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How Trans People in India's Small Towns Bear the Brunt of Bollywood Stereotypes
arun Posted On December 1, 2021
More than anything about her childhood in a small hamlet bordering Telangana, Joopaka Chendur, a 34-year-old trans woman and sex worker, remembers the rain. Her village, in the Adilabad district of Telangana, would suddenly spring back to life, the fisherfolk would pull back their carefully woven nets from the lake that encircled the village while humming folk songs, and fried rice rings locally referred to as chegodilu, would be generously shared by beaming neighbors.
By Arman Khan
This was until Chendur's boyfriend broke up with her on the first day of the monsoons in 2011.
"To say that he spoiled the rains for me would be putting it mildly," she says. "This was before I'd ventured into sex work. What hurt was the fact that … he had reduced me to a caricature in minutes."
The breakup was brought about by her boyfriend's obsession with the trans character in the Bollywood film Murder 2 (2011). The character hired prostitutes only to kill them and dump their corpses in a well brimming with ravenous mice.
"I begged him to reconsider his decision but he'd made up his mind," Chendur says. "On the day he left me, he said something which destroyed my idea of love forever: 'Do you want to end up like that whore-killer in Murder 2 who became a eunuch because he couldn't control his sex drive?'"
This incident impacted Chendur deeply. She hadn't even seen the film till then but every time she heard someone talk about it, she felt her skin crawl.
No servings of chegodilus helped her that day, or for many weeks after.
Bollywood has consistently caricatured trans lives and their struggles, reducing them to villainous sex workers, brothel owners, and jaded lovers. And every time, a heterosexual actor has essayed the roles. Recently, Akshay Kumar played the role of a trans woman on the warpath of revenge in Laxmii (2020), while Vaani Kapoor is all set to play a trans woman in the upcoming Chandigarh Kare Aashiqui (2021). These movies come at a time when even the NCERT has had to bow down to pressure from transphobic groups over their decision to make the school syllabus more trans-friendly.
While a section of the audience still believes that actors are free to play any role they want, these distorted portrayals of trans realities from a stereotypical and heteronormative gaze only work to embolden existing transphobia.
Ditilekha Sharma, a transmasculine queer feminist researcher and activist, talks about how the stereotypical portrayal of trans realities erases the many nuances in trans identity. "Our movies build on existing stereotypes but also add to it," they said. "When Akshay Kumar dresses up as a woman in Laxmii, the assumption is that all trans people have to dress up in saris. For the longest time, Bobby Darling's portrayal of a transfeminine woman was seen as the only way trans people exist. People had no understanding that there could also be a trans man or a transmasculine person. Even her name has become a slur."
Nearly a thousand kilometers away from the billowing rains of Chendur's village, in Raike Kalan, Punjab, lives Avtar, a 24-year-old trans man who prefers being referred to by only his first name. He works as a tailor in one of Bhatinda city's popular garment retail shops. Avtar's ugly brush with Bollywood ended with him losing his thumb.
"[One day], I got into an argument about Sadak (1991) with my colleagues who were high on some substance," he says. The 1991 hit film starring Pooja Bhatt and Sanjay Dutt in the lead roles, also featured Marathi actor Sadashiv Amrapurkar in the role of "Maharani," a transgender brothel owner.
"It was playing on the television in our shop, and they wouldn't stop laughing at the pimp and kept mimicking her," recounts Avtar. "I politely requested them to change the channel but they wouldn't listen. They told me to leave the shop and come back when the movie is over. But it was December and freezing outside. Besides, all of us slept in the shop," says Avtar.
Things came to a head when Avtar grabbed the remote and switched off the channel. "I couldn't take it. It was clear they were mocking me, and the exaggerated role played by a straight actor only added fuel to fire."
Almost as a reflex, one of the men pulled Avtar's thumb under a working needle of a sewing machine and injured his thumb irreversibly. "The pain was so unbearable, I thought I had lost my voice. I couldn't scream. But the sight of so much blood thankfully jolted them out of their drug-induced stupor and they rushed me to a local hospital."
It's been three years since that tragic incident and Avtar has no choice but to continue working in the same shop. The owner took no action against the men, and instead even claimed that they cared for Avtar because they had taken him to the hospital.
"I don't know what the working conditions are like for other trans people like me in these heavily male-dominated professions. Just the other day, I heard the news that a trans bicycle repairman in Ludhiana was nearly beaten to death by his owner over delayed delivery."
Judicial protection for such crimes against the trans community is almost non-existent. Only recently, a petition before the Supreme Court sought to include sexual crimes against transgender people under the ambit of the law, which only recognizes crimes against men and women as valid. On the heels of this petition, a 17-year-old trans girl was murdered in Tamil Nadu by her brother who did not approve of his sister's gender.
Further, government records do not reflect the ground reality of trans violence. The National Crime Record Bureau (NCRB) started reporting crimes against trans people only after the passage of the Transgender Protection Act in 2019.
Sandra Nandeibam, a 23-year-old trans model from Imphal, Manipur, says that Bollywood's fetishized portrayal of trans lives also percolates into her romantic relationships.
"People's romantic interest in me is thus fueled by fantasy and lust; the urge to attain something out of the ordinary because trans people to them are temporary 'achievements' and a badge they can wear discreetly," Nandeibam says. "Because of our one-dimensional portrayal in Bollywood, very often people assume that trans people somehow lead undignified lives and do not give us the basic respect that all lives deserve."
The way Nandeibam sees it, trans people always get "stuck in a vicious circle" when reel life encounters translate into real life. In her neighboring state of Assam, Arupa Phukan, a 39-year-old trans entrepreneur, echoes a similar sentiment.
"When we throw around phrases such as 'movies reflect the times we live in,' we don't necessarily take into account how they also end up reflecting and magnifying transphobia," they said. "I still remember being shocked when I saw the 2004 film Masti, which shows a trans woman kissing one of the film's lead characters, and the disgust he feels when she realizes that she is trans."
In Masti, the character proceeds to rinse his mouth when he realizes that he had misgendered the trans character; in reality, the price that trans people have to pay when they are mistaken for cis-gendered people is often fatal. In January, a 21-year-old transwoman in Chattisgarh was brutally murdered when the men around her found out she wasn't cis-gender.
Navya Singh, a trans model and actor from the small town of Katihar in Bihar, had auditioned for the lead trans role, which eventually went to Akshay Kumar, in Laxmii. "So it's not that trans people are not auditioning for trans roles. Most of the time, I don't fit into their stereotypical definition of what is truly trans," Singh says. "They expect someone manlier, less feminine, with a deep voice. Although, in hindsight, I'm only too glad that I didn't land that role because it's an affront to our community."
Singh recollects how, almost a decade back, before she ventured into modeling and acting, she faced inspired discrimination from her colleagues whenever she would go for interviews to apply for call center jobs — clearly inspired by Bollywood.
"During one of these interviews, I overheard two women talking about how I was there not to audition but to bless the room. One of them even told me that I should focus on doing jobs meant for my community — such as begging, sex work, and magic. A major portion of this stems from our movies because we are portrayed in these narrow, stereotypical ways."
She explains this is also why even children get scared of trans people, assuming they are evil and out to kidnap and castrate them.
How communities — especially minorities — are portrayed in mass media has a profound impact on both how society views them and treats them. It is indeed possible to make dignified space for trans people within the art we create and consume. Sharma notes how various folk art performances in India have always had this kind of space for trans expressions. "The Bihu art of Assam or Manipur's Sumanglila folk art have spaces for transfeminine roles with dignity and respect. There is no caricature there. Trans people are now moving away from wasting their time in Bollywood and finding integrity in our own trans-friendly folk spaces."
"We are an empowered community," says Singh. "And we're all different, with a range of aspirations. It's high time Bollywood and the world understands the same."
Courtesy : The Swaddle
Note: This news piece was originally published in theswaddle.com and used purely for non-profit/non-commercial purposes exclusively for Human Rights objectives.
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Albert Lea Magazine
New activities for Albert Lea children
Published 7:50 pm Tuesday, June 18, 2019
By Tyler Julson
Leivianna William, 7, colors Tuesday during an Albert Lea Parks and Recreation Rec on the Go popup park near Trailside Apartments. - Colleen Harrison/Albert Lea Tribune
Parks and Recreation starts traveling program in town
The Albert Lea Parks and Recreation Department has launched a new program this summer aimed at providing area youth with mobile fun and activities in several local areas.
Named Rec on the Go, the program travels to eight area parks or areas Monday through Thursday where recreation staff set up activities for children to use, including games, sports, art and crafts.
Recreation Program Supervisor Jenny Davis said the idea came after they had heard of other Minnesota communities having success with the program. After attending a session about Rec on the Go at a parks and recreation conference, Davis said they decided to bring the program to Albert Lea.
"We knew about the idea just because of seeing it with other parks and rec and different cities," Davis said. "But it was the conference session that really spurred my co-worker and I to decide to try it this summer."
Davis said the Rec on the Go parks also provide a supplemental piece to the play parks set up in the city, which have been in operation for several years. According to Davis, Rec on the Go is similar to the play parks; however, unlike the play parks, Rec on the Go can move to different locations around Albert Lea.
On Mondays and Wednesdays, the park is set up at Pickerel Park Townhomes from 10:30 a.m. to noon, Memorial Park from 12:30 to 2 p.m., Virginia Place Park from 3 to 4:30 p.m. and Morin Park from 5 to 6:30 p.m. On Tuesdays and Thursdays, locations are at Northbridge Apartments from 10:30 a.m. to noon, Euclid Park from 3 to 4:30 p.m.; and Trailside Apartments from 12:30 to 2 p.m. Tuesdays and Frank Hall Park from 12:30 to 2 p.m. Thursdays.
Different yard games are available for children to play with as a part of Rec on the Go. – Colleen Harrison/Albert Lea Tribune
There is no registration required for the program, and it is free for anyone to attend. While the Pickerel Park Townhomes and Morin Lake locations seem to be the most popular, there are usually a handful of children who show up at each location.
Davis said the biggest challenge to getting started was finding a way to transport all of the materials from place to place and coming up with fun things that would be sure to attract children to the park.
"We're always looking for new things to add to the parks," Davis said. "We only set up at each site twice a week, but we want to bring new things each time. We don't want it to get boring, we're always trying to look for more stuff."
Some of the most popular attractions at the park include a giant connect-four board, different yard games and a blow up bouncy house. However, Davis said the biggest draw for the children always seems to be the art and crafts.
"Talking to Brooklyn Park at the conference, they said their biggest attractor was arts and crafts," Davis said. "It's been big for us as well. We do a lot of different crafts and we've got a lot of supplies."
The feedback received so far has been great, according to Davis. Through word of mouth and social media, many parents, day care providers and children themselves have been receptive to the program.
While the program has been doing well and will return next summer, Davis said there may be some changes that take place. Some of those changes might include a modified schedule to accommodate the sites more efficiently, new equipment and possibly adding a meal option to the lunch time slots.
Rec on the Go continues through July 25, with the exception of July 3 and 4.
About Tyler Julson
Tyler Julson covers sports for the Albert Lea Tribune.
More by Tyler
Sports Memories: Langemo named to All-State Basketball Team of the Week 50 years ago
Winter weather advisory begins Saturday
Across the Pastor's Desk: Forgo the extravagant rituals
Halverson Star Class: Recognizing feelings
Main Street project finished in Albert Lea
© 2023, Albert Lea Tribune

