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Eating Small in New York
Ditte Isager
Across Manhattan, matchbox-size restaurants are reshaping the city's culinary landscape without pomp or theater. Roving epicure Alan Richman finds that small is the next big delicious thing.
By Alan Richman on March 30, 2010
Personally I have nothing against the Buddakans, Del Postos, and Craft steakhouses, restaurants that have replaced department stores as the most grandiose establishments in New York. I just happen to believe that a restaurant without an elevator is almost always superior to a place with one.
I am a small-restaurant guy, and I fear that in Manhattan they'll soon be gone, like horse stables and Checker cabs. Small restaurants are becoming victims of rising rents, Las Vegas tastes, and the aspirations of chefs who rightfully think the larger their venue the more likely they'll be tapped by Food Network. Not for a moment do I believe small restaurants can't be irritating, but it's usually for the same reason—the difficulty of getting a table at the best of them. Proof of that is Momofuku Ko, the most idiosyncratic of David Chang's three small East Village restaurants, where meals of stunning inventiveness are offered to exactly 12 people at a time, 24 guests per night. Momofuku Ko has become the leading cause of mental instability among foodies.
Ko has an online reservation system—I'm going to simplify here—that requires you to register, provide a credit card number, and type as fast as your fingers will fly at 10 a.m. sharp, 10:00.01 being too late. Says one friend of mine who wishes nothing more of life than to someday dine at Ko: "The reservations system has the power to fill me with rage a microsecond after 10 a.m. I begin my day full of hope, sure that this is my day because I've learned all the tricks. The Ko Web site is up, my computer is ready, and I've removed all that might hinder me, such as job responsibilities. Still I fail."
Ko is a fine restaurant with a menu I would label as modern American, in contrast to the nearly indefinable Asian-fusion food at Chang's Momofuku Ssäm Bar. Ko is not among my favorite places because the effort required to obtain a table is too great, and none of the small restaurants best loved by me require a struggle to get in. I have never believed dining out should be difficult, which I realize sets me apart from other New Yorkers.
I'm more than thrilled by Ssäm Bar, which seats five times as many guests and launched what I consider to be the most influential cuisine of the 21st century, not that anybody has figured out how to duplicate it. And Ssäm Bar has the extraordinary dish Chang calls Santa Barbara Uni—a combination of orange eggs from a prickly sea creature, pure-white whipped tofu, and gummy lychee-flavored tapioca balls. Unexpected, unlikely, unbelievable.
It also offers scallops with pickled cherries and lemon curd, sweet and sour in renegade form. There's a surprisingly extensive selection of country hams (okay, it's not totally Asian) as well as a smart wine list. Ssäm Bar does precisely what a small restaurant should: express the taste and vision of its chef, no matter how esoteric. "When you go to a big restaurant," says Chang, "you're there for the scene, not the food." That can mean a showplace as dramatic as a nightclub, all lights and glitter, or it can mean haute formality—flowers, captains, back waiters, staff uniforms, polished silverware. Small usually means everything is transparent, including disagreements. Chang recalls having an argument with his manager in front of a counter of guests. He kept pointing in their direction and one of them walked out angrily after deciding he was complaining about her. "You can't even fight in peace when you have a small open kitchen," he says.
Small, in the case of restaurants, is more a state of mind than a compilation of square feet. These restaurants tend to feature a chef on premises, maybe even behind the stove. They can be intimate, informal, and casual without abandoning substance. They offer hope that the customer who returns frequently might be recognized, because what a small restaurant can do better than a large one is provide a sense of familiarity. Small restaurants, not large ones, are where you are more likely to find comfort food, even when the ingredients are unfamiliar, as they are at so many of my favorite places. Every one of them fills me with a sense of tranquillity, no matter how noisy they might be. (Did I mention that the music at small restaurants is always unpredictable and inevitably loud?)
Here I have an assemblage of my favorite small restaurants in Manhattan. Most of them are downtown and few of them are on major avenues, clearly attributable to the higher cost of rent in prime areas. (Rent, of course, is a major factor in the desirability of small restaurants. Says Marco Canora, co-owner of Terroir, "A small footprint costs less.") A disproportionate share of these places are Asian, simply because those are the restaurants that Asian cultures (excluding Chinese) do particularly well.
