the typescript file:
// This method returns the current date-time of a timezone
public getDateTimeForSiteDifferentTimeZone(): string {
    const momentString = moment.tz(this.timeZone).format('DD MMM y, hh:mm A');
    return momentString;
  }
  return '';
}

A: You could do this:

*

*In your template, declare a variable time:

export class SomeComponent implements OnInit {
  time = getCurrentDateTime()
...
}

*Interpolate time

   {{time}}

*Create an ngOnInit function and fill it with a setInterval for 60000ms (1 minute, because your time seems to display only minute). when it fires, update the time variable.

ngOnInit() {
  setInterval(() => {time = getCurrentDateTime()}, 60000)
}

A: declare control to manage string to show time
timeControl = new FormControl(this.getDateTimeForSiteDifferentTimeZone()); // initialize with curren time, if your get error there use it inside ngOnInit

ngOnInit
// remember to delete subscription, I use  @ngneat/until-destroy library
interval(60000).pipe(

            untilDestroyed(this),
            tap(() => {
                this.timeControl.setValue(this.getDateTimeForSiteDifferentTimeZone());
            })
        ).subscribe();

template

   {{timeControl.value}}

I dont now how to use your function getCurrentDate(), in this example I use directly your function to generate current date using moment.
UPDATE to consider with setInterval solution:
Please remember to use clearInterval in the  ngOnDestroy component's method, otherwise I think it would stay running indefinitely even if you exit the component, and it could generate a problem for you if generate setInterval function every time you render that component. that problem do no occurs with observable solution and managing subscription.

redpajama_set_name: RedPajamaStackExchange


text:
REMOS GXiS Makes First Flight
The Light Sport Aircraft took its first flight from the airfield in Pasewalk, Germany, as the company prepares the plane for European certification. Will U.S. LSA certification be far behind?
By Plane & Pilot Updated September 16, 2016 Save Article
From the company's production facility in Pasewalk, Germany, near the Baltic Sea, the REMOS GXis performed its taxi tests, and with the nosewheel up, took its first flight. Pilot and REMOS AG engineer Christian Majunke spent about an hour in the air, flying the full speed range, from stall to high-speed cruise.
Courtesy of REMOS AG
Under the redesigned cowling, the GXiS is the first REMOS powered by a Rotax 912 iS Sport fuel-injected engine. To make the start-up procedure easier, REMOS AG developed the SMARTstar system—almost all checks are done automatically with the push of a button. The GXiS features a state-of-the-art avionics suite that includes systems from Dynon and Garmin.
What's next? This first takeoff marks the kickoff for the flight tests required for European LSA certification. The goal is to certify the GXiS as both CS-LSA and ultralight aircraft in Europe. The company intends to offer the aircraft in the U.S. as an ASTM-compliant LSA.
REMOS GXiS
The company has been designing experimental ultralights since the early '90s, originally as REMOS Aircraft GmbH Flugzeugbau, and founded by Lorenz Kreitmayr, whose physical disability confined him to a wheelchair, but didn't prevent him from fulfilling his passion for aviation. In 1997, the REMOS G-3 prototype took its first flight, marking the launch of a new class of ultralights. The airframe was produced in Bielsko-Biala, Poland, where most of the engineering was done, as well. Ten to 20 aircraft would leave the assembly line annually.
In 2006, the G-3 was certified in the U.S. as Light Sport Aircraft. In 2008, the REMOS GX was unveiled at AirVenture, which featured a fully redesigned wing entirely made of carbon-fiber composite material. More than 400 of the two models have been built, to date.
As REMOS AG (Kreitmayr is gone), the current model lineup was introduced in 2011, and now includes the lightweight GXeLITE and the top-model GXNXT (GXnXES in the U.S.), featuring a new avionics suite integrated into an innovative, low-weight and compact cockpit panel.
Check out the maiden flight:
See the GXiS specs here:
See the GXiS pricing here:
Learn more about at my-remos.de.
A Radial Engine Clock, Concorde Cufflinks And More Gear For Aviators
Garmin GI 275: Flight Instrument Revolution
Garmin Pilot App Update: Huge Leap In Safety And Situational Awareness


text:
<?xml version="1.0" encoding="utf-8"?>
<RelativeLayout
	xmlns:android="http://schemas.android.com/apk/res/android"
	xmlns:tools="http://schemas.android.com/tools"
	android:id="@+id/content_main"
	android:layout_width="match_parent"
	android:layout_height="wrap_content"
	android:paddingTop="@dimen/list_item_padding_vertical"
	android:paddingBottom="@dimen/list_item_padding_vertical"
	android:paddingLeft="@dimen/list_item_padding_horizontal"
	android:paddingRight="@dimen/list_item_padding_horizontal"
	android:orientation="horizontal"
	tools:ignore="RtlHardcoded">

	<ImageView
		android:id="@+id/file_image"
		android:layout_width="@dimen/file_image_width"
		android:layout_height="@dimen/file_image_height"
		android:contentDescription="@string/image_description"/>

	<TextView
		android:id="@+id/file_name"
		android:layout_width="wrap_content"
		android:layout_height="wrap_content"
		android:layout_toRightOf="@+id/file_image"
		android:layout_centerVertical="true"
		android:layout_marginLeft="@dimen/file_name_margin_left"
		android:maxLines="1"
		android:textAppearance="@style/TextAppearance.AppCompat.Medium"
		android:textStyle="bold"/>
</RelativeLayout>

