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MGF Presents My Top 21 of the 21st (So Far…)
J. R. Fernandez | January 1, 2010 | Features, Top Story | No Comments
[Editor's Note: My Top 21 of the 21st (So Far…) is a retrospective feature where our writers were invited to write a list of top 21 favorite songs, albums or anything else music-related, of the new millennium, explaining why it was picked, or what particular significance it has had over the past ten years. (There is an ongoing debate on whether or not 2000 A.D. counts as part this millennium. For sake of argument, we're going to go ahead and count it. Hey, a lot of good music came out that year, anyway, so suck it up, and enjoy the feature.)]
While my comrades have given their accounts of favorite songs and albums, I decided to put a spin on my entry for this feature and look at my top 21 favorite dance tracks of the past ten years. You'll probably notice that it's heavily weighed towards certain genres, as this pretty much reflects the types of clubs I've frequented over the years or the type of music that I've enjoyed most. So, in no particular order, here they are…
Bob Sinclar – "World, Hold On (Children of the Sky)" [f/Steve Edwards] (Western Dream, 2006)
I don't usually frequent clubs where current house music is played, so my first exposure to this track was while on vacation in Mérida, in 2006. In Mexico they have this awesome thing called Telehit, which is sort of like MTV used to be before it stopped showing music. And it plays a mix of English and Spanish music. While this is a fantastic track that brings back memories of early-'90s euro-house, it also brings back wonderful memories of one of my favorite trips.
Wolfsheim – "Once in a Lifetime" (Spectators, 2001)
The type of club that I patronize most often plays darkwave, EBM, industrial, etc., and is what we refer to as a "Neo Standard". There are a few Neo standards that suck (anything by Electric Hellfire Club falls into this category), but many more that are awesome. And while it's not quite the anthem that "The Sparrows and the Nightingales" is, it is one of the best songs by the band to come out since. Leave it to Peter Heppner and Co. to craft a track that is as much a floor-filler as it is a gorgeous paean to one's family tragedy and subsequent loss of faith.
VNV Nation – "Chrome" (Matter + Form, 2005)
Neo standard. And as one of my friends pointed out, it flows almost like two separate songs, which is one of the things that makes it so awesome. Besides having the ability to blow out your speakers and chase all of the cockroaches out of your house in the process, this track flies by much more quickly than its allotted 4:41 would have one think. The group took a different direction with this album, as well, allowing singer Ronan Harris to sing without the aid of any voice effects, and this is one of the tracks that benefitted greatly from that particular experiment.
Benny Benassi presents The Biz – "Satisfaction" (Hypnotica, 2003)
It unofficially features Stephen Hawking and his similarly afflicted sister at vocals; but seriously, folks, this is one of those tracks that will have people pounding their just-ordered martinis just to get out to the dance floor. And to make it even better, a chap by the name of DJ Unknow decided to take it upon himself to mash it up with Depeche Mode's "Master and Servant". The result is chock-full of WIN.
Pitbull – "I Know You Want Me (Calle Ocho)" (Rebelution, 2009)
This is the most recent item on this list. The first few times I heard it, I thought it sucked. It blatantly ripped off Nicola Faisano, who ripped off The Bucketheads, who ripped off Chicago; and it always seemed to get played back-to-back with this flaming pile of shit, so I naturally grew to hate it. But then something happened. I can't quite put it into logical words, but the song started to grow on me… like a fungus. It started with me bobbing my head, and slowly turned into me singing along with it at the bar. The culmination of this turn saw me dancing to it at my friend's wedding while sauced on J&B. Since it's still considered popular, I don't have to be the one to select it on the satellite jukebox at the local bar, but once it runs its course and is relegated to has-been status, I'll be there to keep it alive.
Felix Da Housecat – "Happy Hour" (Kittenz and Thee Glitz, 2001)
A second-wave Chicago house stalwart, Mr. Stallings is also one of the progenitors of the electroclash genre, with his 2001 album Kittenz and Thee Glitz, being a vanguard. While the lyrics might not be the best ever penned, the flawless production, with nods to electro-house, synthpop and euro, makes the brooding "Happy Hour" a quintessential electroclash track. Influencing many, including…
Fischerspooner – "Emerge" (#1, 2003)
Neo standard, and fucking brilliant to boot. It's got the nebulous intro, the Kraftwerk-influenced build-up, the electroclash-driven, club-friendly release, and the final resolution, which sees the track completely implode upon itself, like the result of a catastrophic computer glitch. Watch people try and dance to that part; it's fantastic. I will be one of those people.
Tiefschwarz – "Damage" [f/Tracey Thorn] (Eat Books, 2005; re-released as single in 2007)
Tracey Thorn could sing over any beat and it would instantly make the song easy on the ears. Even Cash Money beats. Yes, Mathan. Taking that fact, and adding the electro-house stylings of Stuttgart-based duo Tiefschwarz makes this one of my favorite house tracks of The Aughts, and it's really tragic that it's not as much of a club staple as it deserves to be.
EBTG vs. Soul Vision – "Tracey in My Room" (2001)
A Ben Watt-produced re-dub of Everything but the Girl's "Wrong", this heavily filtered anthem did receive the the play that it deserved, and also showed how far Watt progressed as a house producer over the course of five years (see also, Temperamental). The lush, funky beats suit the "Wrong" vocals just as well, if not better than the original.
Jon Cutler – "It's Yours" [f/E-Man] (2001)
While we're on the subject of Ben Watt, I first heard this track on one of his Lazy Dog house compilations (as with the above entry), and was instantly hooked. Who says New York can't kick it on the house music scene? I suppose we could call it garage, if it will placate you purists out there. The track combines two vocalists (one spoken-word, one diva-like singer) with a horn hook so infectious that it could put H1N1 to shame.
Icon of Coil – "Shelter" (Machines Are Us, 2004)
Neo standard, and a thick, murky piece of futurepop goodness, this is the track from the Norwegian group. This is not only a slamming club track, but it's wonderfully produced, with the perfect build-up, perfect amount of vocals, perfect breakdown and a near-perfect end. We used to have a game, where we would take a shot of Basil Hayden's every time this song came on. That lasted all of a summer, but if I happen to be at the bar on a weekend and it comes on, I'm usually down for a shot, although they did stop carrying Basil about two years ago.
Hercules and Love Affair – "Blind" (Hercules and Love Affair, 2008)
I missed this one until late last year, when it seemed to be on a lot of year-end lists. I was familiar with Antony and the Johnsons, and it wasn't really my thing (not a big fan of chamber pop), though I decided still to check this out since it had been described as a solid house record. And yes… yes, it is. It's definitely a house track, though it not only nods, but pretty much bows to vintage, underground disco/Italo music. Antony Hegarty's silky falsetto over the beats, telling an emotional story of maturation, is like a match made in circuit heaven. And while this one is a bona fide classic, I might like the Frankie Knuckles remix even more. I am from Chicago, after all.
Golden Boy & Miss Kittin – "Rippin Kittin" (Or, 2002)
It was a toss-up between this track and "Autopilot". But while "Autopilot" is a coquettish, playful and upbeat song drenched in electro-lounge, this one is just the opposite—a dark, brooding dancefloor anthem. Opening up with an attention-grabbing synth tintinnabulation, Miss Kittin sings of "taking a life," in a relatively casual (or innocent) tone, from the point of view of a young child. Yep, it's dark and brooding dance track that isn't flagrantly goth. And they said it couldn't be done!
September – "Cry for You" (In Orbit, 2005; re-released as single in 2007)
OK, ladies and germs… this right here is admittedly a guilty fucking pleasure, but I love this song. Yes, it has cookie-cutter female pop vocals and a pretty obvious aping of Bronski Beat, but I like it nonetheless. I'd always liked this track, as it was pretty huge in 2007, but I think it reached another level after my trip to Egypt earlier in 2009. Most nightclubs in Cairo are pretty dodgy establishments, but I found one that I liked, which played all local music—some of it traditional, some of it more techno-infused. I did not understand a word, but I was happy to have found a place that had a decent selection of beer. Sometime in the middle of the night, this song came on—the only English song of the night—and it was like a little slice of home (even though Spetember's from Sweden) in the middle of a strange and foreign land. Now every time I hear this track I think of Cairo, sort of like Primus' version of "The Devil Went Down to Georgia" with Amsterdam and "Candy Girl" with Prague.
Goldfrapp – "Ooh La La" (Supernature, 2006)
Much like the previously released "Strict Machine", this is a fantastic electro-pop track that shows, in comparison, how much of a fucking hack Lady GaGa really is. Alison Goldfrapp has a far superior voice, not to mention much better beats, but let's not forget that she was doing the outrageous costume thing while GaGs (that was a typo, but I'm leaving it) was still just another homely brunette. But I digress… Lady GaGa bashing aside, "Ooh La La" is not only one of my favorite dance tracks of The Aughts, but also of all time.
Combichrist – "This Shit Will Fuck You Up" (Everybody Hates You, 2005)
Ag-gro-tech! Ag-gro-tech! Oh yes, yes it will fuck you up. To everyone who knows this track, you know that this song can either get an entire place dancing or an entire place beating the shit out of each other. A side project of Icon of Coil (see above) singer Andy LaPlegua, this is a quintessential example of the sub-genre, a more angry and violent offspring of EBM and electro. While not particularly violent in its lyrics, it does still feature some pretty taboo subject matter, with a female version of Stephen Hawking who likes it pretty rough.
Ladytron – "Seventeen" (Light & Magic, 2002)
This is an electroclash classic and a Neo standard, and I've also learned that it's criminally omitted from all satellite jukeboxes. Like Whitesnake, KISS and Benny Mardones, it features the subject of a young (presumably though not definitely) woman being chased by someone older, though instead of being sung from the point of view of the older person, it's sung as a warning from the point of view of a third party, perhaps speaking from experience. Singers Helen Marnie and Mira Aroyo whisper and coo over a dreamy new-wave-inspired soundscape that makes this a solid dance track.
Ferry Corsten – "Rock Your Body, Rock" (Right of Way, 2003)
What happens when trance meets hard-driving techno and then they have kid and it's all kind of happy and stuff? This track is what happens, but it's nowhere near as cheesy as it may sound. While a lot of trance tracks have that eight-minute buildup that has you standing there with your hands up in the air for much longer than is necessary or socially acceptable, this one never lingers too long in any one spot and has a nice balance of electro-vocals and buildups (with a funky double-drum to close out each said build-up and get the party started).
Kylie Minogue – "Can't Get You Out of My Head" (Fever, 2001)
Yes, this is a guilty fucking pleasure too and I am not afraid to admit that. Produced by Cathy Dennis, who herself was considered an important part of late-'80s/early-'90s dance music, Minogue was finally able to top the North American success of her cover of "The Loco-Motion" with this, a pounding Euro-dance hit that was impossible to elude after it came out. It was featured on both mainstream radio stations and MTV as well as dance-clubs everywhere. The whole world seemed to agree, it was an absolute blockbuster. And it only helped that she got a sleek video for it and happened to have dance moves and an ass that could stop traffic.
Covenant – "Call the Ships to Port" (Northern Light, 2002)
Not just a Neo standard but an epic fucking song at that. While it's definitely futurepop, the atmospheric, cascading hook could allow it have crossover potential with more mainstream trance music. While "Dead Stars" is still probably the Swedish group's most recognizable track, this is their best. New fans have been converted to Covenant by this song alone. True story. I have seen it happen.
MJ Cole – "Sincere" [Naked Music Migs Petalpusher Vocal Rmx] (Sincere, 2000)
MJ Cole does not get credit for this; this is Miguel Migs all the way. Only Naked Music's vanguard could take something as rote as Cole's interpretation of U.K. garage and inject such substance and soul into it. This track is a testament to the fact that Naked Music was one of the most under-appreciated dance music imprints around the turn of the century. Every single one of their compilations is gold, and their remixes make you forget about the original.
And there you have it. Those are my top 21 favorite dance tracks of the past ten years, and while I'm here and the writing juices are flowing, here are a couple more lists—my top 21 songs and my top 21 albums, respectively. Again, in no particular order, and with explanations of two sentences (or sentence fragments) or less…
Deftones – "Passenger" [f/Maynard James Keenan] (White Pony, 2000)
A dark, brooding masterpiece, it reminds me of being on the cusp of my twenties. That and this one strip club in Texas.
Aesop Rock – "Skip Town" (Float, 2000)
A great track by a criminally underrated emcee, I first heard it on a DJ Spooky mix. Thanks, Spooky, you subliminal kid, you.
Killing Joke – "The Death & Resurrection Show" (Killing Joke, 2003)
They played this song live on the tour to promote the album and it rocked my fucking face.
The Presets – "This Boy's in Love" (Apocalypso, 2008)
This song is one of the best marriages of new wave and electro-pop of the entire century.
She Wants Revenge – "Tear You Apart" (She Wants Revenge, 2006)
Guys who have Mars Volta 'fros with an obvious homage to Joy Division, with some strategically placed profanity? Count me in.
M.I.A. – "Paper Planes" (Kala, 2007)
There was a time when you could not avoid this track unless you went out to Waziristan (the mountainous tribal region between Pakistan and Afghanistan) and hid in a cave with Osama bin Laden. That said, it's a dangerously infectious track that doesn't deserve the sneers it gets for sampling The Only Band That Matters.
Interpol – "The Heinrich Maneuver" (Our Love to Admire, 2007)
While Turn On the Bright Lights is one of my favorite albums of the century, I hold this track in the same regard as my favorite tracks from that album.
Mickey Avalon – "My Dick" (Mickey Avalon, 2006)
Whenever I put a five-dollar bill into the satellite jukebox, this is guaranteed at least one play. Quite possibly the ultimate diss track, oozing braggadocio (it is a rap song, after all), it contains a slew of comparisons, one of the best being, "My dick… don't fit down the chimney / Your dick… is like a kid from the Philippines."
Against Me! – "Don't Lose Touch" (Searching for a Former Clarity, 2005)
Oddly combining punk rock with polka undertones, it's one of the band's best, before the New Wave days.
Cannibal Ox – "The F-Word" (The Cold Vein, 2001)
No, it's not what you think. Take the production prowess of one El-P, and add some poignant, love-related lyrics and you have one of the best underground hip-hop tracks of the year, and decade.
Scissor Sisters – "I Don't Feel Like Dancin'" (Ta-Da, 2006)
With nods to the Bee Gees and Leo Sayer, it's one of the most danceable and whimsical songs of the decade, without a doubt.
The White Stripes – "Icky Thump" (Icky Thump, 2007)
It's The White Stripes doing what The White Stripes do. But not only does it deal with the topic of immigration and United States, it also features some downright vicious Univox synths.
Jay-Z – "99 Problems" (The Black Album, 2003)
Rick Rubin is a god.
Death From Above 1979 – "Turn It Out" (You're a Woman, I'm a Machine, 2004)
Some people will want to get up and slam-dance and some people will want to turn it off. But one thing is certain, and that is that this song will not be fucking denied.
Luke Slater – "Stars and Heroes" (Alright On Top, 2002)
Who knew that all Luke Slater needed to take his music to another level was a singer and the willingness to show his appreciation for Giorgio Moroder?
Telefon Tel Aviv – "When It Happens It Moves All by Itself" (Map of What Is Effortless, 2004)
It borders on movie-score territory, but it's still one of the best electronic tracks of the year, decade, century and millennium. The only thing to not like is that it ends too soon.
Simian Mobile Disco – "I Believe" (Attack Decay Sustain Release, 2007)
The beats are just ridiculous, and it's just a lowdown dirty shame that the rest of the album doesn't even come close to touching this track. Although buying the whole album just for this one track is still worth your money, I'd recommend iTunes.
Gorillaz – "Clint Eastwood" (Gorillaz, 2001)
This track and video could not be denied when they came out. After his work with Deltron 3030, this is Del's greatest achievement.
Stromkern – "Stand Up" (Light It Up, 2005)
If I told you that this song is by a band from Madison, Wisc., that melds industrial with rap, you'd probably laugh like I did, and you'd be right to do so. So do like I did; listen to the track and let it speak for itself.
The Wolfmen – "Needle in the Camel's Eye" (Modernity Killed Every Night, 2008)
Ah yes… don't forget that garage rock came back in The Aughts. And while I thoroughly enjoy the likes of The Hives, The Hellacopters, The Mooney Suzuki and a great deal of those other "The" bands, this Brian Eno cover (while ridiculously faithful to the original) is one of my favorites.
Sally Shapiro – "I Know" [SLL Rmx] (Remix Romance, Vol. 2, 2008)
You'd swear it was Pet Shop Boys track from 1987, until Sally Shapiro's ethereal sweet, vocals kick in. Fun fact: Shapiro is a member of the Italo revival movement!
I haven't regularly bought albums for several years, so you'll notice that this list of my top 21 albums is front-loaded like an aging athlete's multi-year contract.
D'Angelo – Voodoo (2000)
An incredible deviation from Brown Sugar, a lot of this album flew under the radar, save for the obvious "Untitled (How Does It Feel)" and "Devil's Pie" (featured in Belly). But in-between is one of the best R&B albums of the decade, and an impressive swan song if bloated D'Angelo decides to stay in seclusion.
Hybrid – Wide Angle (2000)
I just so happened to find it in the $2.99 bin at the record store, impressed with how the U.K.-based producers had remixed BT's "Never Gonna Come Back Down". And I can honestly say that this album took any expectations I had going in and blew them out of the fucking water.
Quasimoto – The Unseen (2000)
It's one of my "desert island" albums, and for those of us who thought that Madlib was awesome in his Lootpack days, we were even further convinced so with this project. It not only features dope beats, but Madlib rapping with his chipmunk-voiced alter-ego.
The Rock*A*Teens – Sweet Bird of Youth (2000)
I like to the think of the Rock*A*Teens as my own little secret, except they are just too damn good for me to be selfish. With undertones of R.E.M., '60s garage rock and some calliope thrown in for good measure, this is a beautifully tragic album by a band that I was sad to see break up.
Common – Like Water for Chocolate (2000)
Yes, it is, essentially, a quasi-Roots album, but it's also, as far as I'm concerned, his last great album. The OK Player stamp is easily recognizable in the organic soulfulness of the album, and cameos by everyone from Femi Kuti to Bilal to Jill Scott to DJ Premier make it a solid release.
Thievery Corporation – The Mirror Conspiracy (2000)
This album is good from start to finish, blending dub with lounge, samba and even sitar on different tracks. Decidedly down-tempo, it's like elevator music for the 21st Century.
Interpol – Turn On the Bright Lights (2002)
I could waffle on about how many different bands I've picked out as influences on this album, but that would take away from the fact that it is one of the best of the decade. From the somber opening track, "Untitled" to the more upbeat "Obstacle 1" and then back to melancholy with "NYC", this album soars from start to finish.
System of a Down – Toxicity (2001)
I got an advance copy from Sony for this before it came out, and I was completely blown away, with highlights being the poignant opener "Prison Song" and the title track. And "Chop Suey!" is pretty damn good, too.
The Avalanches – Since I Left You (2001)
Playing out like an audio collage, this meticulously produced album of was one of the best party albums to come out around that time (along with Beck's Midnite Vultures).
Slum Village – Fantastic, Vol. 2 (2000)
As I was working at a record store when this came out, a co-worker and I actually got into a physical altercation, jumping towards the cart of CDs to grab this at the same time. He, being about twice my size, won, but once I did manage to get my own copy, it was like I had found religion and been born again, without having to give away ten percent of my income on a weekly basis.
Nekromantix – Return of the Living Dead (2002)
Psychobilly is just fantastic stuff, and these guys are among the best. With morbid themes to the lyrics, the band also doesn't scrimp on the humor, as with the hilarious "Who Killed the Cheerleader" ("Who raped the prom queen? / He did! He did! / Yeah right, she was having a ball!")
The Horrors – Strange House: Psychotic Sounds for Freaks and Weirdos (2007)
Hey look, it's an album that's been released in the last five years! The soundtrack to my drive from L.A. to San Diego in 2006, the band brilliantly calls upon the spirits of Alien Sex Fiend and The Munsters for the duration of this album. And it opens with a phenomenal cover of Screaming Lord Sutch's "Jack the Ripper".
The Prodigy – Always Outnumbered, Never Outgunned (2004)
More than making up for the abomination that was "Baby's Got a Temper", this album cemented the fact that Liam Howlett is a fucking genius, with oodles of big beats combined with old-school electro for the win. And it gave us an example of how Juliette Lewis could be a good singer when given the right beats.
The Chemical Brothers – Come With Us (2002)
Every song on this album is a banger, but my favorite is the "Galaxy Bounce", showing that the progenitors of big beat are still alive and well and still capable of pwning everyone while imploring them dance to it.
Gary Numan – Scarred (2003)
I don't usually get into live albums, but the tracks on this albums (recorded live at Brixton Academy) are like re-imaginations of previous Tubeway Army and Gary Numan tracks. Highlights include a more industrial version of "Me, I Disconnect from You!" and a much darker version of "Metal".
Taucher – High Tide Low Tide (2001)
The German trance DJ released this double-disc with the intent being that the first was a danceable disc and the second a foray into down-tempo electronic music. I personally enjoy the second one more, but the first one is also very good, making the entire thing one of my favorites.
Quasimoto – The Further Adventures of Lord Quas (2005)
Oh yes I did just pick two albums by the same artist for my favorites of the last ten years. This one picks up where The Unseen left off, except it features copious amounts of Melvin Van Peebles samples and an appearance by MF DOOM.
Deltron 3030 – Deltron 3030 (2000)
I swear I had this list made up before reading Mathan's. There's not much to say that he didn't, so I'll just say that due to this album, I went from being a casual fan of Del to being a Del follower (but not a back-packer), and that the "New Coke" skit with Money Mark is comedic gold.
DJ DSL – #1 (2001)
A compilation of tracks and remixes by DSL, the tracks range from a doper-than-dope remix of "Let Me Talk to You" by Masters of Illusion to the old-school electro "Neu, 6 Min." and dub-heavy "Happy Bear", with all having a jazz undertone. It is a G-Stone release, after all.
The Faint – Danse Macabre (2001)
I'm not sure why indie kids like this band so much, but I can only guess it's because they are on Saddle Creek. What was really awesome is that I bought this album the year it came out, when I was twenty years old, fell in love with it, played it the fuck out, and then started going to Neo once I turned 21 and started hearing it there too.
DJ Spooky That Subliminal Kid – Optometry
DJ Spooky is fucking brilliant, whether he's doing illbient, avant-jazz or dub. This happens to be my favorite of his jazz excursions, with tracks living up to their ridiculously long titles ("Reactive Switching Strategies for the Control of Uninhabited Air").
Tags: Beck, Chicago, Common, DJ Premier, Gorillaz, Jay-Z, Kiss, Lady Gaga, M.I.A., Madlib, Pitbull, R.E.M., White Stripes
J. R. Fernandez


