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Foreign Concept
Trump's decision to pull out of the Arms Trade Treaty: a cynic's guide
By Mark Porubcansky | 04/29/2019
REUTERS/Bryan Woolston
President Donald Trump announced the decision to pull the United States out of an agreement regulating the conventional arms trade Friday at the annual convention of the National Rifle Association.
There are three ways to think about President Trump's decision to pull the United States out of an agreement regulating the conventional arms trade. Each will feed your inner cynic, but only two seem true. One in particular explains a lot about how the world works.
Trump announced the decision Friday at the annual convention of the National Rifle Association, which long has argued that the treaty signed by President Obama in 2013, but not ratified by the Senate, could affect Americans' gun rights. "We will never allow foreign bureaucrats to trample on your Second Amendment freedoms," Trump declared.
The announcement was an easy win for the NRA, and shifted some attention from its dire financial troubles. (The battle between Oliver North and Wayne LaPierre for control of the NRA that broke into the open at the convention is just the tip of a very large iceberg, and if you haven't read Mike Spies' eye-opening investigation into NRA finances in the New Yorker this month, it's well worth your time.)
Briefly, the Arms Trade Treaty requires countries to monitor arms sales and prohibits them from selling arms in violation of U.N. embargoes, if it's likely the weapons would be used to commit war crimes or fall in the hands of terrorists or organized crime groups. Its effect has been fairly limited. The Arms Control Association says the treaty "does not place restrictions on the types or quantities of arms that may be bought, sold, or possessed by states. It also does not impact a state's domestic gun control laws or other firearm ownership policies."
In other words, it's a Second Amendment issue only if you believe the Constitution gives Americans the right to sell virtually any weapon to anyone anywhere in the world at any time.
So perhaps the whole point of Trump's announcement was to pander to his base. In a bit of political showmanship, he signed a request for the Senate to return the treaty to him while on the NRA stage and then tossed the pen into the crowd. Pandering probably is part of the explanation. But it's not the only reason, and perhaps not the main one.
It's also about money — lots and lots of money — expressed in terms of business for defense contractors and jobs, accompanied by a misguided view of how much influence selling weapons provides. Plus, Trump clearly wants the freedom to do deals unconstrained by multinational agreements, particularly those signed by Obama.
The United States is by far the world's largest arms seller. And you can't blame Trump for that. At least you can't solely blame Trump for that. U.S. arms sales grew rapidly under Obama. The Stockholm International Peace Research Institute, which monitors global arms sales, said in a March report that the U.S. accounted for 36 percent of global exports of major weapons in the period 2014-2018, up from 30 percent in the previous five-year period. It sold major weapons to 98 countries. Russia had 21 percent of the market, a significant drop from the previous period. No other country supplies more than 7 percent.
Slightly more than half of U.S. arms exports went to the Middle East, which increased U.S. arms imports by a staggering 134 percent. The biggest single market is Saudi Arabia, accounting for 12 percent of global purchases of major weapons and 22 percent of the U.S. sales.
Arms sales are a big element in Trump's cozy relationship with the kingdom, and it helps explain his resistance to punishing the Saudis for the killing of journalist Jamal Khashoggi and his veto of legislation that would have ended U.S. logistical support for the Saudi military campaign in Yemen.
Several countries have suspended arms sales to Saudi Arabia; others have reduced them. But not the United States. A striking chart in this CNN report illustrates just how dependent the Saudis have become on U.S. arms sales.
Trump has claimed that a $110 billion arms deal with the Saudis will create half a million U.S. jobs. Actual sales may fall far short of that total, however, and Reuters has reported that major U.S. defense contractors were expecting to add only a small fraction of that number of jobs.
Nevertheless, it's one of the reasons Trump cited for not taking a harsher line on the Khashoggi killing. It would be foolish to lose the business, and give Russia and China an opportunity to grab it, he said. Perhaps they would get some of it. But they're still far behind the U.S. in arms sales, and a more prudent president would also factor in the extrajudicial killing of Khashoggi, a U.S. resident, and making the United States complicit in possible war crimes in Yemen.
What about political influence? Much of the foreign policy establishment has for decades lined up behind arms sales as a tool to bolster friendly governments, balance power and make fickle allies behave. Again: perhaps that's the rationale for Trump's decision. But two scholars at the libertarian-leaning Cato Institute, A. Trevor Thrall and Caroline Dorminey, have done a pretty good job of blowing up that argument. The benefits — economic and otherwise — are much smaller, and the risks much greater than assumed, they say.
Instead of aggressively increasing arms sales, Thrall and Dorminey say the U.S. should be cutting them. Much greater benefits would result, they say — chiefly, "significant diplomatic flexibility and moral authority."
Mark Porubcansky
Mark Porubcansky has been a foreign correspondent and editor for 30 years, serving until recently as foreign editor of the Los Angeles Times. He now lives in Scandia.
Submitted by Rod Loper on 04/29/2019 - 09:20 am.
It was so appropriate for him to do this at the NRA, a major front for the arms manufacturers.
Submitted by Kathryn Hahne on 04/29/2019 - 11:51 am.
Mr Loper's comment also reflects my question. The benefit to defense contractors was mentioned in the article, but I would like a clearer understanding of specifically what manufacturers and others benefit from increased arms sales.
Some have claimed for awhile that the NRA is driven b manufacturers, not gun owners. Thus the reason for their stance on the treaty?
Submitted by Tom Christensen on 04/29/2019 - 03:31 pm.
Gun sales are driven by fear. The number of hunters is declining and so would sales be down too if it weren't for fear mongering. The NRA is nothing but a lobbying group for the gun manufacturers. Go into any gun shop and you will see a wall of black, radical looking guns that don't have anything to do with hunting, it's all about fear. Years ago guns had a balanced appearance, fine woods, and family stories from family members who used them over the decades. You don't hear those stories anymore. Fear mongering drives insecurity, which causes some people to head to their local gun store, which drives up sales. There aren't any reasons the public needs semiautomatic, large clip, weapons of war.
Submitted by Tony Wessel on 04/29/2019 - 11:10 am.
Mark, great article and I would love to share it. However I am unable to share on social media since this is listed in the Politic's and Policy section and not the Perspectives Opinion section. Please have MinnPost change the category of this excellent article. I don't want to accused of sharing "News" when in reality it is opinion. We have enough "fake news". Thanks.
Tom Christensen seems largely correct to me, but I'd put a little more emphasis on the international arms trade. If slightly more than half of our arms exports (why we might be exporting weapons is a whole different area of inquiry) are going to the Middle East, try quickly naming three of our staunchest allies in that part of the world. What comes most readily to mind – my mind, at least – is Saudi Arabia. Using "Saudi Arabia" and "staunchest allies" in the same sentence requires a degree of logic-twisting that I'm not able to manage.
All the big defense contractors are so dependent upon that arms trade, and various government efforts to prop it up and encourage even more of it, that it seems, in this household at least, like we're serving more as the drug pusher to Middle Eastern addicts, with weapons (small arms to F-15s, night-vision technology to computers and software) serving as the drugs. None of it contributes in the slightest to Middle Eastern peace and tranquility, and while American companies certainly have their own oil-based self-interest at work, we're now the world's biggest producer of oil (my guess is that it'll be temporary, but still…).
An argument could be made that we're not even looking at capitalism at work, when the government protects the market with a combination of tariffs and military hardware, plus tossing in tax breaks, all at the expense of the tax-paying public. Meanwhile, the Trump administration keeps pushing increases in "defense" spending, though we already have, by far, the largest military spending and structure on the planet.
Submitted by Jon Kingstad on 04/30/2019 - 06:11 pm.
I question whether the President can unilaterally abrogate a Treaty like this, which has been approved with the "advice and consent" of the Senate without approval from Congress. Impeachment to me would be appropriate but I agree would be ill advised and impractical for political reasons. But I can't believe there's not enough support in Congress to clip this executive's ongoing abuse of power.