redpajama_set_name: RedPajamaGithub


Landmark Community Theatre prepares it's autumn main stage production, BUDDY - The Buddy Holly Story.
The third musical of the 2014 Season is the telling of an iconic music legend, BUDDY - The Buddy Holly Story, showing September 20, 26, 27, October 3 & 4 @ 8pm and September 21, 28, October 5 @ 2pm. The Buddy Holly Story relives the three years in which Buddy became the world's top recording artist, achieving hit singles with The Crickets, becoming the first white group to perform at the Apollo Theater, starting a solo career and making a fateful decision during a February blizzard... The show, with Musical Book written by Alan Janes, features over 20 of Buddy Holly's greatest hits including "Peggy Sue", "That'll Be The Day", "Oh Boy", "Everyday", "Maybe Baby", as well as Ritchie Valens' "La Bamba", and the Big Bopper's "Chantilly Lace". The incredible legacy of the young man with glasses, whose musical career spanned an all-too-brief period during the golden days of rock 'n' roll, continues to live on in The Buddy Holly Story.
The musical had its debut in 1989 in London, where it became a huge hit, and arrived a year later on Broadway, where it lasted a little over six months. It has been reprised numerous times since in touring and regional productions. Landmark's production is directed by Ian Deitrich with AJ Bunel directing music and Jennifer Bunger providing choreography. The production will open on September 20th and run through October 5th, 2014 for a total of 8 performances.
Heading up the cast is Rob Girardin, playing the role of Buddy. Rob was most recently seen as Grantaire in the critically acclaimed TOH production of Les Misérables. Dan Porri, whose credits included a role in Forever Plaid and Plaid Tidings at the Warner Theatre, will play Joe B. Mauldin, the basist for the Crickets. Rounding out the group is Frank Beaudry playing , Tommy Allsup, the Crikets drummer. Frank was last seen on the TOH stage in the comedy mystery, The Game's Afoot.
Buddy Holly's brief life is immortalized in this dynamic and heart-rending stage show. It's a celebration of the man, his music and life, that catches that unique mixture of innocence, determination, humor and charm that was Buddy Holly.
The Buddy Holly Story, a high energy Rock n' Roll Broadway musical suitable for all ages, showing September 20, 26, 27, October 3 & 4 @ 8pm and September 21, 28, October 5 @ 2pm at the historic Thomaston Opera House in Thomaston CT.


Niko Kovac admits Niklas Sule's dismissal upset his plans as Bayern Munich scraped through tricky a DFB Cup quarter-final clash by beating Heidenheim 5-4.
Defender Mats Hummels believes "everything is possible" in regards to a return to the German national team as he still has a good few years left in him.
Thomas Muller, Mats Hummels, and Jerome Boateng will not be called to the Nationalmannschaft announced coach Joachim Low this week.
According to the Bayern Munich footballer, he doesn't understand why he will not be called anymore to the German national team.
The Nationalmannschaft's boss Joachim Low has decided not to call three veteran players for the next friendly game: Thomas Muller, Jerome Boateng and Mats Hummels.
Thomas Muller has been out of form for a while now and we analyze does he deserve his place in the Bayern Munich's first team.


It makes me think how things change so quick and how we look at life. One day someone's there and the next day they're gone. I'm not sure why you made the choice you did, but everyone misses you so much. You left behind the most caring family and friends. I wish there was something that could have changed your mind, but it happened and we all love and miss you.


text:
Home - Media
A Human Position review – slow, lingering love story in dreamy, small-town Norway
An elegant, beautifully framed drama with playful, Murakami-esque cat cameoes care of the Norwegian writer-director Anders Emblem
"What is the best thing about Norway?" asks the leading character in this intriguing film from Norwegian writer-director Anders Emblem. Her friend answers: "Mountains? A-ha?" To which the original speaker replies that she was actually thinking more of things like the welfare state. It's a quibbling, playful, thoughtful exchange, which appears also to coincide with tentative sexual advances, and it's very characteristic of this elegant, seriocomic, beautifully shot, slow-cinema piece with some great cat acting and quirky touches of Murakami.
Asta (Amalie Ibsen Jensen) is a young woman who lives with Live (Maria Agwumaro) in an airy apartment in the Norwegian port town of Ålesund, opposite a derelict building at which Asta is often seen gazing thoughtfully. Live is a carpenter who specialises in repairing chairs. She also likes to play the electric organ that the landlord has left in the attic. In what appears to be a lull in her personal and professional life, Asta applies to the local newspaper, Sunnmørsposten, for temporary shift work. After working on some stories about fan discontent with the local Football team, and greedy developers threatening to destroy the art nouveau architecture for which the town is famous, Asta hits on a story that means something to her: an asylum seeker called Aslan who has been forcibly repatriated. She sets out to discover more about him and appears reasonably content with the resulting sombre article about Norwegians' troubled conscience – though the question of where Aslan is now is another matter.
John Bolton


In other cases, the dreamer is aware of his or her nakedness but no one else seems to notice at all. While the dreamer may be conscious of the nakedness, everyone else just goes on about their business and make no comments. These types of dreams are often manifestations of the dreamer's fears.
Often the dreamer has fears that he or she worries may be uncovered. Dreams in which no one but the dreamer notices the nakedness are often indications that the fears bothering the dreamer are unfounded, and that no one else is concerned about them.
On the other hand, dreams in which the dreamer suddenly becomes mortified at realizing he or she is naked often indicate vulnerability, fear or shame. In many cases, the dreamer is hiding a secret or hiding something that he or she is afraid will be found out. The nakedness in the dream indicates a fear that other people see through you and will discover your secrets.
In dreams, clothes can represent concealment and hiding, so being stripped of clothes can mean being left defenseless and exposed. The dream may be trying to tell you that you think you are hiding something, but that everyone else already knows about it. This is one of the most common forms of the naked dream.
Being naked in a dream can also indicate fear of being caught off guard. For instance, many people dream that they are suddenly naked at work or at school. As a matter of fact, the dream of being suddenly naked in a classroom before taking a test is one of the most frequently studied dreams. This kind of nakedness usually symbolizes fear of being unprepared for a situation at school or work, such as an important project at work or an exam at school.
Often times these dreams of nakedness at work or school coincide with events in real life. For instance, you may dream of being naked at the office right before that big project is due, or before you are due to make that big presentation. These types of dreams can be especially common among those who feel they are unprepared for the challenge.
Likewise, students who feel they have not studied sufficiently for any exam often dream of being in the exam room naked and exposed.
Sometimes these types of dreams to not coincide with real events. Rather they may simply be manifestations of a more generalized fear of being caught unaware, or of being unprepared for the challenges of life.
Other naked dreams with similar meanings involve being naked and standing in front of a crowd. Since nakedness and public speaking are two of the most common fears in the world, this combination can be mortifying, even in a dream. Being naked in front of a crowd can symbolize a fear of being exposed, a fear of being unprepared, or a fear that those around you know things about you they are not telling you about.
One of the rarer types of dream nakedness is where the dreamer realizes he or she is naked but shows no fear, shame or embarrassment. This type of naked dream can be a symbol of freedom and unrestrained exuberance. This kind of dream can indicate that the dreamer has nothing to hide and is proud of his or her life. In this case, the nakedness in the dream can be a positive thing – symbolizing openness, honesty and a trusting and carefree sense of life.