What do you get when you flip a party on its head? Up is down, and the disco is silent. Join us for a party as unusual as the art in You Are Here.
The party starts before you even enter the building. Experience Shaleigh Dance Works guiding the way into the Museum. At the entrance to East Building you'll see and hear dueling drum improvisation by Speed Stick. Check in at registration and be dazzled by performers from Cirque de Vol before touring the gallery. Watch a special performance by Philip Snyder, a TiltBrush activtion with Augmentality Labs, and more surprises. Then, the Raleigh Rockers Crew kicks off the dancing with a performance about 9 pm. Grab your headphones and find the channel that gets you moving as DJs PlayPlay, Gemynii, and Sami Automatic spin the tunes. Find the folks listening to your channel by seeing who is moving to your beat!
Creative attire encouraged. Cash bar.
Pull an all-nighter! The exhibition is open all night Saturday, and additional programming is planned from midnight to 10 am.


Film Director / Producer (and ACR Member) Barbara Freed began our day of Art & Gastronomy in Vence, by presenting her award-winning documentary film A Model for Matisse: The Story of the Creation of the Vence Chapel within the chapel itself. Henri Matisse considered this Chapel to be the masterpiece of his life's work. Following this inspirational morning, we lunched at Les Bacchanales, the Michelin starred restaurant of Christophe Dufau.


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2020 Microbiomes Mission - Tara fondation
On December 12, 2020 the schooner Tara will set sail on a new major scientific expedition. The sailing laboratory will travel 70,000 km in the South Atlantic, along the South American and African coasts and as far as Antarctica for nearly two years. The mission involves 72 research institutions from around the world. They will study the ocean's most fundamental fabric — the microbiome — to understand the functioning of this ecosystem in a context of ongoing global change.
From press release: "Microorganisms play an essential role in the ocean, representing more than two thirds of the marine biomass. They are the first link in a huge food web that feeds much of humanity, and provides vital ecological & economic services. Microscopic organisms capture atmospheric carbon dioxide on a planetary scale and in return produce oxygen that we breathe every day. An essential cog in the great climate machine, the functioning of this invisible world remains largely unknown to date."
"By definition, the ocean microbiome refers to all marine microorganisms (viruses, bacteria, microalgae, protists, etc.), but also their interactions with the environment. "It's like a complete living being," says Romain Troublé, CEO of the Tara Ocean Foundation. "It goes beyond a simple description of the microorganisms present. We want to understand how this microbiome functions as a whole — whether its effectiveness is sensitive to plastic pollution or to the ongoing warming of the ocean.""
During some of the 23 planned stopovers, the scientific teams will share knowledge with local researchers on know-how, best practices and techniques needed to study the ocean, from collection of samples, management and analysis of data, to the use of results in practice.
Throughout the mission, the public will be able to follow the human and scientific adventure on the Foundation's and AtlantECO's digital platforms, encounter different countries and discover marine microbiome research.
Given current health restrictions, the public will not be allowed to assemble and follow the departure of the schooner from Lorient, but a LIVE streaming of the event will be offered on Facebook and Instagram.
Read more about the Microbiomes Mission and about AtlantEco project.
Source: Tara Océan / photos: Christian Sardet, Noé Sardet

redpajama_set_name: RedPajamaCommonCrawl


Broken down by key battles or campaigns within each theatre of war, Order of Battle: Western Allied Forces of World War II shows the strengths and organizational structures of the Western Allies ground forces campaign by campaign, building into a detailed compendium of information. With extensive organizational diagrams and full-colour campaign maps showing the disposition of units, Order of Battle: Western Allied Forces of World War II is an easy-to-use guide to the many nationalities that served as part of the Allied army, their strengths during key campaigns and battles, and details of where they served throughout the war. The book will be an essential reference guide for any serious enthusiast of World War II.
Michael E. Haskew is the editor of WWII History Magazine and The World War II Desk Reference with the Eisenhower Center for American Studies. He is the author of The Sniper At War, The Encyclopedia of Elite Forces in World War II, Order of Battle: Western Allied Forces of WWII, and The Italian Campaign in World War II.