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Isaac Sligh and Viktoria Malik (left), are currently co-translating Viktor Pelevin's mystery novel iPhuck10 (2017) with support from a RusTrans bursary. Below, Isaac discusses the challenges and excitement of translating the 'man of mystery' of Russian letters. You can read an extract from their translation here.
As an outsider with a vested interest in Russian culture, I first became intrigued by the writer Victor Pelevin as a cultural figure—a strange emanation of the social milieu of Russia in the 1990s. This was a time of bandit capitalism, gangsters, fast cars, loose morals, violence, hedonism. Young people voraciously digested the influx of Western pop culture and products and their secondhand replications at the hands of savvy Russian producers and businessmen. An American visiting Russia in the 1990s would, I think, have encountered a kind of hall of mirrors full of strange refractions and scrambled transmissions of familiar culture back home. As Pelevin summed it up perfectly in the opening line of his novel Generation P (1999), 'Once upon a time in Russia there really was a carefree, youthful generation that smiled in joy at the summer, the sea and the sun, and chose Pepsi.'
In many ways, Pelevin typifies that age. He is his own kind of literary gangster; he gleefully and shamelessly appropriates from any aspect of culture, high or low, Western or Eastern, on which he can get his hands, and, just like a savvy art dealer in his novel iPhuck 10 (2017), polishes it up and sells it to the highest bidder. He is particularly interesting for the Western—perhaps we should clarify 'Anglophone'—reader, who will enter that very same hall of mirrors in one of Pelevin's works. You never know what might jump out at you. I have said before that Pelevin is a heavily allusory writer: he wants to surprise, confuse, and entertain by means of inferences to an impressively wide array of cultural reference points. This is not to imply that Pelevin is a kind of collage-artist with his prose, or that he is impulsive to the point of disarray. He is a great storyteller, comfortable in both satiric and sincere modes, and as a craftsman his fascination with allusion extends into calculated experiments with form as well as content.
My wife and translation partner Viktoria comes to this project from a different perspective. She knows Pelevin not only as a writer but as a figure who has been embedded in the cultural consciousness of Russians for the better part of three decades. I often sketch Pelevin as a writer and cult figure in rough terms to Americans as a kind of Thomas Pynchon, but with the popular cachet of a Banksy, whose fame he incidentally parodies in iPhuck 10. For the last thirty years, people have struggled to piece together the facts of Pelevin's life or even whether he exists at all. Google him thoroughly and one will only find a handful of photos, mostly from the 1990s; a single VHS-ripped video tucked away in an archive at the University of Iowa; a print interview here or there. People report sightings: he's dead, he's living in Thailand, he's wandering the streets of Moscow, he's meditating in a monastery in Tibet. He has lived his life like one of his characters: one can only catch a fleeting glimpse of him just as he disappears around a corner.
Suffice it to say that this all makes for a fascinating figure to take on for a translation project. We are very lucky therefore that the task of translating such a bestselling author has fallen to us. Among his bestsellers, the novel Generation P is reported to have sold 3.5 million copies, and it inspired Viktor Ginzburg's major motion picture adaptation in 2011. Pelevin's sales figures make a strong commercial argument to any potential publisher. Over many years, his work has found a home at leading independent presses and at the major publishing houses in America and the U.K., but his last few works have languished untranslated. We feel that publishers will see in Pelevin a great opportunity for bringing a successful Russian author back to the Anglophone readership.
We are now hoping to achieve this aim by bringing one of the funniest and most incisive of his recent novels, iPhuck 10, to this audience. In my last RusTrans blogpost, 'Translating the Uncanny Valley', I wrote that the book's subject is "the strange, murky nexus we face in modern times between artificial intelligence, corporate greed, algorithms, virtual reality, and our own private and public lives"—hence that crass but clever pun in the title. Readers will find particularly arresting—quite literally—the novel's hero and narrator, a Machiavellian, suave, and witty A.I. algorithm named Porfiry Petrovich: a dandy, novelist, and gumshoe police detective who exists only in the binary ether, a 'spirit', as he calls himself.
iPhuck 10 is part hard-boiled, Hammettesque detective thriller; part Orwellian dystopia; and part straight-up satire of the vagaries and pretensions of the contemporary art world and market. As we have said before, we believe that it is one of the major Russian novels of the 2010s awaiting translation. To potential publishers, please feel free to reach out; to readers and fans of Pelevin, please reach out as well with questions or comments. We look forward to bringing this remarkable book to you soon.
For inquiries about availability and rights, please email us here and we will gladly put you in contact with the relevant parties.
Read an extract from Isaac and Viktoria's translation here.
This entry was posted in New Russian Literature, Post-Soviet literature, Translation and tagged co-translation, iPhuck10, Pevin, postmodernism, Russian literature, transhumanism on 26th November 2021 by Muireann Maguire.
Polly Gannon (left), the acclaimed translator of Andrei Bitov and Liudmila Ulitskaia among other major names in Russian literary fiction, is currently translating Estonian-born, Dutch-based novelist Sana Valiulina's mystery novel Ne Boius' Sinei Borody (I'm Not Afraid of Bluebeard, 2017) with support from a RusTrans bursary. Here she talks about finding eerie and 'echoey' links between Valiulina's novel and current real-life developments in Russian politics. You can read an extract from Polly's translation here.
Translators Also Cry: Reflections on Translating Contemporary Russophone Fiction
by Polly Gannon
A caveat before I begin . . . this is my first-ever blog post, and I have two fears. One is that I will be tongue-tied and not be able to begin at all; and, two, that I won't be able to stop, once I start talking about this subject. (The second is more likely!)
I will begin (well, here we go, that wasn't so hard) by saying that I haven't finished translating the entire novel, which is long: 602 pages. Other projects intervened, and temporarily took priority; but now I'm back on track. I have now completed well more than half the novel, and things are rolling right along. One reason things are gaining momentum is that several people in the publishing world have expressed an interest in seeing it, and I want to be able to show as much as possible, as soon as possible. Another reason—and this is somewhat discomfiting to talk about in a number of ways—is that on the ground, "the situation is fluid." Some of the fictional events in the book are being overtaken, mirrored, embodied (many ways to describe this) by real-life events in Russia. This seems to be the proverbial case of "life imitating art." The book is, thus, timely, in a way that it didn't set out to be.
The narrative can be viewed as sort of foreshortened "historical novel," which tries to account for, to illuminate, a period in the recent Soviet/post-Soviet past, from the Brezhnev era up to (nearly) the present. The novel, which is divided into four parts, ends with an allegorical tale that recounts and reimagines the circumstances surrounding the death of Sergei Magnitsky (called "the Accountant" in the novel) in police custody. It's probably not necessary to point out the echoes of these events with events in the more recent past—most obviously, the fate of the "Berlin Patient," as the authorities insist on calling Alexei Navalny (with, so far, a different outcome and one that still leaves room for hope). Equally discomfiting are recent reports of widespread systematic torture (with graphic evidence, in the form of many hours of video footage) in police stations and prisons across Russia. Strangely (or perhaps not), I was translating the fictional scenes of these "methods, "disturbingly graphic, as practiced on the Accountant, just when the current reports were coming to light. Discomfiting, indeed . . . To describe this experience in terms that fellow translators might be more inclined to understand than others, I really felt that I was translating a prophecy that was being played out during the very act of translating. Things got very "echoey" . . . !
Sudden change of subject (that's okay in a blog post, right?): One of the reasons I was initially drawn to this novel was because it opens with the musings of a child, a young girl. The narrative is "voiced" by this character, who grows older, year by year, during the course of the first part of the novel. Translating the idiom of a young girl growing into adolescence, whose perceptions develop and change along with her linguistic "abilities," was a challenging task— and it involved a constant reaching back into memory, checking the original Russian against how I remembered having spoken myself at those ages. (It was also poignant and sad, in a way that translating is not, usually, in my experience.) (Though I have discovered, over the years I've been doing this, that "translators also cry"!)
The character of the young girl migrates through all four parts of the novel—changing, playing various roles, and growing into adulthood—though she can only be said to be a true
"protagonist" in the first part. And although, thereafter, she doesn't play a defining role in the narrative action, I find that her voice and perceptions do, indeed, feature prominently in urging possible readings of the novel. The voice of this young girl is a registering, even a witnessing, presence, with the moral tenor or burden that the term "witness" implies. It is still a departure, it seems to me, for a "history" of this nature to begin, and unfold, through the lens of a character who is a girl-child. She is the one whose perspective sets the larger scene, and points the way forward in the narrative; so a lot depends on capturing a voice that "rings true"—still innocent, though not immature; precocious, though not wise beyond her years.
I could certainly elaborate on other pitfalls I was aware of trying to avoid . . . but perhaps this is enough for a first blog post…!
Read a taster of I'm Not Afraid of Bluebeard here.
This entry was posted in Estonian literature, New Russian Literature, Translation and tagged Translation; Russian literature; Magnitsky case; Navalny; Estonia; Soviet history; historical novel on 12th November 2021 by Muireann Maguire.