text:
Does the clubbing beat go on?
By Katherine Feeney
January 11, 2013 — 2.38pm
Vision of a night out at Brisbane's infamous Tracks nightclub uploaded to YouTube shows how far the city's club scene has come - sort of.
From the neon to the hair and the go-go dancers, it's certainly a product of its time, but while a local historian tracking the evolution of the city's party scene says things have changed, other industry experts aren't so sure.
Pauline Bell, who's been working for the past three years on Clubbed Out: A History of Brisbane Nightclubs from 1950 to 2000, says the vision captures a particular place and time in the city's history that will never be repeated.
Brisbane was just coming out of the '70s, the Vietnam War had brought the drinking age down to 18, and the Bjelke-Petersen government had yet to oversee the demolition of the old hotels that used line Queen Street, she said.
Some scary vision of Brisbane's Tracks nightclub, shot in the 1980s, has come back to haunt the city.
The punk scene was rolling in along with a range subcultures motivated by the decade's burgeoning genre-scenes - from the new romantics to the androgynous set, Ms Bell says the city's club culture was "just exploding".
And a shonky public transport system meant the city was out of reach for some, or at least a trip worth a night in hotel - or worse a car - which meant the suburbs were rocking in a way Bell doesn't think they have since.
"The Mansfield Tavern was huge in the '80s," Bell says. "The Sunnybank Hotel was massive; Easts Leagues Club wasn't what it is today.
"You had so many options, in the '80s, of where to go ... I feel I was very lucky to be clubbing in the '80s – I feel stressed out by the scene today."
Tracks nightclub in the 1980s.
But contemporary nightclub owner and long-time hospitality identity Adrian Mezzina, who operates Fortitude Valley's Oh Hello! club and Arcade Creative collective, believes the 25-year-old Beat Nightclub isn't the only example of consistency in the local club scene.
"I still believe Brisbane does offer a lot of diversity and although things have changed drastically from a cultural or fashionable sense, what works and why it works are still for similar reasons," he says.
"Although there has been an insurgence of dance music venues and big clubs, the smaller cocktail bars, pubs and live music venues (when done properly), still have a market and regular clientele."
Mr Mezzina says the design of venues - although aesthetically different - still carries the same values as they did generations ago, and sometimes even played the same music.
"I don't believe '80s nights will ever go out of fashion," he says.
"There were some massive artists producing some amazing, timeless music during that period, and Michael Jackson is probably the most obvious one."
And speaking of fashion, Brisbane stylist Liz Golding - herself an '80s catwalk model - isn't so sure Brisbane clubbers are any better dressed these days.
Though she admits fashion was "pretty crazy" and heavily influenced by the likes of Olivia Newton-John and Madonna, Golding says local style hasn't departed too radically from that time.
"No I don't think we are better dressed than before, it is different, that's all," she says.
"There was a huge fashion scene in Brisbane and Australia in the '80s and it is even stronger now."
The Clubbed Out project continues to collect stories and media from Brisbane's clubbing past. You can contribute via the website.
Katherine Feeney
Katherine Feeney is a journalist with the Nine Network Australia. She is also one of Australia's leading commentators on sex, love, dating and relationships via her popular blog CityKat.


The Kalispel Tribal Economic Authority (KTEA) is charged with ensuring the overall success and diversification of the Tribe's economic development and business operations. KTEA's efforts have provided economic opportunity, growth and stability for the Kalispel Tribe of Indians and have allowed the Tribe to contribute millions to our regional economy.
By working together, our future holds endless possibilities.
Kalispel Hospitality is a way of doing business. We maintain the focus and build the relationship between every KTEA business – but our focus is on the relationship we build with you. Whether you're staying or playing at our luxury resort and casino, dining at one of our amazing restaurants or quick-serve options, grabbing a last-minute item in one of our stores or filling up on fuel, we'll make you feel special. Count on Kalispel Hospitality for memorable experiences at every point of service, in every venue, every time.
The Kalispel Development Company (K-Dev) and Kalispel Small Business Operations (K-Biz) create, manage and operate thriving real estate development projects and a variety of businesses for KTEA and the Kalispel Tribe. From design to completion and structuring to operation, we ensure that every project receives the utmost attention to detail and service.


On this page: How to do a bibliographic reference for a newspaper or magazine article in Harvard style.
Related pages: Referencing, Reference Machines for in-text citation, a book, an article in a journal, an edited book or an Internet reference.
Chapel, C. (2003), "Speak and write better with a click or a course", South China Morning Post, January 25, p.16.
If there is no author, click here.
What year was it published? e.g.
Title of the story or article. Use a capital letter for the first letter of the first word. If there is a sub-title, use a capital letter for the first letter of the first word of the sub-title.