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Michelman & Robinson, LLP Names William E. Adams New Managing Partner of San Francisco Office
Michelman & Robinson, LLP (M&R) is pleased to announce that William (Bill) E. Adams assumed the role of San Francisco Office Managing Partner, effective January 1, 2014. Mr. Adams has taken over for John Sebastinelli, who had served in this position since 2005.
San Francisco, CA (1888PressRelease) January 14, 2014 - Since joining M&R, Mr. Adams has quickly established himself as a leader within the Firm. In his expanded role, Mr. Adams will lead the long-term planning and growth efforts for the San Francisco office. "Bill brings a wealth of experience and innovation to our San Francisco office," says Dana Kravetz, Firm Managing Partner and member of the Executive Committee. "I have 100% confidence he will excel in his new position and I am excited to work alongside him."
"Bill has been an outstanding addition to the M&R family," says Co-Founder Sanford Michelman. "He brought with him a robust litigation practice, and in addition to being a talented trial lawyer, he is just a great person."
Mr. Adams is a member of the Firm's Commercial Business and Litigation Group. He brings over 23 years of experience representing clients in a broad range of business and real estate litigation matters. He has tried over 50 cases and handled several appeals. Mr. Adams also serves as a judge for the Santa Clara County Superior Court and is a judicial arbitrator for the Alameda County Superior Court.
"It's an exciting time to be at M&R San Francisco," says Mr. Adams. "San Francisco is a key market for the Firm, and I look forward to advancing our expansion efforts to meet the diverse needs of our clients."
About Michelman & Robinson, LLP
M&R is a dynamic law firm with 5 offices in California and New York. The Firm specializes in a wide variety of practice areas and industries, including Advertising, Marketing & Media; Commercial & Business Litigation; Construction; Corporate & Securities; Environmental; Financial Services & Bankruptcy; Health Care; Insurance; Intellectual Property; Labor & Employment; Real Estate; Regulatory & Administrative; Tax and Writs & Appeals. For more information, please visit www.mrllp.com.
New Fireplace "Remodeling"Process Explained in National Masonry Magazine by Masonry Cosmetics, Inc
Michelman & Robinson, LLP Names William E. Adams New Managing Partner of San Francisco Office by Blattel Communications
2014-2015 Interdenominational Ministers Fellowship Executive Board Installation this Wednesday by Interdenominational Ministers Fellowship
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Blattel Communications


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You are currently viewing Archived reports for the week of 22 July-28 July 2009.
Activity for the week of 22 July-28 July 2009
Sheveluch Central Kamchatka (Russia) New
Chaiten Chile Ongoing
Nevado del Huila Colombia Ongoing
Sangay Ecuador Ongoing
Sarychev Peak Matua Island (Russia) Ongoing
Suwanosejima Ryukyu Islands (Japan) Ongoing
Based on information from JMA, the Tokyo VAAC reported that on 22 July explosions from Sakura-jima produced plumes that rose to altitudes of 1.8-2.4 km (6,000-8,000 ft) a.s.l. and drifted E and SE. On 23 July and 27 July pilots observed ash plumes that rose to altitudes of 2.1 and 3 km (7,000 and 10,000 ft) a.s.l. and drifted E and SW, respectively. Explosions were reported during 24-25 and 28 July.
Source: Tokyo Volcanic Ash Advisory Center (VAAC)
KVERT reported that during 17-18 and 20-24 July seismic activity from Shiveluch was above background levels. During 17-20 and 22 July, gas-and-steam plumes seen on a video camera rose to an altitude of 3.7 km (12,100 ft) a.s.l. Based on interpretations of seismic data, ash plumes possibly rose to an altitude of 5.2 km (17,000 ft) a.s.l. on 20, 21, and 22 July, and steam-and-gas plumes with some ash content were noted on other days. Analyses of satellite imagery revealed a large daily thermal anomaly over the lava dome, and steam plumes that drifted as far away as 40 km on 18 and 20 July. The Level of Concern Color Code remained at Orange.
Based on analyses of satellite imagery and information from KEMSD, the Tokyo VAAC reported that during 23-24 and 27-28 July eruptions produced plumes that rose to altitudes of 4.6-6.1 km (15,000-20,000 ft) a.s.l. According to news sources, an ash plume rose to an altitude of 7 km (23,000 ft) a.s.l. late on 25 July. Increased seismicity, powerful ash bursts, and avalanches were also reported.
Sources: Kamchatkan Volcanic Eruption Response Team (KVERT), Tokyo Volcanic Ash Advisory Center (VAAC), RIA Novosti
Based on analyses of satellite imagery, the Darwin VAAC reported that on 23 July an ash plume from Batu Tara rose to an altitude of 2.4 km (8,000 ft) a.s.l. and drifted 55 km W. On 27 and 28 July, ash plumes rose to an altitude of 1.5 km (5,000 ft) a.s.l. and drifted as far away as 150 km NW.
Chaiten | Chile | 42.833°S, 72.646°W | Elevation 1122 m
Based on web camera views from the S, SERNAGEOMIN reported that during 16-22 July gas-and-ash plumes rose 1.5 km from Chaitén's growing Domo Nuevo 1 and Domo Nuevo 2 lava-dome complex. Collapses originating from unstable slopes generated block-and-ash flows, particularly in the W area of the complex. The Alert Level remained at Red. Based on web camera views and analyses of satellite imagery, the Buenos Aires VAAC reported that on 28 July an ash plume rose to an altitude of 1.8 km (6,000 ft) a.s.l. and drifted NE.
Sources: Servicio Nacional de Geología y Minería (SERNAGEOMIN), Buenos Aires Volcanic Ash Advisory Center (VAAC)
During 22-28 July, HVO reported that lava flowed SE from underneath Kilauea's Thanksgiving Eve Breakout (TEB) and rootless shield complex through a lava tube system, reaching the Waikupanaha ocean entry. Thermal anomalies detected in satellite images and visual observations revealed active surface flows at several locations on the pali. Explosions from the Waikupanaha ocean entry were reported on 22 July. The vent in Halema'uma'u crater continued to produce a diffuse white plume that drifted mainly SW. Small amounts of ash-sized "rock dust" were retrieved from collection bins placed near the plume during the reporting period. The sulfur dioxide emission rate at the summit remained elevated; measurements were 800, 500, and 950 tonnes per day on 22, 24, and 27 July, respectively. The 2003-2007 average rate was 140 tonnes per day; between the 30 June rockfall sequence and 19 July rates were 200-400 tonnes per day.
Nevado del Huila | Colombia | 2.93°N, 76.03°W | Elevation 5364 m
INGEOMINAS reported that during 22-28 July four pulses of seismic tremor from Nevado del Huila indicated explosions. Gas plumes were seen on a web camera and during a commercial flight. On 23 July, ashfall was reported in an area to the NW. The Alert Level remained at III (Yellow; "changes in the behavior of volcanic activity").
Source: Servicio Geológico Colombiano (SGC)
Sangay | Ecuador | 2.005°S, 78.341°W | Elevation 5286 m
Based on a pilot observation, the Washington VAAC reported that on 23 July a possible ash plume from Sangay rose to an altitude of 7.9 km (26,000 ft) a.s.l. The plume was not identified in satellite imagery.
Source: Washington Volcanic Ash Advisory Center (VAAC)
Sarychev Peak | Matua Island (Russia) | 48.092°N, 153.2°E | Elevation 1496 m
Based on analyses of satellite imagery, SVERT reported that on 22 July a gas-and-steam plume from Sarychev Peak drifted 35 km N. Cloud cover prevented observations during 23-26 July. On 27 July, a steam-and-gas plume possibly containing some ash rose to an altitude of 3.7 km (12,000 ft) a.s.l. and drifted 55 km NW.
Sources: Sakhalin Volcanic Eruption Response Team (SVERT), Tokyo Volcanic Ash Advisory Center (VAAC)
Suwanosejima | Ryukyu Islands (Japan) | 29.638°N, 129.714°E | Elevation 796 m
Based on information from JMA, the Tokyo VAAC reported explosions from Suwanose-jima during 23-24 July. Details of possible resultant ash plumes were not reported.