redpajama_set_name: RedPajamaCommonCrawl


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Schroepfer Michael Todd
C/O FACEBOOK, INC.
MENLO PARK CA 94025
Facebook Inc [ FB ] 5. Relationship of Reporting Person(s) to Issuer
Class A Common Stock 10/25/2012 C 1,537,286(1) A $0.00 1,537,286 D
Restricted Stock Units (RSU) (2) 10/25/2012 M 921,845 (3) 01/11/2019 Class B Common Stock(4) 921,845 $0.00 254,980 D
Class B Common Stock(4) (4) 10/25/2012 M 921,845 (4) (4) Class A Common Stock 921,845 $0.00 921,845 D
Class B Common Stock(4) (4) 10/25/2012 F 430,318(5) (4) (4) Class A Common Stock 430,318 $0.00 491,527 D
Class B Common Stock(4) (4) 10/25/2012 C 491,527(6) (4) (4) Class A Common Stock 491,527 $0.00 0 D
Restricted Stock Units (RSU) (2) 10/25/2012 M 1,223,180 (7) 01/11/2019 Class B Common Stock(4) 1,223,180 $0.00 274,595 D
Class B Common Stock(4) (4) 10/25/2012 M 1,223,180 (4) (4) Class A Common Stock 1,223,180 $0.00 1,223,180 D
1. Represents the number of shares that were acquired upon conversion of Class B Common Stock to Class A Common Stock in connection with the net settlement of restricted stock units (the "RSUs") listed in Table II, based on a price of $23.21 per share, which represented the closing price of the issuer's Class A Common Stock on October 24, 2012.
2. Each RSU represents a contingent right to receive 1 share of the issuer's Class B Common Stock upon settlement.
3. The RSUs were granted with both (a) a liquidity event-based vesting condition and (b) a service-based vesting condition, both of which conditions must be satisfied in order for the RSUs to vest. Pursuant to the terms of the RSU award, the service-based vesting condition was satisfied as to 1/5th of the total number of shares on November 1, 2009 and then 1/60th of the total number of shares vest monthly thereafter, subject to continued service through each vesting date. The liquidity event-based vesting condition is satisfied six months after the issuer's initial public offering, which was declared effective on May 17, 2012. Under settlement procedures applicable to the RSUs, the issuer is permitted to deliver the underlying shares within 30 days before or after the date on which the liquidity event-based condition is satisfied. The issuer vested and settled the outstanding RSUs for which the service-based vesting condition had been satisfied on October 25, 2012.
4. The Class B Common Stock is convertible into the issuer's Class A Common Stock on a 1-for-1 basis (a) at the holder's option or (b) upon certain transfers of such shares, and has no expiration date.
5. Represents shares of Class B Common Stock that have been withheld by the issuer to satisfy its income tax withholding and remittance obligations in connection with the net settlement of the RSUs and does not represent a sale by the reporting person.
6. Represents shares of Class B Common Stock that have been converted to Class A Common Stock in connection with the net settlement of the RSUs.
7. The RSUs were granted with both (a) a liquidity event-based vesting condition and (b) a service-based vesting condition, both of which conditions must be satisfied in order for the RSUs to vest. Pursuant to the terms of the RSU award, the service-based vesting condition was satisfied as to 1/5th of the total number of shares on September 1, 2009 and then 1/60th of the total number of shares vest monthly thereafter, subject to continued service through each vesting date. The liquidity event-based vesting condition is satisfied six months after the issuer's initial public offering, which was declared effective on May 17, 2012. Under settlement procedures applicable to the RSUs, the issuer is permitted to deliver the underlying shares within 30 days before or after the date on which the liquidity event-based condition is satisfied. The issuer vested and settled the outstanding RSUs for which the service-based vesting condition had been satisfied on October 25, 2012.
8. The RSUs were granted with both (a) a liquidity event-based vesting condition and (b) a service-based vesting condition, both of which conditions must be satisfied in order for the RSUs to vest. Pursuant to the terms of the RSU award, the service-based vesting condition was satisfied as to 1/5th of the total number of shares on July 15, 2010 and then 1/60th of the total number of shares vest monthly thereafter, subject to continued service through each vesting date. The liquidity event-based vesting condition is satisfied six months after the issuer's initial public offering, which was declared effective on May 17, 2012. Under settlement procedures applicable to the RSUs, the issuer is permitted to deliver the underlying shares within 30 days before or after the date on which the liquidity event-based condition is satisfied. The issuer vested and settled the outstanding RSUs for which the service-based vesting condition had been satisfied on October 25, 2012.
/s/ Michael Johnson as attorney-in-fact for Michael T. Schroepfer 10/26/2012


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Loved Amanda Gorman's inaugural poem? Support more emerging Black poets and writers
These literary organizations nurture and uplift Black voices across the United States.
by Saba Keramati January 25th, 2021 March 19th, 2021
CarlosDavid.org via iStock
Nearly four years ago, in the weeks following a very different presidential inauguration, spoken word poet Sarah Kay tweeted, "No, I don't think poems will save us. And yet, and yet." With her insight into the power of poetry, perhaps she could have predicted that the country would fall in love with a poet nearly four years later. At the inauguration of Joe Biden and Kamala Harris, Amanda Gorman became the youngest inaugural poet in history when she read her poem "The Hill We Climb." Hearing her inspired words, the world (and Anderson Cooper) cheered for her, and poetry Twitter exploded with appreciation from newfound fans.
While Gorman is exceptional, she's not alone. She's an heir to a long history of incredible Black poets, and is one among many present-day Black poets around the country who capture the American story through their art. If you are interested in ways you can support other emerging Black poets and writers, check out these literary organizations and learn how you can get involved.
Cave Canem Foundation (Brooklyn, New York)
Dubbed "the nation's hub for Black poetry," Cave Canem was founded in 1996 as a response to the underrepresentation of Black poets in the literary landscape. Since then, they've expanded their programs and publications across the United States. Their flagship program, an annual writing retreat, supports 36 emerging Black poets every year. With a mission to "enlarge the American literary canon; democratize archives; and expand for students, aspiring poets and readers the notion of what's possible and valuable in a poem," Cave Canem offers free poetic craft talks and writing prompts. Interested parties can volunteer their programmatic, development, or marketing skills. Right now, emerging Black poets can submit their work to the Starshine and Clay Fellowship.
Black Table Arts (Minneapolis, Minnesota)
Black Table Arts defines itself as a "community driven arts cooperative … gathering black communities through the arts toward better black futures." They host a biweekly writing space called Black Lines Matter that highlights the poetic "tactics of liberation" for Black poets. You can sponsor a Black poet in Minnesota by purchasing a membership or you can donate directly to their cause.
InsideOut Literary Arts (Detroit, Michigan)
In the heart of the United States' Blackest city lies InsideOut Literary Arts, an organization that builds comprehensive skills through creative writing programs in schools. InsideOut Literary Arts is Detroit's largest and oldest literary nonprofit, and they serve over 100 classrooms and community sites annually. Awarded the National Art and Humanities Youth Program Award from the White House in 2009, InsideOut Literary Arts offers at-home lesson plans for elementary-aged through high school students, provides spoken word opportunities to Detroit students, and sponsors the competition for the Detroit Youth Poet Laureate. To support InsideOut Literary Arts, people can purchase school supplies for classrooms or buy a literary journal created by Detroit students involved in the program.
PEN America's Prison Writing Program (National)
For more than 40 years, PEN America's Prison Writing Program has been finding audiences for the work of incarcerated writers, many of whom are Black. The program "supports free expression, and encourages the use of the written word as a legitimate form of power … aiming to amplify the voices and writing of imprisoned people to expand beyond the silo of prison, and identity of prisoner." Subscribe to their online series Temperature Check: COVID-19 Behind Bars and read creative pieces from the Prison Writing Awards Winners Archive.
Obsidian: Literature & Arts in the African Diaspora (Normal, Illinois)
"A premier platform dedicated to African and African Diaspora Literatures," Obsidian has been publishing Black writers for the past 45 years. Their contributors boast the likes of Octavia Butler, Yusef Komunyakaa, Terrance Hayes, and Claudia Rankine. Published biannually, their previous recent issues are available for purchase. To read their future work, subscribe today. Obsidian is also currently seeking submissions for a special issue themed "Heirloom: Preserving HBCU Futures."
Chapter 510 (Oakland, California)
Another sponsor of a city Youth Laureate Program, Oakland's Chapter 510 "work[s] side-by-side with educators to provide a safe space and supportive community for Black, brown, and queer youth ages 8-19 to bravely write." Chapter 510 teaches creative writing and bookmaking in order to increase the number of books written by queer and trans BIPOC youth in the literary canon. By increasing access to publishing and writing workshops, Chapter 510 is able to publish over 20 youth-penned books per year. Those books are available for purchase, and you can also stream the album Freedom Is, with songs written by Oakland elementary school students. For those available during school hours, Chapter 510 seeks volunteers to (virtually) sit with students as they write.
Black women deserve a special spotlight this Black History Month
In "Politics & Democracy"
What we lose when migrant folks are pushed away from creative work
In "Economy & Workers' Rights"
I'm Aimee Allison, founder of She the People. Ask me anything!
Tagged: Culture
Saba Keramati
Saba Keramati is the operations manager at Prism. Prior to joining Prism, she was involved in organizations which focused on reproductive and racial justice. Saba calls the Bay Area home, and recently...	More by Saba Keramati


