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A cinderella story with lucy hale full movie
Allmovie allocine csfd filmaffinity internet movie database rotten tomatoes. It can be purchased or rented on itunes, amazon instant video, and xbox 360 and playstation 3 game consoles. A talented teenage singer lucy hale must contend with her wicked stepfamily. Weve seen hilary duff take on a version of the classic cinderella story. Sep 06, 2011 the classic cinderella story gets a modern musical twist in a cinderella story. If you like disney family and abc family type movies, then add this one to your long list of favorites.
Once upon a song is a modern retelling of the timeless tale and stars lucy hale as the resourceful and beleaguered young woman whose dreams do come true. Download a cinderella story once upon a time mp3, 3gp, mp4. Terrified of being put in foster care, katie lucy hale does whatever her. Once upon a song, a cheesy but entertaining 2011 kid movie i watched while babysitting. Overworked, harried and terrified of being put back in foster care, 17. Once upon a song full movie streaming online in hd720p video quality a cinderella story. Once upon a song is the third in the a cinderella story franchise albeit without any of the characters from its two predecessors and yet another modern retelling of the cinderella fairy tale. Once upon a song is a 2011 american teen musical comedy film directed by damon santostefano and starring lucy hale, freddie stroma, megan park, matthew lintz and missi pyle. The film was released on dvd on september 6, 2011, and premiered on abc family on january 22, 2012. Since i am an out of touch old fogey, im not much down with whats trending. Download a cinderella story once upon a time watch and stream in full hd mp4 3gp mkv video and mp3 torrent. As an aspiring young singer tries to sing her way into the heart of the new boy in school, her evil stepmother and stepsister plot to crush her dream.
Once upon a song will appeal to youngsters and entertain their parents. Despite how badly they treat her, katie did all their bidding in. Once upon a song 2011 full watch free online on soapgate aka soap2day with english subtitles. Karen lucille hale born june 14, 1989, known professionally as lucy kate hale, is an american actress, singer, and television personality. She lives with her stepmother, gail van ravensway, stepsister, bev, and stepbrother, victor. Jul 19, 2011 check out the opening scene of the all new movie a cinderella story. She is best known for her roles as aria montgomery in the freeform series pretty little liars 20102017, and katy keene in the cw series katy keene 2020present. Once upon a song online on videoondemand services netflix, hbo now, paytv or movie theatres with original audio in english. Once upon a song 2011 a talented teenage singer lucy hale must contend with her wicked stepfamily.
Once upon a song 2011 lucy hale and freddie stroma in a cinderella story. Netflix will release its full list of august titles on monday, july 24th. A cinderella story full movie comedy 2004 hd hilary duff, chad michael murray geri menjemeres. Once upon a song, available on dvd and digital download, is a modern twist on the timeless classic.
Katie gibbs is the cinderella character of the movie. Once upon a song is a 2011 teen comedy musical film, directed by damon santostefano who directed. See more ideas about a cinderella story, cinderella movie and movies. The classic cinderella story gets a modern musical twist in a cinderella story. It will also be available on demand from cable and satellite providers. Once upon a song 2011 including budget, domestic and international box office gross, dvd and bluray sales reports, total earnings and profitability. I thought this would be a bit of a flop a cliche, teen movie. Once upon a song, starring lucy hale tvs pretty little. Once upon a song 2011 full movie online myflixer myflixer is a free movies streaming site with zero ads. A modern twist on an enduring classic katie lucy hale, dreams of being a recording artist but is continually thwarted by her cruel stepmother, gail missi pyle, and her stepsister, bev megan park. Lucy hale singing sarcastically a cinderella story.
Sep 16, 2018 two childhood friends are so inseparable that they even decide to go to the same college, but they quickly become enemies when they join rival sororities. Overworked, harried and terrified of being put back in foster care, 17 year. Overall, the movie is a great addition to the cinderella story franchise. Once upon a song 2011 film to pc or mobile now bluray 720p. Once upon a song bless myself lyrics 720hd youtube lucy hale make you believe a cinderella story performance. Jan 06, 2012 33 videos play all a cinderella story once upon a song maria benitez 5 minute movies. Its available to watch on tv, online, tablets, phone. Lucy 20 secret of the wings periwinkle 2012 a cinderella story. Overworked, harried and terrified of being put back in foster care, 17yearold katie gibbs lucy hale does her stepmother and stepsiblings bidding without complaint. Once upon a song starring lucy hale in this music on directv.
Once upon a song video 2011 cast and crew credits, including actors, actresses, directors, writers and more. As a child, i probably wouldve enjoyed this more, but i watched this when was like a legal adult already. Part 1a cinderella story once upon a song lucy hale youtube. Check out all the movies and tv shows coming to netflix in october. Once upon a song 2011 stream and watch online a talented teenage singer lucy hale must contend with her wicked stepfamily. Some other notable roles in television played by hale include becca sommers in bionic. Overworked, harried and terrified of being put back in foster care, 17 year old katie lucy hale does her stepmother and stepsiblings bidding without complaining. Lucy hale make you believe a cinderella story performance duration. A modern, musical spin on the tale of cinderella that follows a high school girl who falls for a boy at her performing arts school. Enjoy check out my channel for another good movie named walking the halls.
I stumbled upon pretty little liars on abc famil ahem, pardon, freeform and actress lucy hale right away struck me as someone familiar. A cinderella story full movie comedy 2004 hd hilary. This movie has been premiered in australian hd theatres in 2011 movies 2011. Once upon a song arrives on dvd and digital download on september 6. Once upon a song 2011 starring lucy hale and freddie stroma on dvd and bluray. A cinderella story will be available for streaming this august. Once upon a song 2011 missi pyle and lucy hale in a. United states of america, story by 123movies admin. And not surprisingly these two are the only good thing in the movie too. Hd fanmade a cinderella story once upon a dream trailer. Like the first two movies, this one follows a talentedbutputupon cinderella standin who lives under the tyrannical rule of a mean stepmother. In 2008, selena gomez was the star of the straighttodvd.
Overworked, harried and terrified of being put back in foster care, 17yearold katie gibbs lucy hale does her stepmother and stepsiblings bidding sign in a cinderella story. It show unexpected love in unconditional ways and gives a good pedestal to showcase the actors talents. Sep 05, 2011 all 30 songs from the a cinderella story. The teen romance is mild and only includes two sweet kisses, but the protagonist endures quite a lot of emotional and verbal abuse from her humorousbutcruel parental figure. Sorority wars full movie lucy hale, amanda schull, rob. Parents need to know that this is the third take on a familiar tale, a cinderella story. Overworked, harried and terrified of being put back in foster care, 17yearold katie gibbs lucy hale does her stepmother and stepsiblings bidding without. If you just want a cliche love story with some singing and dancing thrown in, this is a good movie to rent. While the movie is quite similar to a cinderella story, i think i enjoyed a cinderella story much more. Once upon a song music a modern twist on an enduring classic katie lucy hale, dreams of being a recording artist but is continually thwarted by her cruel stepmother, gail missi pyle, and her stepsister, bev megan park. When katie falls hard for luke freddie stroma, the new boy at her performing arts school, she tries to get his attention with her singing. Once upon a song full movie hd 2011 lucy hale, freddie stroma, missi pyle. Once upon a song 2011 movie soundtrack, with scene descriptions. A cinderella story 2004 official trailer hilary duff, jennifer coolidge movie hd.
The only reason i saw this to watch lucy hale and freddie storma. Netflix will release its full list of august titles on. Vocally gifted, katie feels particularly upset when forced to lay down singing tracks so that her untalented stepsister, bev van ravensway, can hopefully win a recording contract. Once upon a song, available on dvd and digital download on september 6 th. Once upon a song 2011 in this modern telling of the classic tale, aspiring singer katie gibbs falls for the new boy at her performing arts high school. Overworked, harried, and terrified of being put back in foster care, 17yearold katie lucy hale does her stepmother and stepsiblings bidding without complaining. Once upon a song full movie hd, watch a cinderella story. Once upon a song starring lucy hale idonotownanyofthis. Once upon a song, its dream sequence the main character katie gibbs lucy hale is having, singing the first single run this town from the upcoming a cinderella story. We let you watch movies online without having to register or paying, with over 0 movies and tvseries.
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College Students Step Up in Ferguson
This entry was posted on 08.28.14, in Adult Learning, Diversity, National, Postsecondary, Sociology, Students. Bookmark the permalink.
The protests that have swept up Ferguson, Mo., following the fatal shooting of Michael Brown, in part have been powered by the young people. Some are local and others have come there to help organize.
Antonio Parker, a student at University of Missouri-St. Louis, said that he has been at protests during the day.
"When I'm there, it's calm, people are just chanting, trying to get their voices heard," he said. "When I was down there, the police that were there during the day, don't seem to be as on edge as they are at night, from what I've been told. A lot of people think that the message is getting covered up by all the looting, but I think the message is still being carried out—justice for Mike Brown.
"The Black community, we are tired of police brutality."
According to Parker, students have been swept up in a common cause.
"The beauty of it is, there are a lot of college kids down there that are not there because they're in the SGA, or they're representing this program, or that," he said. "They're there because they have been there, and they continue to be there, because they want to be."
Parker is a graduate of St. Louis Community College, a predominantly Black institution, where he majored in criminal justice. Florissant Valley, the campus from which Parker graduated, is just a half-mile from where the protests precipitated by the death of Brown are now taking place. He works in the admissions department there and mentors for the STLCC's African-American Male Initiative. <Read more.>
Via Catherine Morris, Diverse Issues in Higher Education.
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Rural Doctor Launches Startup To Ease Pain Of Dying Patients : Shots - Health News Getting basic health care to rural areas has always been difficult, and delivering specialized care even harder. One doctor is raising money to bring palliative care to patients in rural California.
Rural Doctor Launches Startup To Ease Pain Of Dying Patients
Rural Doctor Launches Startup To Ease Pain Of Dying Patients 4:18
Social Entrepreneurs: Taking On World Problems
January 3, 20151:22 PM ET
April Dembosky
Palliative medicine physician Michael Fratkin gets off a plane after visiting a patient on the Hoopa Valley Indian Reservation. He's recently launched a startup to support this kind of work. April Dembosky/KQED hide caption
April Dembosky/KQED
Palliative medicine physician Michael Fratkin gets off a plane after visiting a patient on the Hoopa Valley Indian Reservation. He's recently launched a startup to support this kind of work.
Dr. Michael Fratkin is getting a ride to work today from a friend.
"It's an old plane. Her name's 'Thumper,' " says pilot Mark Harris, as he revs the engine of the tiny 1957 Cessna 182.
"There's very little sophisticated understanding of the kinds of skills that really matter for people at the very end."
Dr. Michael Fratkin, palliative medicine specialist
Fratkin is an internist and specialist in palliative medicine. He's the guy who comes in when the cancer doctors first deliver a serious diagnosis.
He manages medications to control symptoms like pain, nausea and breathlessness. And he helps people manage their fears about dying, and make choices about what treatments they're willing — and not willing — to undergo.
In rural Humboldt County, in the far northern reaches of California, Fratkin is essentially the only doctor in a 120-mile stretch who does what he does.
"There's very little sophisticated understanding of the kinds of skills that really matter for people at the very end," he says.
It takes 30 minutes to fly from Eureka, Calif., to the Hoopa Valley Indian Reservation. On this trip, Fratkin is going to visit a man named Paul James, who is dying of liver cancer.
"A good number of patients in my practice are cared for in communities that have no access to hospice services," Fratkin says.
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The plane touches down on a narrow landing strip. A loose horse runs next to the plane as we taxi down the runway.
Fratkin is here to make a rare house call. He met Paul and his wife, Cessie Abbott, at the hospital in Eureka. But the two-hour drive is too far for them to make often, so Fratkin comes to them.
It's a visit that Cessie, in particular, has been waiting for. She and her husband know he's dying. But it's hard for them to talk to each other about it.
"Dr. Fratkin has kind of been my angel," she says. Fratkin gets her husband to open up, she says, and reveal things he might not otherwise, because Paul's "trying to be strong for us, I think."
Cessie tells Fratkin that the pain in Paul's belly has been getting worse.
"He's moaning in his sleep now," she says.
"Have you ever taken morphine tablets?" Fratkin asks Paul. Cessie explains that those tablets didn't work for her husband. "Have you ever taken methadone?" Fratkin asks him. "We're going to add a medicine that is long-acting."
Fratkin believes there should be a spiritual component of these discussions, too.
"Yeah, Paul, there's more to you than this body of yours, isn't there?" he says, a refrain he repeats with almost all his patients.
"Oh yeah," Paul says, and then goes quiet for a bit. He's a member of the Yurok tribe, and talks about how happy he is when he's in the mountains, hunting with his grandsons.
Cessie says she can hear Paul praying when he's alone in the bathroom. So Fratkin asks him to light some Indian root and say a prayer now.
"Great spirit, that created this earth ...," Paul begins, his eyes clenched shut.
By the time Fratkin leaves the Hoopa Valley, he's spent half a day with one patient. This is something the hospital in Eureka just couldn't afford to have him do.
Fratkin says he was under constant pressure to see patient after patient to meet the hospital's billing quotas.
"It's very hard for one doctor to manage the complexity of each individual patient and to crank it out in any way that generates productive revenue," he says.
Fratkin decided he couldn't, within the hospital system, easily provide the kind of palliative care he sees as his calling. So he decided to quit — and launch a startup.
"I had to sort out an out-of-the-box solution," he says.
He calls his new company ResolutionCare. There's no office, no clinic. Instead he wants to put the money for those resources into hiring a team of people who can travel and make house calls, so that very ill patients don't have to get to the doctor's office. When time is stretched, he plans to use video conferencing.
The key challenge is financing his big idea. Government programs like Medicare and Medicaid don't pay for video sessions when the patient is at home. And they pay poorly for home visits.
So far, Fratkin has been cultivating private donors and is looking for foundation grants. He's arranged an independent contract to sell his services back to the hospital he recently left. And he's launched a crowdfunding campaign to back the training he'd like to do for other doctors of palliative medicine who practice in rural areas.
Down the line, Fratkin is even thinking of asking some of his more well-off patients to pay out-of-pocket for his services.
When he gets back to Eureka, after the visit with Paul James, Fratkin hops in his blue Prius and drives 30 minutes north to see Mary Maloney. She's dying of esophageal cancer. She tried radiation and chemo for a while, but both made her feel awful. Fratkin was the one who told her it was OK to stop treatment.
"I mean, I love life," Maloney says from the recliner in her home in Blue Lake. "I don't want to let it go. But I don't know if I'm willing enough to put myself through all the things I'd have to put myself through."
Fratkin says he's treated more than a thousand patients and, like other entrepreneurs with big ideas, thinks his startup could change the world. He knows he's up against tough odds though — most startups don't succeed.
Not long after Fratkin's visit to the Hoopa Valley, Paul James passed away. We thank the family for sharing their story. This post is part of an NPR reporting partnership with KQED and Kaiser Health News.