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By the late nineteen-sixties, the artistic basis of the Beatles' preëminence in the world of popular music was plain for all to see.Photograph Courtesy Apple Corps Ltd.
When the Beatles Walked Offstage: Fifty Years of "Abbey Road"
By Jonathan Gould
In the spring of 1969, Paul McCartney telephoned George Martin to ask if he would be willing to work with the Beatles on a new album they planned to record in the months ahead. Martin, who was widely regarded as the most accomplished pop-record producer in the world, had overseen the making of all nine albums and nineteen singles that the Beatles had released in Britain since their début on E.M.I.'s Parlophone label, in 1962. His reputation was synonymous with that of the group, and the fact that McCartney felt a need to ask him about his availability dramatized how much the Beatles' professional circumstances had changed since the release of the two-record set known as the White Album, in the fall of 1968. In Martin's view, the five months of tension and drama it took to make that album, followed by the fiasco of "Get Back," an ill-fated film, concert, and recording project that ended inconclusively in January, 1969, had turned his recent work with the Beatles into a "miserable experience."
"After ['Get Back'] I thought it was the end of the road for all of us," he said later. "I didn't really want to work with them anymore because they were becoming unpleasant people, to themselves as well as to other people. So I was quite surprised when Paul rang me up and asked me to produce another record for them. He said, 'Will you really produce it?' And I said, 'If I'm really allowed to produce it. If I have to go back and accept a lot of instructions that I don't like, then I won't do it.' " After receiving McCartney's assurance that he would indeed have a free hand, Martin booked a solid block of time at Abbey Road studios from the first of July to the end of August.
Thus the stage was set for the Beatles' tenth studio album, named after the labyrinthine recording complex in North London's St. John's Wood that had served as the site of their greatest musical triumphs. Though the tracks from the "Get Back" project, retitled "Let It Be," would be released later, in the spring of 1970, "Abbey Road" was the Beatles' last word—the final recordings by the most popular and influential artists of the nineteen-sixties. Now, on the occasion of its fiftieth anniversary, "Abbey Road" has been expertly remixed by Giles Martin, George Martin's son and protégé, and reissued in a super-deluxe edition that comes with an archive of studio outtakes and a hundred-page book of essays and liner notes that chronicle how the recordings were made. "The Beatles are good even though everybody already knows that they're good," the classical composer Ned Rorem observed in 1968, alluding to how the band's immense popularity confounded the usual notions of discriminating taste. If anyone needs to be reminded of this, this new edition of "Abbey Road" should do the trick.
The unpleasantness that George Martin ascribed to the Beatles stood in stark contrast to the first impression he formed of this oddly named group from Liverpool when they auditioned for a recording test at Abbey Road, in the spring of 1962. At that time, Martin had his doubts about their musical potential, but he was totally charmed by their personalities and repartee. The change he perceived in their behavior toward one another during the course of 1968 was very recent and very real, and it was due to many sources, including the travails of Apple Corps, the Beatles' farcically naïve attempt to run their own business following the death of their visionary manager, Brian Epstein, in 1967, and their disillusionment with the Maharishi Mahesh Yogi, the jet-setting Indian swami who had filled the void left by Epstein's death by serving as the band's brazenly entrepreneurial spiritual adviser. But the root cause of disaffection in the group involved something much more fundamental than its efforts to dabble in hip capitalism or pop mysticism.
By the late nineteen-sixties, the artistic basis of the Beatles' preëminence in the world of popular music was plain for all to see. Here was a band comprising two of the greatest pop singers and songwriters of their generation, supervised by a supremely innovative pop record producer, and supported by a pair of highly competent and resourceful instrumentalists, one of whom, George Harrison, was emerging as a gifted songwriter in his own right. The axis of the group's genius, of course, was the collaboration between John Lennon and Paul McCartney. For more than ten years, the musical friendship between these two partners had remained the predominant relationship in both of their lives. But that had changed abruptly in the spring of 1968, when Lennon returned to London from the Maharishi's ashram in Rishikesh, blew up his marriage, and threw himself into a romantic and creative partnership with Yoko Ono, the fame-obsessed Japanese performance artist who had been pursuing him for more than a year. Ono would later be demonized by the press and the public as the cause of the Beatles' downfall, but she was more like the solvent that Lennon used to dissolve the bonds of solidarity and common purpose that had distinguished popular music's most exalted band of brothers. From the moment Lennon and Ono moved in together, in June of 1968, Ono displaced McCartney as Lennon's collaborator, muse, and sounding board. That she knew virtually nothing about singing, songwriting, or music-making bothered Lennon not at all. If anything, Ono's brand of dilettantism came as a great tonic to a renowned musical artist whose insecurities about the pretensions of art-making had recently led him to insist to the Beatles' authorized biographer, Hunter Davies, that "Beethoven is a con, just like we are now."
McCartney responded to the advent of Ono with all the powers of musical persuasion at his command. The many months of rehearsal and recording it took to make the White Album had brought about a striking improvement in the Beatles' ensemble playing. The "Get Back" project, as conceived by McCartney, began as an attempt to restore the group's sense of personal and musical camaraderie by returning it to its roots as a performing band. Toward this end, several of the songs McCartney unveiled at those sessions had been expressly designed to encourage Lennon to share the lead singing with him. ("Two of Us" was self-explanatory, whereas "I've Got a Feeling" reversed the pattern of "A Day in the Life" by joining McCartney's verses to Lennon's release.) In April, when Lennon sought to celebrate his recent marriage to Ono by rush-recording "The Ballad of John and Yoko" at a time when George Harrison and Ringo Starr were otherwise engaged, McCartney threw himself into the session, making up for absence of the others by playing bass, drums, piano, percussion, and singing harmony on the track. When Harrison and Starr rejoined them a few days later, it marked the start of a productive series of sessions in which all four of the Beatles introduced new songs.
But any hopes that this renewed spirit of collaboration might carry over into the work on the band's next album were dimmed when a mounting series of business crises caused Lennon and McCartney to square off over whether the group's financial management should be entrusted to McCartney's new in-laws, the entertainment lawyers Lee and John Eastman, or to Lennon and Ono's proxy, the music-business fixer Allen Klein. Klein and the Eastmans, in their efforts to outdo one another, squandered the opportunity for the Beatles to gain control of both their management and music-publishing companies, forcing E.M.I. to pay their record royalties into escrow until the courts could sort things out. For the first time in a long time, the world's most successful rock group convened to make an album because it needed the money to pay its bills.
Despite this imperative, McCartney was the only Beatle who showed up at Abbey Road at the start of the sessions in July. (He spent the day refining his singing on "You Never Give Me Your Money," which summed up his opinion of Klein.) Lennon was over four hundred miles away at the time, on a road trip with Ono and their respective young children in Scotland, where, that same day, he flipped their car into a ditch. The children were merely shaken up, but Lennon suffered a gash on his head, and both he and Ono had to be hospitalized. Harrison and Starr joined McCartney at the studio the following day, and, for the next three weeks, while Lennon recuperated, the remaining three Beatles worked together amicably on songs by McCartney and Harrison.
When Lennon at last arrived, bearing a new song with the somewhat ironic title "Come Together," he was accompanied by a crew of attendants, who set up a double bed for Ono in the main studio at Abbey Road. While the shock of this sank in, Lennon made it clear that McCartney had not been speaking for him when he assured George Martin that the Beatles were willing to take direction from their producer as they had in the past. Upon hearing of Martin's desire to elaborate on the unified "concept" of "Sgt. Pepper" by linking the tracks, musically and thematically, to give the new album a "symphonic" form, Lennon countered with an organizing principle of his own—all of his songs on one side of the record, all of McCartney's songs on the other. As ever, it fell to McCartney to broker a compromise. Drawing on the band's past triumphs, he proposed that one side of the album, like "Revolver," consist of songs by the individual Beatles, most of them dating from the earlier sessions in April, each with its own distinct lead singer. The other side, like "Sgt. Pepper," would consist of an interrelated medley of newly recorded tracks. On this basis, the Beatles forged ahead in the weeks after Lennon's return on a record that each of them, in his way, must have hoped, feared, or otherwise suspected might well be their last as a group.
To speak of "sides" is to acknowledge that "Abbey Road," like most Beatles albums, was originally released as a double-sided vinyl LP. This was the format with which the group had revolutionized the recording industry in the sixties, when its popularity, self-sufficiency, and burgeoning artistic ambition helped to establish the self-written album as the principal medium of rock. Earlier, in the fifties, when "long-playing" records first became available, their selling point was their capacity. Unlike the 78-r.p.m. records they replaced, LPs could hold more than twenty minutes of music per side, which made them an ideal format for the extended performances of classical music, Broadway shows, film soundtracks, modern jazz, and standup comedy that accounted for the lion's share of the record market at the time. Best-selling pop singers like Frank Sinatra, Harry Belafonte, and Elvis Presley also capitalized on the potential of the LP, not least because a prime virtue of albums in the pop market was their packaging. The records were sold in foot-square cardboard sleeves, faced with a photograph or illustration that served as an advertisement for the product within. By providing a portrait of the artist and a platform for the sort of promotional copy that had previously been confined to fan magazines, album "jackets" served as a tangible accessory to the experience of record listening. LP covers became an established form of graphic art, and the high standard of the graphic design on the Beatles' early albums was one of the ways that Brian Epstein and George Martin sought to distinguish the group from the patronizing stereotypes that applied to teen-age pop.
All of this, it goes without saying, is ancient history in an era of digital streaming and shuffling, which threatens the very concept of a record album as a cohesive work of art. In this sense, the fiftieth anniversary reissue of "Abbey Road" is an anachronism, a throwback to a time when an LP cover could serve as a cultural icon and the order of the songs on the two sides of an album became etched on its listeners' minds. In the iconography of Beatles album covers, "Abbey Road" ranks with the conclave of culture heroes on the front of "Sgt. Pepper" and the mysterious side-lit portrait on the group's first Capitol LP. Yet, like so much else on the album, its cover was a product of compromise. After entertaining the notion of naming the album "Everest" and travelling to Nepal to have themselves photographed in front of the world's tallest peak, the Beatles elected to simply walk out the door of the studio on an August afternoon. The famous tableau of the four of them striding purposefully across the now-landmarked "zebra crossing"—Lennon in white, Starr in black, McCartney in gray, and Harrison in hippie denim from head to toe—advertised the differences in a band that had first captured the attention of the world in matching suits and haircuts. But its iconic status owed to the way it came to serve, in retrospect, as a typically droll image of the Beatles, walking off the stage of their career as a group.
"Abbey Road" was the first Beatles album to be made from start to finish using the newly refined technology of multitrack tape, and, though Giles Martin's remix preserves the pristine sound of the original recording, it lacks the revelatory quality of the restorative remixes he produced for the anniversary editions of "Sgt. Pepper" and the White Album. Listening to the album fifty years on, what does come as a revelation is the remarkable musicianship of the band. From the opening bars of Lennon's convocation, "Come Together," which was modelled on Chuck Berry's up-tempo classic "You Can't Catch Me" until McCartney took it upon himself to rearrange the song in the sinuous "swamp rock" style of Dr. John, the interplay between the instruments is an unending source of fascination and delight. McCartney adds a bold melodic fluidity to his playing that burnishes his reputation as a pioneer of the electric bass, which sounds, at times, like a lead instrument. Having fitted his kit with old-fashioned calfskin heads, Starr's sturdy, slaphappy drumming achieves a newfound warmth and depth. Even Lennon, who barely played on his bandmates' songs, rouses himself to solo eloquently on several tracks. But the true musical star of the album is Harrison, who unveils a whole new instrumental persona based on the piquant, pining lyricism of his bottleneck-slide guitar. Harrison was also responsible for introducing the recently invented Moog synthesizer to the tonal palette of "Abbey Road."
Ringo Starr and George Harrison with a Moog synthesizer at Abbey Road Studios, in North London's St. John's Wood, in August, 1969.
Even more surprisingly, Harrison compensated for the breakdown in the collaboration between Lennon and McCartney by contributing two of the album's most memorable songs. With its understated singing and commanding lead guitar, his exquisite ballad "Something" overshadows the more mannered and self-indulgent tracks that follow it on the album's now virtual "side one," sounding like a prospectus for his imminent solo career. In a somewhat less flattering way, the same could be said of "Maxwell's Silver Hammer," McCartney's cheerful homage to a serial killer, "Octopus's Garden," Starr's return to the depths of his former glory in "Yellow Submarine," and "I Want You (She's So Heavy)," Lennon's anguished paean to Ono—a trio of highly polished yet one-dimensional songs that occasionally verge on self-parody.
If the individualized tracks on the first side of "Abbey Road" looked to a post-Beatle future, the medley that McCartney and Martin conceived and arranged on "side two" seemed to mine the Beatles' past in its search for a suitable ending. It starts with "Here Comes the Sun," a second astonishment from Harrison, which recalls songs like "I Feel Fine," "Good Day Sunshine," and "All You Need Is Love" as an expression of the sheer benevolence that led many Beatles fans to see the band as avatars rather than mere superstars. A similar lightness and brightness pervades Lennon's ballad "Because," whose rhapsodic three-part harmonies come as a reminder that, before Lennon and McCartney emerged as the yin and yang of their own musical cosmos, it was the sublime synergy of the Beatles singing together that launched the band's career. Next comes McCartney's "You Never Give Me Your Money," his best song on the album, which navigates a dreamscape reminiscent of "A Day in the Life," shifting from the Beatles' current "situation" to the dead-end vistas of their youth, in Liverpool, before ending with an account of escape-by-limousine whose allusion to the days of Beatlemania is sealed by the line "one sweet dream came true today."
The three short sketches by Lennon that follow are examples of the sort of musical bits and pieces that he and McCartney would once have fashioned into finished songs. The protagonist of "Sun King" is a "Walrus"-like trickster spewing Apollonian gibberish in broken Spanish and Italian. The miserly "Mean Mr. Mustard" sounds like a refugee from Lennon's books of nonsense and verse, whereas his sister "Polythene Pam" recalls the kink of Hamburg's Reeperbahn during the Beatles' apprenticeship there. "Yeah, yeah, yeah!" Lennon adds in a sardonic reprise of "She Loves You," as McCartney returns with "She Came In Through the Bathroom Window," his thinly veiled commentary on the advent of Ono. "Didn't anybody tell her?" he asks. "Didn't anybody see?" A full stop yields to the minor chords of "Golden Slumbers," a nostalgic lullaby, as the medley builds to its climax by way of a self-fulfilling prophesy ("Boy, you're going to carry that weight a long time!") and a stirring reprise of "You Never Give Me Your Money," now joined by strings and horns. An enormous orchestral downbeat brings back the booming chorus of "Carry That Weight" as the music strains toward the grand "symphonic" finale that George Martin envisioned for "Abbey Road."
And then comes the stroke of genius that only the Beatles could provide. At the last moment, on the cusp of that stately ending, the music seems to jump right out of its skin: the tempo surging, the orchestra fleeing, as McCartney's shout of "Oh, yeah! All right!" and Starr's barrage of tom-toms bring the Beatles and their listeners back to the place where it all began—before the marathon recording sessions and the international tours, before Apple and Maharishi and Swinging London and Beatlemania, before the provincial dance halls and the cellar dives of Liverpool, before the Beatles, even—to the simple setting of Lennon, McCartney, and Harrison, sawing away on their three guitars, soaring, swooning, growling, and groaning as they play off one another in a series of exhilarating two-bar breaks. And then, as abruptly as this old-fashioned rave-up began, the music falls away, leaving only a faint pulse of piano chords. "And in the end," McCartney sings, his voice rising as he pauses for Lennon and Harrison to join him on the karmic calculus that would serve as the Beatles' epitaph, "The love you take / Is equal to the love you make." As Harrison's lead guitar spirals up the scale, a final curtain of "ahs" descends in an unspoken cadence of amen.
To return to Ned Rorem's formulation: How good were the Beatles, notwithstanding the fact that everyone knew they were good? Good enough to produce this self-allusive masterpiece with their dying breath as a band. Good enough to enlist the smoke and mirrors of a modern recording studio to simulate the merger of musical sensibilities that they had once achieved by means of an unprecedented concentration and collaboration of sovereign talent. In this sense, "Abbey Road" memorializes a paradox of the group. The singing, songwriting, and playing on the album affirm the extent to which all four of the Beatles became consummate musical professionals in the course of their eight-year career. But the ending of that career affirms the extent to which these four "mates" from Liverpool, whose lives were transformed by such a surfeit of wealth and fame, never gave a thought to professionalizing their personal relationships with one another.
Their contemporaries, such as the Rolling Stones and the Who, would carry on for decades as lucrative rock franchises, long after the bonds of adolescent friendship that originally joined them together had withered away. But, for the Beatles, whose adolescent friendship institutionalized the archetype of the rock group, a ubiquitous mode of musical organization that has endured to the present day, the deterioration in their personal relations completely outweighed the financial incentives that came with their status as the most successful musical artists of their time. From the beginning, they were understood to be a "band" in both senses of the word: as musicians, of course, but also, on a more elemental level, as a group of young men who shared a sense of identity, solidarity, and purpose. "I've compared it to a marriage," Lennon would say. "Up until then, we really believed intensely in what we were doing, and the product we put out, and everything had to be just right. Suddenly we didn't believe. And that was the end of it."
Jonathan Gould is the author of "Can't Buy Me Love: The Beatles, Britain and America," and "Otis Redding: An Unfinished Life."
More:The BeatlesMusicPaul McCartneyJohn LennonAlbumsBeatles
Why the Beatles' "Sgt. Pepper" Hasn't Shown Signs of Aging
"A Hard Day's Night"
Richard Brody on Richard Lester's "A Hard Day's Night" (1964).
The Accidental Perfection of the Beatles' White Album
Fifty years later, the record is still good, still indelible, still as clean and pure as its sleeve, requiring no explanation or description beyond the band's name.
By Jordan Orlando
The Police Folklore That Helped Kill Tyre Nichols
A 1992 study claims that officers who show weakness are more likely to be killed. Law-enforcement culture has never recovered.
By David D. Kirkpatrick