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Carrie – Collector's Edition (4K UHD Blu-ray Review)
A seminal film for all walks of horror, Brian De Palma's adaptation of Stephen King's Carrie will be making the leap to 4K Ultra-HD Blu-ray just in time for the holidays (And well before Prom season). Scream Factory will be updating the film with a brand new restoration and transfer. In addition there's a new gallery as well as a commentary in tow. Included area all the previous extras from their release six years ago. Its a full on three disc set to devour. A few times copied but never even close to sniffing the original's greatness (Sorry, Peter Paras), you can order this to have in your collection by using the paid Amazon Associates link that follows the review at the bottom of this page. Release date is December 13th, so put down the pig's blood and get a move on putting this one in your collection.
At the center of the film's terror is Carrie, a high school loner with no confidence, no friends… and no idea about the extent of her secret powers of telekinesis. But when her psychotic mother and sadistic classmates finally go too far, the once-shy teen becomes an unrestrained, vengeance-seeking powerhouse who, with the help of her 'special gift,' causes all hell to break loose in a famed cinematic frenzy of blood, fire and brimstone.
By the time 1976 rolled around, it was director Brian De Palma's turn. Everyone had been awaiting his big break out. He was on the cusp. His USC film geek buddies had all had theirs just years before him; Martin Scorsese with Mean Streets, George Lucas on American Graffiti, Francis Ford Coppola with The Godfather, and most recently Steven Spielberg with Jaws. De Palma was seen as one of the most talented of the bunch with a unique eye and storytelling. Adapting hot new author Stephen King's first novel opened that gateway and finally gave De Palma the liftoff he was looking for.
Carrie still remains one of the most unique stories to hit horror then and since. Its been knocked off, drawn from, remade, televised and sequelized in the 40 years since its release. The story of a young girl facing the horrors of entering womanhood with no strong parental figure or knowledge while facing the terror of bullying resonates through every generation. However, nothing quite nailed it like De Palma's film. Which, aside from a chuckle at William Katt's mane of hair, holds up amazingly well and is just as effective today as it was back when it shocked and amused audiences back in 1976.
From the opening shower sequence, it sets itself apart from all other iterations of the film. What sets De Palma apart from his contemporaries and most filmmakers is that he's not afraid to go there. He brings and voyeurism to filmmaking that had only been seen in few spots in pop culture films to this point. Carrie's shower discovery scene is shot and plays with a look and feel of a softcore porn film or a cheerleader/women's prison exploitation film up until the gruesome shock her getting her first period. Things quickly change gears as Carrie freaks the hell out, combined with the girls in the lockerroom giving her the nastiest possible response. It sets a tone for the film where it isn't afraid to hit certain beats and makes things that might have stood out as lewd (Nancy Allen going down on Travolta) a thing of normalcy.
As horror story, it doesn't follow any sort of particular mold or formula that had come before it. Carrie was something different that really felt fresh and that it hadn't been done before. Most of the horrors come from the suspense and tension of what the bullying classmates might do to Carrie along with the sheer zaniness of her own zealot mother. Carrie casts a telepathic power that gets hinted to here and there, but more or less this thing isn't oozing with jump scares, scary dreams or spook scenes. Carrie takes to dramatics and character to build to get you on a side and feel really torn apart when the protagonist goes on a bloody rampaging massacre at the end of the film. Its a mixed mess of emotion and its the perfect cross that De Palma manages to pull off. You're then rewarded with one of cinema's greatest jump scares for the ride.
Carrie is notable for being a jump off for many young actors of the time and resurrecting Piper Laurie's career (Nominated for an Academy Award for the film). Pretty notably its the screen debut of John Travolta and being a further break out of Sissy Spacek. PJ Soles also dons the red cap and makes one of her first appearances too. Despite the obvious people, I really feel Nancy Allen dropped a break out/star making performance for herself in this movie. Not only does she look gorgeous and has a certain glow to her, but her performance is an all-timer in the category of "so-good you hate them so much you want to punch them" roles. She is SOOOOO damn nasty in this movie, but its only because she is killing it her role. I honestly think over the years, she's garnered appreciation, but maybe not enough as she serves as one of the strongest elements. Allen is a fun, meaty part and its also quite powerful in terms of her effectiveness.
Much has been written over the annals of time regarding Carrie. Its a seminal piece both the horror genre and essential films of the 1970s. De Palma puts his skills to masterwork here, though he apparently isn't a fan of his split screen usage in this film and the big prom sequence had to be saved and rethought in the editing room. The film displays a slew of young breakout and powerful performances from its cast. And a lot of this is credit to such strong source material from King. It was the perfect storm of director, adaptations, changes for the better, casting and such that made this movie feel like lighting in a bottle. Its been imitated, copied, re-adapted, followed up and remade to various degrees of success and failure, but nothing has even come close to holding a candle to this original film. Its just perfect and pretty much timeless the way it stands.
Disclaimer: Screen captures used in the review from the standard Blu-ray, not the 4K UHD Blu-ray disc.
Encoding: HEVC / H.265
Layers: BD-100
Clarity/Detail: Carrie debuts on 4K Ultra-HD Blu-ray with a 2022 4K scan of the original camera negative. And it looks quite lovely and more refined that before. A little bit more fine details in a really terrific filmic look that has a really nice 70s sheen to it. Color saturation takes a tick up and the film has a great deal of depth and clarity to it that really makes the filmmaking on display even more impressive than it already is.
Depth: Depth of field is quite impressive and immersive. The film looks very big and many of the interiors are wide open and have a good pushback. Camera movements have confidence and display even more of a three dimensional look. No issues occur with blurring or jittering from rapid action, cuts or camera movements.
Black Levels: Blacks are deep and natural, with good instance of contrast to display color as well as sharpening and defining the image. No crushing witnessed.
Color Reproduction: Colors are lovely with greens and reds really showing off not only on fabrics but in the color filters which done really bleed, but find more definition. HDR really helps in some of the more contrasting moments but adds glow to lit signs and the raging fire in the finale.
Flesh Tones: Skin tones are natural and consistent from shower discovery to hand grab from the grave. Freckles, moles, lip texture, make up, blemishes, dried blood and more come through clear as day from any given angle or distance in the frame.
Noise/Artifacts: Clean
Audio Format(s): English 5.1 DTS-HD MA, English 2.0 Dual Channel Mono DTS-HD MA, English 2.0 Stereo DTS-HD MA
Dynamics: Carrie returns with the same audio options as before. My comments are from my previous review at that time. The 5.1 track seems to follow the previous comments on it being front heavy. It does carry a weight and feels quite loud with some good refined effects presentation. However, I actually recommend the 2.0 track as its very full and feels natural and is likely more true to the actual experience of the film.
Low Frequency Extension: Doors slamming, jump scares, fire roaring, a car crash and a house tumbling down all pump your sub for vibration.
Surround Sound Presentation: As mentioned earlier, this is a very front heavy track. During the famous prom scene, there is some activity in the rear, but of all places that's where you'd want it to be a bit more fun. Not bad, but you're going to get a better experience with the 2.0 in my opinion.
Dialogue Reproduction: Dialogue is all clear, crisp and loud. Nobody is going to laugh at you.
Carrie – Collector's Edition is a 3-Disc set with 1 4K disc and 2 standard Blu-rays. Aside from new the commentary track, all bonus material is found on the 2 standard Blu-ray discs.
Blu-ray Disc 1
with Joe Aisenberg, author of Studies in the Horror Film: CARRIE
Newspaper Ad Gallery (HD, 4:29)
Theatrical Trailer (HD, 2:06)
The "CARRIE" Trailer Gallery (HD, 6:09)
Writing Carrie (HD, 29:07) – An interview with screenwriter Lawrence Cohen. He discusses his fascination with the book and King's raw and real reflection of high school bullying. Other topics, Lawrence mentions are the pushback challenges from the studio on stuff they didn't want to use, to adapting and how the different mediums don't lend things to one another and changes need to happen. He also touches upon the stage versions of it.
Shooting Carrie (HD, 15:22) – An interview with the director of photography Mario Tosi. The cinematographer talks about his lighting practices and inspirations. He goes over how he found Brian De Palma (whom he'd never heard of) brilliant to work with and how he really challenged him and had a complete grasp of the set and material. He compares how different De Palma was than working with Joseph Sargent, that De Palma really gave him the freedom to take his instruction and stage it himself and allowed him to open some of his creative juices.
Cutting Carrie (HD, 25:09) – An interview with editor Paul Hirsch. Paul talks about his history with De Palma and cutting his films. He mentions that on the lot De Palma and George Lucas were friends because they had beards. Hirsch infers that he was offered Star Wars but felt he had to do Carrie instead. He also mentions that the Star Wars and Carrie casting sessions were going on at the same time. Then he talks how some of the film is hard for him to watch because of stuff he felt was so well done. And yes, he goes over the end jump scare.
Casting Carrie (HD, 16:03) – An interview with casting director Hariet B. Helberg. Some interesting trivia from this; Sondra Locke was considered Carrie. Nancy Allen the most difficult to get through as she did not get through the first wave of studio approvals, but proved everyone wrong once shooting began. Amy Irving was not cast as Carrie originally, and was a leftover from Star Wars casting sessions. Louise Fletcher was a backup plan to Piper Laurie had they not got her. She's a fan of the remakes as they make fresh a story that will always remain classic.
Acting Carrie (SD, 42:42) – This is a carry over from a previous DVD edition that wasn't on the original Blu-ray release. Its a retrospective documentary featuring key cast and Brian De Palma reflecting on the film. Its a bit older and more studio-made safer.
More Acting Carrie (HD, 20:19) – Featuring interviews with Nancy Allen, Betty Buckley, William Katt, Piper Laurie, Edie McClurg and PJ Soles. Those that were involved with the original "Acting" featurette do repeat some things, but they are quite a bit more candid, loose, fun and in depth with their stories of their casting, working with De Palma and their thankfulness for the legacy of the film.
Visualizing Carrie (SD, 41:33) – Another carry over that is Brian De Palma going in depth on his take on King's seminal novel.
Bucket of Blood (HD, 23:53) – An interview with composer Pino Donaggio. Pino speaks Italian and its hard subtitled in English. He talks Paul Hirsch hooking him up with De Palma and that the two always need a translator still to this day. He talks how he wanted to put homages to Bernard Hermann in the Carrie score as he was the original intended composer for the film before his death. He goes through the movie talking his different pieces, and talks about the cast, waiting for reviews and how the film sits over time. He never met Stephen King, he says, but would like to know what he thought of the film.
Horror's Hallowed Grounds (HD, 11:25) – Sean Clark visits the shooting locations in present day from the film.
Carrie, The Musical (SD, 6:23) – Interviews with the people who produced the stage adaptation of Carrie.
TV Spots (SD, 3:11)
Radio Spots (HD, 1:29)
Still Gallery: Rare Behind-The-Scenes (HD, 4:54)
Still Gallery: Posters and Lobby Cards (HD, 3:56)
Stephen King and the Evolution of Carrie Text Gallery – A piece by Laurent Bouzereau documenting the history of the novel, adaptation process and comparing the book and film of Stephen King's Carrie.
Carrie remains one of the seminal horror films of the 1970s and one of the best film adaptations of Stephen King's work. Scream Factory has updated their immaculate previous release with a beautiful new transfer with good breathing room that improves upon its look. They've added a couple little new extras here and retained the vault of wealth they had before. A definite pickup to upgrade for horror fans, Carrie fans, De Palma fans or people who like good movies.
Tags: Amy Irving, Brian De Palma, John Travolta, Nancy Allen, Piper Laurie, PJ Soles, Sissy Spacek, Stephen King, William Katt.
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Outdoor learning is very important; it supports all aspects of pupils well being and has huge life long health benefits.
We are always looking for ways to improve our school. Listening to parents/carers and our pupils is important to us.
We wanted to tell you about some of our outdoor learning priorities. We are busy saving for outdoor and all weather play park equipment along with outdoor gym activities; all very expensive!
If you have any ideas to help us on our way, please contact the school office, we would love to hear from you.