text:
Having a Beer with
Girlpool Talks Beer, Breast Milk and Finding a New Voice
By Beca Grimm, August 22, 2018
Best friends Cleo Tucker and Harmony Tividad formed earnest rock outfit Girlpool in 2013, while they were still teens growing up in Los Angeles. Their first album, Before The World Was Big, debuted in 2015. At the time, Kyle Gilbride—the engineer responsible for capturing the recorded sounds of fellow DIY outfits Waxahatchee and Upset—told The FADER, "Their dynamic is very interesting. It's not like any other band that I've recorded. They communicate really well and they compromise a lot, it's cool, they're very mature. Their musical sensibilities are so different but they have this common script."
2017 saw Girlpool refine technical proficiencies by way of the matured, contemplative Powerplant. It was met with plenty of critical acclaim—though Tucker and Tividad don't pay as much attention to press as they do turnout at various tour stops. "I just know that people come to the shows," Tucker says, which is enough to make them satisfied. Since then, the duo known for emotive pop has brewed up a forthcoming third album.
Recently, I shared a long-distance beverage over the phone with both artists—or, at least I was sipping a Terrapin Recreation Ale during our call. We chatted about their new album, Tucker's changing vocal range due to testosterone hormone therapy, breast milk and why neither of them are especially huge beer fans—though they have nothing against brews or people who like them, they swear.
"Picturesong" with Dev Hynes was such a stirring single. I read that you intended the word to describe the feeling of a need for deep love. Can you tell me more about that type of feeling?
Tucker: I don't remember saying that. … But that's an interesting question. Do you mean like, in relationships or [the band's] relationship? Or just in general?
It could be in regards to any of those.
Tividad: I feel like that song is really about the mimicry of feeling big, where there is emptiness in someone else. Not that the person is empty, but that the relationship could fill a potential void in your life. Filling the space in order to have something to find love in.
Powerplant was such a great second release and even got Best New Music at Pitchfork. How has that affected your working process for developing material for your third? Tell me about the pressure that has added—if any.
Tucker: We're just excited to put out new music, and I mean I guess it did well—I think it did well. I really don't have a good way of gauging how the album did, because I don't see anything about it. I just know that people come to the shows.
Tividad: I don't know how the last record did. There were people at the shows, which was nice. I feel like [with] this next record, everything feels not really correlated even though it inevitably is 'cause we're experiencing life linearly. But the sounds we were listening to at that point were probably Elliott Smith a lot, and Cranberries and Cocteau Twins. Now I feel like we're both kind of like creative ramblers who are nomadically meandering the musical palette and just kind of making things by coincidence.
Tell me about your third album.
Tucker: A lot of songs are really old. Some of them were written honestly before Powerplant even came about. They were kind of leftovers a little bit and reopened and worked on again after that record came out, and some of them were written during that tour cycle while we were on tour, but it's kind of a varied sounding album. There's a lot of songs with programmed drum machine on it and there's rockabilly shit; there's a couple songs that sound like they could have been from Powerplant. There's kind of a wide range—methodically it's kind of all over the place—but we're both really excited about it.
I think the hardest part, I guess, is feeling like my own voice is foreign to me."
Cleo, I read that you came out as non-binary and trans and started hormonal treatments. How has that affected your vocal style or the way that you write lyrics or make music in general?
Tucker: It's definitely taking a lot of time to get comfortable with my new vocal range. But Harmony and I have reworked some of our older songs that we play live so that I can reach the notes. It's definitely something that I'm still figuring out candidly at shows. I think it's going to take maybe another year to settle or get more used to it.
What have been some of the more difficult challenges with exploring this new vocal range? I imagine it's challenging, but also a pretty powerful feeling.
Tucker: It's cool to look back and hear the demos of the songs we just recorded and then listen to my vocals in the new mixes. It's cathartic and just cool to have these documentations in my life. I think the hardest part, I guess, is feeling like my own voice is foreign to me. And that's been frustrating, because I'll have the desire to sing and play and there's something in the way that I don't know how to fix or really work with. My voice never really felt like an instrument that I didn't know how to use, because I didn't ever learn how to sing, but I always knew the way I liked to sing. So I would sing the way I liked and it was easy, but now it's causing me to push myself and figure out how to sing in a new way that I find beautiful.
Have you been working with vocal coaches?
Tucker: Yeah, I went to two vocal lessons with a friend of my boss. I think I went twice… it was cool, but I stopped going after going out of town. There's so much science behind singing and delving into actually learning how to do it correctly. It's a whole awkward thing, and then doing it while you're going through your puberty process is like another weird thing. I kind of got lazy and stopped but it definitely was interesting.
Definitely, and excuse my ignorance, but have you finished the puberty aspect of it? Is your voice pretty settled?
Tucker: It depends what you consider the puberty aspect, because taking hormones mimics the experience one goes through when they're going through puberty, practically. And vocal shit—I mean, my body is still getting affected by the hormones—it doesn't just stop. You can stop [taking hormones] if you want to, but if you're taking them, the effects don't stop once you reach a certain moment. The vocal change is different for everybody, but if you're taking testosterone, I think typically it's a couple of years of getting settled or something. I think I've definitely passed the mark where it's the most intense change, and now I think it's getting slow.
Kristina Pedersen
Your manager says that y'all in general are not big beer-drinkers. Tell me a little bit about your relationship with beer.
Tucker: Harmony used to drink beer when we were teenagers, but then it just kind of didn't settle quite well, right, Harmony?
Tividad: Yeah, it makes me have gas, frankly.
Tucker: If I'm outside doing a thing [where] I'm sweating and it's sunny out, I'm gonna have a cold beer—and it fucking feels amazing. I'll have a beer for enjoyment, but not to get fucked up.
Tividad: I feel the same way as Cleo.
Tell me about what kind of beers you like to have during these situations of casual drinking?
Tividad: I just don't have that strong a preferences honestly. I had a Modelo recently.
Tucker: You know, we would take whatever. I honestly [prefer] a nice vodka soda with lemon and mint.
You have a couple of festivals coming up, including OctFest. How do you navigate the drinking-heavy culture of that?
Tucker: Harmony and I are not like freaked out by beer at all. Totally fine if people are drinking it. But we usually just… honestly, we don't really get fucked up a lot. I mean, we never play drunk, ever. I think we've played drunk once, maybe three times. We're not heavy drinkers.
What's on your rider normally for these festivals and your regular tours?
Tucker: Avocado, seaweed salad. Honestly, thinking about it gives me anxiety. Crackers, you know—just bullshit.
More and more bands are putting out their own specially released beers. What kind of beverage would Girlpool release?
Tucker: Um, milk?
Like, cow milk?
Tucker: If I still had breasts, I feel like we would do a breast milk line. Like my breast milk and Harmony's breast milk. But I don't have breasts anymore.
What would you name it?
Tucker: Cleo's Breast Milk. Also, how cool would it be if I started a breast milk restaurant where you could get food and, the more expensive your meal was, it was because celebrities' breast milk was being used? So, like, the most expensive food item or beverage would be Kim Kardashian's breast milk latte. Or Kim Kardashian's breast milk lasagna.
I've heard that breast milk is supposed to taste pretty good, like almond milk.
Tucker: We should meet up and try it at OctFest.
Check out Girlpool live in New York City at OctFest.
Chris Cohen Doesn't Want to Bullshit You
Over IPAs, songwriter-producer and ex-Deerhoof band member Chris Cohen talks about his father, why he doesn't use producers, and the LA music scene.
Breakout Band Middle Kids Talk Tour Food and Australian Beers
"The Chicken 'Schni' is a staple on every pub menu in Australia, and it's essentially a really big chicken nugget. I'm sure the Germans would be mortified."
Best of Atlanta: All Signs Point to the Porter
Don't let the "narrow and unremarkable" entrance fool you, this place is legit.