Introducing Oneflare Scrapbooks – the Pinterest for Home Design!
Oneflare.com has just launched an Australian-first design inspiration tool called Oneflare Scrapbooks, to help Aussies design and build their perfect home. It's an exciting new tool that helps people find and collect inspiring photos of their favourite home design, ideas and improvements.
To celebrate the launch, Oneflare are giving away 12 iPad Airs valued at $598 plus a $200 Oneflare voucher that can be spent on any of the hundreds of services through oneflare.com. A cleaner, a removalist, a gardener or even an interior designer – the list goes on!
Enter the draw, simply visit Oneflare Scrapbooks here, and click on your favourite image, share it on Facebook and tell us in 25 words or less why you like the image! Don't forget to also 'like' the Oneflare Facebook page here.
With Oneflare Scrapbooks, you can now start planning the look of your dream home, and find the right trade professional to build it – all on one website. It's essentially like a Pinterest for home design that is powered by over 37,000 qualified Australian home service businesses, guaranteed by Oneflare. And of course, just like finding a local service on Oneflare, it's easy to use, and totally free!
• It's transparent: Scrapbooks allows businesses to upload their portfolios. You also have access to past customer reviews and recommendations to you know how good they are.
• Save time and money: From inspiration through to choosing suppliers – the entire process takes place through the Oneflare site, taking the hassle out of planning any home improvement project.
Oneflare.com is Australia's fastest growing local services marketplace that connects Australians with over 37,000 businesses across Australia. Oneflare helps you find reputable local businesses, who are fairly priced – saving you time and money. All service providers are checked for licences, insurance and qualifications so you know they are reliable and trustworthy. Our key feature is our Oneflare Guarantee. Should something go wrong with your job, we'll pay up to $500 to send another Oneflare business to repair your job and set things right.
2. You receive five competitive quotes from local businesses interested in your work, along with their full business profile, verification status and past customer reviews.
3. You simply hire the best!
Pinterest takes five seconds to connect, and stores instantly. Three minutes and counting….
I'll come back when it's warmed up a bit! I like the idea, but it does seem like reinventing the wheel.