None of my restaurants are French, which happens to be my favorite cuisine. While the French cannot be blamed for all the jumbo restaurants that have opened in recent years, they were the first people to believe that dining experiences are enhanced when you cross a meal with a coronation.
On the city's Lower East Side, Kuma Inn occupies the second floor of one of those old tenement buildings that are now as chic (and almost as expensive) as beachfront cottages in the Hamptons. The name is stenciled on the façade in red ink, making the place look like a tattoo parlor. To reach it you climb a not particularly reassuring staircase and peek around a clump of bamboo reeds.
Once inside, Kuma Inn feels much like a normal restaurant that just happens to be small. It has other virtues. Since anyone leading a conventional Lower East Side lifestyle tends to dine when most of us are sleeping, you should have little difficulty obtaining a 7 p.m. reservation. And you can bring your own wine for the exceptionally reasonable corkage fee of $5. (Regulars grumble that corkage used to be free.)
The menu offers about three dozen exceedingly creative yet remarkably unintimidating items, and the cooks in the open kitchen work at a frenzied pace, probably because the dishes are small and every table seems to desire at least a dozen of them. You'll understand Kuma Inn best if you've ever dined in Singapore, where stalls turn out tiny, flamboyant Asian-fusion dishes much like upscale street food. The menu calls the food tapas, but that isn't quite right since it's not Spanish. It's mostly Asian with Philippine accents.
I always order the Chinese sausage with caramelized onions because the sausage is deep and rich, like pork confit. The shumai are soft and lush, as though they were made with shrimp paste instead of shrimp—another example of a Kuma Inn dish that's just a touch unfamiliar. The papaya salad is served cold but filled with warm grilled shrimp, a superlative contrast. Kuma Inn might seem daunting from the outside, but the pleasures within are entirely civilized.
Another virtue of the small restaurant is the possibility of your becoming acquainted with the owner—James Beard once said his favorite restaurant was the one where they knew him. That means you should meet Mani Dawes, co-owner of Tía Pol, which differs from Kuma Inn in a number of ways. First, and most significantly, it actually is a tapas bar. Second, it makes Kuma Inn appear posh. Tía Pol, located in Chelsea, is long, narrow, and cramped, with ductwork overhead. I like to think of it as earthy, but that's because I'm kind.
I was slightly worried the last time I visited because the chef had just left, and she was the genius who invented chorizo with bittersweet chocolate on a baguette. Should you be wondering what chocolate does for fiery sausage, I will tell you: It calms it, exactly what chocolate does for you and me.
My favorite dish at any tapas restaurant is the tortilla, the fat potato-and-egg omelet that looks more like a cake. In Spain it usually sits around getting cold, which Spaniards don't seem to mind. I do. When I was last at Tía Pol, I told Dawes I would like my tortilla just out of the oven, and she looked at me scornfully and said, "That is not very practical in a small restaurant." I did not get it my way. Perhaps I should confess that as much as I adore Dawes, she sometimes finds me annoying. I asked her if she had any other complaints about running a small restaurant, besides customers like me, and she replied, "There's the emergencies, somebody locked in the bathroom at 1 a.m. and sometimes there's nobody to take care of it but me."
Generally, my problem with authentic Spanish tapas is the excess of small smelly fish, but Tía Pol's menu transcends that. I love the chickpeas fried whole and sprinkled with paprika and salt, sort of a Spanish bridge mix; the oyster mushrooms sliced thin and topped with fried garlic and bits of tomato and cheese, one of the better vegetarian dishes in New York; and the salty lamb skewers that come inserted into toasted chunks of baguette—the bread, which soaks up the lamb juices, might be the best part.
Nobody has ever referred to Terroir as a tapas bar, mainly because it's Italian. Still, it's a lot like one, the offerings tiny and prepared with finesse. Terroir is in the East Village, a few doors down from Hearth, which is a fancier place overseen by the same owners. (On the way to Terroir, you might want to stop at Hearth's bar for a plate of gnocchi, the best in New York.) As with Kuma Inn and Tía Pol, Terroir's ambiance does little to enhance the dining experience; its design appears to have been influenced by studio apartments, dorm rooms, and Ikea.