The third DIY scarf I want to share with you is this cool and totally chic fringed infinity scarf. I've been really into fringes these days (see my Anthropologie inspired fringed Christmas stockings), and I really wanted to try creating a fringe-y scarf. I love how this one turned out! It's so easy, too. There's a lot of cutting involved, but then you just sew one seam and you're done.
Cut your knit jersey fabric in half lengthwise (just like you would do if you were making a regular infinity scarf). I found this fun striped fabric in the clearance bin at my local fabric store. I have no idea what's in it, but when I washed it, it didn't fray so I knew it would work!
Using your mat, ruler and rotary cutter, start cutting the fringe along the length of the scarf. Make the ends of the fringe the cut side, and the opposite selvage will be left alone. I made my fringes 1/2″ wide and about 9″ long.
Continue until you're alllll done cutting the fringe along the length of the scarf. It takes a little while, but it's SO worth it!
Fold your scarf over right sides together so that the short, cut ends meet and sew them together. I used a serger, but a regular machine stitch and a zigzag to finish the end would work just as well.
Done like dinner! Wrap the scarf around your neck a couple of times for a chic statement scarf.


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THE FIRST EASTER EGG IN VIDEOGAMES
"ATARI VCS AND WARREN ROBINETT'S ADVENTURE"
The Future of Gaming
Why did Nintendo laugh at Microsoft's face for an hour?
Why Prince of Persia: The Sands of Time Remake Looks Like this?
Cyberpunk 2077 is Just Around the Corner
Cutting to the chase, we will attempt to paint the whole picture about how the first easter egg in video games came to be, the one in Atari's Adventure of 1979. Was it just an artistic expression or a message in a bottle from its developer, Warren Robinett? So, let's commence;
An original Pong arcade machine
VIDEO GAMES!!!
The alpha of commercial coin-up video games was the black-and-white table tennis game called Pong. It was released in 1972 by Atari and it played an essential role in the genesis of a new industry; the video game industry!!! At the same time, at Rice University of Houston, a young man named Warren Robinett was studying Computer Applications in Language and Art. He would graduate in 1974, the same year that Atari's financial problems would lead to a merging with Kee Games.
A year later, Warren was working as a Fortran programmer for the oil exploration company Western Geophysical. Meanwhile Atari, on Christmas of that year, would release a multi-colored home version of Pong for $98,95 as a Sears department store exclusive. Even though it was a single game machine, it was a colossal success, and here's why: In 1975, 68 million households in North America had a television set -or the now commonly called TV, and 30% of those were black-and-white monochrome displays.
Black-and-white or colored, it was the one and only "multimedia entertainment device" for the home. At that time TV prices were roughly starting from $300 (equivalent to around $1,250 in 2020), while most of the video games were color monochromatic or black-and-white monochromatic. Meanwhile, Warren would continue his studies at the University of California, in order to take his Master Associate Degree in Computer Science in 1976.
But what all these have to do with the first easter egg? Well, keep reading!
Home Pong advertisement from Sears Store
THE ADVENT OF WARNER COMMUNICATIONS
1976 was the same year that Atari was completing the development of its next innovation in the video game industry, the Atari VCS. At the time, the company found itself in a deep need for investors. In order to cover its high production and marketing costs, Warner Communications, the American media, and entertainment company -which at that time was the parent company of DC Comics, Warner Bros., Warner Music Group, Warner Cable, and Dimension Pictures, was extremely interested in the home video game consoles and video game selling business. Atari was finally bought the same year for around $30 million by Warner Communications.
But a year later, on September 11, something happened that would change the home entertainment game.
THE VIDEO COMPUTER SYSTEM
On September 11 of 1977, Atari released one of the first cartridge-based home video game consoles. In contrast to the first home video game console, 1972's Magnavox Odyssey, which was a seminal invention, but soundless with black-n-white monochromatic display capabilities nonetheless, Atari's one could reproduce sound and multicolored graphics, up to 128 on-screen colors.
It was named Atari Video Computer System or Atari VCS in short (which later got rebranded to the Atari 2600) and launched bundled with the game Combat, two joysticks, and a set of paddle controllers at $199 (equivalent to less than $850 in 2020's money). Plus, it's worth mentioning that there were eight more games and many peripherals available for purchase. Much like the game consoles of today, in order to establish a huge customer base, it was sold at cost and all the profit was expected to be gained through games and peripherals' sales.
The Atari VCS
ATARI: MAKE GAMES, NOT WAR-NER :D
Robinett started working for Atari in 1977. He was Atari's first employee with a Computer Science degree. Every other programmer in Atari had an electrical engineering background. From its founding, Atari's programmers were left to their own devices and there was no dress code nor working hours for them. The company was based in California, the Arcadia of hippie culture, even for corporate environments. That laissez-faire stress-free working regime was beneficial for the creativity needed for the programmer staff, which was usually free to choose over what game would work on. And that regime was uncontrollable by the thin corporate infrastructure of Atari. Before it became Warner's daughter company, it had no Human Resources Department and there was no chief financial or manufacturing officer whatsoever. Afterward, Warner brought new hires to fill those positions -and even more ones.
But from marketing to managerial all the new staff, none of them had any background in computer engineering or video games. In contrast to the two electrical engineers that were the original founders of Atari, Nolan Bushnell and Ted Dabney, the new CEO, Ray Cassar was a strict businessman with an MBA degree from Harvard with zero relation to computer technology or video games at all. He was previously working in the textile industry and he brought among business staff in Atari, in order to control and discipline the rebellious part of the creative chaos that existed -especially in the programming department.
ATARI VCS: THE TECH
Atari started with a 4-people programming team and by the time that Warren was hired, that team was double in size. Games at Atari were made solely by one person who would design, program, create the sounds/graphics, and would be in charge of game testing and debugging. The first batch of Atari VCS's games run from a ROM cartridge of 2 KB (kilobytes) of memory and later games would run from a 4 KB one. That tiny amount of memory, plus 128 bytes of RAM, was available to the programmers for the game's code and graphics.
Those tech specs were low, even for that era, but it was the only way for the Atari to keep the manufacturing cost as low as possible. Additionally, all the sounds needed to be programmed through the game's code. Specific commands would trigger audio frequencies of the console's sound generator producing white noise, sine wave, and triangle wave sounds of chiptune texture.
The debugger/logic state analyzer, HP 1611A
ATARI VCS: THE DEV TOOLS
At that time there was no graphic editor for the Atari VCS. Every programmer would use pencil and graph paper to design the graphics and then convert them to graphics by typing code into his development kit. Fortunately for optimal performance, any code was written directly in assembly language for the MOS 6507 CPU of the Atari VCS. The development kit was actually cutting-edge tech and was consisted of a special fridge-sized terminal/microcomputer equipped with an 8" floppy drive, a printer that gave the ability to print out the code and check it more easily and thoroughly, and a Hewlett-Packard 1611A (a logic state analyzer) for debugging.
Each programmer had the ability to run and test his code directly from the terminal on the Atari VCS, via a cable that was connected to a special 8 KB cartridge with rewritable memory (RAM), that would plug in the Atari VCS's cartridge port. That technology allowed any code changes to be tested almost instantly.
SLOT RACERS AND BEYOND
Warren's first game was Slot Racers, a 2 KB game for the Atari VCS that got released in 1978. Amidst the development of Slot Racers, he had already started to explore ideas for his next game. At some point, Warren was invited to play a computer game at Stanford Artificial Intelligence Laboratory by a friend who was working there. He then experienced one of the most fantastic games; Crowther and Woods' Colossal Cave Adventure, aka Colossal Cave aka ADVENT. It was a game that needed at least 100 KB of memory to run.
It was originally developed and run on M.I.T.'s PDP-10, a computer mainframe, a series of fridge-sized computer machines with equally-sized peripherals and modules, that were connected together and had hundreds KB of memory -at least a couple of dozen of times the memory of an Atari VCS 4 KB cartridge. Colossal Cave was the first one in the genre of text-adventure, which is now called 'interactive fiction'.
The PDP-10 KA10 mainframe computer with peripheralsDP-10-KA10-mainframe computer with peripherals
THAT ADVENTURE GAME
Text-adventure is a type of game where everything is expressed solely through text. Every player's action is entered by text and every game's response is text and Colossal Cave was about spelunking in a heavily inspired by the pen-and-paper RPG, Dungeon and Dragons. Bedazzled by that unexpected magical experience, Warren decided that his next game would be a graphic adaptation of that game.
So, he informed his immediate boss George Simcock about his next creation. But Warren's immediate boss, Simcock, knew all about the memory requirements of 100 KB that Colossal Cave had in order to run, as well as the memory restrictions of the Atari VCS's 4 KB cartridges, and deemed to be "impossible for anyone" to create a graphical version of it and suggested not do it. Warren, who by his own words "did not like to be told what to do'' -even by his immediate boss, in order to prove to him that it was feasible to do, secretly created a prototype in just a month.
Colossal Cave Adventure aka ADVENT running on a PDP-11 mainframe and displayed on a VT100 video terminal
THAT IMPOSSIBLE GAME
Any video games at that time, such as Pong or Asteroids, were taking place in a single screen. Warren's prototype game presented a world that was extending beyond one screen. More detailed, it had six different ones. The avatar of the player was represented by a square, which was able to travel in any direction from one screen to another, just by moving the joystick's lever. The player could also pick up objects by placing the avatar over them and drop them by pressing the joystick's button. The prototype had two objects and a single enemy, a dragon. That prototype was analogous to a playable demo or a vertical slice of today.
After completing it, Warren took a month of vacation. During that period, his co-workers were starting to play his prototype game and, after a while, it became quite a hit around the office. Surprisingly, it was not approved by his boss, but from the Marketing division, which took notice of the excitement from the programming staff.
Atari VCS Superman Cover
ROBINETT VS SUPERMAN
When he returned from his vacation, he continued the secret development of his game. The following months, and during many meetings with the Marketing division, Warren would be told to convert his game to a superman one, in order to accompany the first Superman movie that would be theatrically released the same year by Warner Bros. Warren of course did not want to do anything with that and, in one of those meetings, John Donne, a fellow programmer of his, volunteered to take what code existed so far of his game, and create the superman one, allowing Warren to secretly continue with the development of his graphical adventure game.
In 1978, and while he had already devoted a year creating his game, he was officially working on a non-game release, an educational cartridge named "BASIC Programming", that taught the very fundamentals of the programming language BASIC that would get released in 1979.
That same year, the superman game that had his code in it was released. At that time, he finally completed his game and handed the game's code to his boss, Simcock, in order to get the game into production. But instead of kudos, Warren was treated like a bad employee. So soon after that, he quit.
WARREN WAS HERE
It was the same year that a brand new game called "Adventure" would sell 1 million copies. And yes, you've guessed right: it was Warren's game. It took three years from inception to release. Warren had created a new game genre, the graphical action-adventure. It had a huge 30-rooms-Gameworld that the player could explore, where he could also find and use magic items and weapons, in order to get the magical chalice and return it to the golden castle. Atari's programmers, much like Warren when he was hired, had been promised royalties of 10 cents of every cartridge sold, but unfortunately, no one got anything ever.
Atari was keeping its game creators anonymous, so they couldn't claim royalties or find better job opportunities. The original four-people programming team of Atari knew that and, after an intense meeting with the company's CEO, Ray Kassar, about royalties, they left Atari and created Activision in 1979. Activision is the first independent, third-party developer in console video game history.
So, how did Atari's policy affect the creation of the first easter egg in video games?
THE FIRST EASTER EGG
Warren, being aware of Ray Cassar's power plays, decided to "sign" or tag -like a graffiti artist- his name in a hidden room inside Adventure. He wrote a message that was the most colorful thing in it, with flashy polychromatic letters that would read "Created by Warren Robinett''. It was the first easter-egg in video games! It was discovered a year after its release by a player and became quite a trend among programmers to hide their names or initials ever since.
By that time, he had already found along with three educators, Ann McCormick Piestrup, Leslie Grimm, and Teri Perl, the first and very successful educational software company, The Learning Company.
More information is available at this GDC talk from Warren Robinett himself here.
And if you're still left wanting more, you can visit Warren Robinett's official page.
Atari 2600 by Atari


One may say that loyalty has become a rare virtue in today's modern times. With too many options to choose from, it is easier than ever to get confused and keep hopping from one to the other. But deep down inside, everybody prefers to settle and be stable. Loyalty is actually comfortable because it saves us from dilemmas of decision making each time. We are all looking for somebody dependable and trustworthy, not just in relationships but also in business!
We all want to find reliable products, which we can buy without a second thought. Products that promise us quality!