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Martha Ann Bullock Barker
Select images to see them full size
About Martha Ann Bullock
Martha Ann Bullock was born in Wybunbury, Cheshire, England on the 19th May 1876, the daughter of John and Sarah Bullock. She had a sister, Mary, and two brothers, William and Joseph.
In 1899, she married Thomas Barker in Stoke on Trent, Staffordshire, and they had two daughters, Doris, born in 1900, and Winifred, who was born in 1906.
In May 1909, Thomas Barker, and his friend, Richard Brammer, whom he worked as a presser with in the pottery industry, decided to try their fortune in the United States of America and travelled from Liverpool to New York City on board the S.S. Cedric, arriving in early June. They very quickly found work in the pottery industry in Trenton, New Jersey, and having established themselves, both men sent for their families to join them.
On the 21st August 1909, Martha, and her two daughters – Doris and Winifred, accompanied by Elizabeth and Edith Brammer, boarded the S.S. Cedric in Liverpool, and arrived in New York City on the 28th August. Richard Brammer and Thomas Barker were awaiting their arrival and both families made their way to Trenton.
Both Thomas Barker and Richard Brammer sought, and were granted, United States citizenship on the 26th September 1914, and thus their wives and children also gained citizenship. The Barker's made their family home at 621. Atlantic Avenue, Trenton.
In the spring of 1915, Martha Barker's mother became ill and as a result she decided to return home and take Winifred with her. Elizabeth Brammer decided to accompany her friend, as it gave her an opportunity to visit her own family in England, and she also decided to take her daughter, Edith, with her.
Consequently, they booked second cabin passage on the May sailing of the Lusitania and having left Trenton at the end of April, the two families arrived at the Cunard berth at Pier 54 in New York harbour on the morning of 1st May 1915, in time for the liner's scheduled 10.00 a.m. departure. The liner's sailing was then delayed until the afternoon as she had to embark passengers, crew and cargo from the Anchor Liner Cameronia, which had been requisitioned by the British Admiralty for service as a troop ship at the end of April.
She finally left the port just after mid-day and just six days later, on the afternoon of 7th May; she was torpedoed and sunk by the German submarine U-20. At that point, she was twelve miles off the coast of southern Ireland and only 250 miles away from her Liverpool destination.
Although Martha Barker survived the sinking, her daughter was lost. Elizabeth and young Edith Brammer also survived. Having been rescued from the sea, they were landed at Queenstown, from where Martha made her way to 91. Moston Street, Birches Head, Hanley, Staffordshire, which was probably the home of a relative. Martha was aged 38 years at the time of the sinking.
On the 15th May, Thomas Barker set out from his home in Trenton, accompanied by his daughter, Doris, and arrived in England on the 24th May to comfort his wife, Martha, and make enquiries as to locating their daughter Winifred. He was accompanied by Richard Brammer, who was anxious to be re-united with his wife, Elizabeth, and daughter, Edith.
On the 10th July 1915, having obviously resigned themselves to the fact that it was now unlikely any trace of Winifred would be found, Thomas, Martha, and Doris Barker embarked on the New York at Liverpool, arriving in New York harbour on the 18th July, and from there they travelled to their home in Trenton. They were accompanied on this journey by the Brammer family.
On arrival in Trenton, the Barkers and the Brammers were interviewed by a reporter from the Trenton Evening Times, and their story appeared in the 19th July edition of the newspaper: -
At the moment the Lusitania was first struck the Barkers and Brammers were at lunch in the second class saloon.
When the ship was actually struck, there were very few indeed who did not understand its import. The vessel, Mrs. Barker said, stopped almost dead, shuddered, and began to list. Of what actually happened during the next few minutes Mrs. Barker is naturally not very clear. A gentleman provided the daughter with a lifebelt, but Mrs. Barker did not secure one for herself. Mrs. Barker and her daughter got into a boat, but at the captain's order she and the other occupants vacated it, which was unfortunate, for the ship went down that side first. The occupants of the boat were told that things were all right, that the water-tight doors had been closed, and that the ship was gradually righting herself.
The ship was righting herself when struck by a second torpedo.
They were mistaken in stating that the Lusitania was struck by a second torpedo, as only one was launched by the German submarine, U-20. They possibly thought that the second explosion they heard and felt was a second torpedo, however; it is now known that this second explosion was either the boilers or cargo exploding. The report continues: -
Mrs. Barker held her daughter by the right hand, and they stood waiting for the end. The daughter was very brave, saying, "Don't worry mother darling; we shall be saved." The suction of the ship took them both down. Mrs. Barker remembers going down and down until consciousness left her. When she recovered she was on an upturned boat, to which she had been lifted by someone, but she was horrified to find that her daughter was no longer with her.
A collapsible boat came along, and Mrs. Barker was placed in it. A fishing boat then came along and took Mrs. Barker and the others on board. Later still, she was removed to a steam tug and conveyed to Queenstown, being taken to the Queen's Hotel, there.
The ship was struck about 2.30; it was 10 o'clock at night when the hotel was entered. The wife of the United States Consul at Cork, who went over to Queenstown to render aid, was especially considerate. Mrs. Barker says she will have a warm place in her heart for Irish people as long as she lives; their behaviour, she says, was simply splendid. She remained several days, hoping against hope to hear some tidings about her daughter, but unfortunately no news reached her.
After the boat was torpedoed every one left the dining saloon and in the jam the Barkers and Brammers were separated, and it was not until they were all put on a rescue ship and on their way to Queenstown that they met again.
Arriving on the deck of the ship, after it was struck, a clergyman from Queenstown who was a passenger on the vessel, placed lifebelts on both Mrs. Brammer and her child and although both, the woman and her daughter, sank with the ship, they were never separated and were picked up later by one of the lifeboats.
The identity of the clergyman who assisted the Brammers is not known; however, there was no person on board the Lusitania who came from Queenstown, so Elizabeth Brammer must have had her facts wrong. Continuing: -
Mrs. Brammer remembers very little of the disaster, as she lost consciousness when she sank and when revived she was in the lifeboat with her child.
On 30th June 1921, Martha's husband, Thomas, died, and on 4th July 1923 she married a widower, Michael Thomas Gretton, an Englishman who was also a naturalized citizen of the United States, living in Trenton. Michael's wife, Edith Priscilla Gretton had died on the 27th January 1922. Following their marriage Michael and Martha resided at 809. Quinton Avenue, and later at 1877. Hamilton Avenue, in the city.
Martha filed a claim with the Mixed Claims Commission after the War, claiming compensation for the loss of her daughter and her personal belongings. On 21st February 1924, the Commission awarded her $5,000.00 for the loss of her daughter, and a further $500.00 for the loss of her belongings.
Michael Gretton died in 1940, and was buried with his first wife in Riverside Cemetery, Trenton. Martha died on the 18th March 1963, aged 87 years, and is interred at Greenwood Cemetery, Trenton, beside her first husband, Thomas Barker. Her daughter, Winifred, is remembered on their gravestone.
Register of Births, Marriages and Deaths, 1881 Census of England & Wales, 1891 Census of England & Wales, 1901 Census of England & Wales, 1910 U.S. Federal Census, 1920 U.S. Federal Census, 1930 U.S. Federal Census, New York Passenger Lists 1820 -1957, Cunard Records, Mixed Claims Commission Docket No. 234, Deaths at Sea 1871 – 1968, PRO BT 100/345, Staffordshire Weekly Sentinel, Trenton Evening Times, Graham Maddocks, Geoff Whitfield, Michael Poirier, Jim Kalafus, Cliff Barry, Paul Latimer, Norman Gray.
Copyright © Peter Kelly
Barber, Constance
Barbour, Bessie
Barchard, Edmond E.
Barclay, George
Barker, Martha Ann Bullock
Barker, Winifred
Barnes, Allen Byron
Barnes, William
Barney, John