It was a Friday full of schedule changes, including the back half of Fox's Wednesday/Friday switch. Second Chance collapsed to a 0.7 in its first Friday episode, barely retaining half of its MasterChef Junior finale (1.3) lead-in. The network lost 0.2 points week-to-week with this flip (+0.4 with Hell's Kitchen in the Wednesday 9/8c hour, -0.6 with Chance at 9/8c). But since Kitchen was inflated by a very high-PUT Friday last week, it was probably closer to a wash, Truly speaking.
The CW also revamped Friday, and may be headed for another overachieving pair of W18-34 draws on the night. The Vampire Diaries (0.5) and The Originals (0.4) each matched their usual Thursday numbers in their first Friday episodes. Given what Legends of Tomorrow and The 100 have been doing on Thursday, this would be a huge win for the overall schedule.
NBC said goodbye to Undateable, at least for now, with a one-hour finale (0.8) that took an odd drop from 0.9 to 0.7 at the half. That didn't help the return of Grimm (0.8), which had a poor return to the sked in only getting to the low end of its fall numbers. However, Dateline (1.4) made up for it with a well above average number at 10/9c.
For once, ABC got a really nice number out of the struggling Shark Tank (1.7). But it didn't help the other two hours, which did nothing special with the 100th episode of Last Man Standing (1.2), Dr. Ken (1.1) and 20/20 (1.0).
And CBS had Undercover Boss (1.3), down a notch from last week's inflated high but still above its previous Friday episodes this season. The crime dramas were in repeats (1.0/1.0), albeit pretty high-rated ones.