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We appreciate nothing more in life than when someone helps us out of a pinch. Pinches come in all shapes and sizes. Maybe your customers are lost in the woods. Maybe they're one carabineer short half way up the moment. Or maybe they just can't quite read they're magazine. Maybe they're not the Boy Scouts they imagined they were, and the fire won't start. Or maybe a bear is roaming towards them!
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Charakterystyka Bodego, charakterystyka częstotliwościowa logarytmiczna – w teorii sterowania jedna z najważniejszych charakterystyk częstotliwościowych układu regulacji (lub jego członu, elementu). Wyznacza się ją dla układu opisanego transmitancją widmową.

Charakterystyka ta obrazuje logarytmiczną zależność amplitudy i fazy od częstotliwości. Składa się z dwóch wykresów:
 charakterystyki amplitudowej,
 charakterystyki fazowej.
Osie  i  skaluje się logarytmicznie, wprowadzając tzw. moduł logarytmiczny  którego jednostką jest decybel (dB), wzmocnieniu 10-krotnemu odpowiada 20 dB, wzmocnieniu jednostkowemu 0 dB. Dla charakterystyki fazowej oś  skaluje się logarytmicznie, oś  pozostaje liniowa. Sposób przedstawienia w postaci częstotliwościowych charakterystyk logarytmicznych, czyli w postaci wykresów Bodego, stosuje się bardzo często – charakterystyki  i  w skali liniowej są stosowane raczej rzadko.

Nazwa charakterystyka Bodego pochodzi od nazwiska amerykańskiego naukowca holenderskiego pochodzenia – Henrika Wade'a Bodego.

Charakterystyki Bodego podstawowych elementów
W poniższej tabeli górny wykres przedstawia logarytmiczną charakterystykę amplitudową, a dolny logarytmiczną charakterystykę fazową. Amplitudę wyrażono w decybelach, fazę w stopniach, a częstość  w radianach na sekundę. Częstość jest liniowo zależna od częstotliwości:

Zobacz też
 całka Bode'go
 minimalnofazowość
 pasmo przenoszenia
 zapas amplitudy, zapas fazy

Teoria sterowania
Przetwarzanie sygnałów

redpajama_set_name: RedPajamaWikipedia


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Patricia and Moses Mawa
blackottawa June 1, 2019	No comments	Interview
Black Canadian Couples In Business: Moses and Patricia Mawa Are Changing Lives Through Media
Source: ByBlacks Canada
Moses and Partricia Mawa Source: Facebook
Given "power couple" status by CNN in 2013, Patricia and Moses Mawa know that two is better than one. With 4 regularly scheduled magazines, a 24-hour TV channel, and multiple television programs on 3 other major networks in Canada, with globally syndicated content, the Mawas are the founders and principals of Canada's largest black-owned media organization.
Patricia is the Executive Vice President of Silvertrust Media and Afroglobal Television, as well as the host of the Planet Africa show on OMNI TV. She is also the Associate Publisher of Excellence, Envision, and Destiny Magazines. In 2008, Silvertrust Media introduced the Discover magazine series, which has since been published with over 20 titles and editions for different nations of the world.
Moses is the Founder, President and CEO of Silvertrust Communications Inc. (also known as Silvertrust Media); the Transformation Institute For Leadership and Innovation, which undertakes the Transformation Awards, the Crossover Mentorship Program for youth to achieve their full potential, and other initiatives. He is also the President and CEO of the 24-hour Afroglobal Television channel.
The Mawas have a heart for unity, community and positive representation.
How did you meet? Was it love at first sight?
Patricia: We met in Ottawa in 2000. I had just come to Canada and heard about Moses from three different people! Someone I met at a conference organized by the Canadian Broadcasting Corporation (CBC) in Halifax gave me Moses' business card as he was also in the media. One day, I visited his studio, which was in Ottawa at the time, to discuss possible opportunities as I was new in Canada. Moses was too busy to pay much attention. So no, it was not love at first sight (lol).
Moses: Our friendship grew over time and blossomed into the petals of love that is seen today. But truth is that I liked Patricia from the onset and I wished we could grow old together. First of all, I was amazed by her work as a TV host and producer in Nigeria. While I was very busy the first day she came to my office, we quickly became good friends and love developed naturally.
Tell me about Silvertrust Media, how did it begin?
Patricia: Silvertrust Media is a publishing, broadcasting, web design, multimedia, photography, events and special projects company based in Toronto, Canada. My husband Moses founded it in 1996 while he was a student of the Film Studies program at Carleton University in Ottawa. The company used to do video production, photography, graphic design and related services. We also had a lot of Canadian government and foreign diplomatic clients.
In 2004, we moved to Toronto, streamlined our operations and shifted our focus to broadcasting, publishing and online media. Silvertrust became the parent company of Planet Africa, which has included a television show on OMNI, a full-colour glossy magazine, and an international awards program. The company has published 4 regularly scheduled magazines, secured distribution across Canada through Chapters, Indigo, and international newsstands.
Today, Excellence Magazine is a lifestyle publication focused on the Black community; Envision is mainstream, formally called Diversity Magazine and it features success stories from diverse Canadian communities; Destiny Magazine is a Christian lifestyle publication that is a part of our Destiny Harvest ministry brand, and Legacy is an international initiative. Since 2002, we have had the Planet Africa program on OMNI TV. We have also produced Arise, which airs on Vision TV and Destiny, Perspective and Let's Talk, produced with various partners and aired on YesTV and other stations.
Moses: In 2008, Silvertrust Media introduced the Discover magazine series, which has since released over 20 titles and editions for various nations, including Discover Zambia, Discover Kenya, Discover Zimbabwe, and Discover Nigeria. In 2016, Afroglobal Television or AFRO TV, the 24-hour global super channel was launched by Silvertrust Media. The channel is now available on Channel 708 on Rogers Cable; 2472 on Bell Fibe; 2701 on Eastlink; and Channel 886 on Telus.
AFRO TV serves all people of African descent and our goal is to make it the premier network that advances the aspirations of people of African descent worldwide. If you are Afro-Canadian, Afro-American, Afro-Caribbean or based anywhere including Africa of course, you are a part of the Afroglobal family. However, people of Indian and other racial backgrounds, who have lived in Africa for generations and call Africa home, as well as people interlinked with the Diaspora, are embraced by the Afroglobal project in the spirit of harmony.
Afroglobal is synonymous with our Excellence brand. That is why we have Excellence Magazine and the Afroglobal Excellence Awards. Recipients have included Dr. Bernice King, CEO of the King Centre and daughter of Civil Rights leader, Dr. Martin Luther King Junior; legendary South African singer, Yvonne Chaka Chaka; Dr. Julius Garvey, son of Marcus Garvey; Kevin Williams, President of General Motors Canada; Professor Wole Soyinka, Nobel Laureate; and Hon. Jean Augustine, former Minister and Fairness Commissioner.
How have your backgrounds prepared you for where you are now?
Patricia: I was raised by hardworking parents. I credit them for my work ethic. I also worked with three television stations in Nigeria as host and producer prior to coming to Canada. All these prepared me for this moment in my destiny. In terms of business, when I was a teenager things were tough for my family, I made and sold confectionaries to help support them.
Moses: As a teenager, I was involved with running a company in Uganda that distributed household items like sugar, salt and soap; produce from farmers to exporters, including corn, sesame seeds and beans; as well as construction materials such as iron sheets for roofing, cement and others. My mother, who hailed from South Sudan, did farming, but also made and sold things. My father, who was Ugandan and a police officer, was known for integrity. They were great role models for me.
You have been featured on CNN as well as other news channels. Did you ever believe that you would be where you are today?