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Figured it might be cool to start this one.
Redraw another members car that was shown in this part of carspyshots.net forum.
That way they can see how it looks like from another persons point of view!!!
This would be a good way for us to experience another members deisign. It might a lot harder than we expected in the process develop a greater respect for one another. Excellent Idea.
Sounds cool, who will show the first sketch!?!
Last edited by PRODIGY; 10-16-2008 at 09:41 AM.
ok feel free to bully . My first ever 3D sketch.Am buying some pencils next week and i couldnt find any lain paper.also my perspective is way off.
Anyway, hope it's faithful enough.


I would expect in the B2B space that we would see these applications expand first in the area of assisted customer service. Business clients are often the segment in a hurry and most interested in self-service options; knowledge articles, portal access and chat. I know I would appreciate a monitoring of my emotional frustration that would quickly route me to a higher level of interaction for solving the problem.
With the significant growth in computing power, to review more information points, customer sentiment analysis may be able to overcome the challenges of learning emotions hidden within speech, txt, gestures, and body postures across geographies and cultures.


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The first step of the process was to go into the hospital as an out patient to get rid of a trace amount of the epstein-barr virus I had hanging around in my blood. Epstein-barr is the virus that causes mono, which I never had but had to have been exposed to as a kid. My body kept it under control (it was only a trace), but after transplant, once I had no immune system to speak of, the virus would cause some problems. So they hooked me up to a chemo IV and blasted it out of me. Fortunately, this chemo is a "mild" variety, and I suffered no side effects.
The next step happened on January 11th, the day before I was admitted, which was to implant a catheter. At first I was terrified because, much like you, I thought all catheters had something to do with pee, thinking they would perform some kavorkian crotch surgery on me. Thankfully, this was not a pee catheter; mine was a small tube attached to a plastic plate that they stuck in my shoulder. When I went in for surgery I had decided to be comfortable, so I went commando.
This would have been a great idea, except that they make you change into a hospital gown, a devilishly forseeable practice I failed to make note of. The nurse hands me this gown, which thankfully has two parts – one for the front, one for the back – and tells me to strip down to my underwear. After I was wheeled through the hospital in a wheel chair, which was one of the breeziest experiances of my life.
Inside the operating room was white and blindingly lit, with strange white machines lining the walls, and then empty floor throughout the rest of the large chamber save for the lonely looking operating table in the center. I get on the table, which was bearly wide enough to contain me, and I'm roughly the width of a pipe cleaner, and then they had me hike up my gown dangerously high, strapped my arm to a small extending platform, shone a light in my face, called over the anesthesiologist while shaving the right side of my chest and told me to relax.
The anesthesiologist grabbed my hand and told me in no uncertain terms not to move. Then he stabbed me with a needle. He did that once more, and the next thing I remember the room is fuzzy and the doctor is telling me that everything's over and the opperation was a success. I looked at the implant; it was yellow and wedge-shaped, about the size of a shot glass, and had three color coded tubes sprouting from the base. Right then, I felt like a cyborg. Also, I felt that after being knocked out for over a half an hour, and being so precariously clothed, that every nurse in that room saw my nads.
Well, this post is longer than I expected; and I expected it to be pretty darn long. Considering how much I have yet to tell, I'm going to split this into a few parts. The next part will be up tomorrow. See you then!


If you're looking for a way to make some extra cash and you have some savings to invest, think about going into real estate! Renting out property for a business can give you sizeable profits as well as a good impression among clients. Read this article for tips on how to succeed.