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Scott Aaronson: In Over His Head on JFK Assassination (Part Two - Rebutting His 20 Reasons for 'Oswald Dunnit')
I now examine Scott Aaronson's "20 Reasons" to assert Lee Oswald was the lone gunman in the JFK assassination, based on what he calls "general principles" but which I call out as slacker principles: do as little as possible- avoid any details, attend to the worst possible "investigators" (Gerald Posner), and in general let ignorance trump facts at every turn. Basically, Aaronson brings to bear a smug laziness that he'd never use if he wanted to publish a paper, say in the Physical Review (one of its fine journals). He does this because he treats JFK assassination research akin to a kiddie hobby or pastime.
1. Conspiracy theorizing represents a known bug in the human nervous system. Given that, I think our prior should be overwhelmingly against anything that even looks like a conspiracy theory".
This is not a reason but an assertion, that needs to be proven, demonstrated. Aaronson really ought to know better than to trot such bollocks out for public consumption, as if he's even an expert in the human nervous system. Where has this been published? (He puts out a link to a cartoon -as if any intelligent person would accept that) In what peer-reviewed journal of neurobiology? Further, the fact this is psycho-babble is patently clear by the fact he puts all possible conspiracy examples under the same umbrella - from faked lunar landings to Joe Klein's example (in the recent TIME - see Part I) of the feds buying up ammo to raise the prices so gun owners can't afford it - to the JFK assassination. In this way, he demeans the event and insults the people who've done serious research including Peter Dale Scott, James Douglass ('JFK and the Unspeakable'), Mark Lane and many others. In this way he actually insults the memory of the 35th President.
2. The shooting of Oswald by Jack Ruby created the perfect conditions for conspiracy theorizing to fester.
In fact, the shooting of Oswald showed most of us at the time, who had the intellect to see it, that whoever was in charge of the assassination made sure the one person who might shed light wouldn't live to say anything. Only much later (30 + years) did the file release from the JFK Records Act confirm out worst fears - that Ruby was commissioned to kill Oswald as part of ZR/Rifle and Staff D, the super secret assassination program run under spook William Harvey- assisted by James Jesus Angleton. See e.g.
http://brane-space.blogspot.com/2013/11/the-second-assassination-today-fifty.html
"Fester"? Well, yeah - the Operation Mockingbird disinformationists in the media had festered for years allowing the anti-conspiracy memes to spread far and wide! (Yet Aaronson doesn't seem to have even heard of Mockingbird). It wasn't until actual documents could finally be released (LBJ had originally sealed them until 2039) under the 1992 JFK Records Act that headway could be made.
3. Other high-profile assassinations to which we might compare this one—for example, those of Lincoln, Garfield, McKinley, RFK, Martin Luther King Jr., Gandhi, Yitzchak Rabin…—appear to have been the work of "lone nuts," or at most "conspiracies" of small numbers of lowlifes. So why not this one?
Because the EVIDENCE doesn't indicate it! Moreover, the evidence is now compelling that Martin Luther King was also assassinated in a conspiracy, as well as Robert Kennedy.
In the case of the King assassination, the breakthrough came with William F. Pepper's book Orders to Kill, Pepper learned that a film existed of the King assassination. It was in the hands of Army psyops (psychological operations) officers who had been in Memphis that day to take photographs of everything, everyone in the vicinity of the Lorraine Motel. One of the officers, as Pepper noted - in his speech and in the book - just happened to spin his camera around on hearing the shot, toward the bushes in front of the motel. The film held the clues Pepper needed and rather than do an injustice to the findings, I think blog readers need to get hold of the entire book, or at least avail themselves of this abbreviated account of Pepper's findings from the speech he gave on the subject 12 years ago:
http://www.ratical.org/ratville/JFK/WFP020403.pdf
The mechanics and basis of the conspiracy for Robert Kennedy's assassination and using Sirhan B. Sirhan as another patsy was superbly described in Patrick Nolan's book, CIA Rogues Killing Kennedys (Chapter 7 - 'Sirhan Bishara Sirhan - An Involuntary Pawn'.) Nolan's breakthrough came via released files and also managing to find security personnel at the Ambassador Hotel at the time and interviewing them. This also conforms with James Douglass' take (op. cit.) that all three were killed as part of the same extended plot masterminded by the national security apparatus.
The meme that all conspiracies are lone nut done is also stupid. For hundred of years - from the time of the Borgias - assassinations have occurred in Europe and few Europeans -whether German, Swiss or Italian, buy the codswallop they were done by lone nuts. As Rolf, a former Spezialdienst in Switzerland put it while we were in St. Gallen: "Believing lone assassins were responsible for all the assassinations in Europe is to us like a child believing a single man - St. Nicholas- could deliver all presents around the world in a single night before Christmas. It's stupid!"
http://brane-space.blogspot.com/2013/06/germans-tom-hanks-wasting-his-time-with.html
Further point: Aaronson attempts to show that Clay Shaw, the subject of the Jim Garrison case, was innocent and his reputation was slandered by conspiracy freaks. He is totally wrong. Years later, with release of files under the JFK Records Act, it would become evident that Shaw was indeed a CIA Contract Agent. As CIA Doc. (JFK 1993: 6.28.16.07.26.560280) notes (Why couldn't Aaronson obtain this?) :
"A memorandum marked for files says that J. Monroe Sullivan, #280201, was granted a covert security approval as of 10 December 1962 so he could be used in Project QKENCHANT [Clay L. Shaw has #402897]"
Under the CIA banner QKENCHANT one is cleared for intelligence procurement. Such clearance meant you were a safe contact for the Agency and hence could be used as a "cut out" , with the CIA giving you only a certain amount of information. Clay Shaw then, had the ability to recruit other agents, thereby granting them security approvals. From the available files disclosed long after Garrison's efforts ended, Shaw used his QKENCHANT clearance to "plan or coordinate CIA activities" as well as "initiate relationships with non-Agency persons or institutions." In this guise, Shaw was effectively part of the CIA's clandestine services with Covert Security Approval, working under cover.
Again, why didn't Aaronson try to obtain the file instead of shooting from the hip with a red herring? The answer - as with his other questions - is he wasn't prepared to do the grunt work! It's easy to spin off nonsense from one's keyboard and not bother with niggling details!
4. Oswald seems to have perfectly fit the profile of a psychopathic killer (see, for example, Case Closed by Gerald Posner).
Citation of Posner's idiocy is one of the first markers the serious researcher uses to confirm a person writing about the assassination is on the wrong track. Assorted investigators have been able to assess just how closely Posner adhered to the known facts in his book. One of the earliest scrutinizing efforts was The Posner Report- A Study in Propaganda: One Hundred Errors in Gerald Posner's Case Closed – Lee Harvey Oswald and the Assassination of JFK by David Starks. Starks draws on the published reports and documents of true experts like Peter Dale Scott, Dr. Gary Aguilar and Martin Shackelford. The Report skewers Posner's claims and effectively discloses a hack who made "hundreds of errors" in his pell-mell rush to judgment- likely part of the mandate first elucidated in CIA document 1035-960 * (which I doubt Aaronson even knows about).
The Electronic Assassination Newsletter which collates the research from most JFK Assassination experts documents twelve of the most serious "Posnerisms" here:
http://assassinationweb.com/twpos.htm
Those who take the time to examine, study the examples in the link will become aware of an unnerving lack of attention to detail and a penchant for what appears to be deliberate misrepresentation. Indeed, Posner's entire case appears to be erected on a tissue of lies, misrepresentations, gross distortions and shoddy methodology
Meanwhile, Prof. David R. Wrone, whose review of Case Closed appeared in The Journal of Southern History, notes:
"Posner often presents the opposite of what the evidence says. In the presentation of a corrupt picture of Oswald's background- for example – he states that, under the name of Osborne, Oswald picked up leaflets he distributed from the Jones Printing Company and that a 'receptionist' identified him. She in fact said that Oswald did not pick up the leaflets as the source that Posner cites indicates. "
He adds: "No credible evidence connects Oswald to the murder. All the data that Posner presented to do so is either shorn of context, corrupted, the opposite of what the sources actually say, or non-sourced."
"Posner crowns his theory with the certainty of science by using one side of the computer-enhanced studies by Failure Analysis Associates of Menlo Park that his text implies he commissioned. The firm, however, lambastes his use as a distortion of the technology that it developed for the American Bar Association's mock trial of Oswald where both sides used it."
Not surprisingly, many ordinary researchers as well as professionals (e.g. Harold Weisberg) contend Posner is likely a disinformation hack, possibly for the CIA, and perhaps even part of its notorious "Operation Mockingbird" propaganda machine which infected the U.S. Media from the 1970s.
* CIA Document 1035-960
RE: Concerning Criticism of the Warren Report:
1. Our Concern. From the day of President Kennedy's assassination on, there has been speculation about the responsibility for his murder. Although this was stemmed for a time by the Warren Commission report, (which appeared at the end of September 1964), various writers have now had time to scan the Commission's published report and documents for new pretexts for questioning, and there has been a new wave of books and articles criticizing the Commission's findings. In most cases the critics have speculated as to the existence of some kind of conspiracy, and often they have implied that the Commission itself was involved. Presumably as a result of the increasing challenge to the Warren Commission's report, a public opinion poll recently indicated that 46% of the American public did not think that Oswald acted alone, while more than half of those polled thought that the Commission had left some questions unresolved. Doubtless polls abroad would show similar, or possibly more adverse results.
2. This trend of opinion is a matter of concern to the U.S. government, including our organization. The members of the Warren Commission were naturally chosen for their integrity, experience and prominence. They represented both major parties, and they and their staff were deliberately drawn from all sections of the country. Just because of the standing of the Commissioners, efforts to impugn their rectitude and wisdom tend to cast doubt on the whole leadership of American society. Moreover, there seems to be an increasing tendency to hint that President Johnson himself, as the one person who might be said to have benefited, was in some way responsible for the assassination.
Innuendo of such seriousness affects not only the individual concerned, but also the whole reputation of the American government. Our organization itself is directly involved: among other facts, we contributed information to the investigation. Conspiracy theories have frequently thrown suspicion on our organization, for example by falsely alleging that Lee Harvey Oswald worked for us. The aim of this dispatch is to provide material countering and discrediting the claims of the conspiracy theorists, so as to inhibit the circulation of such claims in other countries. Background information is supplied in a classified section and in a number of unclassified attachments.
3. Action. We do not recommend that discussion of the assassination question be initiated where it is not already taking place. Where discussion is active [business] addresses are requested:
a. To discuss the publicity problem with [?] and friendly elite contacts (especially politicians and editors), pointing out that the Warren Commission made as thorough an investigation as humanly possible, that the charges of the critics are without serious foundation, and that further speculative discussion only plays into the hands of the opposition. Point out also that parts of the conspiracy talk appear to be deliberately generated by Communist propagandists. Urge them to use their influence to discourage unfounded and irresponsible speculation.
b. To employ propaganda assets to [negate] and refute the attacks of the critics. Book reviews and feature articles are particularly appropriate for this purpose. The unclassified attachments to this guidance should provide useful background material for passing to assets. Our ploy should point out, as applicable, that the critics are (I) wedded to theories adopted before the evidence was in, (I) politically interested, (III) financially interested, (IV) hasty and inaccurate in their research, or (V) infatuated with their own theories. In the course of discussions of the whole phenomenon of criticism, a useful strategy may be to single out Epstein's theory for attack, using the attached Fletcher [?] article and Spectator piece for background. (Although Mark Lane's book is much less convincing that Epstein's and comes off badly where confronted by knowledgeable critics, it is also much more difficult to answer as a whole, as one becomes lost in a morass of unrelated details.)
4. In private to media discussions not directed at any particular writer, or in attacking publications which may be yet forthcoming, the following arguments should be useful:
a. No significant new evidence has emerged which the Commission did not consider. The assassination is sometimes compared (e.g., by Joachim Joesten and Bertrand Russell) with the Dreyfus case; however, unlike that case, the attack on the Warren Commission have produced no new evidence, no new culprits have been convincingly identified, and there is no agreement among the critics. (A better parallel, though an imperfect one, might be with the Reichstag fire of 1933, which some competent historians (Fritz Tobias, AJ.P. Taylor, D.C. Watt) now believe was set by Vander Lubbe on his own initiative, without acting for either Nazis or Communists; the Nazis tried to pin the blame on the Communists, but the latter have been more successful in convincing the world that the Nazis were to blame.)
b. Critics usually overvalue particular items and ignore others. They tend to place more emphasis on the recollections of individual witnesses (which are less reliable and more divergent--and hence offer more hand-holds for criticism) and less on ballistics, autopsy, and photographic evidence. A close examination of the Commission's records will usually show that the conflicting eyewitness accounts are quoted out of context, or were discarded by the Commission for good and sufficient reason.