Patricia: I am grateful to God for where we are today, but I believe that the best is yet to come. I see big things on the horizon. The half-hour worldwide broadcast that CNN did on us was something that I never expected. I had never seen a CNN crew come from their headquarters in Atlanta USA to interview anyone in Canada. The other day, Moses and I were on an international flight and one of the air hostesses recognized us from the CNN telecast. We got a lot of feedback from around the world, including business opportunities. When we travel out of Canada, sometimes people recognize us in part because of it.
What have been some of the challenges and rewards you have had on the road to success?
Moses: It has not been an easy road. As immigrants, we have to be twice as good to be recognized within certain quarters. People have often told us that anything to do with people of African descent is a hard sell. We have even been told to change the names of our businesses that are connected to Africa. Advertisers, sponsors and investors also hesitate to support initiatives in the community. However, we have found creative ways to engage with them. Our commitment to excellence and resilience has made a big difference. It is the bedrock of our success. For us, giving up is not an option. We stop when the job is done, not when we feel weary.
What do you wish people knew about the road to your success?
Patricia: We hear young people say that they want to run their own businesses so they can be their own bosses and go to work when they want. One thing that is missed is that as an entrepreneur, you also have to work when you do not feel like it. People see the glamour but they do not see the sleepless nights, the times you had to re-mortgage your home to pay for initiatives, the missed vacation opportunities, and the challenges.
Moses: We have people working with us who depend on our mission for their livelihood. They have families and bills to pay. This is a huge responsibility. There is no room for excuses. We have been involved with the business on a full-time basis for a couple of decades now. It takes a lot of guts, faith, hard work, perseverance, and a commitment to excellence in order to soar.
Did you ever experience discrimination on your road to success? If so, how did you overcome?
Patricia: We have experienced discrimination on many levels. Sometimes we email organizations and companies for initiatives related to the Black community and we never get the courtesy of a response. When we send the same email having to do with other initiatives not connected to the community as we have many brands, we get instant responses. There were times when we thought that the folks were not getting the emails, but they were. Once, an event venue told us that their facility was too expensive and high end; yet we stage some of the best events in this nation. That really hurt! We often call the folks out and threaten to use the power of the media. But we also do not want to be blacklisted.
Moses: Sometimes people do not believe that we are the owners of Silvertrust Media or are principals of the Transformation Institute For Leadership & Innovation. Many can't wrap their minds around the fact that we own a 24-hour television channel until the reality hits them. We are often asked questions that suggest that we are not capable of running such organizations. There is also systemic racism that people of African descent have to deal with. We have heard advertisers say that there is no data or statistics to support the strength of our community. Again, persistence and excellence have enabled us to keep climbing the ladder and making a difference.
What do you hope to see in 5 years time?
Patricia: There is disruption in broadcasting, publishing and many other areas. For this reason, we are working on digital publications and broadcast initiatives. We have created an online streaming and video-on-demand platform for our faith-based initiatives called DestinyStream.com. We are also working on Afroscreen.com, which is going to be an online entertainment and information portal for people of African descent worldwide. We are also developing amazing new apps.
Moses: We are working on getting the AFRO TV channel to the United States of America, Africa, and the Caribbean. We are in the process of establishing a major scholarship fund via the Transformation Institute because we believe in giving back and there are people of goodwill, who want to support that effort. Apart from running a mentorship program, we have sponsored many young people to attend programs to expose them to role models. We want to do more. We co-authored the 150 Extraordinary Canadians legacy book, which is on Amazon. We are soon launching an online portal with videos on these amazing leaders and innovators. We intend to write more and to pursue things of generational impact.
Lucy Oneka is a playwright and journalist. She has covered many stories for Toronto-based newspapers such as the East York Observer, the Scarborough Observer, and the Toronto Observer. Lucy's other passion is music. She is a two-time semi-finalist of the prestigious UK Song Writing Contest and recently released her own debut gospel album, "You Are Faithful".
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The STOCHASTIC RSI is developed by Tushar Chande and Stanley Kroll, that measures the level of RSI relative to its high-low range over a set time period. StochRSI applies the Stochastic formula to RSI values, instead of price values. This makes it an indicator of an indicator. The result is an oscillator that fluctuates between 0 and 1.
The technical indicators already there to show over bought and oversold levels, the two developed StochRSI to improve sensitivity and generate a greater number of signals than traditional indicators.
The indicator measures where the RSI's current value is relative to its high/low range for the specified period.
A trader might consider buying when the Stochastic RSI crosses above the Oversold Line (20).
A trader might consider selling when the Stochastic RSI crosses below the Overbought Line (80).
If prices make a new high or low that isn't confirmed by the StochRSI, this divergence can signal a price reversal.
StochRSI is an indicator of an indicator, which makes it the second derivative of price. This means it is two steps removed from the price of the underlying security. Price has undergone two changes to become StochRSI. Changing prices to RSI is one change. Converting RSI to the Stochastic Oscillator is the second change. The end product of StochRSI looks much different than the original.
In short-term trend as a bound oscillator, the centerline is at .50. StochRSI reflects an uptrend when consistently above .50 and a downtrend when consistently below .50. Because this indicator is quite volatile, some smoothing with a moving average can help for short-term trend identification.
StochRSI is like RSI on steroids. RSI produces relatively fewer signals and StochRSI dramatically increases the signal count. There will be more overbought/oversold readings, more centerline crosses, more good signals and more bad signals.
The StochRSI should also be used in conjunction with other indicators or chart patterns to maximize effectiveness, especially given the high number of signals that it generates. Non-momentum oscillators, such as the AD Line, may be particularly helps because they don't overlap in terms of performance and provide additional insights.
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No comprise with people's rights: Shiv Sena
Samba, Nov 29: The Shiv Sena Bala Saheb Thackeray Jammu and Kashmir unit, today, opened Grievances & Support center in Samba. Party State President Manish Sahni while inaugurating this center said that due to lack of restoration of democracy government in Jammu and Kashmir, issues of common masses are being ignored. The bureaucracy is dominated in Jammu and Kashmir and the public is not being heard.
Sahni said that despite everything being unlawful, the bureaucracy is still in a state of lockdown. Top officials of government departments are not even giving time to listen to public problems and meet them. Sahni said that the public will have to become aware and now the Shiv Sena will get every legitimate right of the people made. Sahni appealed to the public to register their grievances and give Shiv Sainiks an opportunity to serve them.