The wines are selected by Paul Grieco, who has been afflicted with divine madness—he will not allow patrons to drink anything but what he wants them to drink. You can look at this as big-city bullying or as a wine education provided free of cost. "Terroir" is a French word commonly used in the wine world to express a sense of place, and this quality can most often be found in wines made by committed local winemakers disdainful of what is called the international style (e.g., heavy, oaky Chardonnay). Here, most often it means minerality and acidity: Chenin Blancs from the Loire Valley, Rieslings from the Moselle, and Barolos from Piedmont.
The menu is the work of the very well-regarded Marco Canora. "A big light bulb went off after I opened Terroir," he says. "I realized how easy it is to fill a place with twenty-four seats. The restaurant generates a self-perpetuating buzz, because everybody who walks by sees that it's full and hip-looking and wants to be there. People want to be where they think it's hard to be."
The food is extremely appealing, particularly the bruschetta of celery-laced tonnato (tuna) or garlicky baccalà (reconstituted dried cod). Veal-and-ricotta meatballs are stellar, and the fried beet risotto balls flavored with Gorgonzola are a study in nonbeefy savoriness. Another virtue of this restaurant is the clientele, which tends to be lovely young women sitting with glasses of wine and chatting for hours. An Italian friend, unlike me, was appalled by this, saying "If you really like a place, it's nice to help it not go out of business by ordering something."
Few restaurants are more revered by New York chefs than the Spotted Pig, up there with any of the Chang Momofukus as the center of alternative dining. If you're fortunate, you'll be seated at a banquette, but mostly you'll sit on stools much like those fancied by milkmaids. If you've ever wondered what it's like to be a chef, now you know: They're never happy unless they are uncomfortable.
The Spotted Pig is a local adaptation of the British gastro-pub, which came into existence as an alternative to the wine bars that were luring British youth from their birthright and getting them hooked on Chardonnay and French cheese. The cuisine here is gutsy, filled with pan drippings and accented with lemon, sort of a cross between English and Italian food. The chef is April Bloomfield, who loves crunchy things, fatty things, weird things, and lovely things. Her burger is famous, though slightly misguided, slathered in Roquefort cheese. It's great meat, but to me it's like going to the best pizzeria in town and finding that anchovies are mandatory. Whenever one of my friends orders it and grimaces, I get to be the hero by scraping off the Roquefort and replacing it with ketchup.
Bloomfield's fish, for which she gets little credit, is what I order as a main course after I stuff myself on the appetizers—breathtakingly savory chicken livers on toast and the famous gnudi— possibly the most acclaimed Italian dish in Manhattan. Gnudi are constructed by rolling soft sheep's-milk cheese in flour, then blanching and sautéing. A few years ago, when Bloomfield and her gnudi became famous, they were prepared with sage and butter. This summer, she switched to pesto and achieved perfection.
Not nearly as acclaimed but a worthy competitor for the best pasta dish in the city is spaghetti with lemon sauce at Sandro's. You will nearly weep with joy when you eat this. Its delicate balance of sweet and tart will startle you, particularly if all you've eaten in your life is American-style pasta, which tends to get its flavor from massive quantities of ingredients.
Sandro's is located on the Upper East Side, the neighborhood where everybody wanted to eat before they decided they wanted to eat downtown. The restaurant is cramped and loud. The walls are white, which one of my friends seemed to think made it resemble a Roman trattoria. Another thought it looked like a rent-controlled apartment. Regardless, the principal design feature of Sandro's is the chef, Sandro Fioriti (everybody knows him by his first name). He is a legend not just for his cooking but also for his unpredictability. He has been the chef of at least four establishments named after him, and he comes and goes with the capriciousness of Mary Poppins.