c. Conspiracy on the large scale often suggested would be impossible to conceal in the United States, esp. since informants could expect to receive large royalties, etc. Note that Robert Kennedy, Attorney General at the time and John F. Kennedy's brother, would be the last man to overlook or conceal any conspiracy. And as one reviewer pointed out, Congressman Gerald R. Ford would hardly have held his tongue for the sake of the Democratic administration, and Senator Russell would have had every political interest in exposing any misdeeds on the part of Chief Justice Warren. A conspirator moreover would hardly choose a location for a shooting where so much depended on conditions beyond his control: the route, the speed of the cars, the moving target, the risk that the assassin would be discovered. A group of wealthy conspirators could have arranged much more secure conditions.
d. Critics have often been enticed by a form of intellectual pride: they light on some theory and fall in love with it; they also scoff at the Commission because it did not always answer every question with a flat decision one way or the other. Actually, the make-up of the Commission and its staff was an excellent safeguard against over-commitment to any one theory, or against the illicit transformation of probabilities into certainties.
e. Oswald would not have been any sensible person's choice for a co-conspirator. He was a "loner," mixed up, of questionable reliability and an unknown quantity to any professional intelligence service.
f. As to charges that the Commission's report was a rush job, it emerged three months after the deadline originally set. But to the degree that the Commission tried to speed up its reporting, this was largely due to the pressure of irresponsible speculation already appearing, in some cases coming from the same critics who, refusing to admit their errors, are now putting out new criticisms.
g. Such vague accusations as that "more than ten people have died mysteriously" can always be explained in some natural way e.g.: the individuals concerned have for the most part died of natural causes; the Commission staff questioned 418 witnesses (the FBI interviewed far more people, conduction 25,000 interviews and re interviews), and in such a large group, a certain number of deaths are to be expected. (When Penn Jones, one of the originators of the "ten mysterious deaths" line, appeared on television, it emerged that two of the deaths on his list were from heart attacks, one from cancer, one was from a head-on collision on a bridge, and one occurred when a driver drifted into a bridge abutment.)
5. Where possible, counter speculation by encouraging reference to the Commission's Report itself. Open-minded foreign readers should still be impressed by the care, thoroughness, objectivity and speed with which the Commission worked. Reviewers of other books might be encouraged to add to their account the idea that, checking back with the report itself, they found it far superior to the work of its critics.
Labels: 'Case Closed', CIA document 1035-960, David R. Wrone, David Starks, Martin Luther King Jr., Operation Mockingbird, Peter Dale Scott, Posnerisms. Gerald Posner, Robert Kennedy, Scott Aaronson, William F. Pepper
Richard Charnin said...
Copernicus,
I reference your brilliant analysis in my new book:
http://www.amazon.com/Reclaiming-Science-Conspiracy-mathematical-disinformation/dp/1502715996/ref=sr_1_47?s=books&ie=UTF8&qid=1414707488&sr=1-47&keywords=jfk+conspiracy&tag=amazonsearchshop-20
Thanks for the link, Richard, I hope that many others will check it out!
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Display The Arts Society Walton Lecture Programme 2018 in PDF format for printing.
Previous Years' Programmes – 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004 (PDF format), 2003 (PDF format). Summary of all lectures in date order, and summary of all lectures by lecturer's name.
Celtic Art is one of the most beautiful and complex manifestations of human response to natural forms. This lecture concentrates on the development of the Celtic style in the British Isles, where it survived long after the coming of Rome had extinguished it elsewhere.
Celtic Art is one of the most spectacular examples of human response to natural forms. From cups and weapons to the covers of sacred books, the rhythms and shifting, near-abstract forms express concepts and beliefs as well as a functional response to the shape and use of the objects themselves.
Starting around 300 BCE with the earliest examples of characteristic British design, it traces the interaction of pure Celtic ideas and techniques with elements from Roman, Pictish and Anglo-Saxon cultures, culminating in the great Christian flowering of the 7th century AD.
The slides and further reading references may be downloaded as a PDF file.
2017 marks the 20th anniversary of Bilbao's Guggenheim Museum, the impact of which helped make Bilbao the Basque Country's most important city. We will examine the career of the architect Frank Gehry and discover how the vast asymmetrical titanium-clad structure was created.
The Guggenheim, designed by the Canadian architect Frank Gehry and opened to the public in 1997, is one of the most exciting buildings of the 20th century. The lecture begins with an introduction to the Guggenheim foundation and how it came about, and then moves on to describe the very particular circumstances that led to the commission in Bilbao. It examines the architecture of Frank Gehry using illustrations from his work in Europe and America, and describes, with some beautifully detailed slides, how the vast asymmetrical, apparently chaotic and fragmented structure was created. It also discusses the use of titanium — the unusual and eye-catching material which is used to clad a large surface area of the building. The lecture ends with an introduction to the collection of paintings, sculptures and installations contained within the museum, covering the permanent collection as well as providing up-to-date information on current and future exhibitions. projects for a new Guggenheim in New York are also discussed.
Siân Walters studied at Cambridge University. Lecturer at the National Gallery and Surrey University, specialising in 15th and 16th century Italian painting, Spanish art & architecture, and the relationship between dance and art. Also teaches private courses, and organises lectures, study days and art holidays abroad. Has lived in France and Italy, where she worked at the Peggy Guggenheim Museum in Venice. For more information see her website arthistoryinfocus.com.
How did a German refugee, an internee and a jobbing journalist become the Grand Old Man of English art history? The answer lies in Nikolaus Pevsner's one-man survey of the architecturally significant buildings in the country.
This lecture examines what Pevsner said – rightly or wrongly – about these buildings in Surrey.
Susie Harries is a writer, editor and lecturer, specialising in 20th century culture and the arts. Has published eight books on subjects including official war art, opera and the composer Elisabeth Lutyens. The most recent is the biography of Sir Nikolaus Pevsner, published in August 2011. Lectured to a range of audiences, from the Imperial War Museum and British Museum to the Twentieth Century Society and the RSA, most recently at the Cheltenham and Bridport Literary Festivals and the Victorian Society.
The discovery of the grave of King Richard Ill in Leicester raised an army of new, fascinating questions. The severe scoliosis exhibited by the last Plantagenet King's skeleton revealed that the twisted physique of Shakespeare's 'Black Legend' did have at least some basis in fact. But how could such a diminutive person, suffering from a significant spinal condition, have been skilled in the knightly fighting arts? How could he have worn full armour and fought in three major battles? More importantly for the art enthusiast, what would his armour have looked like, and how might it have been used to disguise the King's condition and present him as a powerful warrior? And in the case of a king whose royal legitimacy was doubted by many people, how were the visual trappings of knightly kingship used to solidify his claim? Here we encounter the function of princely armour of the late medieval period as an expressive art-form, designed to radiate messages, justifications, proof in fact of the wearer's right to rule as a king- God' s chosen representative and a wielder of divine power on Earth.
Tobias Capwell. Toby is Curator of Arms and Armour at the Wallace Collection in London, Fellow of the Society of Antiquaries, and an internationally acknowledged expert on Medieval and Renaissance weapons. His book, Masterpieces of European Arms and Armour at the Wallace Collection (2011) was named Book of the Year by Apollo Magazine in 2012. He appears regularly on television, most recently as presenter and armour advisor on Richard III: The New Evidence (2014), and as the writer and presenter of Metalworks: The Knight's Tale (2012). His publications include The Noble Art of the Sword: Fashion and Fencing in Renaissance Europe 1520 1630, ex. cat. (2012) and 'The Arming of an English Man at Arms, c.1415′, appendix, in Sir Ranulph Fiennes' new book Agincourt: My Family, The Battle, and the Fight for France (2014). After fifteen years of research, Toby's groundbreaking book Armour of the English Knight: 1400-1450 was published in September 2015; the second part, dealing with the second half of the 15th century, will be released in 2017.
The moving image has been a powerful source for imagination from the first moment a magic lantern flickered to life. We will be looking at how the Motion Pictures industry developed in the 19th and 20th centuries and how it changed the face of entertainment and inspired some of the greatest artists of the early 20th century.
Johannes Vermeer (1632–75), Officer and Laughing Girl (left), Mistress and Maid (center), and Girl Interrupted at Her Music (right).
Henry Frick amassed a superb collection of paintings, sculpture, porcelain and enamels and bequeathed them to the City of New York in 1919. Included are works by artists including Bellini, Van Eyck, Rembrandt, Vermeer, Holbein, Fragonard, Ingres, Gainsborough, Constable, Turner and Whistler; Sevres porcelain; rare bronzes; and furniture by Reisener.
Hilary Williams was Print Room Superintendent at the British Museum, now Art History Education Officer. Lectures for BM, London Borough of Bexley and Wallace Collection. Liaison officer at British Museum with The Arts Society. Founding Artistic Director of The Arts Society of North Kent Evening. Guides Special Interest Private Tours of State Apartments Buckingham Palace.
Throughout history mankind has been absorbed with understanding the concept of time. We have developed all kinds of devices to tell the time but the "tick" of all these is the rhythms of the universe – the daily and yearly movement of the sun, the monthly movement of the moon and, more recently, the buzz of the quartz and caesium atoms.
We have developed all kinds of device to tell the time – using the stars, sundials, our shadows, clepsydra (water clocks), mechanical clocks and watches, burning timers, sand glasses, bells, electronics and our fundamental biological clocks. Such is our interest in the subject that craftsmen have always found commissions to create beautiful time telling things. The lecture looks at all these devices and many more. It charts how their use has risen and fallen as history, fashion and technology have progressed.
The Sackvilles' fame and fortune was founded in the Tudor and early Stuart eras when the family gained Knole and their title. In the 19th century the heiress married into the West family creating the new name Sackville-West. We also examine the turbulent marriage of Vita and Harold Nicholson and the gardens they created at Long Barn and Sissinghurst.
This lecture examines the story of the Sackville family, their homes and gardens from the early days up to the present. We begin with the foundation of fame and fortune in the Tudor and early Stuart era when the family gained Knole and their title, Earls of Dorset. We trace the house through the 17th century, particularly noting some of the finest court furniture of the period at Knole. In the 18th century we see the family become Dukes of Dorset and concentrate on the flamboyant 3rd Duke who added so many fine Reynolds portraits to the collection and was notorious for his amours. In the 19th century the male descent died out and the heiress married into the West family. Hence the new name of Sackville-West.
We continue by particularly noting Victoria Sackville-West (who kept the family afloat by cornering the market in millionaires in the Edwardian era) and her daughter Vita (who could not inherit her beloved Knole and so was given "Orlando" as a consolation by her close friend Virginia Woolf). We consider the two great gardens that Vita and her husband Harold Nicolson created at Long Barn and Sissinghurst. We also consider their turbulent yet remarkably happy marriage…a relationship that succeeded against all the odds.
October 11th The Art Market: How does it work?
The subject of countless daytime TV shows as well as high-end international trade, how do all the elements fit together? Are we all charlatans? The lecture slides show the main players as well as some of the great objects that have been sold, and explain how some are now worth so much and others so little.
Forty years ago there was no Internet and cheap air travel was yet to change the way we move about the world. Governments, both domestic and International, have had a profound effect, alongside a general demographic change. The talk is based on the speaker's experience as an auctioneer and his continuing fascination with the dynamics of the art world and he explores these and many other themes.
Clive Stewart-Lockhart studied on the Sotheby's Works of Art course and has now been working in the fine art world for 40 years. Managing Director of Woolley and Wallis, the UK's leading regional auctioneers, in Salisbury, and has been a specialist on the BBC Antiques Roadshow for over 20 years. Has also lectured on cruise ships as well as for many other groups, and recently published a major article in the Journal of the Decorative Arts Society on Betty Joel.
Portraiture has a long tradition stretching back to the 14th century and earlier. But what demands drove this interest and need for portraiture and how were they used by those who commissioned them? These issues will be explored spanning the ages through the prism of two master portraitists, Titian and Van Dyck.
The practice of portraiture and likenesses in portraiture has a long tradition stretching back to the 14th century and earlier. But what demands drove this interest and need for likenesses in portraiture and how were they used by those who commissioned them. This lecture will look at the early tradition of portraiture, its origins and the emerging styles of this genre, drawing on Renaissance examples of portraiture such as Hans Holbein and Raphael.
These issues are explored in a talk that spans the ages including ancient Roman coins, and painting from 1350 — 1642, through the prism of two master portraitists who came to dominate this genre of painting, not only in their own countries, but throughout Europe – the Venetian Renaissance master Titian and the flamboyant Baroque master, Anthony van Dyck. This talk will be an exploration of the influence and the very notion of portraits, from those that are of idealised subjects, to the patronage of royal and papal portraits, through to portraits of the wealthy and influential, and even the reasoning behind the self-portrait.