text:
Accurate modelling is crucial to avoid energy price increases in South Australia interconnector project
By Mike Carabott | March 21, 2018
The newly elected South Australian Government has hit the ground running with a proposal for a second interconnector to New South Wales as it breaks with its predecessor's go-it-alone strategy, but experts have urged caution.
The Liberal Government, led by Steven Marshall, made the interconnector with New South Wales a key electoral promise during its campaign.
The new government wants more security of supply through the National Energy Market. The former government pursued an aggressive renewable energy and independence from the national grid following a statewide blackout in 2016 after a summer storm.
It is also understood that backroom politics could mean that Federal support for the project is being demanded by South Australia in return for support of the National Energy Guarantee.
South Australia's electricity transmission network provider Electranet expects to make a firm decision by June on whether the economics stack up for an interconnector with NSW. The state is also connected to Victoria's grid through an interconnector.
Marshall government pledges $200 million to help fast-track interconnector
South Australia Premier Steven Marshall
Mr Marshall has pledged $200 million to help fast-track the new connection to the national electricity grid. More modelling needs to be completed to ensure that it was a net benefit to the state and wouldn't push power prices higher.
Mr Marshall said on Monday an interconnector would be a regulated asset. "We're going to put $200 million towards that fund but ultimately we believe that will be a regulated asset so ultimately it will be paid for by consumers," he said.
If it comes to fruition, the time-frame for the interconnector would likely be 2021-2022. Experts predict the total cost of the project would be between $500 million to $700 million.
Electranet, the privately-owned operator of the state's transmission network, said on Monday that work was still continuing, and more clarity was expected mid-year. He said that work was being undertaken to assess the economic feasibility and results were expected by June.
The danger of such projects is that if modelling is not carried out properly, then consumers could end up paying for them out of their own pockets.
Grattan expert says price modelling for interconnector is 'critical'
Grattan Institute Energy Director Tony Wood
This concern was voiced by Grattan Institute energy program director Tony Wood who said that while the interconnector is a good idea, it is "critical" that a full cost-benefit analysis is carried out because consumers would ultimately bear the risk.
"If the objective is to lower prices in South Australia it isn't obvious yet that a new interconnector would do that," Mr Wood said, recommending that the state government's claims that ACIL Allen has found wholesale prices would fall in SA as a result needed to be fully tested.
Similarly, if South Australia would be able to sell wind power into NSW directly through the new interconnector instead of via Victoria, that might be good for the wind farms in South Australia but not necessarily good for lower prices in South Australia.
On the flipside, he said that if NSW depends on coal for cheap generation, then NSW consumers may not be happy if the impact of interconnector trading with South Australia resulted in rising wholesale prices.
"With an interconnector you don't build any new capacity and it's not obvious that there is a lot of cheap spare capacity sitting around in NSW," he said.
Mr Wood said a full feasibility study is critical because under the revenue system for regulated assets, if an interconnector is built it will be the consumers of both states that pay for it, unlike for an investment in new power generation, where the risk is born by shareholders of the project.
Interconnector could affect other investments planned for South Australia
If the interconnector comes to be, other investments in energy supply planned in South Australia could be affected by an interconnector, including AGL Energy's proposed $295 million fast-start power plant at Barker Inlet in Adelaide.
The 210-megawatt gas plant's viability could be impacted by an increase in the capacity to transmit power from NSW depending on the line's effect on wholesale prices.
NSW high-voltage grid owner TransGrid, which has been pushing for a SA-NSW interconnector, said more effective interconnection is required to deliver the greatest benefits and outcomes for consumers.
The company said it has contributed to the process being carried out by Electranet to carry out a Regulatory Investment Test for Transmission for the project, as required by the current rules, to assess the merits of a new interconnector.
Tags: Blogs and News Electricity Interconnector Energy Energy Budget Allocation Grattan Institute High-Voltage Direct Current (HVDC) Cable National Energy Guarantee (NEG) National Energy Market (NEM) New South Wales (NSW) South Australia (SA) Steven Marshall


text:
CUNEF Group A2
For Your Work, Opinions and Discoveries!
Charan 1490
Ram Charan is a highly acclaimed speaker and advisor for his uncanny ability to resolve his toughest business problems.During thirty five years,Dr Charan has worked with some of the most successful companies,such as Verizon,Novartis and DuPont.
He was raised in the small Indian town where he worked in the family shoe shop while he began his business studies.There,he earned an engineering degree and then,he took a job.He also earned MBA and doctorate degrees from Harvard Business School,where he graduated with high distinction.
Dr.Charan is well konwn for taking into account the real-world complewities of business and for his recommendations on achieving profitable growth,such as the search for "singles and doubles".Many people have come to know Dr.Charan through in-house executive education programs.
Because of his energy and interactive style of teaching,he has won several awards such as the best teacher award al Northwestern.During the past decade,Dr.Charan has written many books and articles.Some of them have sold more than two million copies.These include "What the CEO wants you to know".He has also written two tales: "Whay CEOS fail" and "Why companies fail".
He was elected a Distinguised Fellow of the National Academy of Human Resources and he has served on the Blue Ribbon on Corporate Governance.
LEADERSHIP IN THE ERA OF ECONOMIC UNCERTAINTY
DuPont CEO Chad Holliday realized that the economic crisis was spreading to the financial industry.When Holliday arrived at the United States,he called together the top leaders to talk about this.
How the CEO of DuPont reacted to the current economic crisis?
DuPont has created a plan,called the Corporate Crisis plan.If it is invoked,DuPont´s managers appear to evaluate the cause of the crisis.This plan is not used too much.
The plan inmediately brought together the members,and after the course of four days,they realized that the nature of the crisis was only financial.At the end,they determinated what was needed to ensure DuPont´s viability.
The company´s chief economist and the head os its pension were called to explain the employees the crisis in nontechnical language and its effects.Ten days later,the manager told the company what to do and he carried out a survey to see wether the employees knew what they had to do.In general,employees seemed to have obtained it but the problem was that they were not doing it so quickly enough.
Holliday together with CEO y CFO,met with the company´s top leaders to see how to cope with the crisis and the only problem was the speed.It was necessary to reduce costs and the fastest way was to reduce as much as posible the contractor the company had hired.
DuPont inicial reaction of the spread of the crisis lasted less than six weeks.And even when things returned to normal,they predicted that the inflationary trends will be reaffirmed,but DuPont will be prepared.
He accepted the change and he took important steps,so it is what leaders have to do now.
Mark = 6