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We provide 1:1 support for parents of LGBTQ+ childreN
Our qualified parent worker Nicki Ryan is here to help and can offer information, advice and guidance to support you. We work with parents and family members at all different stages of their journey - whether your child has just come out and you're feeling confused or shocked, or whether your child is now an adult and has been out for years and you'd just like to meet other rainbow families…
If you'd like support, please contact us: nicki@free2b.lgbt | 07884 425 408
supporting parents of trans & gender variant children
We deliver a monthly support group for parents of trans and gender variant children.
The group aims to support common parenting themes and concerns, as well as trans specific issues such as:
Supporting your child in coming out
Supporting your child through their transition
Working effectively with your child's school
Discussing genders with your child
Coping with bullying
We are currently running 1 hour online sessions Wednesdays every fortnight with quarterly in person sessions
1st Sept 2021 6:30-7:30 - online
15th September 6:00-8:00 - in person
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With funding from the Tesco Bags of Help Scheme, in 2019 we created a guide with members of our monthly parent group in response to feedback that information can be overwhelming. Our guide is a basic introduction for parents of trans children, with links to more detailed information and further reading for those who feel ready.
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Offers advice and support on a wide range of issues for all families including parents of LGBT children, such as supporting your child coming out. Visit website
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Dedicated to supporting families and their LGBT+ members. Visit website
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Dedicated to supporting parents and their lesbian, gay and bisexual sons and daughters. Visit website
Family and individual support for young people with gender identity issues. Visit website
Provides information and resources to help keep young people safe including staying safe online. Visit website
National organisation campaigning for LGBT equality. Good source of information on a range of subjects from bullying, education rights and equality law. Visit website
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Good source of information should your child be a victim of bullying. Includes advice and guidance on how to challenge your child's school if you are unhappy with their response. Visit website
Comprehensive search tool to find local therapists with LGBTQ+ specialism (please note the therapists listed are private practice and therefore the services are costed). Visit website
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Directory of groups supporting and gender diverse individuals, their families and friends across the UK. Visit website
Please also visit our Young People pages for information that may benefit your child.
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Oral history interview with Jon Hendricks and Jean Toche, 1972 December 13
Hendricks, Jon
Size: 12 Pages Transcript
Summary: An interview of Jon Hendricks and Jean Toche conducted 1972 December 13, by Allen Schwartz, for the Archives of American Art.
Hendricks and Toche speak about what or who their "actions" are meant for, including the issues that their "actions" may represent. They touch upon sexism and racism, but focus on museums during the Vietnam War, especially their "actions" related to, and in, the Museum of Modern Art in New York City, New York.
Jon Hendricks and Jean Toche are artists who were active in the Guerilla Art Action Group in New York, New York.
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
The following oral history transcript is the result of a tape-recorded interview with Jon Hendricks & Jean Toche on December 13, 1972. The interview was conducted by Allen Schwartz for the Archives of American Art, Smithsonian Institution.
The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors.
AS Allen Schwartz
JH Jon Hendricks
JT Jean Toche
AS: I'm Allen Schwartz, and today I'm interviewing Jon Hendricks and Jean Toche from The Guerilla Art Action Group for the project, "The Art World in Transition."
JH: Now I'd just like to say at the outset that we're happy to do this interview and hope that what we say can get out, but that we are doing it under protest. We feel that artists have gone through a niggerization process whereby they get interviewed, their paintings get reproduced, shit like that, and yet they don't receive any monetary return for it. So we're doing this interview- but under protest- and filing a request now for ten dollars payment for this interview as a symbolic payment for our services as artists. And the money is to be paid to the Attica Defense Fund here in New York City.
AS: That's some way to kick it off. Let's begin with some of the more recent activities you've been involved with and work back from there.
JH: We're always changing our thinking both about problems, and about approaches to problems, tactics- ways of approaching things. You'll see this later on in the interview when we get into some of the earlier actions and describe some of the earlier processes. The most recent process we're involved in is really a correspondence process that will be published and eventually made public that stemmed from our refusal to take part in Charlotte Moorman's Ninth Avant Garde Festival here in New York City last month down at the Alexander Hamilton South Street Seaport. In the invitation to participate in that festival, Charlotte said that there is not supposed to be any nudity or heavy politics. What we did was not participate in any way in it.
JT: We refused to participate because, first of all, stating "no nudity, no heavy politics" created a chill on the potential of creativity. In other words, it's as damaging as laws which say that you cannot use the flag for whatever purpose except those described by law. We feel especially strongly about this at this time when there is more and more brutalization of all out freedoms by governments.
JH: That's not just artists, mind you, that's everybody.
JT: You know, like newspapermen who are arrested and put in jail because they choose to protect what they believe in, their freedom of expression. We felt it was important to make a stand and therefore refused to participate in the festival.
JH: Toche has said very well why we refused to take part in the festival- nor would we take part in anything else that sets those conditions. As Toche says, that chilling effect is a clear violation of our First Amendment Rights. Anyway, back to the stand we took about the festival. We weren't interested in trying to stop the festival because that would be interfering in the rights of those artists who wanted and chose to participate. But shortly after the festival, we wrote a statement I will read to you in which we stated our reasons for not taking part in the festival. We sent that to Charlotte Moorman and to the press and to other people who were concerned about it. This is the statement, dated October 31, 1972:
"We did not participate in the Ninth Avant Garde Festival held aboard the Alexander Hamilton South Street Seaport Museum, New York, because: 1) the principle of freedom of expression is basic to the very existence and survival of art. As artists we do not accept any form of censorship be it imposed by federal or local government, private enterprise, "well-meaning" citizens or from our own community; 2) to require permission to function as an artist forces the artist to be subject to an arbitrary will whether permission is granted or not and therefore equates censorship; 3) now, of all times, when civil liberties and human rights are being eroded and destroyed on all fronts in our society by the Nixon administration artists cannot afford to stick their heads in the sand or build sand castles on the beach. Each one of us as individuals can effect changes. Apathy is death. Refusal to face reality is suicide. Wake up!"
It was signed by the two of us.
JT: I think I would like to rest this on a recent decision of Judge Warren Ferguson's in a case involving the arrest at an airport under the pretext of searching luggage for hijacking. The decision is a very good description of the overall process involved. This is what judge Warren Ferguson was saying: "In case involving areas of great public concern it is easy to succumb to the expediency of the moment and, contrary to the Constitution, adopt the principle that the end justifies the means. All reasonable men are aware that airport hijacking and traffic in narcotics have reached serious proportions. This problem, however, as all other great problems of the past and the future, must be solved in the context of our Constitution or else the principles upon which this nation was founded will have disappeared in a cloud of fear."
JH: So, we sent out the statement Jean and I wrote to different people, including some of the organizers of the festival. One individual wrote back. He was rather disturbed about our letter. Then we sat down and wrote a long letter back to him explaining exactly what we meant by our statement, what the dangers were, and so on. He wrote back. We wrote back to him, and so on. It's a whole correspondence.
JT: It's like a learning process.
JH: It will be a learning process for the reader when it's published eventually and it was a learning process for this individual who wrote us, whose attitudes changed markedly from the first letter to beginning to concede certain points that, in fact, the conditions of the festival did have a chilling effect. So that when people will be able to see the whole process, they'll see it's a learning process. And that's very important in what we do. It's not just the doing of it. It's not just a nice time doing an action, or an ego trip, or something like that. It's so that through that activity, we, and others, come to realize certain problems.
JT: It's an opening up and an extension of our actions.
JH: And, also, that people reading that, seeing that, might be provoked to doing something themselves, to realizing that they can effect some changes rather than just sitting back and saying, "Oh, well, I can't do anything about it." Hopefully, they'll say, "Well, I'll try and do something. Maybe what I'll do won't change the whole thing. Maybe it's not going to end this particularly repressive thing that I'm concerned about. But at least I'll speak about it as an individual, as a group, whatever it might be." This has happened somewhat. In the art world I think there's generally- not just from us, but from many sources- more of an awareness of the problems, more of an unwillingness-
JT: To continue to accept the niggerization process, and that separation of art and politics. In the art institutions, you find the same guilty people who are the murderers, who are the people who send the bombs to Vietnam, who are the manufacturers of weapons, who are oppressing people in this country like the Indians, black people, Puerto Ricans, Chicanos, Mexicans. So by dealing with those people, who are the Trustees, the directors and so forth, it's also getting back on a political level at those murderers.
JH: Take, for example, the institution that's sponsoring this interview- the Smithsonian Institution. First of all, they are a semi-arm of the government. And I'm sure that, if they cared to, they could find some way of using this or other interviews to put forward a benevolent, benign face of the government as being humanistic, humanitarian, and so on. And yet at this very second that we're doing this interview- December 13, 1972, about twelve-thirty in the afternoon- there are people being murdered by American bombs in Vietnam. There are people being murdered in Greece, people being murdered in Cambodia, Laos, and God knows where else by our government.
JT: We can go much further than that. There are all forms of oppression that the United States is doing all over the world; it's not just murdering. There are many ways of murdering. You can murder somebody on a cultural level or on an economic level.
JH: And although the Smithsonian has been involved in preserving certain cultural heritages and so on, they're also guilty of destroying, of raping, of stealing cultural heritages. They're a great house of that. So we just put that out in context of this interview.
AS: What are some of the actions that have been stimulated by Guerilla Art Action? In this case it was a learning process that was initiated to an individual, and will be expanded to other people as they read it.
JH: You can never tell what reaction to an action might be. When you drive your car to work in the morning you just drive down the road and you get to work, park your car and so on. But along the way, you're driving past a certain house at a certain time and a child, say, is in the street, sees the car, and jumps back out of the way of the car. That might have an effect on that child's life, which you might not even know. Anyone's actions, anyone's life is continually affecting other lives. Like our talking with you. We will all have changed in some small amount. Now, the Guerilla Art Action Group's actions are directed actions. They're specific actions directed at specific problems and presumably with a specific purpose in mind. If, say, it's an action dealing with sexism, the purpose is to end sexism, say, in a cultural institution. And by "sexism" we mean that very clear, conscious, willful role the cultural institutions have been living since their inception of denying women equal access to and an equal role in the cultural life of our country; of repressing them, suppressing any creativity they might possess through a number of means, and so on. Obviously, doing one action dealing with sexism is not going to end the sexism that those institutions practice. But, again, it's a learning process, and if an institution or somebody connected with the institutions is open enough, they might begin to realize something that they didn't realize before: that, perhaps, they were involved in the process of discrimination. And if they should, then maybe their attitude will change slightly. This happened, like a correspondence actually does, with the English art magazine Art and Artists. I won't go into the whole action with the magazine, but the editor seems to have changed his attitude somewhat over the period of a year-and-a-half or two years because of that action. Now what repercussions that will have I don't know. Other times the individual or the institution will just be very rigid and not react at all. Sometimes it's a negative reaction. Sometimes they would, say, try to start legal action against us. That happened at the Museum of Modern Art. And that provoked a series of events within the structure of the Museum [of Modern Art]- hidden from the outside, nobody could see that- among the board of trustees, and involving the new director who was coming in. It ended that they're not proceeding with the legal actions against us.
AS: You're responsible, then, to follow through with whatever comes out of the initial action?
JH: It depends a lot. In that case we've done some provocative actions to provoke something in dealing with certain broad subjects.
JT: It really varies according to what the problem is, how we deal with it, what we expect to happen. Also, you may learn the result of the action much later. Results usually never come to the surface. Except sometimes you learn, like Jon was saying, that at a much later date suddenly somebody who was one of the guilty parties suddenly opened up a little, changed slightly his mental attitude.
JH: Also we do see ourselves more as provocateurs rather than, say, as reformers. We aren't a union. We aren't an incorporated organization whose purpose it is to do this, this, and this. We see a problem and we decide to deal with that problem in some particular way whatever it might be. And we'll provoke. Now how it's dealt with after that: we might decide to do another action that would perhaps direct it in some way, or maybe the course of the whole thing would continue on its own once it got started. It might trigger some sort of reaction which nobody can foresee.
JT: Although we try to avoid that. We speak for other people, other groups. In other words, when we do, let's say, an action, we start something in order to open a door. At that moment, it's not necessary to jump in and say, "You should do this, you should do that." We try to induce them to open the door for those groups to speak for themselves.
AS: These actions are coordinated with other groups?
JH: Not necessarily. We aren't a performance group, although we've done actions in the street that some people might misinterpret as, say, guerilla theater, that sort of thing. We are not a theater group.
AS: How does that differ from guerilla theater?
JH: Well, number one, it just happens that we sometimes choose tactics that look like guerilla theater. But it is never meant to be theater, to have an audience. It's irrelevant whether it has an audience or doesn't have an audience, or people or no people. We're more concerned with issues than with a spectacle. And if an action calls to dramatize a problem in a certain way using "theater technique," that's not the same as theater.
JH: So we've used that.
JT: In fact, at one point we did a couple of actions which came out of our own background, which was destruction art, and we used techniques which were used at the time. Then we suddenly realized that people were expecting, from the couple of actions we did, that we could "perform" for them. At that moment we stopped doing that "theater process" because then it was becoming theater. You know, it would have continued and we would have fallen in a trap where people would be there waiting. At that point it becomes theater.
AS: The applause would signify the end of the action rather than the action stimulating anything.
JH: Right.
JT: It became entertainment.
JH: Sometimes people see an action on one level as theater and it can provoke something somewhere else. You know what I mean? Like the people who happened to see it applauded after the blood bath.
JT: It made some people very angry. I remember one guy coming to us and saying, "You are disgusting."
JH: This was an action that we did at the Museum of Modern Art relevant to several members of the Rockefeller family who were on the board of trustees or who serve in different functions in the operation of the Museum of Modern Art. We did an extensive research in some of their involvement in the manufacture of war material.
JT: Chemical gas, napalm.
JH: Jets and so on. We feel strongly that if art is humanist, a humanitarian endeavor, its antithesis is the destruction of human life. Now the Rockefeller family is getting large sums of money from the overt destruction of human life. And yet at the same time they are funding, sponsoring, encouraging the arts.
JT: They're not only funding. They play an active role. One Rockefeller is the President of the Board of Trustees. The Governor is also playing a very important role in the running of the Museum of Modern Art as a trustee.
JH: Which in turn determines taste, determines policy and so on. So we say, "Fuck off, Rockefellers! We don't want your dirty money, we don't want you. If that's the only way we can have art who needs art?" Right? Okay. Well, that was the reason that prompted our doing an action of this sort. Next we had a set of demands which were very simple and very direct: the immediate resignation of all Rockefeller family members from the board of trustees of the Museum of Modern Art.
JT: We basically did a war scene inside the lobby of the Museum.
JH: It was a visualization, a "theaterization" of a war scene.
AS: Was it a spontaneous thing?
JH: Well, obviously we had planned it before but no one knew about it. There were four of us: Poppy Johnson, Silviana [Goldsmith], Jean Toche, and myself [all members of the Guerilla Art Action Group]. We had secreted under our clothing three or four gallons of beef blood in plastic sacks and taped it on to our bodies. We went into the lobby of the Museum. I read a statement very briefly. We had a number of copies of the statement plus the research, the documentation, about the Rockefeller involvement in the war material, which we threw those on the floor and we began-
JT: Attacking each other.
JH: A brutalization of each other with a determination beforehand that the brutalization was aimed only at ourselves, not at anyone else: not at the guards, not at spectators, or whatever.
JT: It was very brutal, very fast-