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US government funds research and development in renewable energy and clean technology
May 24, 2013	Off By Bret Williams
$200 million to fund new renewable energy and clean technology institutions
The Obama administration this week has announced that it is committing $200 million in funding that will be focused on renewable energy and clean technology. The funds are to be used to create three new advanced manufacturing innovation institutes. These entities will be focused on the research and development of new renewable energy systems. These systems are meant to make use of innovative technologies that aim to lower the overall costs associated with clean power.
New entities to promote clean technology innovation in manufacturing
These new institutions are part of the federal government's National Network for Manufacturing Innovation. This initiative exists to promote the use of clean technology and renewable energy in the manufacturing sector. The three new institutions are just the first of many that are expected to take form in the country, depending on whether a new budget proposal receives adequate approval.
Obama administration seeks approval of budget proposal
The Obama administration is seeking to commit $1 billion in funding to the National Network for Manufacturing Innovation. These funds are to be part of the government's 2014 fiscal budget. These funds would help establish an additional 15 institutions throughout the country that are focused on promoting renewable energy and clean technology throughout the manufacturing sector. This budget proposal has not yet been approved.
Renewable energy gaining more momentum in the US
The U.S. has had a somewhat turbulent history with renewable energy, focusing heavily on fossil-fuels and less expensive, yet environmentally hazardous technologies. In recent years, the federal government has become more interested in renewable energy, supporting the adoption of solar and wind power aggressively. A focus on clean technology is beginning to emerge, as older technologies are beginning to be pushed toward obsolescence. The government believes that the manufacturing sector could benefit from further progress being made in the field of clean technology and this progress could eventually translate into economic gains for companies that have a focus on renewable energy and environmentalism.
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The prime minister of Japan (Japanese: 内閣総理大臣, Hepburn: Naikaku Sōri-Daijin) is the head of government of Japan. The prime minister chairs the Cabinet of Japan and has the ability to select and dismiss its Ministers of State. The prime minister also serves as the commander-in-chief of the Japan Self Defence Forces and as a sitting member of the House of Representatives (the lower house). The individual is appointed by the Emperor of Japan after being nominated by the National Diet (the parliament). The prime minister must retain the nomination of the lower house and answer to parliament to remain in office.