text:
in: Trope, National Stereotyping Tropes, Settings,
Hollywood Atlas
Darkest Africa
Tropes of Nature
The story of Africa in the modern age is one of war, disease, corruption, repression and poverty. On the upside, there are tons of monkeys and you never need a jacket.
—America (The Book)
Darkest Africa is only dark to those wearing blindfolds,
to him who cannot think
whose brain is hardened and dusty
—Fokofpolisiekar, "Antibiotika" [Afrikaans]
A great favourite of stories involving the Colonial period of the 19th and early 20th centuries, Africa has lent itself well to many stories. Its breadth of landscape includes the immense sandy wasteland, the grassy veldts and savannahs, and thick, treacherous jungle. The history includes the ancient sophistication of the Egyptians, rich ancient kingdoms like Kush and Mali, and mysterious tribal groups— as well as the more recent European colonies and military juntas. And always, there is the wildlife, some of which may be misplaced.
When Africa is not being used as a Lost World, it's the next best thing: mysterious and dangerous, but populated with outcroppings and ties to the modern world. This balance of civilization just within reach and terra incognita a mere wrong turn away gives the "Dark Continent" a unique position. "Adventure in your own back yard" takes on a new meaning if one's back yard hosts the occasional elephant stampede.
It may be noted that in many modern stories, quite a bit of finagling or handwaving is required to get the "traditional" level of isolation, bringing it into Discredited Trope territory (not to say Unfortunate Implications). On the other hand, the old stories resonate strongly, and traditional ways of life still hold sway, enough that subversions are frequently effective; the hero can still be surprised when the chief of the village lets him use the (generator-powered) satellite phone.
In older stories, the Mighty Whitey abounds, along with Misplaced Wildlife.
You might be able to get away with replacing "Congo" with "Amazon", however.
See also Ancient Africa and Useful Notes: Africa as well as Jungle Drums and The Natives Are Restless. See Bulungi for a modern take on this trope.
Examples of Darkest Africa include:
2 Comic Books
6 Multi-media
8 Poetry
9 Puppet Shows
12 Theater
13 Theme Parks
15 Web Animation
Pyunma/008's home country looks like this the first time we see it in Cyborg 009, but in subsequent stories, Shotaro Ishinomori tried to portray a slightly more realistic version of modern Africa, with cities & cars & things like that (and also changing Pyunma's backsotry from a former tribal prince turned into an ex-slave to a former guerrilla fighter caught an injured in a crossfire). Actually lampshades this trope, with 009 saying that Africa's nothing like what he read about in books when he visits.
Kimba the White Lion takes place in an African jungle most of the time.
Subverted in Hana no Ko Lunlun. The Egypt episode does use several of the Egypt cliches (starting with pyramids and treasures from Ancient Egypt, as Lunlun is "partnered" with a Gentleman Thief), but the one in Morocco has a somewhat more realistic ambientation while recreating an old Moroccan village ( which is the hometown of Lunlun's friend Sayid, who has been living in England with his grandfather Scharo and is the reason why she's in Africa in the first place) and two or three local traditions.
The Pokémon anime episode, "The Kangaskhan Kid" had Ash and friends lost in a jungle-like area of the Safari Zone.
Marvel Universe: Wakanda, the kingdom ruled by T'Challa ("Black Panther") has laws that maintain "tribal customs" despite being extraordinarily wealthy - a convienent way to maintain its Lost World flavor.
The home and main headquarters of The Phantom is in the fictional country of Bangalla, which has been represented as a fairly realistic African nation.
Carl Barks' Donald Duck yarn "In Darkest Africa".
Voodoo Hoodoo also contains elements of this.
The early Tintin adventure Tintin in the Congo, infamous for its condescending depiction of African natives and senseless slaughter of wildlife. It's been intermittently available in English; current print runs are aimed largely at older fans and put out in an almost embarrassed fashion.
Mind you, that's the revised colored version, where Herge rounded the sharpest corners and excised the parts that caused the most criticism. The original black-and-white comic was much worse.
The setting for Sheena, Queen of the Jungle.
Wonder Woman (1987): Cheetah's post-Crisis backstory plays this entirely straight, with the source of her powers stemming from a cannibalistic cult deep in Africa's jungles.
Simba, King of the Beasts
From the Popeye the Sailor comics, it states that Jeeps originated from this place.
The Gods Must Be Crazy has been criticized for its portrayal of the Bushmen as entirely ignorant Noble Savages. For Xi, "Darkest Africa" makes pefect sense, but white society is bizarre and inexplicable. To the whites, dangerous wildlife and political turmoil are a source of consternation.
George of the Jungle, as a parody of Tarzan, by necessity is set here.
Jumanji, in which the board game draws out dangerous elements of a distilled "Darkest Africa"-type jungle located within itself. The jungle is not seen in the film, or even seen by any of its characters save for the main protagonist who is trapped there for years.
More so in the animated series though, since they did go into the game Once an Episode. There was even a native tribe of tribal masks.
Road To Zanzibar
Most of Ace Ventura: When Nature Calls
The Three Stooges short Three Missing Links had the trio traveling to Darkest Africa to film a movie with Curly being casted as a gorilla until a real gorilla shows up and hilarity ensues.
Curious George takes place here during the first half of the film.
Jane and the Lost City, sent during World War II, plays with this trope a bit by introducing a jungle tribe led by the "Leopard Queen" - a scantily-clad African woman who speaks perfect English, and with the proper "colonial" accent to boot.
In Five Weeks in a Balloon, the heroes go on an expedition into this setting to claim unexplored territory and prevent ruthless slavers from doing the same.
Trader Horn: Mostly played straight, as the natives are portrayed as either savage or childlike, and in the business of crucifying people and making mounds of skulls when they're in savage mode.
Averted in the Film Serial Secret Service in Darkest Africa, which takes place entirely in the North African desert in WW2. So plenty of sinister Bedouins and scheming Nazis, but no jungles or spear-wielding natives.
The Tarzan film series is always about white people in Darkest Africa; see also the Literature entry below. In Tarzan and His Mate, Harry Holt says specifically that the Elephant Graveyard the expedition is setting out to find is in a part of Africa where no white man has been before, except for Harry and Tarzan.
The African Queen.
In keeping with its source material, the second half of Heart of Darkness (1958) takes place in an African jungle full of Hollywood Natives. (But the setting might be a product of Marlow's imagination.)
Mighty Joe Young (1949)
The Bud Abbott and Lou Costello film, Africa Screams.
Kirikou and The Sorceress
Congo Bill (1948)
The Naked Earth (1958)
Africa Speaks (1930)
Looney Tunes: Back in Action had the protagonists going here to search for Drake's father and the Blue Monkey Diamond.
The Lost City (1935)
The 1975 film Hugo the Hippo takes place in Africa.
Stanley & Livingston
The World's Greatest Athlete (1973)