Sandro is a monster of a man, at least six feet four inches, bulky and passionate, and he paces his dining room with Munsteresque charm. The legendary Italian food authority Marcella Hazan once called him her favorite Italian chef working outside Italy. If you go, eat his breadsticks but not his bread. Order the branzino arrosto, a fish I know you've eaten everywhere, but never has it been as compelling as it is here. Arrosto means "roasted" in Italian. The menu translates it as "broiled." It tastes baked. Who knows what Sandro does? Certainly not his waiters, so don't ask. The dish, prepared with white wine and lemon, is as sweet and savory as fish gets. I once ordered his fried artichoke and waited nearly an hour for it to appear. It arrived cold. Why do I then recommend Sandro's? Because all of us who are not geniuses must forgive the minor shortcomings of those who are.
Time for another challenge: Korean food. Maybe you're thinking what I always think when a Korean restaurant is suggested: Please, I beg you, no.
Korean restaurants intimidate me. There's the kimchi, which cannot be avoided, and I can't pretend a place named Persimmon Kimchi House has none. Kimchi is way-too-spicy fermented vegetables brought to the table before (and during) meals, which means your palate is likely to be vulcanized before you even get to the appetizers. The second reason I avoid Korean restaurants is the manner of serving, which consists of dumping everything in the kitchen onto your table at once. At least it feels that way.
But the flavors are fantastic, if you give them a chance. Kalbi, Korean short ribs, are so astonishingly familiar you'll wonder if you had a long-lost grandmother who emigrated from Seoul, but the style of eating is so exhausting I pretty much gave up until I went to Persimmon, in the East Village. The dining room features one long communal table that seats 20 and a few stools facing the open kitchen, which itself takes up about half the room. That's a lot of kitchen, but a lot of cooking goes on. Each diner gets a backless stool, a placemat, a soup spoon, and chopsticks.
Persimmon calls itself neo-Korean, and that's wonderful because the food is served in small rational courses. I don't think I have ever experienced another cuisine where presentation makes such a difference. All the combinations I've tended not to appreciate were superbly arranged here, and among those I liked were tiny logs of eggplant stacked and dressed with milky soy, fluke sashimi emboldened with red pepper sauce, and soft-shell crabs with cucumber-and-cabbage kimchi.
I'm going to suggest another activity fraught with the unfamiliar: eating Japanese food. If you ever patronize sushi restaurants—it's practically un-American not to—you probably walk in, take a seat, pick up the menu, puzzle over it, and then order sushi. Two yellowtail, two live scallops, and so on. Pretty standard, but that's not the way to dine at Soto, located in Greenwich Village. When friends who have eaten everything come to New York and sigh with weariness at the tedium ("Not Le Bernardin again!"), I always take them to Soto and they are elated. Warning: It's not cheap.
On this most appealing of sushi-bar menus you will see composed Japanese dishes under two categories: cold (labeled "From Sushi Bar") and hot ("From Kitchen"). At Soto these dishes are as imaginative and appealing as any food you can eat in New York.
A couple of things: You have to like uni, which is sea urchin, because it's in many of the dishes. There's no reason to not like sea urchin, one of the few dining luxuries that remain affordable. The creaminess of fresh uni is unmatched in the undersea world, and the flavor has a purity unrivaled even by caviar. Another thing: You should like fried food because the frying here is the best you'll ever find, even if you are from the South and are prepared to argue the point.
Some dishes are fancy, such as sea urchin wrapped in squid and topped with a raw quail egg. The yolk, when broken, coats the sea urchin, transforming silkiness into sumptuousness. Some are simple, such as deep-fried flounder with a side of ponzu. The flounder looks gorgeous, like a ceramic fish caught midflap. The skin is light, crisp; the meat is succulent, soft. Tempura also is particularly interesting because it comes with three dressings, a traditional dipping sauce, grated daikon, and a lemon-salt one-two punch—squeeze, then sprinkle. Either way, the fried food here is unsurpassed.
I'm sure you want pizza because you always eat pizza, but there is a better reason: New York is almost certainly the best pizza city in America. There are all kinds here: the standard, stolid, heavy-duty fifties-style pie; the elegant coal-oven pies; and the artisanal pies with illogical credentials: water from the fjords of Naples, flour from the fields of Valhalla, stuff like that. I have a nice pizza spot you'll like a lot, particularly if you enjoy wine. It's called La Pizza Fresca Ristorante. The pizza is artisanal without being absurd, and you can get in without standing in line for an hour. My motto: Eating pizza shouldn't be difficult.