The position and nature of this title allow the holder to reside in and work at the Prime Minister's Official Residence in Nagatacho, Chiyoda, Tokyo, close to the National Diet Building. Fumio Kishida is the current prime minister of Japan, replacing Yoshihide Suga on 4 October 2021. As of , there have been 102 prime ministers.

Designation

Abbreviations
In Japanese, due to the special nature of the work of the head of government, the prime minister's titles vary depending on context, sometimes demonstrating his/her role. Since the inception of the cabinet system, the prime minister is known in Japanese as Naikaku Sōri-Daijin (内閣総理大臣) whenever he is referred to as the head of the Cabinet. However, this title is usually abbreviated to Sōri-Daijin (総理大臣). Other abbreviations include Sōri (総理), Shushō (首相) or even Saishō (宰相).

English notation
The official English rendering is 'Prime Minister'. This English translation was informally used as the English translation of 'Grand Minister' before the introduction of the cabinet system. However, this was not the original English translation of 'Prime Minister', and a German translation, 'Minister President of the State', was also used in the past.

History

Before the adoption of the Meiji Constitution, Japan had in practice no written constitution. Originally, a Chinese-inspired legal system known as ritsuryō was enacted in the late Asuka period and early Nara period. It described a government based on an elaborate and rational meritocratic bureaucracy, serving, in theory, under the ultimate authority of the emperor; although in practice, real power was often held elsewhere, such as in the hands of the Fujiwara clan, who intermarried with the imperial family in the Heian period, or by the ruling shōgun. Theoretically, the last ritsuryō code, the Yōrō Code enacted in 752, was still in force at the time of the Meiji Restoration.

Under this system, the  was the head of the Daijō-kan (Department of State), the highest organ of Japan's pre-modern Imperial government during the Heian period and until briefly under the Meiji Constitution with the appointment of Sanjō Sanetomi in 1871. The office was replaced in 1885 with the appointment of Itō Hirobumi to the new position of Minister President of State, four years before the enactment of the Meiji Constitution, which mentions neither the Cabinet nor the position of Prime Minister explicitly. It took its current form with the adoption of the Constitution of Japan in 1947.

To date, 64 people have served this position. The longest serving prime minister to date is Shinzo Abe, who served as prime minister in two terms: from 26 September 2006 until 26 September 2007, and from 26 December 2012 until 16 September 2020. Shinzo Abe was planning on running in the 2022 election but was assassinated on 8 July 2022 before the elections.

Appointment
The prime minister is nominated by both houses of the Diet, before the conduct of any other business. For that purpose, each conducts a ballot under the run-off system. If the two houses choose different individuals, then a joint committee of both houses is appointed to agree on a common nominee. Ultimately, however, if the two houses do not agree within ten days, the decision of the House of Representatives is deemed to be that of the Diet. Therefore, the House of Representatives can theoretically ensure the appointment of any prime minister it wants. The nominee is then presented with his or her commission, and formally appointed to office by the Emperor.

Conventionally, the prime minister is almost always the leader of the majority party in the House of Representatives, or the leader of the senior partner in the governing coalition. But there have been three cabinet prime ministers from junior coalition partners (Ashida 1948, Hosokawa 1993, Murayama 1994), a few minority governments (most recently the Hata Cabinet in 1994 and at least numerically the Second Hashimoto Cabinet of 1996 during its first year, but with an extra-cabinet cooperation (閣外協力, kakugai kyōryoku) agreement with two parties, sufficient to ensure safe majorities for most government initiatives), and several cabinets with a majority in the House of Representatives, but without legislative majority of their own (most recently the DPJ-led cabinets after the 2010 election; cf. Nejire Kokkai/"twisted Diets").

Qualifications
 Must be a member of either house of the Diet. (This implies a minimum age of 25 and a Japanese nationality requirement.)
 Must be a civilian. This excludes serving members of the Japan Self-Defense Forces. Former military persons may be appointed, with Yasuhiro Nakasone being one prominent example.

Role

Constitutional roles
 Exercises "control and supervision" over the entire executive branch.
 Presents bills to the Diet on behalf of the Cabinet.
 Signs laws and Cabinet orders (along with other members of the Cabinet).
 Appoints all Cabinet ministers, and can dismiss them at any time.
 May permit legal action to be taken against Cabinet ministers.
 Must make reports on domestic and foreign relations to the Diet.
 Must report to the Diet upon demand to provide answers or explanations.
 May advise the Emperor to dissolve the Diet's House of Representatives.