JH: Very brief. We ripped at each other's clothes. The blood spurted out. The noise we used was screams, cries, with an occasional word "rape," but that was the only recognizable word. Finally when our clothes were all ripped and the blood was all spurted out, we dropped to the floor with moans. We just sort of dropped in a pile and lay there completely out for a while.
JT: Then we got up and left the Museum. And by that time we were around the corner, and the police were arriving. One of the acting directors of the museum was screaming on the telephone hysterically, "Keep those maniacs out of here!" and so forth.
AS: That was the most immediate reaction?
JH: Well, the peoples' immediate reaction- as best we could see because we were concentrating on the action and not on everyone around us- was varied. Some were shocked. There was a round of applause.
JT: Some were amused. Some applauded. Some were furious.
JH: It was interesting that the guards were immobilized; they just stood and stood. Everyone was immobilized. It was a large crowd that gathered around but they didn't try to stop us or didn't try to do anything.
JT: Except that somebody called the police.
JH: But they didn't try to stop this apparent brutalization. Here were people hurting each other apparently. Then they broke down that initial question of whether it was actuality or unreality and viewed it as a form of theater. And that's what the people present saw. What they felt did and so on afterwards is hard to tell. Some people afterwards came up and thanked us.
JT: Yes. We were trying to get a taxi and some people passed by and thanked us for what we did.
JH: If you happen to be planning one of these actions be sure to plan your exits.
JT: We were all covered with blood. We had someone at the door with coats that we threw over us, but our faces were covered.
JT: In the middle of Fifth Avenue hailing taxis.
JH: Yes, one taxi stopped and then drove off. Finally another one picked us up and took us. He was an off-duty cop. And we had a discussion with him about who, what, where, why. So that was actually the second action done at the Modern Museum.
JT: The first dealt in a way with the same problem: what was the Museum doing during these critical tines? It was a cool, minimal action with a set of demands we made to the museum. One demand was that the Museum close its doors until the end of the war. If it had taken place it would have been very effective. Of course, we realized the Museum would never do so.
JH: It was a very real, positive suggestion. The normal interior functioning of the Museum would continue: that is, the guards and curators and secretaries would still be employed and educational things would still be working.
JT: It would take away the added pleasure, the entertainment of people going to the Museum.
JH: The Museum itself would be closed. You couldn't go in and look at the pictures. You couldn't go in and look at the movies. You couldn't go and have a good time. And that was to be an act of outrage against the human destruction in Vietnam. So the action that we did there involved just the two of us and a number of witnesses who had been told not what the action was but where to be at what time. We went in and removed from the wall Malevich's Suprematist composition White on White of 1917.
JT: And we replaced it on the wall the statement of demands.
AS: Was this the first action?
JH: No, that was the first action at the Museum of Modern Art. We put the painting carefully on the floor- face up. And put on the wall where the painting had been this list of demands, as Toche said. Then we stood by the work. Immediately a guard came and ripped the demands off the wall. We took another copy out of our pocket and held the demands in front of us and demanded to speak with a representative of the Museum to present the demands formally.
JT: All that was done in a way that was just the opposite of the second action, which was very bold, very rude. This was done in a very sober way, like some minimal low-speaking action.
JT: Our intention wasn't to destroy, damage or hurt the work. But here was once meaningful revolutionary work- in more of an aesthetic sense- that had become purely a "valuable object." It was a relic. It's like when an archeologist goes into New Guinea and takes off the front of a house a totem that to that society had a very socio-religious meaning to the people in that community in that culture. Then they take it back and put it in Rockefeller's Museum of Primitive Art. And it becomes a curio or a beautiful aesthetic object.
JT: People can't relate to that object in the wrong context. That's why we picked the Malevich.
JH: And so, in a sense, we re-used it. Now that work has a new meaning. When people look at it, they associate it not just with white on white, with design, with shades of white laying on planes, but they might also associate it with the death of art. They might associate it with the oppressive role that the Museum [of Modern Art] plays that places that painting in such a situation. It's back to the learning process. I should say one other thing. We didn't know how they put paintings on the walls. We figured that if they really screwed paintings on the wall we weren't going to rip this painting off the wall just to do the action. So we brought a black cloth and if necessary we would cover the painting with it. But what happened was that we had broken through some invisible barrier of sanctification, a taboo, you see.
JT: You can never touch a painting, you know. It is there. Everybody always thought like there was a door in front of it. It would be a sacrilege to take it away. After that moment that notion disappeared really.
JH: And it also made the Museum very uptight. They were very vulnerable.
JT: It shook a lot of people; a lot of people were involved, and we made a lot of protest, demands. It made not only that museum but every museum very, very vulnerable. Also, progressively, those actions were done by different groups, not just by us, but by the Art Workers' Coalition, by the Black Emergency Cultural Coalition. And progressively the Museum turned to what it really was: that is, a fortress, a military fortress. They started to replace the guards with professional musclers: you know, people expert in judo, people who beat you up and so on.
JH: It points out the attitudes of Museums, and what museums really are about, which is property. The Brooklyn Museum is situated primarily in a black and Puerto Rican community. There are other ethnic groups but primarily it's black. Recently, for whatever reasons, larger numbers of people from the area are coming to the Brooklyn Museum. Now the reaction of the Museum was not, "Oh great, how can we make the Museum more relevant? How can we bring more people in?" Rather, it was immediately to close off a certain number of galleries and to hire more guards to protect the paintings. Right? These people weren't coming in to put holes in the paintings. They were coming in to look at the pictures, to find out what it was all about. It's the business of art. The museum, the critic, the dealer, the gallery, the collector are all concerned with the business of art. Wow! A Velazquez is $3,500,000.
JT: I would say they are not concerned with the business of art; they're only concerned with the business of art. They're not at all concerned with the humanistic values of art. Nor are they concerned with the artists either.
JH: Oh, artists are shit. Forget about artists.
JT: They're concerned with two things really. They're concerned with business, and then with the aesthetics of business, or, a better word is the image-making.
JH: Social prestige? Power and class.
JT: It's more than that. It's to continue the cultural values of a certain elitist Western male society: "Perpetuate it at all costs, at all costs."
JH: Human beings- you can forget them. When the man in Italy broke a toe off the Pieta, it's remarkable that they didn't shoot him dead on the spot. He's still in jail, by the way. The art structure is kind of like a microcosm of society. And that's why we as artists- and we are artists- who are concerned about these very great, very real social issues, feel that we have to work within our abilities as artists within our own community and to do what we can within that context.
AS: Have you seen that loosening up any? Are museums responding more?
JH: Well, that's the thing. The initial response from the Museum after our two actions, as we say, was to call the police, and perhaps to start legal action, to get an injunction against us and others who had also been involved. The initial action they took was to call a very eminent art critic, Lucy Lippard. They said, "Who are those maniacs who do these mysterious things?" Now we have always taken responsibility for our actions. We had signed the texts. We weren't anonymous. We weren't mysterious. We're human beings, and we're accessible.
JT: Most of the time when we were engaged in these actions we were always dressed in our street clothes as you see us.
JH: Ordinary people. We didn't have gory make-up on.
JT: Probably one of the reasons it was more threatening was because they never knew which was the reality. You know, you have an open museum, and then people came in and start fighting each other.
JH: So anyways we came in contact with the man who was more or less the Acting Director of the Museum, Arthur Drexler. He said some things. So we said, "We'd be very glad to come and talk with you about this. Our purpose is to try and deal with these problems, not have fun in the halls." So a meeting was arranged between Arthur Drexler and John Szarkowski, who is Director of the Department of Photography or Film, and Poppy Johnson, Toche, and myself of the Art Action Group. So we met. Well, first off, Drexler and Szarkowski, although they were sitting right next to Poppy Johnson, didn't happen to see her through the whole thing except to ask to pass an ash tray. They wanted to deal with men, right? They were used to dealing with men and that's how they wanted it. Well, Poppy Johnson was an equal partner and certainly could speak for the group as well as anyone else in the group. Anyway, we had prepared a series of responses to those two Actions which explained how a million dollars worth of paintings could be sold, why they should be sold, how they would naturally have to lose paintings and generate certain monies, the feasibility and advisability of closing the Museum, and a program that we worked out about communalization. I think we've revised this considerably since that time, but at that point with the information knowledge that we had available we would see what we could do. Anyway, the response of the trustees of the Museum initially, as I say, was to try to initiate an injunction against us and other individuals. Now what that would have meant was that if we had gone into the Museum and tripped on their expensive rug, they could have said it was in contempt of court. It then would not have been the Museum arresting us and throwing us into jail. It would have been the court system.
JT: That was tried I think by Columbia University. In order not to deal with the issues you get a court order and then whatever happened at that moment theoretically the university is not involved.
JH: This seemingly removes it from the questions of the First Amendment to something else. It's a trick that's used frequently and sometimes successfully. A lot of times people can see through it. But anyway, what happened at that point is that the Museum was in the process of hiring a new director, John Hightower. Hightower got wind of what [William S.] Paley and Rockefeller were doing. [This is very much later.] He said- and this is to Hightower's credit- "If you do that to artists I want no part of your museum." So ultimately they backed down on this. It never was done publicly; they were in the process of drawing up the injunction.
JT: Well, you get a court order and you choose to use it. I mean the Museum simply didn't use it.
JH: We didn't see it. It wasn't a public announcement. Hightower told us about it. And there was a leak somewhere. But it was never released publicly. Well, that in itself was a learning process to some extent within the Museum. But also later on, about a year later, Hightower and the Museum tried to co-opt us. There had been a demand from Art Workers Coalition that all museums close for the day of Moratorium which was October 17, or something, 1970. We got a telegram from Hightower, or someone else through Hightower, asking if we, the Guerilla Art Action Group, would be willing to do an action in the garden of the Museum on that day.
JT: Nobody would know. They would pay for the materials. It would just be Guerilla Art Action.
JH: So we sent back a telegram to Hightower.
JT: The telegram said, "Guerilla Art Action to be performed by John Hightower, Director of the Museum of Modern Art of New York, on Moratorium Day at a specially called press conference in the lobby of the Museum. When all the press is assembled take a gallon of blood and while you pour the blood over your head repeat slowly ten times, "I am guilty. I am guilty. I am guilty."
JH: But the "theater-type" guerilla actions that we describe are only a small part of our over-all work. It takes many forms depending on the situation. It evolves; we learn as we go along.
JT: We change sometimes. You know, at the beginning we were guilty of sexism. I mean we had to learn about it. And some of our actions were pervaded with these sexist attitudes.
JH: This became very clear and very painful for Poppy Johnson who was working with us and as part of the Guerilla Art Action Group. She felt at a certain point that she could just no longer work with us because of that attitude we had. So she left and formed her own group with two other woman, called the Ad Hoc Women's Group, which went on and did a number of a very, very important actions dealing with problems of sexism and discrimination against women in the museums and so on. Now that's part of a growth. We aren't trying to set ourselves up as the way. We aren't saying that all artists should give up painting as we've given up painting or sculpture or whatever it is to do these political actions. We feel strongly that art and politics are one and have to be one to have any strength or honesty.
JT: But there's not just one way to do it.
JH: If someone feels strongly that they can, say, through social realist paintings speak to people within their areas or communities and deal with problems of a certain type, great, more power to them. That's very important. Or if someone is compelled to do some very strong action, which might be taking over a museum- well, maybe the circumstances would lead them to that. We aren't about violence. We aren't for dumping a museum director or ripping up their paintings. But I understand, because of the oppressive repression that's perpetrated by the cultural institutions for so long, how people might be prompted to do that.
JT: And we would support them.
JH: Well, I would support somebody bumping off a museum director. But I would support some very strong dramatic action that perhaps wouldn't be accepted in the norm of American behavior, but certainly is justifiable and acceptable in view of what's happened. I think that museums- no, it's not just museums- it's museums, museum trustees, museum directors, art magazines, publishers, critics, writers, collectors, gallery dealers, gallery runners, artists themselves, all the people within the art community must begin to learn that they can't just blindly go about repressing people, that they can't just be about that business of art because it does affect other people and it affects other lives. They really have a responsibility which so far they have been unwilling to accept.
JT: Well, maybe it should be put in the perspective of a recent resolution at the U.N. which was the study the terrorism of Western powers towards the Third World and other nations and other peoples and other cultures. In other words, in the art world itself there is a certain group of people who have been guilty of terrorism of destroying culture, of destroying people. That must change. And our search is also a fight for change as justified. But they are the victims.
JH: Now cultural institutions, artists, and everybody else have begun to see that and have begun to change themselves. And then maybe that will avert a great disaster. There won't be riots in their museums.
JT: It's like a war of liberations.
AS: Is that war becoming easier to fight?
JT: It's never easy to fight.
AS: Are the lines of communication opening up more?
JH: Doubtful. We went to the Museum of Modern Art on some other matter the other day and we got thrown out on our ear. Not physically, but they wanted us to go. They didn't want to hear what we were there about. It was some assistant who didn't know who we were; they weren't interested.
AS: Are there more alternatives opening if those systems are closed?
JH: Yes, there are always several things going on. There are alternate structures, and that's fine too. People are saying, "We don't want any part of your dirty institutions. We've been excluded so long we're just going to make our own institutions, our own places."
JT: That's one way. The other way would be to take away the power from those who have it now. You see, there's nothing wrong with the museum or the institution per se; it's the people who run them.
JH: We aren't saying that it has to be one way or another way; not at all. There are people in this city who are organizing community museums or community art centers. There are people who are organizing women's inter-art centers, and things like that.
JT: When we can force the museum people in power to open things up to other cultures, other people, then that's a victory.
JH: And I can see that coming. I think it's inevitable. But either there's going to be a lot of suffering, a lot of hardship to achieve that, or else those institutions and individuals will give up some of that power.
JT: There are victories that are positive, when you get tangible results. They are victories which are negative when you win because the others don't have what you've taken.
JH: And another thing that I think is important is that just because the time is quiet, and they don't have crazy lunatics spurting blood in their museums doesn't mean that people aren't very, very much concerned about these problems, feeling these problems, and doing something about them. That's growing all the time.
JT: There's more and more groups doing action all over the country, and the world.
JH: We can see that.
JT: People are speaking up.
JH: Unfortunately, there's more and more repression by governments, but institutions and so on.
JT: I think it's more necessary than ever that people wake up to the existing reality of oppression. Then they do something about it.
AS: Do you see any change in the focus of your future art actions?
JH: We're not interested in discussing that. That's our own privacy.
AS: How did you first get together? You mentioned something about being into destruction art.
JT: We were involved in an art that was political, but not enough. We were not satisfied, in other words, with what we were doing, how we were doing it, how far we could go with it.
JH: There was too much of a separation between reality and unreality, in my opinion.
JT: In a way what we were doing then was theater. When we became the Guerilla Art Action Group, we stopped being theater. We decided we had to combine our art and our lives so we wouldn't be a lie.
JH: Also, we were both involved in making objects as well as in this destruction theater. We were making objects that were valuable objects. We wanted to find an art that had no value, no money; we wanted to get rid of that shit. The reason why we asked for money to do this interview was because there are certain needs, and sometimes we can generate money to do something with it. And also because artists themselves have been niggerized through the oppressive system, and they have a right to live, too. We wanted to find an art that didn't have money value, that couldn't be co-opted. There is no value to our art. It's worthless. It's just ideas.
JT: It's just concepts. Anybody can do it.
JH: Anybody can use it. It's not ours, it's not "my property and you can't use." Use it. If you like it, use it. We don't care. It's everybody's. That's what we're doing. And that's why we both felt we had to stop making those valuable objects. We had to get into the street and get on with the business at hand.
Last updated...June 11, 2009
Item is a transcript.
Quotes and excerpts must be cited as follows: Oral history interview with Jon Hendricks and Jean Toche, 1972 December 13. Archives of American Art, Smithsonian Institution.
Toche, Jean
Art, American
Vietnamese Conflict, 1961-1975