Of course, La Pizza Fresca does have a drawback. The Italian waiters, who are dressed in black, would much rather talk to one another than to you, but I always rationalize that shortcoming by pretending I'm in Italy, where that style of service cannot be escaped. The best way to deal with such service is to drink a lot of wine, easily done here. La Pizza Fresca's list is filled with pricey bottles that nobody in their right mind would drink with pizza, but it also has Dolcettos and Barberas, which are superb accompaniments to cheese and tomato sauce. Anyway, I credit those incredible Barolos and Barbarescos for compelling management to purchase swell wineglasses that are not withheld from those of us who prefer bottles that go for $40.
La Pizza Fresca's pies are never less than excellent. The variety is superb—19 kinds, including what I think is the signature item, the prosciutto pizza. The crust is lovely and chewy, and the ovens are woodburning, so the pies often pick up a hint of smoke.
For your other favorite food, sushi, I recommend 15 East, where sushi chef Masato Shimizu keeps prices reasonable. A daily lunch special of miso soup, seven pieces of sushi, plus one cut roll of the chef's choice goes for $28, which is kind of a come-on because after you complete that very small and very lovely meal you might still be hungry and you will want to keep testing his mastery. I am invariably mesmerized by all that this man can do with raw (and sometimes cooked) fish.
I recommend sitting at the sushi bar, which has only nine—surprisingly comfortable—seats. Shimizu, usually on premises, is a genial fellow who must be prodded into conversation, but once engaged he'll willingly take on all questions. Most of his sushi is Edo-style—the rice warm, the fish brushed with a sauce. Shimizu slices grooves in much of his fish, the better for sauce to sink in.
I appreciate his willing acceptance of Western idiosyncrasies. I tend to eat my sushi in two bites, not the obligatory one. I asked Shimizu if he minded and he replied, "Well, one bite is better," and then explained that he tolerated that peculiarity in women because their mouths are smaller. He wasn't insulting my manliness, was he? If so, he wouldn't be the first.
Bigness. It's everywhere in Manhattan. Recently The New York Times wrote about "the kind of mass-market retailer that is gradually slipping into the fancy Fifth Avenue retailing club." I've even noticed that mass-market restaurants, the chains, are materializing. They're succeeding even though they add nothing to the city's culinary culture but fat and salt.
Except for the Chrysler Building, bigness hasn't contributed much to the appeal of New York. It certainly hasn't made the place more livable. The city has become a desirable place to reside and visit not because it is large but because so much of it is small. The best exists at ground level, awaiting passersby.
Mani Dawes tells me that the greatest part of running a small restaurant is the people she meets, impossible in a larger establishment. Bear in mind that she also says the worst part about running a small restaurant is the people she meets when dealing with those 1 a.m. bathroom emergencies. David Chang says pretty much the same, adding that only in a small restaurant is plumbing a problem that has to be handled by the chef.
It's common knowledge that Las Vegas hotels are after Chang, and it's generally believed—he won't deny it—that one of these days he will be out there running a place that resembles an opera hall. "Those places make money," he concedes. Until then, he says, he'll continue to stick to small restaurants, in part because he has no idea how to run the big places but mostly because it's the small ones that he loves.