Statutory roles
 Presides over meetings of the Cabinet.
 Commander-in-chief of the Japan Self-Defense Forces.
 May override a court injunction against an administrative act upon showing of cause.

Unlike most of his counterparts in constitutional monarchies, the prime minister is both de jure and de facto chief executive. In most other constitutional monarchies, the monarch is nominal chief executive, while being bound by convention to act on the advice of the cabinet. In contrast, the Constitution of Japan explicitly vests executive power in the Cabinet, of which the prime minister is the leader. His countersignature is required for all laws and Cabinet orders. While most ministers in parliamentary democracies have some freedom of action within the bounds of cabinet collective responsibility, the Japanese Cabinet is effectively an extension of the prime minister's authority.

Insignia

Official office and residence

Located near the Diet building, the Office of the Prime Minister of Japan is called the . The original Kantei served from 1929 until 2002, when a new building was inaugurated to serve as the current Kantei. The old Kantei was then converted into the Official Residence, or . The Kōtei lies to the southwest of the Kantei, and is linked by a walkway.

Travel

The Prime Minister of Japan travels in a Toyota Century, which replaced the Lexus LS 600h L in 2019.

For overseas air travel, the Japanese government maintains two Boeing 777, which replaced the Boeing 747-400 also in 2019. The aircraft is also used by the emperor, the members of the Imperial family, and other high-ranking officials.

They have the radio callsigns Japanese Air Force One and Japanese Air Force Two when operating on official business, and Cygnus One and Cygnus Two when operating outside of official business (e.g., on training flights). The aircraft always fly together on government missions, with one serving as the primary transport and the other serving as a backup with maintenance personnel on board. The aircraft are officially referred to as .

Honours and emoluments

Until the mid-1930s, the prime minister of Japan was normally granted a hereditary peerage (kazoku) prior to leaving office if he had not already been ennobled. Titles were usually bestowed in the ranks of count, viscount or baron, depending on the relative accomplishments and status of the prime minister. The two highest ranks, marquess and prince, were only bestowed upon highly distinguished statesmen, and were not granted to a prime minister after 1928. The last prime minister who was a peer was Baron Kijūrō Shidehara, who served as Prime Minister from October 1945 to May 1946. The peerage was abolished when the Constitution of Japan came into effect in May 1947.

Certain eminent prime ministers have been awarded the Order of the Chrysanthemum, typically in the degree of Grand Cordon. The highest honour in the Japanese honours system, the Collar of the Order of the Chrysanthemum, has only been conferred upon select prime ministers and eminent statesmen; the last such award to a living prime minister was to Saionji Kinmochi in 1928. More often, the Order of the Chrysanthemum has been a posthumous distinction; both the Collar and Grand Cordon of the order were last awarded posthumously to former prime minister Shinzo Abe in July 2022.

After relinquishing office, the prime minister is normally accorded the second or senior third rank in the court order of precedence, and is usually raised to the senior second rank posthumously. Certain distinguished prime ministers have been posthumously raised to the first rank; the last such award was to Eisaku Sato in 1975. Since the 1920s, following their tenure in office, Prime ministers have typically been conferred with the Grand Cordon of the Order of the Paulownia Flowers (until 2003 a special higher class of the Order of the Rising Sun), depending on tenure and eminence. However, honours may be withheld due to misconduct or refusal on the part of the prime minister (for example, Kiichi Miyazawa).

See also
List of prime ministers of Japan
List of spouses of prime ministers of Japan
Air transports of heads of state and government
Official state car
Japanese Air Force One

Notes

References

 Kenkyusha's New Japanese-English Dictionary, Kenkyusha Limited, Tokyo 1991,

External links

Prime Minister of Japan and His Cabinet Official website
List of Japanese cabinets 1885 to 1989

Politics of Japan

1885 establishments in Japan

redpajama_set_name: RedPajamaWikipedia


As many of you will have noticed, I haven't had a chance to write my blog in a while. I've been working, drinking, traveling, eating, drinking, at industry events and yes, more drinking! I finally have a little time to report back on my experiences before I head to New Orleans for Tales of the Cocktail in 2 weeks. There will be new posts going up shortly so be sure to check in again soon.
In "Fussy One News" I would like to let you know that another piece of my writing has been published in this months issue (July 2012) of The Tasting Panel Magazine.
This is the second time i've been fortunate enough to have my words in print (See May issue) and I was thrilled at the chance to cover the 'Absolut Stuga' event that was held in Hollywood last month.
I have been to several Absolut events in the past so knew it would be a fun occasion, because if anyone knows how to throw a good party, it's definitely Absolut. This event was certainly great fun and entertaining, however it differed from previous years because there was a far more prominent focus on education regarding the product and it's development this time.
Experts from Sweden, London and New York had been flown in to teach us about the process, distillation and marketing behind the iconic brand. It actually made for a very informative and interesting evening, and completely different to what I had expected.
I have to admit, I was somewhat surprised to learn so many facts about the brand that actually impressed me. As most of my readers know, Vodka is not my go-to alcohol of choice, mainly due to the fact I find it to have no real flavor profile. However, I was throughly intrigued by the history and 'one source' philosophy that Absolut adheres to.
Did you know that the winter wheat, the purist water, the distilling, bottling and packaging for Absolut all takes place in one very tiny region in Sweden?! It literally all comes from 'one source'…near the city of Åhus in Skåne County, Sweden.
A small community of local Swedish farmers, millers and workers are the team behind one of the biggest Vodka brands in the World, which I think is really quite remarkable.
I have a new found respect for the company as a whole especially when I heard first hand that some of the farmers have worked with the brand for over 25 years.
I admit, I always assumed Absolut was just another big brand that was only popular because it was pushed by clever advertising, however the Stuga event (named after Swedish cottages) was designed to shed new light on their product, which it certainly did for me.
I also hadn't appreciated that the flavored versions of their product use no false or added flavorings.
They steep 100% real fruit in the vodka making it a far more subtle flavor but not fake tasting like many of it's flavored vodka competitors.
The Absolut tasted great in the cocktails that were on offer throughout the evening, I particularly enjoyed 'Our Man in Zanilla' which was sweet, floral and very refreshing.
The event was spread over 2 days at Paramount Studios. Day One was for industry only and Day Two (yes, I did both!) was open to the public. We ate unusual foods prepared by Animal restaurant, learnt a thing or two about the brand, drank punch, had t-shirts printed, told stories and danced the night away to the DJ. A great experience that everyone I spoke to thoroughly enjoyed.
Check out the article I wrote for the magazine by clicking here and seeing the online version of the July issue. My piece starts on page 67 and is a 3 page photo essay about the Absolut event.
Marcos and Vincenzo hug it out!
You can also subscribe for the printed version of the magazine from their website, which I highly recommend for those with a serious interest in the alcohol industry.
Please note the photos in this blog are my personal photos from the event, however the ones used in The Tasting Panel article were taken by Erica Bartel.
Again, big thanks to the Editors of Tasting Panel (in particular, Rachel Burkons) for giving this little British blogger another chance to have their work published…I hope to work for you again soon.
A continued thanks to all my Fussy Readers too, I still can't believe how many of you there are and I appreciate the support.
KEEP FOLLOWING, DRINKING AND TRYING NEW THINGS!


text:
Mundilfari sau Saturn XXV, este un satelit natural al lui Saturn. A fost descoperit de , et al. în 2000, și a primit denumirea temporară S/2000 S 9. Mundilfari are un diametru de aproximativ 7 kilometri, și îl orbitează pe Saturn la o distanță medie de 18.360 Mm în 928,806 zile, la o înclinație de 170° față de ecliptică (150° față de ecuatorul lui Saturn), într-o direcție retrogradă și cu o excentricitate de 0,198. Perioada sa de rotație este de  ore.

Mundilfari s-ar putea să se fi format din resturile aruncate de pe Phoebe de impacturi mari la un moment dat în istoria Sistemului Solar.

A fost numit în august 2003 din mitologia nordică, unde  este tatăl zeiței Sól (Soarele) și al zeului Mani (Luna).

Referințe

Legături externe
 IAUC 7538: S/2000 S 7, S/2000 S 8, S/2000 S 9 7 decembrie 2000 (descoperire)
 MPEC 2000-Y15: S/2000 S 1, S/2000 S 2, S/2000 S 7, S/2000 S 8, S/2000 S 9 19 decembrie 2000 (descoperire și efemeride)
 IAUC 8177: Sateliții lui Jupiter, Saturn, Uranus 8 august 2003 (numirea satelitului)

Obiecte astronomice descoperite în 2000
Sateliții lui Saturn
Pagini cu traduceri nerevizuite