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// I live in Adelaide, South Australia. I completed the Associate Training Program at JamFactory in 2014, and continue to work out of JamFactory's glass studio.
// My artwork is inspired by the scientific exploration of nature, trying to find an aesthetic that draws on domains like astronomy, geology, or geometry. That aesthetic is supported by an experimental, process-driven approach to making.


text:
John Stoltenberg, a long-time activist against sexual violence and a radical-feminist philosopher of gender, is the author of four books and many articles and essays. He is also a novelist, playwright, creative director, communications strategist, and theater reviewer. He and Andrea Dworkin were life partners for thirty-one years.
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Refusing to be a Man: Essays on Sex and Justice 2nd Edition
Gonerz
Sexual Harassment and #MenToo: The Five Stages of Belief
What's the Sex Binary Got to Do with Rape?
Why Talking About 'Healthy Masculinity' Is Like Talking About 'Healthy Cancer'
Learnings from Talking About 'Healthy Masculinity'
The Postconventional Ethics of Chelsea Manning
Male Sexuality: Why Ownership Is Sexy, Michigan Journal of Gender & Law, Volume I.
How Power Makes Men: The Grammar of Gender Identity, in Men and Power, ed. Joseph Kuypers (Fernwood Publishing)
Healing from Manhood: A Radical Meditation on the Movement from Gender Identity to Moral Identity, in Masculinities: Interdisciplinary Readings, ed. Mark Hussey (Prentice Hall)
Foreword to Gendered Outcasts: Interrogating Sexual Oppression and Gender Hierarchies in Queer Men's Lives, ed. Christopher Kendall and Wayne Martino (Routledge)
Foreword to Forging Radical Alliances Across Difference: Coalition Politics for the New Millennium, ed. Jill M. Bystydzienski and Steven P. Schacht (Rowan & Littlefield)
Why I Stopped Trying to Be a Real Man
Living with Andrea Dworkin
Imagining Life Without Andrea
Andrea Was Not Transphobic
Andrea Dworkin's Last Rape
On Gender and Character
On Manhood, Male Supremacy, and Men as Feminist Allies