Dinner, $160. 15 E. 15th St.; 212-647-0015; 15eastrestaurant.com
Kuma Inn
Dinner, $50. 113 Ludlow St.; 212-353-8866; kumainn.com
La Pizza Fresca Ristorante
Dinner, $70. 31 E. 20th St.; 212-598-0141; lapizzafrescaristorante.com
Momofuku Ko
Dinner, $200. 163 First Ave.; 212-254-3500; momofuku.com
Momofuku Ssam Bar
Dinner, $100. 207 Second Ave.; 212-254-3500; momofuku.com
Persimmon Kimchi House
Dinner, $95. 277 E. Tenth St.; 212-260-9080; persimmoncuisine.com
Dinner, $125. 306 E. 81st St.; 212-288-7374
Dinner, $180. 357 Sixth Ave.; 212-414-3088
Dinner, $130. 314 W. 11th St.; 212-620-0393; thespottedpig.com
Dinner, $90. 413 E. 12th St.; 646-602-1300; wineisterroir.com
Tía Pol
Dinner, $50. 205 Tenth Ave.; 212-675-8805; tiapol.com
The Inn Crowd
It's Sodom and Gomorrah behind closed doors, isn't it?" gasped a friend. "It's stars dancing on tabletops." The legend of the Waverly Inn—arguably New York's most intriguing restaurant—continues to swell. The place has been around forever and since the twenties existed without hysteria. Here's a review, in its entirety, written by the gourmet Duncan Hines in 1960: "American food." In that regard, little has changed. Two years ago this modest Greenwich Village spot came under new ownership, one of the partners being Graydon Carter, editor in chief of Vanity Fair. Diners are not all named Gwyneth and Harvey, but you get the idea. If there's a number to call for reservations, people like you and me don't have it. The front room, the place to sit, has a large mural by illustrator Edward Sorel, red-vinyl booths, and sconces with Edison bulbs. The food, by chef John DeLucie, is mostly homestyle and good. During a recent visit my halibut was superb. Steven Spielberg, one table over, seemed to be enjoying his meal. The best dessert is bananas Foster, panko-crusted fritters with vanilla gelato. The wine list is insanely overpriced. FYI: Actually, it's easy to get a reservation. Stop by any afternoon. If you end up being seated in the back room, pretend you don't care. Dinner, $100. At 16 Bank St.
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Based on the provisions of Article 13 of Government Resolution no. 652/2009 on the organization and functioning of the Ministry of Justice;
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Press accreditations for self-employed journalists in Romania shall be obtained further to a written application addressed to the Ministry of Justice, accompanied by the accreditation form which contains the name, first name, type of media practiced by the journalist and the contract details (e-mail, telephone) at which the accredited journalist wants to receive press materials regarding the activity of the Ministry of Justice. The application shall be also accompanied by a copy of the identity document and a recent photograph, sent in .jpg format at the e-mail address: relatiipublice@just.ro / presa@just.ro. The applicant's file shall also contain three letters of recommendation from 3 journalists who are members of media professional organizations (associations) in Romania, a professional presentation file which shall include at least 6 materials broadcasted or published by a media institution in the past 12 months before the submission of the application for accreditation, as well as a statement in which the applicant shall specify which is the Professional Code of Ethics to which he/she subscribes, that he/she shall attach as a true copy.
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The accreditation IDs shall not be transmissible.
Permanent accreditations shall be issued within 2 days from the registration of the complete application files.
Art. 5 – Foreign journalists – either employees of press institutions or self-employed, including radio and television correspondents, who conduct their activity in Romania, may be accredited at the Ministry of Justice based on an ID issued by the specialized department of the Ministry of Foreign Affairs and shall follow the same procedures as the other journalists, depending on the category in which they fall.
2. Temporary Accreditation
Art. 6 - (1) In order to obtain temporary accreditation, the applicant press institution shall address in writing the Ministry of Justice, 24 hours before the event for which the accreditation is requested, indicating the name and capacity of its representatives, delegated for such event.
Access to the Ministry of Justice shall be allowed based on the identity document and journalist ID, for the persons indicated in the application provided in the previous paragraph.
For the self-employed journalists, as well as for junior self-employed journalists, temporary accreditation shall be granted under the conditions provided under Article 3 (3) and (4) of this Regulation; the provisions of Article 3 (5) shall apply accordingly.
Foreign journalists who do not conduct their activity in Romania may obtain temporary accreditation based on a recommendation that they have to request from the Ministry of Foreign Affairs. Such shall be also accompanied by the journalist international ID.
CHAPTER III – Rights and Duties of the Accredited Journalists
Art. 7 - (1) Journalists having permanent accreditation at the Ministry of Justice may request organization of meetings, debates and press conferences with the representatives of the management of the Ministry of Justice.