Jungle Jim (1948)
Lost in Africa (1994)
West of Zanzibar both the 1928 and 1954 versions.
The Jungle Princess (1920)
Jungle Drums of Africa (1953)
The Jungle Goddess (1922)
Tarzoon: Shame of the Jungle, being an animated parody of Tarzan: King of the Jungle.
Simba: The King of the Beasts (1928)
In the Shadow of Kilimanjaro (1986)
Madagascar: Escape 2 Africa takes place entirely in Africa.
Tarzan, in most incarnations, relies on the African dichotomy for its stories.
H. Rider Haggard's She and King Solomons Mines, both with English explorers. Haggard had actually lived in Africa, and knew his stuff a lot better than most writers of colonial adventure fiction; but the European condescension is still present.
The book and movie Congo has the (fictional) ruined city of Zinj populated by evil gorillas.
Gregory McDonald's Fletch Too is set in Africa, discussing some of the issues, including slavery, being modern-or not, archeology, witch doctors, and law.
In Joseph Conrad's Heart of Darkness, the trip into the savage wilderness of Africa mirrors Kurtz's descent into his own darkness. However, Marlow states that England was at one time also considered a dark and savage land by the civilized Romans.
Subversion: pretty much everything Chinua Achebe has ever written (the most famous being Things Fall Apart). He is very keen on dispelling this particular trope.
An early section of Robinson Crusoe has Robinson fleeing across the African coast, and treats Africa as hyperbolically dark, thanks in part, no doubt, to the fact Defoe had never actually been there.
The first Time Scout book ends with a trip to 17th century Africa. It doesn't end well. Well, it does, but it doesn't middle well.
The sword and soul sub-genre of Heroic Fantasy often is set here or in Fantasy Counterpart Culture versions of Africa with black heroes instead of Mighty Whitey heroes.
Most of the Babar the Elephant stories take place here.
The Oompa Loompas from Charlie and the Chocolate Factory were originally attended to be African slaves from the jungle, but the film adaptations changed their backstories.
Spoofed in episode 29 of Monty Python's Flying Circus, in which a band of pith-helmeted explorers discover a restaurant in the middle of the jungle.
The Twilight Zone episode, "The Jungle", had Alan getting haunted by the sounds of Darkest Africa after a witch doctor placed a curse on him for building a dam in Africa.
The Magical Bushman arc from Season 3 of Heroes provides a slight example of this trope. The character himself is something of an aversion: despite making his home in the brush, he has a Walkman and keeps abreast of current events. However, places in the series are usually addressed as "Odessa, Texas," or "Tokyo, Japan." Whenever the action cuts to that plot? "Somewhere In Africa." Yeah...
Only because the character that was there didn't actually know where he was, he just kind of appeared there, and mysterious painter man isn't about to tell him that "you're twenty kilometres northeast of Mombasa, you can make it there by nightfall if you hurry", the man's got lessons to learn first.
The episode, A Thousand Tiny Wings from Big Finish Doctor Who takes place in Kenya during the 1950s.
Israeli brief comedy series Lost in Africa features an Israeli fashion modeling company flying to the fictional country Abuna Kilosa, which borders on Chad and Sudan (most likely where RL Central African Republic is), for a photo shootout with a Swedish model and an English photographer. The show averts, plays with, and deconstructs the trope.
While the people there are shown as rather primitive, sporting:
poor infrastructure;
some backward attitude;
tribal wars (amusingly between Tutsi and Hutu tribes, re-triggered on the last episode when Eddy, the company's boss, burns down a sacred tree to stop a competing company from shooting there, unaware of the tree's sacred position);
poorly communicating with the Western world (they assume for some reason that the clothes for the shooting are a donation - Hillarity Ensued);
they also:
seem to be doing a genuine effort to fix their country by fighting corruption (as they put it, 'This is not Burkina Faso!'), to the point that bribing a policeman can cost one half an arm (the original photographer, later replaced by the aforementioned Englishman, tried to buy back a piece of clothing from a policeman, which he interpreted as bribery);
they do have some modern technology, such as televisions and vehicles;
quite a few of them wear Western clothing;
and some of them speak very decent English (most notably the driver and hotel keeper).
They also seem to be very aware of their position:
when one of the Israelis asks for a doctor to see him at his hotel room and asks him to give him a treatment 'for tourists', the doctor does some silly ceremony to please said tourists for an absurd amount of money (hillariously threatening to put a curse on him if he isn't paid);
and Suliman, the group's driver seduces Shlomtsiyon, the company's secretary, in an attempt to make her bring him with her back to Israel, subverting Where Da White Women At? (this fails, as she angrily dumps him the moment she realises his true plans, which leads to his death in the Tutsi-Hutu fight later on).
Also, the company's boss wants to adopt a very bright kid he meets at the local village, who shows a remarkable talent in math and even learns to say 'good morning' in Hebrew (albeit mispronounced), even competing over him with the Swedish model. The Israelis treat the place they're in mostly with condescension (as one of them phrased it: 'Everyone's a shell-shocked darkie around here!') and occasionally with some romanticising ( Shlomtsiyon's argument with Suliman about their future revolved around this: she wanted to get away from the commercialised, competitive West, while he wanted to leave Africa; this is what lead her to realise his true intentions and dump him), and the two Europeans seem to regard Israel with the same condescending tone the Israelis treat the Africans (when told that the Israeli model is 'very popular in Israel', the English photographer says, 'Yes, but so is war!'), while both Israelis and Europeans display every possible vice of Western society.
Many an adventure or treasure hunt involves a search for something "lost in the African jungle".
The 1947 American song, Civilization, is a humorous satire of this trope. It's about a native of The Congo who learns about the "civilized" world from a missionary. From the Congolese native's perspective, the "civilized" lifestyle is actually uncivilized.
Vulvodynia's Mob Justice is something of a Deconstruction of this, as the album lyrically focuses on the dark side of modern South African life and the violence, poverty, widespread economic stratification, drug addiction, and lingering scars of apartheid and past oppression that never quite healed.
"In the Jungle, The Mighty Jungle, The Lion Sleeps Tonight".
As Vachel Lindsay so well put it,
Then I saw the Congo, creeping through the black,
Cutting through the jungle with a golden track
Then along that riverbank, a thousand miles
Tatooed cannibals danced in files...
Puppet Shows
Subverted in a 1970s Sesame Street segment. Smart Tina claims that Africa is just one big jungle because she saw it in a Tarzan movie. But Roosevelt Franklin shows on a map that only a small portion of Africa is jungle. The continent is really a mix of different environments dotted with big cities and valuable resources.