text:
Republic of Mining Republic of Mining
Editor Profile
Historic Print Articles About Canadian Mining
@sudolstan
Sudbury: A Historical Case Study of Multiple Urban-Economic Transformation – by Oiva Saarinen (3 of 4)
November 9, 2008 in Sudbury History
Oiva Saarinen is Professor Emeritus of the Department of Geography at Laurentian University. He has published many articles on Sudbury's past and is author of Between a Rock and a Hard Place: A Historical Geography of the Finns in the Sudbury Area. This article was originally published in Ontario History/Volumn LXXXII, Number 1/March 1990.
OIVA SAARINEN
A Declining Metropolis
The post-war transformation of Sudbury was abruptly halted in the 1970s by problems both urban and economic which threatened the future viability of the city and the Sudbury Basin. Headlines shouted that Sudbury had "hit bottom" and was "struggling to stay alive." 41 By the early 1970s, it had become evident that a political restructuring was needed to meet the region's growing need for water, sewage disposal, transportation, and planning. The inability of local municipalities to deal with these issues can be attributed partly to the urban sprawl that had begun as far back as the 1950s, extreme parochialism, and the weakness of the tax base outside the company towns. Attempts by the city to rectify the situation were continuously thwarted by the province until 1960, when Sudbury was allowed to absorb the large population which had settled on its periphery. 42
The change in municipal boundaries, however, did little to solve regional problems or the inequities in the sharing of mining assessment between the province and the municipalities. Sudbury's continued growth in the 1960s caused considerable financial stress, and, as one observer remarked, public funds were used to make the city only "fit to live in" rather than a "pleasant place to live in."43 Municipal studies were undertaken which claimed that city residents paid one-fifth more taxes than the average Ontario urban resident while at the same time receiving fewer services.44
This unsatisfactory state of affairs continued until 1968, when the province unveiled its Design for Development program. As part of this program, the Sudbury Area Study (Kennedy Report), which was released in 1970, recommended the establishment of a regional government.45 A period of intense local debate ensued. The province eventually intervened with Bill 164, which created the Regional Municipality of Sudbury on January I, 1973 (see Figure 7), 46 Although this event was a milestone in the political and planning development of the Sudbury area, it also brought with it a decade of such intense internal dissension about services and planning that it was five years before the regional official plan could be passed.47
Regional government too came under criticism for its unbalanced representation which favoured the outlying communities rather than Sudbury, the cost of the new bureaucracy, and the continuation of high municipal taxes.48 On the other hand, the persuasive leadership of various regional chairmen such as Doug Frith, George Lund, Delki Dozzi and Tom Davies did eventually bring about a stronger measure of political support for the concept of regional government.
The second reason for the turbulence of the 1970s was the drastic decline in the global demand for mineral products and the consequent reduction in Sudbury's employment. The origins of this decline can be traced back to the 1960s, when Inco and Falconbridge Nickel lost their positions as the world price leaders for nickel. Whereas in 1950 only four countries in the world produced nickel, by the beginning of the 1980s there were twenty-six producers, many of them in Third World countries with low wages and minimal environmental regulations.49 By 1982 the Sudbury Basin accounted for only slightly more than 10 per cent of the world's nickel production.50 It had become evident to all that the glory days of the mining era had come to an irrevocable end.
The effect of this unsettled economic environment on the Sudbury area was traumatic. In 1971 the Regional Municipality of Sudbury (using its 1973 boundaries) had a population of 170,000; by 1976 this figure had dropped to 167,000 and by 1981 to 159,000. The Sudbury Census Metropolitan Area had the distinction of being one of the only two metropolitan areas in Canada to lose population between 1971 and 1981.51 The population decline was paralleled by a reduction of jobs at Inco and Falconbridge Nickel by more than 7,900 -from a high in 1971 of 25,600 to a low of 17,700 in 1981 (and eventually down to 10,000 by 1988). It was within this troubled framework that a growing awareness developed of the need to give Sudbury a more solid economic base.
See Part 4 of 4 – Towards a Self-Reliant Community
Oiva Saarinen, Sudbury History
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Office Interiors is seeking a qualified, motivated candidate to join our Design Department. We are seeking an experienced and skilled systems furniture designer.
You will provide design services to our customers, including site/inventory verifications, programming, space planning, typical development, presentation materials, installation drawings, and specifications. In this position you are an integral member of our team and will participate in some client presentations.
Space planning and architectural code knowledge as it relates to furniture.
Artistic ability, vision and creativity preferred. Ability to think outside the box regarding strategy, positioning, budgeting, alternative manufacturers, willingness to look at ways to increase efficiency and productivity.
By Leah Moore|2019-02-02T04:30:05+00:00March 13th, 2018|Expertise, Uncategorized|Comments Off on JOIN US AS A DESIGNER!