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????????? ? ?????? ????? ?? ???????? (403)209-1578 ???? http://www.irynazayarny.ca
Iryna Zayarny
Iryna Zayarny was born and raised in Ukraine. She studied at the University of the Arts in Kharkiv, Ukraine and received a Masters degree in Musical Performance and Teaching. Iryna moved to Canada in 1998 with her family and has taught piano at the Mount Royal Conservatory since then. She began pursuing art seriously in 2002, expanding her knowledge and skill by taking oil painting lessons from numerous painters and art schools. By doing this, she was able to develop a unique and identifiable style.
Iryna chose oil as her medium because of her intense appreciation of the work of the Old Masters and their vivid realism. Her works portray a wide variety of subjects, ranging from landscapes to still life to portraits. Her works possess a strong sense of realism, bold contrast and soft color values, which result in striking images with abundant layering of detail.
Although the majority of her works are in oil, she has recently used pastel as a medium, showing her ability as a pastel artist.
Iryna Zayarny?s paintings have been exhibited extensively in individual and group shows, as well as public galleries. These include the Avenida Gallery of Art, Shadowbox Gallery, Art Point Gallery, among others. Her works appeal to a variety of tastes and can be found in private collections in Canada and the US, and as far as Ukraine and South Korea.
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2012?????????????? Silhouette Fall Art Group Exhibition, Calgary, A
B2012?????????????? Calgary Stampede Western Art Show.
2012???????????????Third? Annual Calgary Ukrainian Festival.
2012?????????????? 2nd Annual Scottsdale Salon of Fine Art.?April 20 ? May 10, 2012. Legacy Gallery, Scottsdale, Arizona, USA.
2012?????????????? Scottsdale Art school. Still life workshop with Daniel Keys, Arizona, USA
2011??????????????? Silhouette Fall Art Group Exhibition, Calgary, AB
2011?????????????? Celebrate Remembrance Day – an Exhibition of Canadian Artists. November? 7-19. Artevo Gallery. Calgary, AB?
2011????????????? 29th Annual Calgary Stampede Western Art Show (click to open)
2011????????????? Second? Annual Calgary Ukrainian Festival
2011????????????? Scottsdale Art school. Still life workshop with Jeff Legg. Arizona, USA.
2011?????????????? Artevo Art Exhibition of Acclaimed Alberta Artists ?March 17-24, 2011
2011??????????????? Malanka Festival, ACUA, Jasper. Alberta????????
2010 ?????????????? Cochrane Ecological Institute Art Show and Auction
2010??????????????? Silhouette Fall Art Group Exhibition (organizer)
2010??????????????? National Exhibition, Canadian Institute of Portrait Artists
2010??????????????? 28th Annual Calgary Stampede Western Art Show (click to open)
2010??????????????? Ukrainian Art Festival, ACUA
2010 ?????????????? Silhouette Spring Art Group Exhibition (organizer)
2009??????????????? 27th Annual Calgary Stampede Western Art Show
2009??????????????? Planet Earth Open Exhibition, ASA
2009 ?????????????? 7th Annual Juried Members? Show, Leighton Art Centre
2009??????????????? Cultural Intersection Art Exhibition
2008???????????? ?????Vernissage Group semi-annual Exhibition
2008??????????????? 6th Annual Juried Members? Show, Leighton Art Centre
2008??????????????? Vernissage Group semi-annual Art Exhibition
2008??????????????? Art Exposed Group Show
2007??????????????? Unseen Art Exhibition, Art Point Gallery
2006??????????????? Art with Heart Exhibition, Midlake Art Studio
2006??????????????? Midlake Art Group Exhibition, Shadowbox Gallery
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This slender glass and steel lantern immediately catches the eye because of the simple interplay of lines. The silver frame and glass turn this lantern into a modern whole. Place the Maxime Lantern M (height: 51 cm) inside or outside under a cover. Place a beautiful candle in it and the long cocktail evening can begin.


For the past 40 years, R.H. Keleher Company has been an industry leader in the distribution of pipe hanger and support systems. Located in Sharon Massachusetts, R.H. Keleher Co is the only individually owned, family run pipe hanger distributor headquartered in Massachusetts. Our 30,000 square foot warehouse contains an extensive inventory of products to help guarantee customer satisfaction, no matter how big or small the order.
I have dealt with R.H. Keleher for the past 15 years. Pricing is important, especially in this environment, but besides pricing I have come to rely on Keleher to meet my delivery needs to the tee. They have been there whenever I have needed them, even on a Saturday morning in a snow storm. I have formed a business relation with this company and have come to appreciate and respect what their employees stand for, good pricing and excellent service.
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The New Country 103.1 Mobile App
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By wirk | August 19, 2020
Katy, Lionel and Luke are back for a fourth season of American Idol on ABC
The American Idol judges' panel is staying the same.
Katy Perry, Lionel Richie and Luke Bryan are all returning for a fourth season of the reality competition show on ABC. Ryan Seacrest will also return as host.
In a statement, Karey Burke, the president of ABC Entertainment, said, referring to last season's remote episodes, "American Idol has always been able to bring people together, entertain and inspire — and I am so proud of how this show continued to deliver joy and laughter into people's homes during a time when we needed it the most."
She added, "There is no one who we feel more confident about leading us into a new season of high notes than Luke, Katy, Lionel and the incomparable Ryan Seacrest."
Showrunner Trish Kinane noted, "Katy, Lionel and Luke are fun, astute and really know how to spot talent. Their chemistry is undeniable, and we are delighted that they, along with host Ryan Seacrest, are returning to find the next superstar and take American Idol to new heights next season."
American Idol executive producer Eli Holzman said, "At times like these, it is more important than ever to give families wholesome entertainment, packed full of hope, talent and inspiration — where dreams come true. And that is what American Idol is all about."
Virtual auditions for the new season are underway via Idol Across America, a remote campaign that allows contestants from all 50 states to participate.
There's no definitive word yet on when the new season will get underway.
Chris Young offers a sneak peek into his album-making process with new studio session snippet
'Heart & Soul': Eric Church announces a three-album project on the way
2000s country hitmaker Darryl Worley has announced he'll resume touring this month
Tim McGraw + Tyler Hubbard on singing "Undivided" on Inauguration Day: "It's been one miracle after the next"
Morgan Wallen "struggled" with the idea of fatherhood when he first found out he was going to be a dad


text:
Francesca Cassini
Translating and sharing the magic of life
THE SILVER TENT
WAKING THE LIONS TRILOGY
LIONHEARTED VIDEO INTERVIEWS
MEETING YOUR 'MUSE'
Intuitive Mentoring Testimonials
Together We Rock!
Francesca Cassini » Home » BOOKS
Books by Francesca Cassini: Kahuna – The Cat Who Didn't Die
Have you ever wondered if there is life after death? What if existence transcends this apparent final frontier that awaits us all? And could a cat hold the answers? Meet 'King' Kahuna – the cat who took Francesca on an amazing journey to his death and beyond.
Francesca Cassini has never been married and never had children, but she has had cats. And when she has cats she is a doting and devoted cat mother. She treats her cats like people. When they are sick everything else is put on hold and she does whatever it takes to help them heal. When they die she wants to scream and wail, but is too afraid, fearing the intensity of that scream may shatter her into a million pieces and nothing will be able to put her back together again, ever.
At the time of writing she is cat-less. Or is she? Even though the Vet put her last cat to sleep while he lay in her arms, and three days later she carried his cold and heavy-as-stone body to the grave dug a few feet from her caravan home, he is not gone. He may have stepped out of his worn out 'cat-suit' but Francesca says he is still very much with her.
This is the story of one woman's love affair with cats and her magical relationship with Kahuna – the cat who didn't die.
Warning: this book may dramatically and radically alter your perception of death.
Read an excerpt from Kahuna – The Cat Who Didn't Die
Books by Francesca Cassini: Together We Rock!
Synopsis: Together We Rock!
The story of how one woman is creating a global movement of women over 50 – The Silver Tent
She's waited her whole life to be 61 years old. Told with compelling candour and drenching buckets of humour we come face to face with the challenges and disappointments of a woman out of kilter with the world for the first fifty nine years of her life. Ricocheting from one inspirational but unsuccessful project to another she takes us on a weaving path of uncertainty. Out the far side of a deep depression a few months before her 60th birthday, at which point she believes her entire life has been a dismal failure, everything changes – and she begins to follow the whisper of her heart in earnest.
We travel to the Amazon Jungle for a weeks' communion with the entheogen Ayahuasca, the heart of Wales and the wettest, wildest winter on record for a four-month off-grid experience in a secluded yurt, and a shamanic camping retreat to meet her ancestral self and re-commit to an ancient vow.
A growing understanding that being over 50… and 60… and 70 may not be the end of a woman's power and potential emerges, and as she faces the loss of her only income, eviction from her rented tiny caravan home, and her cat becoming diabetic – all just a few days after her return from from her most recent retreat, she stands firm in the eye of the storm, anticipating a profound breakthrough.
Through a mixture of fast-paced, funny as well as poignant anecdotes we share her epiphany as The Silver Tent is born, initially as a Facebook group, and she discovers she is the catalyst of a growing movement of women over 50 sharing their wealth of wisdom through a deep sense of conscious, co-creative collaboration.
A year on and The Silver Tent is an extraordinary community and resource reminding every member that she is a wild, wonderful and wise elder woman… a valid and valuable person. In this non-judgemental space women find the nurturing soil in which to grow beyond what they may have expected at this age. Through sharing and supporting each other, this has become a place of inner healing and transformation. It is a place where each of us, as we tap in to our true essence, is supported by her silver sisters to become a force of nature. And this is just the beginning.
Read an excerpt and buy Together We Rock!
Visit The Silver Tent
Sharon Kendall
Good Day. I preordered two (2) copies of "Kahuna"; is for Karen, the second for Sharon. Many thanks, in advance.
How Do You Define Yourself? And How Does it Impact Your World?
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Suitable for those who have attended the Introductory course or have experience of working with metal clay. Spend a day in the studio and make two metal clay rings. We talk about the method of making rings, sizing and design. We will also demonstrate finishing techniques and students will have the opportunity of using motorized tools to finish their rings to a high standard.


text:
Q: How to insert multiple values in one column of type number in oracle? I have table like
CREATE TABLE TEMP_TABLE
(
  temp_acct number(10) NOT NULL,
  temp_code varchar2(250),
  temp_bal number(10,2),
  CONSTRAINT TEMP_TABLE_PK PRIMARY KEY(temp_acct)
);

Is it possible to insert multiple values into column temp_bal in one row something like below,I know the syntax is incorrect but is there any way?
INTO TEMP_TABLE (temp_acct, temp_code, temp_bal)
VALUES (1000, 'code100, code101, code102, code103', '1000.00,2000.00,3000.00');

redpajama_set_name: RedPajamaStackExchange


For forum newcomers, the thread is left as visible so they can draw their conclusions, o gear and on posters involved. All thread particpants so far made their point of view clear enough for that.
In that context, thanks all for the active participation.