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Why @Risk?
Privacy by Design, GDPR Compliance and You
[fa icon="calendar"] Aug 24, 2017 9:27:18 AM / by John Bliss
The EU's General Data Protection Regulation (GDPR) has seen data protection driven up on the agenda at banks and insurance providers. Data privacy regulation has moved from a reactive to a proactive emphasis. "Businesses are now scrambling to put in processes and technology so they can care for any personal identifiable information appropriately, and be seen as taking data security seriously or risk punitive punishment. The impacts of GDPR are felt not only by banks and other financial services companies, but also by the broader ecosystem that encompasses third-party vendors and partners who will also feel the impact of the regulation.
With the financial services ecosystem arguably one of the most intricate networks of partners and third parties reliant on each other to consummate financial transactions, vast amounts of data are generated and moved around at the speed of light. Practical implementation of the GDPR then, in the context of this inarguably complex financial services ecosystem, becomes an enormous challenge.
GDPR will be transformative in that it puts the customers back at the center and in control, but the downside for companies is that they have to be able to find the right data, ensure it is accurate, portable or even be able to delete it, all while meeting regulatory requirements. While the technical challenge is significant, a bigger challenge is understanding the businesses and processes and how people interact with information.
*Note: GDPR requires Privacy by Design compliance. Even if the GDPR jurisdiction does not extend to your organization (e.g., because it may not have EU customers, partners or employees), nonetheless it is now considered worldwide best practice, and a robust Privacy by Design program will ensure compliance with numerous other regulatory compliance standards.
The EU's General Data Protection Regulation (GDPR) will enter into force on May 25, 2018. It is intended to create a single law on data protection across the EU, and will have significant impact on businesses in Europe and, importantly, also on businesses outside of Europe, such as in the US, that have data on Europeans, whether customers, business partners or employees.
Although the GDPR's requirements for data protection are in line with most regulations in the U.S., the GDPR is more extensive than U.S. requirements. The GDPR will be a game changer in how businesses use data given the very significant fines being introduced by the GDPR for non-compliance -- up to 4% of annual worldwide turnover for a corporate group.
One of the most challenging requirements of the GDPR is its requirement that organizations fully implement Privacy by Design (also known as privacy by default) principles. Thus, IT professionals have a crucial role to play in any GDPR compliance project. IT professionals will also need to be heavily involved in devising or sourcing technical solutions to the Privacy by Design challenges.
Practical Steps for IT Compliance with GDPR
The following highlights key IT-driven practical steps organizations must take in order to comply with the GDPR by May 2018. (It is important to note that there is NO grace period with the GDPR so businesses need to be fully compliant with the GDPR by May 25, 2018.)
Data Mapping Requirements
It is a legal requirement under the GDPR to maintain a record of data processing activities by creating a data map or data flow analysis. Data mapping is also an essential practical step which helps to identify gaps in current compliance. Whoever is running your organization's GDPR project will need to schedule calls with IT, provide questionnaires or use data mapping software. Input from IT professionals regarding security and ongoing maintenance measures, data storage and vendors which process personal data will be central to the creation of a data map.
Accountability Principles
Organizations must review their IT systems and procedures to ensure that GDPR requirements for privacy by design and by default are met as well as data minimization requirements. Under GDPR, Privacy Impact Assessments (PIAs) must be completed where using new technologies and the data processing is likely to result in a high risk to individuals (e.g., employee monitoring). (In fact, recent guidance has recommended that PIAs should be conducted now for current activities even though the GDPR does not become law until May 2018.)
One of the key impacts of the GDPR for IT professionals will be the obligation to report personal data breaches without undue delay, and where feasible within 72 hours. Where the breach is likely to result in a high risk to affected individuals they must also be notified without undue delay. Importantly, controllers and processors must also implement appropriate technical and organizational measures against unauthorized or unlawful processing of personal data and against accidental loss or destruction of or damage to personal data. To comply with this challenging requirement, it is essential to develop or amend existing Incident Response Plans to detect and report breaches effectively and to carry out table top exercises to test the plan. Regular security audits are also important in order to prevent breaches.
Under the GDPR, contracts with data processors (e.g., vendors) processing EU personal data must contain specific data processing terms. These new provisions need to be inserted not only into new vendor contracts but also existing vendor contracts before May 2018. Where an organization already has a vendor management and due diligence program in place, this should be updated to reflect the new requirements under the GDPR.
Similar to existing EU data protection laws, the GDPR restricts transfers of personal data to countries outside the European Economic Area (EEA) that are deemed by the EU to not provide an adequate level of protection, such as the US. There are a number of international transfers such as: (i) EU Standard Contractual Clauses, (ii) the EU-US Privacy Shield, and (iii) Binding Corporate Rules. IT professionals should ensure that all transfers of personal data (i.e., employee, customer, partner) outside the EEA of which they are aware are reflected in their organization's data map and that an appropriate transfer solution to allow for the transfer of personal data from the EU is in place.
Topics: Privacy by design, compliance, Cybersecurity requirements
Written by John Bliss
Lawyer turned technologist and entrepreneur. An innovative and creative thinker, strategist and doer. I work, live and play in Boulder, Colorado where I am a privacy and government affairs advisor to technology startups. In former lives, I worked at the intersection of law, politics, technology and policy on or around Capitol Hill. When I'm not thinking about Big Data and privacy, I'm racing (or thinking of racing) my mountain or cyclocross bike. Specialties: Big Data, mobile, social, video, internet law and policy, privacy and civil liberties law and policy, national security policy and politics, government affairs, coalition/team building, strategy (corporate, legal, political), persuasion, and getting the most out of life.
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I'm very familiar with T-SQL but not much experienced with spacial datatype. I have an interesting challenge I'm facing now.
I have gps coordinates (lon/lat) and I have to calculate the distance betwen points. I know it's easy (except performance wise...) to implement using FirstGeoFieldSTDistance(SecondGeoField). The thing I don't know how to perform is to calculte this on top of a shape (which I don't know yet how I will implements, probably again a bunch of lon/lat.
Here's an example, I would like to know the distance between point 1 and 2 but I want two different values. The distance within the shape and the distance outside the shape.
If I understand this correctly, did you mean you wish to calculate the distance between 1,c and c,2?
Correct, I want to know distance between 1-c and c-2.
>>I'm using Geography datatype (converted from Long/Lat) while you're referring to Geometry, can this still be accomplished?
Yes it works with geography data type as well. Just change @g1 and @g2 with your real data see how it goes.


As freshmen paint rocks on Mount Clef Ridge during orientation, one student prepares to spread around the white.
CLU has more international students than ever, owing in part to big increases in this population at the graduate level. The number of foreign nationals studying on campus this fall is 330, about 20 percent higher than last year and more than five times the level of 10 years ago.
An international MBA program that began in fall 2002 has been the biggest driver behind a decade of increases. Meanwhile, international enrollment among traditional undergraduates has risen steadily and stands at 112 students.
The largest sending countries this year are China (63), Taiwan (61), Saudi Arabia (56) and Norway (48). Saudi Arabia boosted its studyabroad scholarship offerings for the year.
Thirty-one percent of this year's first-year and transfer students are the first members of their families to attend college, a slight decrease from last year.
At the same time, the University's selectivity increased dramatically, with the acceptance rate decreasing from 62 percent to 47 percent. SAT/ACT scores and the percentage of freshmen in the top of their high school classes both increased.
As part of their orientation program, freshmen and new transfer students converged on the Ventura River to remove trash. This year they also found time to paint over graffiti.