Hey friends! Happy Tuesday! I've sat down to start writing this Charleston wedding weekend post multiple times and I was just not feeling it until now! Currently it's 8am on Monday and I don't have a patient until 9. So this felt like the perfect time to get cracking on this recap. Now I'll have more time to watch "The Originals" with the husband tonight! Ha!
Ordinarily, I write Tuesday's post over the weekend, but like I mentioned, I was having some writer's block. I think it's likely due to the extended break I took from the blog over the holidays. It's just taking me a bit of time to get back in the swing of things! I know it's certainly not that I am disinterested in this post. Ladies and gents, I am PUMPED to talk about my sister's Charleston wedding weekend! Eek!
Disclosure: This post contains affiliate links. The price is not affected should you chose to shop through the link, however, I may receive monetary compensation.
Jarrett and I hit the road around 6:30 am on Thursday to make the 6.5 hour drive to Charleston. Little did we know that it would actually take over 8 hours! Guys, I would not have worn jeans had I known I would be stationary for that long.
We eventually made it to my sister's apartment, met her adorable dog, Romo, and then drove into downtown Charleston for a quick walking tour! My sister works for the College of Charleston, so she walked us around the charming campus and then down King Street for a bit.
Once we heard that the rest of our family was almost to the hotel, we hit the road and met them to check in. That was followed up with a nice pizza dinner and finally celebrating Christmas with my family! Siblings/spouses drew names and my sister ended up getting me the softest "lounge wear" and cozy slippers! Definitely one of my favorite gifts this year!
Friday morning began with a girls trip to the cutest nail salon I had ever been in, Mylkbar. That was then followed by another walking tour in downtown, this time with about 30 of my extended family members! I'm sure we were quite the sight and probably looked like ducklings following their mother. Ha! I for sure know that we walked too slow and took up the entire sidewalk. Apologies!
Our tour took us around the waterfront and down Rainbow Row of course. We then somehow all got seated at the perfect patio picnic tables at Blind Tiger. I had the heirloom burrata salad and it was incredible!
Early afternoon, we made our way back to the hotel to get freshened up for the rehearsal, rehearsal dinner, and after party later that evening.
My sister's in-laws had rented an Airbnb for the week and decided to home-cook a low country boil for the rehearsal dinner. It consisted of shrimp, sausage, corn, and potatoes. Dessert was homemade strawberry shortcake, and I could not have been more stuffed at the end of the night.
To continue the party, everyone from the rehearsal met all out-of-town guests at a local bar/restaurant called Red's Ice House. Luckily the weather was warm, because the main feature of the bar is a large outdoor deck! It was however, raining, and the tin roof really didn't cut it. People were definitely kept on their toes as they had large rain drops splash on their faces, down their backs, or in their drinks! It was comical to say the least! Eventually, we returned to the hotel to prepare for wedding day!
Saturday, December 29: Wedding Day!
My mom and I woke up bright and early to drive to my sister's apartment. My sister forgot to pick up her cake on Friday, so we grabbed that on the way. Ha!
The morning consisted of getting ready, eating a lot of food, pouring some mimosas, and relaxing. Elli had the best ladies for hair and makeup and we all felt picture-perfect by the time they were done.
Elli got us the silkiest robes to get ready in and gifted each of her bridesmaids with a coordinates bracelet from where she first met each girl! How cute!
I am in love with my Azazie bridesmaid dress!
Once they were officially Mr. and Mrs. Pippin, we hit the road to celebrate and party! The southern appetizers, consisting of pimento grilled cheese, crab cakes, and chicken & waffles, were a huge hit for me. And the dancing of course.
Sunday was more relaxed, as everyone was recovering from a great wedding! We just had breakfast at the hotel, before heading back into downtown with some family to stretch our legs before making the drive back home.
Just prior to hitting the road, we had lunch at Locals. This was right next door to Elli and Brandon and highly recommended by the pair! I had really good sushi and Jarrett had a big bowl of breakfast items that he also enjoyed.
All in all, it was a fantastic Charleston wedding weekend celebrating my sister and her now husband! Like I mentioned, if Elli and Brandon don't mind, I will share details of their wedding and reception. So, if you are planning a wedding and want some info, stay tuned!
If you are interested in our wedding weekend, be sure to check it out here!


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text:
Călinescu este un nume de familie românesc care se poate referi la:

Personalități

 George Călinescu, un critic și istoric literar român
 Armand Călinescu, un economist și politician român
 Matei Călinescu, un profesor și critic literar american de origine română
 Alexandru Călinescu, un istoric literar, critic literar și publicist român
 Alexandru Călinescu, un poet român
 Alexandru Călinescu, un sculptor român
 Florin Călinescu, un actor român, director al Teatrului Mic
 Paul Călinescu, un regizor și scenarist de film român
 Puiu Călinescu, un actor de comedie român

Altele
 Guvernul Armand Călinescu, un consiliu de miniștri care a guvernat România în perioada 7 martie - 21 septembrie 1939.
 Subsecretari de stat în Guvernul Armand Călinescu
 Opera lui George Călinescu, lucrările criticului literar George Călinescu.
 Liceul Teoretic "George Călinescu" Constanța

Vezi și
 Călin (dezambiguizare)
 Călina (dezambiguizare)
 Calinic (dezambiguizare)
 Călinești (dezambiguizare)
 Râul Călineasa (dezambiguizare)

Nume de familie românești

redpajama_set_name: RedPajamaWikipedia


David Lloyd-Jones writes...The unique 3ft (914mm) gauge Manx Electric Railway is a pioneering inter-urban tramway, operating a fleet of vintage 500 volt DC tramcars. The oldest passenger tramcars date from 1893 and the newest from 1906. They operate a scenic 17 ¾ mile (28.5 km) route up the Island's rugged east coast from the capital Douglas to Ramsey town in the north of the Island. The story of the Manx Electric Railway (MER) starts in the late 1880s, with a proposal to build a holiday camp at Howstrake, north of Douglas incorporating an electric tramway link. Construction and operation of the original 1¾ mile (2.8 km) long tramway was a testing ground for a line through to Laxey. The first section opened on 7th September 1893, operated for 19 days and carried over 20,000 passengers. Following the initial success, the line was extended to Laxey the following year, opening on the 28th July 1894. The next extension from Laxey to Ramsey was completed as far as the outskirts of Ramsey, opening on the 2nd August 1898. It wasn't until the 24th July the following year the line reached Ramsey town itself, following the construction of an impressive 200ft (61 metres) long viaduct crossing the deep gorge at Ballure Glen. The first section of the line was constructed by the Douglas Bay Estates Ltd., acquired by the Douglas & Laxey Electric Tramway Co. Ltd. which changed its name to the Isle of Man Tramways & Electric Power Co. Ltd. (IoMT&EP). The IoMT&EP was forced into liquidation in 1900 following a bank collapse. In 1902 the tramway was purchased from the liquidators by the Manx Electric Railway Co. Ltd. The MER's fortunes mirrors the Isle of Man Railway, with its golden years in the early 1920s, motor bus competition in the late 1920s, poor returns during the two World Wars and a post war decline due to cheap foreign package holidays. By the late 1950s the MER was in trouble and was acquired by the Isle of Man Government in 1957. The MER, under government ownership, has survived, despite a brief closure of the Laxey to Ramsey section in the late 1970s, which soon re-opened due to public pressure. The MER's historical rolling stock today includes two of the original three tramcars dating from the opening of the line in 1893 and are in regular use today. MER No. 1 & No. 2 design predates traditional tramcar designs with their distinctive boxy bodies and open driving ends. Today, the MER is still reliant on the tourist trade. A lot of money has been spent over the last couple of decade on the MER with major rolling stock, track and infrastructure renewals to bring the system up to modern standards. Despite these changes, a ride on the MER today is like stepping back in time to a Victorian age, when the horse was the king of the road, and the pace of life much slower.