Many episodes of The Goon Show took place here to spoof the old stories, and there's no such thing as Mighty Whitey, just "noble" British fighters and explorers who are complete, often greedy idiots (i.e., Major Bloodnok).
The Vampire: The Masquerade sourcebook Kindred of the Ebony Kingdom deals with African vampires. Whereas the Kindred of the East are something completely unique and different (even a little alien) from the western Kindred, the Laibon are just the regular clans with a darker epidermis.
The pulp themed Spirit of the Century, set in the 1920s, actually refers to Africa as Darkest Africa, and talks about Gorilla Khan's exploits in the unexplored wilderness there.
The new Empire of the Apes faction in Monsterpocalypse called this home. No doubt the elders are wishing Kondo had kept to their advice and not decided to take a peek outside into the humans' proper dominion.
Spoofed in Toon (but then, of course it is), which has an adventure in "Darkest Africa" reached by...getting off the boat in Africa, then following the sign reading "Dark Africa". It's somewhere on the other side of "Darker Africa". The gag is actually directly lifted from Porky in Wackyland, below.
Pathfinder's default setting has the Mwangi Expanse, which is explicitly there to give players some jungles and lost cities to explore.
Eugene O'Neill's play The Emperor Jones actually takes place on an island in the West Indies, but it might as well be a transplanted piece of Africa.
The Book of Mormon takes place in Uganda. While the Uganda represented in the musical reflects modern African sensibilities and concerns, one song does say: "Weeeee are Africa, We are deepest darkest Africa, ..."
Disney's Adventureland at Disneyland parks has some elements from Darkest Africa in a 1930's like setting.
Disney's The Jungle Cruise has the Congo river and Nile river portions.
Busch Gardens at Tampa Florida is themed to Africa, in fact, it was once called Busch Gardens - The Dark Continent.
Resident Evil 5 wanders over here for two chapters, but spends the rest in more developed areas.
Far Cry 2 takes place in a fictional African country called Leboa-Seko, which is populated almost exclusively by people who want you dead.
Somewhat justified in that the place is in the last stages of a ruinous civil war and most moderate people / civilians have long since left. Still, things like tarred roads, villages, shops (which don't sell weapons), and noncombatants are conspicuous by their relative absence.
Mazuri in Sonic Unleashed gives a very African vibe.
Congo Bongo
Kemco's Ghost Lion, which is probably the only RPG in the world set in (non-Egypt) Africa
The first Donkey Kong Country game's Kong Island is loosely based on this.
Donkey Kong Country Returns takes a much bigger approach with the African jungle setting with the introduction of the Tiki Tak Tribe.
The second continent Wiggly Wilds from Wario Land: Shake It! is based on the African savanna.
Parodied in The Cheese Family, where at the zoo the Cheese family see "...the funny grapes from Darkest France".
Wackyland, from the Looney Tunes short Porky in Wackyland (and it's color remake Dough for the Do-Do), is located here. Porky Pig has to fly over Dark and Darker Africa to get there.
Porky also traveled to Africa on Porky in Egypt, Porky's Ant, and Africa Squeaks.
Inki and the Minah Bird, an obscure Looney Tunes short, also takes place in there.
Congo Jazz is an early example of this trope.
The first and last halves of Nelly's Folly took place in the jungles of Africa.
The Frank Tashlin short The Major Lied Till Dawn takes place in Darkest Africa.
The infamous Censored Eleven short Jungle Jitters has this setting.
The Beaky Buzzard cartoon, The Lion's Busy.
Another two Bugs Bunny short's entitled Hold the Lion, Please and Which is Witch have Darkest Africa as their setting.
George of the Jungle, both the original and 2007 reboot take place in this setting.
The Classic Disney Goofy short, African Diary has Goofy writing about his past experiences in Africa.
The Donald Duck cartoon Frank Duck Brings 'Em Back Alive and the Mickey Mouse shorts Jungle Rhythm and Trader Mickey also take place here as well.
The very rare Oswald the Lucky Rabbit cartoon Africa Before Dark has Oswald hunting in Africa.
Tex Avery MGM Cartoons: The Half-Pint Pygmy has George and Junior trying to catch the world's smallest pygmy in Darkest Africa.
At least four of Van Beuren Studios cartoons are set in Darkest Africa; one of them is even called "Darkest Africa", with the other three being "Jungle Jazz", Mild Cargo" and "Plane Dumb".
Many, many episodes of Danger Mouse, mostly because it was parodying old adventure serials of the kind that inspired the Indiana Jones movies. (Weirdly, The Bad Luck Eye of the Little Yellow God was ostensibly set in Brazil, but is in all other respects Darkest Africa.)
The Tom and Jerry cartoon Sorry Safari had this theme.
The Betty Boop cartoon I'll Be Glad When You're Dead, You Rascal You takes place in the jungles of Africa.
Parodied on SpongeBob SquarePants on Club SpongeBob, where SpongeBob, Patrick, and Squidward get lost in Kelp Forest and get found by an explorer.
Also parodied on the comic story Sponge Monkey when SpongeBob and Patrick get lost in Kelp Forest and Squidward and Mr. Krabs have to look for them and find out that they were raised by Sea Monkeys.
Popeye once treveled to Darkest Africa searching for Bluto in Fightin Pals; the short shows him actually going through Dark Africa and Darker Africa before getting to his destiny.
Parodied on The Ren and Stimpy Show Nature Documentary parody Lair of the Lummox, with Ignoranium being a parody of Africa.
Animaniacs had Flavio and Marita moving from the African jungles to the big city on "The Big Move".
The Warner trio also traveled here to find a cure for Wakko's hiccups one time.
An episode of The Alvin Show had Dave and the chipmunks in Africa searching for jungle sounds for their songs.
The 1943 Superman cartoon Jungle Drums has Lois Lane crashing her plane in Africa and she and Superman come across the Nazis' base.
Johnny Bravo got lost here on Bungled in the Jungle when he broke Jungle Boy's foot after falling from a plane and gets chased by all the animals of the jungle.
At least three Terry Toons take place here, Who's Who in the Jungle with Gandy Goose and Sourpuss, The Lion Hunt with Heckle and Jeckle, and The Hapless Hippo with Mighty Mouse.
Two Pink Panther cartoons had this setting on It's Pink, But is it Mink? and Sink Pink.
Some episodes of Jonny Quest take place here.
The Casper the Friendly Ghost cartoon, Spooking About Africa.
The Pinky and The Brain episode Welcome to the Jungle had Pinky and the Brain getting mistaken for monkeys and get taken to an African-like jungle where they meet Snowball.
The DuckTales episode Jungle Duck takes place here.
Famous Studios' Screen Songs had an entire short revolving around Darkest Africa called Jingle Jangle Jungle.
Jungle Land from The Super Mario Bros. Super Show! has several African elements.
The Samurai Jack episode Young Jack in Africa had a young Jack training and getting raised by an African tribe.
An earlier 1930s Silly Symphony called Cannibal Capers revolves around African cannibals in a jungle.
Lampshaded and parodied mercilessly in this article by Kenyan blogger Binyavanga Wainaina, How to Write about Africa.
The physical anthropologist and white supremacist Carleton S. Coon was fond of using "congoid" instead of "negroid". On the one hand, the Congo is an actual place, and an autonym at that. On the other, Congo represents this trope in the Western mind more than anywhere else.
National Stereotyping Tropes