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Home » HoCoPoLitSo's Annual Irish Evening
Colm Tóibín and Maureen Dowd headline HoCoPoLitSo's 45th Annual Irish Evening
7:30 p.m. Saturday, February 18, 2023
Smith Theater – Howard Community College
HoCoPoLitSo's 45th annual Irish Evening of Music and Poetry on Saturday, February 18, 2023, at 7:30 p.m. presents Where Journalism Meets Literature: A Conversation with Colm Tóibín and Maureen Dowd. Tóibín and Dowd will explore the crossroads between journalism and literature and read from their recent works. The evening also features music by Poor Man's Gambit and Ireland's new Ambassador to the U.S, Geraldine Byrne Nason, has been invited.
General in person admission is $45 and a livestream viewing option is $20.
In-person event tickets: https://ci.ovationtix.com/32275/production/1142555?performanceId=11188584
Livestream tickets: https://ci.ovationtix.com/32275/production/1142556?performanceId=11188582
Colm Tóibín and Maureen Dowd (Photog: Reynaldo Rivera and NYT.)
Colm Tóibín has been shortlisted three times for the Booker Prize and received the 2021 David Cohen Prize for Literature, a lifetime achievement award. In his most recent novel, The Magician, Tóibín explores the heart and mind of a writer, Thomas Mann, whose life is driven by a need to belong and the anguish of illicit desire, in a stunning marriage of research and imagination. Oprah Daily noted the "dazzling, epic family saga set across a half-century spanning World War I, the rise of Hitler, World War II, and the Cold War that is a feat of literary sorcery in its own right." Tóibín, an Irish novelist, short story writer, essayist, journalist, critic, playwright and poet, has a book of essays, A Guest at the Feast, scheduled for release in January 2023.
Maureen Dowd, a New York Times Op-Ed columnist, writes about American politics, popular culture, and international affairs. The winner of the two Pulitzer Prizes- one in 1999 for distinguished commentary and the other in 1992 for national reporting, Dowd was born in Washington, D.C and previously worked for the Washington Star. She is the author of three New York Times best sellers: Bushworld: Enter at Your Own Risk (2004); Are Men Necessary? When Sexes Collide (2005) and The Year of Voting Dangerously: The Derangement of American Politics (2016).
The evening program begins at 7:30 p.m. Irish beverages, snacks and books will be offered for sale beginning at 7 p.m. and during intermission. A book sale and signing follows the reading and discussion. After intermission, Poor Man's Gambit will play traditional Irish music, with fiddle, button accordion, guitar, bodhran, and bouzouki.
About Irish Evening
HoCoPoLitSo's Annual Irish Evening features Irish writers and poets, Irish music, and Irish step-dancing. This program made its debut in 1979 and is chaired by HoCoPoLitSo's Irish Evening Co-Chairs Anne Reis and Edward Young.
The following is a brief list of the many distinguished poets, novelists and memorists featured at Irish Evening: Frank McCourt, Seamus Heaney, Emma Donoghue, Pauala Meehan, Theo Dorgan, Colm Toibin, Column McCann, Claire Keegan, and Anne Enright.
Mark Shimshak says:
Please tell me the cost to attend the Irish evening to be held on February 9, 2018? Thanks
Kathy Stowe says:
Hi Mark, It is $35.
Laura Yoo says:
Thank you Mark for your interest! Here's the link: https://www.brownpapertickets.com/event/3099986
Hope to see you in February!
GLOBAL BOOKS IRELAND 2018 - Books Ireland Magazine Books Ireland Magazine says:
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Modern Languages Hosts Ohio Valley Foreign Language Alliance 35th Anniversary
Attendees at the Ohio Valley Foreign Language Alliance.
The Modern Languages Department hosted the annual meeting of the Ohio Valley Foreign Language Alliance on Nov. 3.
This organization provides a forum for collaboration between foreign language instructors from the university level and high school and middle school levels from the southeast Ohio region and from bordering areas in West Virginia. This year's meeting, which drew more than 50 participants, was attended by teachers from numerous area schools as well as by language students and instructors from Muskingum University and Ohio University.
Graduate student speakers Carla Consolini (center), Leandro Hernandez (right) and Florent Réthoré (left) prior to giving their presentation.
After a welcome by the coordinator, Nikhil Sathe (Modern Languages) and opening remarks by Chris Coski (Chair, Modern Languages), three graduate students from the Modern Languages Department (Carla Consolini, Leandro Hernandez and Florent Réthoré) gave insightful presentations on effective language teaching methods. The keynote presentation was delivered by Martha Pero, formerly of Hudson High School and now Chairperson of the Central States Committee on the Teaching of Foreign Languages, who detailed the logistics and benefits for students of the Ohio Department of Education's Seal of Biliteracy.
Lois Vines (left) and Barry Thomas (right) speak to the student audience.
2018 marks the 35th anniversary of the OVFLA, and this milestone was celebrated at the end of the meeting by Lois Vines (Modern Languages) and Barry Thomas (Emeritus, Modern Languages), two founding members of the organization. In their remarks, professors Vines and Thomas described the organization's many accomplishments and its history.
Spurred by a national pilot program to create collaborations between secondary and post-secondary language teachers, the OVFLA was founded in 1983. By 1989, the OVFLA held multiple meetings per year and helped to establish a network of alliances across Ohio. Today, the organization holds an annual fall meeting at Ohio University and aims to serve language teachers in the region.
As one attendee, a high school teacher of French, commented to a group of education students in the audience, they need to participate in the OVFLA because the meetings not only provide them with inspiring ideas for the classroom but also with opportunities to make contacts with other instructors with whom they can share ideas and form new networks for collaboration.
Keynote speaker Martha Pero delivering her presentation to the actively-listening audience.
Barry Thomas, Carla Consolini, Chris Coski, Florent Réthoré, leandro hernandez, Lois Vines, martha pero, Modern Languages news, Nikhil Sathe, ohio valley foreign language alliance
40 Alumni Return for Salzburg 50th Anniversary CelebrationSeptember 28, 2018
Beard Presents on Political Satire, Freedom of Press in 19th Century FranceApril 22, 2019
Coski Gives Keynote Talk at 'Forging Linguistic Identities' ConferenceMarch 22, 2019
Figueroa Authors Collection of Stories about Puerto Rican TraditionsDecember 3, 2018


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Wednesday 11 Feb 2015: The Solar Power: Enlightenment of our Energy Future
Prof Tapas Mallick - University of Exeter, Environment and Sustainability Institute (ESI)
Lecture Theatre A, Daphne Du Maurier, Penryn 17:15-19:30
The quest for economically viable solar energy conversion technologies has accelerated with the imperative to become far less reliant on fossil fuels. An innovative way to reduce its cost is through developing low cost material and concentrating solar radiation into smaller areas. This lecture outlines the diverse range and scale of potential implementation of solar technologies, especially concentrating photovoltaic and their application into the built environment. Factors associated to achieve high efficiency solar system and its key technical challenges and advances in such research are discussed. An overview of promising current research directions that should lead to economically viable photovoltaic solar power systems is presented.
Tapas is Chair in Clean Technologies (Renewable Energy) at the University of Exeter's Environment and Sustainability Institute (ESI). Tapas graduated from Visva-Bharati University with a BSc in Physics in 1994, followed by an MSc at the same institution in 1996, and an Mtech in Energy Science and Technology at Jadavpur University, India two years later. This was followed by a PhD in Solar Energy Engineering at the University of Ulster in 2003. In the same year he took up a postdoctoral position at the University of Ulster and then worked at Warwick University, followed by academic appointments at Heriot-Watt University in Edinburgh. He moved to the ESI in 2013.
Tapas' research focus is applied solar energy. He looks at bridging the urban and rural divide through solar energy implementation. He is particularly interested in teaching advanced solar energy engineering and heat transfer for renewable energy systems.


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Paul Tweed
Paul Tweed is recognised as one of the world's highest-profile Libel and Media Lawyers in Ireland for more than twenty-five years, achieving record damages for clients. He has represented national newspapers, publishers and numerous international personalities in the music, film, sport and entertainment worlds including Britney Spears; Louis Walsh; Harrison Ford; Michael Jackson; Jennifer Lopez and Liam Neeson.
5882SpeakerAfter DinnerKeynoteLaw, Crime & Security
More About Paul Tweed
He heads up the Media and Dispute Resolution departments of Johnsons and practices in the jurisdictions of England & Wales, Northern Ireland and the Republic of Ireland. He is also registered as a Foreign Legal Consultant by the State Bar of California.
Paul has extensive experience in the rapidly developing areas of law relating to breach of confidence and privacy and is regularly listed in Chambers and other Directories as one of the leading media lawyers. He is a keen advocate of ADR and divides his time between the firm's London, Belfast and Dublin offices, as well as overseeing his US and international practice. He has been a consistent advocate of mediation when appearing before the House of Commons Joint Committee on Defamation and several Ministry of Justice Panels. He is also a frequent speaker at the International Bar Association and other high profile events in the US and Europe and has been involved in many successful mediations and arbitrations in the entertainment business and other commercial disputes.
Paul is a member of the international panels of JAMS www.jamsinternational.com and IMAC www.IMAC-adr.com and has been involved in mediations for high profile individuals and commercial entities in determining media, entertainment, professional indemnity and general commercial issues, both litigated and transactional.
In conjunction with his media practice, Paul also advices on intellectual property matters and has recently been involved in extensive litigation relating to the Estate of the late George Best, and also other issues relating to image rights for leading international personalities.
Call +44 1753 439 289 or email Great British Speakers now to book Paul for your next live event or corporate video. Contact us.


Once you order us to have your selected paintings at your doorstep, we start our shipment procedure. We ship paintings rolled in hard tube container or framed in wooden box in a very good packaging. Just let us know how you want the art piece, framed or unframed. We deliver artwork worldwide through reliable courier services in a very safe and secure way. Shipping charges depending on your location. Please allow us 2-3 working days to ship in India and 5-6 working days to ship internationally. We generally request you to pay an advance during order placement. Please be sure to complete your full payment before shipment of your artwork becomes in action.