text:
Today is Sunday, August 30, the 242nd day of 2015. There are 123 days left in the year.
On August 30, 1945, U.S. Gen. Douglas MacArthur arrived in Japan to set up Allied occupation headquarters.
In 1861, Union Gen. John C. Fremont instituted martial law in Missouri and declared slaves there to be free. (However, Fremont's emancipation order was countermanded by President Abraham Lincoln).
In 1862, Confederate forces won victories against the Union at the Second Battle of Bull Run in Manassas, Virginia, and the Battle of Richmond in Kentucky.
In 1905, Ty Cobb made his major-league debut as a player for the Detroit Tigers, hitting a double in his first at-bat in a game against the New York Highlanders. (The Tigers won, 5-3.)
In 1935, the film "Anna Karenina," MGM's version of the Tolstoy novel starring Greta Garbo, opened in New York.
In 1954, President Dwight D. Eisenhower signed the Atomic Energy Act of 1954, which was intended to promote private development of nuclear energy.
In 1963, the "Hot Line" communications link between Washington and Moscow went into operation.
In 1967, the Senate confirmed the appointment of Thurgood Marshall as the first black justice on the U.S. Supreme Court.
In 1983, Guion S. Bluford Jr. became the first black American astronaut to travel in space as he blasted off aboard the Challenger.
In 1984, the space shuttle Discovery was launched on its inaugural flight.
In 1986, Soviet authorities arrested Nicholas Daniloff, a correspondent for U.S. News and World Report, as a spy a week after American officials arrested Gennadiy Zakharov, a Soviet employee of the United Nations, on espionage charges in New York. (Both men were later released.)
In 1989, a federal jury in New York found "hotel queen" Leona Helmsley guilty of income tax evasion, but acquitted her of extortion. (Helmsley ended up serving 18 months behind bars, a month at a halfway house and two months under house arrest.)
In 1991, Azerbaijan declared its independence, joining the stampede of republics seeking to secede from the Soviet Union.
Ten years ago: A day after Hurricane Katrina hit, floods were covering 80 percent of New Orleans, looting continued to spread and rescuers in helicopters and boats picked up hundreds of stranded people.
Five years ago: Vice President Joe Biden flew into Baghdad, where he sought to reassure Iraq that America was not abandoning it as the U.S. military stepped back. An enormous drill began preliminary work on carving a half-mile chimney through solid rock to free 33 men trapped in a Chilean mine. Texas-born fugitive Edgar Valdez Villarreal, a suspected drug lord known as "the Barbie," was arrested in Mexico State. Seven-time Cy Young winner Roger Clemens pleaded not guilty in Washington to charges of lying to Congress about whether he'd used steroids or human growth hormone. (Clemens went on trial in July 2011; however, the case abruptly ended in a mistrial. He was acquitted in a retrial.)
One year ago: The U.S. military said fighter aircraft and unmanned drones had struck Islamic State militants near Iraq's Mosul Dam. Under cover of darkness, 40 Filipino peacekeepers escaped their besieged outpost in the Golan Heights after a seven-hour gunbattle with Syrian rebels.
Today's Birthdays: Actor Bill Daily is 88. Actress Elizabeth Ashley is 76. Actor Ben Jones is 74. Cartoonist R. Crumb is 72. Olympic gold medal skier Jean-Claude Killy is 72. Actress Peggy Lipton is 69. Comedian Lewis Black is 67. Actor Timothy Bottoms is 64. Actor David Paymer is 61. Jazz musician Gerald Albright is 58. Actor Michael Chiklis is 52. Music producer Robert Clivilles is 51. Actress Michael Michele is 49. Country musician Geoff Firebaugh is 47. Country singer Sherrie Austin is 44. Rock singer-musician Lars Frederiksen (Rancid) is 44. Actress Cameron Diaz is 43. Rock musician Leon Caffrey (Space) is 42. TV personality Lisa Ling is 42. Rock singer-musician Aaron Barrett (Reel Big Fish) is 41. Actor Michael Gladis is 38. Rock musician Matt Taul (Tantric; Days of the New) is 37. Tennis player Andy Roddick is 33. Rock musician Ryan Ross is 29. Actor Cameron Finley is 28.


text:
Q: How do i automate testing of touch and multi-touch based web applications using selenium web driver? I am writing some automated tests using cucumber and selenium for various web applications. Currently this is working well, however we are about to start making mobile specific versions of our pages.
I understand that a click is much the same as a touch, however there are some things we want to be able to test such as

*

*Dragging

*Swiping

*Rotating the device

*Pinch to zoom

I plan to implement most of this testing using selenium WebDriver and selenium grid, I have not had much experience with running any WebDrivers other than the Firefox WebDriver, however I couldn't find anything mentioning touch interfaces.  Is this something which is currently lacking from selenium, does anybody know of any other projects or drivers which might allow touch interface control?
With the explosion of mobile web devices and browsers, having an automated way of testing is the only way we can manage the testing of this.
Asserting the display of the page is another issue which is out of scope as far as this question is concerned, however I was planning on using a combination of selenium assertions and fighting layout bugs type testing

A: How about this blog.
Example for rotating the device
 assertEquals(landscapeSize, secondImage.getSize())
((Rotatable) driver).rotate(ScreenOrientation.PORTRAIT);
assertEquals(portraitSize, secondImage.getSize());

redpajama_set_name: RedPajamaStackExchange


As it's Red Nose Day and there may be much watching of T.V going on this evening, I just came up with this fun little 1pp/approx.50kcal salad idea!
Pop it on a plate, stalk-side-down. Cut into two pieces, just over half way up.
Now you have a 'base' and a 'lid'.
Fill the 'base' with tiny cubes of low fat feta or mozzarella cheese (25g is plenty) and some torn basil. Pile it high as the 'lid' will cover it up.
Pour over a tiny splosh of seasoned rice vinegar.
Pop the 'lid' back on.
Using extra light mayo from a squeezey container, draw a face onto the tomato.
Using a cocktail stick, add some detail to the eyes with a little balsamic vinegar or glaze.
Tuck in and enjoy a fun evening which raises millions of pounds for some incredibly worthwhile causes.
Q: Why did the tomato blush?
Ho ho ho! That's really good fun,Janey. Can't wait to see your Father Christmas!
SMASH & GRAB : Hot Choc Banana!


Bearish flow noted in Gap with 14,941 puts trading, or 7x expected. Most active are Jun-19 27 puts and Jun-19 26 puts, with total volume in those strikes near 14,300 contracts. The Put/Call Ratio is 18.51, while ATM IV is up nearly 2 points on the day. Earnings are expected on May 30th.
MKM Partners analyst Roxanne Meyer raised her price target on The Gap to $33 after its Q4 results and Old Navy spinoff, saying it is a "positive strategic development to unlock value for shareholders". The analyst believes that Old Navy will "garner a sizable premium vs. NewCo" because of its "coveted" fundamentals relative to the retail landscape, adding that it has the opportunity to "grow sales from core category strength, new categories, and growth in new smaller markets". Meyer is keeping her Neutral rating on Gap shares however given the questions around the spinoff's dis-synergies, as the company can no longer leverage a tri-brand credit card, web platform, supply chain, and real estate.
Jefferies analyst Randal Konik says his sum-of-the-parts analysis implies shares of Gap could double. He's a buyer of the company after the company announced the spin-off of Old Navy. The analyst keeps a Buy rating on the shares with a $50 price target. Separating Old Navy to a standalone company is what we have argued for over the past few years, Konik tells investors in a research note. He believes the unit should command a greater than 10 times enterprise value to EBITDA multiple.