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HomeTech NewsApple Rolls Out New Updated Coding Programs for Educators and Students
Apple Rolls Out New Updated Coding Programs for Educators and Students
Niharika Jul 10, 2020 0429
Apple introduces significant improvements in its programs so that everyone can code swiftly.
Apple is no longer just a computer and smartphone manufacturing company. It has now become a coding university for both educators and students. After all, there is no better way to learn to code other than from the tech giant itself. In an attempt to make the learning experience even better for teachers and pupils, Apple has made significant improvements in its Develop in Swift and Everyone Can Code programs. Moreover, it has also announced a new professional program for developers under its Develop in Swift campaign. This course will be available to tutors free of cost.
Apple's newly introduced coding course for educators aims at helping the teachers build a robust coding foundation for app development. And, as the circumstances have made it inevitable for various institutions to operate remotely, Apple has also added a few helpful resources to its coding programs so that the students have access to all the needed tools for learning and growing from wherever they are.
In the words of Susan Prescott, vice president of Markets, Apps, and Services at Apple, "Apple has worked alongside educators for 40 years, and we're especially proud to see how Develop in Swift and Everyone Can Code have been instrumental in helping teachers and students make an impact in their communities. We've seen community college students build food security apps for their campus and watched middle school educators host virtual coding clubs over summer break. As part of our commitment to help expand access to computer science education, we are thrilled to be adding a new professional learning course to help more educators, regardless of their experience, have the opportunity to learn coding and teach the next generation of developers and designers."
Talking about the improvements introduced in Everyone Can Code and Develop in Swift programs, below is what you will find new in them.
With the new set of Books and Guides, Everyone can Now effortlessly code
Everyone Can Code Adventures
A Quick Start to Code
Apple introduces four new books under Develop in Swift curriculum
Everyone Can Code, a coding course introduced by Apple in 2016, to help students become top-notch coding professionals right from the very beginning of their education. To even brighten the students' future and enhance their employment prospects, Apple has announced the following additions and developments.
This book is designed especially for the students who have already solved the Everyone Can Code Puzzles. Thus, if you are also one of them, then you can also use it to take your coding game a level up. You can get it for free from Apple Books.
Are you a coding newbie or someone who wants to learn how to code from the comfort of home? If yes, then this newly released Apple guide is what you need. It hosts ten exciting coding challenges for people aged above 10. Moreover, through Apple Education Learning Series's Learning from Home Website, you get access to a plethora of videos, conferences, and coaching sessions to make learning easier in these tough times.
Another great move from Apple to help students learn to code swiftly is the introduction of four new books, namely, Develop in Swift Explorations, Develop in Swift AP CS Principles, and Develop in Swift Fundamentals. These books are based on the educator inputs received by Apple and are available free of cost in Apple Books. Moreover, another coding manual titled Develop in Swift Data Collections is also around the corner.
Apart from this, Apple is also rolling out an online learning course for educators. The course intends to develop the necessary skills in the teachers to make them competent enough to teach the Develop in Swift curriculum. If interested, you can enroll through the Canvas Learning Management System.
Hence, Apple is all set to help you learn to code in Apple's powerful, open-source programming language Swift and Xcode on Mac. Excited to code and become skilled to join the Apple workforce? If yes, then stay tuned to know more about these initiatives from Apple and other useful tech resources.
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Niharika is a writer with a keen interest in the tech field. She is a passionate writer with a desire to gain more knowledge about science & technology, and this made her a technical content writer. When not writing, she spends her time reading and exploring new places.
Niharika July 10, 2020