Permanent accreditation shall offer the journalists the possibility to personally contact the representatives of the management of the Ministry of Justice for any potential interviews or discussions, with their consent.
Journalists with permanent accreditation at the Ministry of Justice shall receive, by e-mail, the press releases of the Ministry of Justice, as well as information regarding the performance of the press conferences / press statements of the management of the Ministry of Justice.
Temporary accreditation shall exclusively confer the right of participation in events for which it was granted.
Art. 8 - (1) Accredited television teams, photojournalists and journalists shall have the obligation to observe the dignity and privacy of all the persons in the building. As a result, filming and photographing are allowed within the premises of the Ministry of Justice exclusively in the space intended for the press, as well as in any other rooms where press conferences / meetings with the journalists or other similar events are organized. Filming and photographing in the following areas shall be strictly prohibited without the prior written consent of the representative of the Ministry of Justice:
in the area of the control points of access to the building;
offices intended for the activities conducted by the staff of the Ministry of Justice;
hallways, toilets, spaces where meal is served;
rooms with special regime.
Use of hidden audio and video recording devices shall be prohibited.
Failure to comply with these rules shall result in withdrawal of the press accreditation.
Art. 9 – Accredited television teams, photojournalists and journalists shall have the obligation to observe the rules on cleanliness and smoking in public institutions, as well as the work security instructions.
Art. 10 – The Ministry of Justice may decide to withdraw the accreditation as provided in Article 1 (4).
Art. 11 - (1) The structures of persons in charge with the relationship with the press within the Ministry of Justice shall be responsible for the correct application of the provisions of this instruction, as well as for the timely information of the management of the Ministry of Justice with regard to any problems arising.
CHAPTER V – Final Provision
Art. 12 – This Regulation shall be notified to the mass-media by display on the internet page of the Ministry of Justice.
Bucharest Date: 06.03.2018
University Professor, PhD Tudorel TOADER
[Signature: illegible]
[Stamp: illegible]
Annex 1
Form for accreditation of journalists for the activities conducted by the Ministry of Justice
Editorial office requesting accreditation
Contact details Telephone
Journalist for whom accreditation is requested Name
Position within the editorial office
Series, number of the identity card
Personal identification number (CNP)
Number of press ID
Contact details Mobile telephone
I agree to observe the rules regarding access and conduct during my presence at the activities/events organized by the Ministry of Justice
Journalist's signature _____________
Date _____________
Director/editor-in-chief/ News head of production I confirm the authenticity of the information provided by the applicant for accreditation
Name, first name _____________
Signature, stamp _____________
Data _____________
Note: In addition to the filled-in accreditation form, please also send us an ID format photograph, in electronic format ("jpg" fixe, maximum size 600 KB), at the e-mail addresses: relatiipublice@just.ro / presa@just.ro.
Sample of press accreditation ID at the Ministry of Justice
No. ………………. / issuance year
Name and first name
Press institution
Romanian judiciary
Superior Council of Magistracy
Judicial Inspection
National Institute of Magistracy
National School of Clerks
Public Ministry
Directorate for Investigating Organized Crime and Terrorism
National Anticorruption Directorate
High Court of Cassation and Justice of Romania
National Administration of Penitentiaries
National Directorate for Probation
National Authority for Citizenship
National Trade Register Office
National Institute of Forensic Expertise
President of Romania
Government of Romania
European Commission – Directorate-General Justice and Consumers
Norwegian Financial Mechanism
National Association of the Romanian Bars
The National Union of Notaries Public from Romania
National Union of Bailiffs
The Mediation Council
Any petition will be sent to the following e-mail address: relatiipublice@just.ro
For any request for public information under Law 544/2001, please contact us at: legea544din2001@just.ro
Subscribe to the news stream
Ministry of Justice All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


Berroa walked; Hampton advanced to second.
Clawson singled, RBI; Perillo scored.
D'Agostino walked; Broy advanced to second.
Argentina reached on an error by ss; D'Agostino advanced to second; Broy advanced to third.
Broy scored on a passed ball, unearned.
Argentina advanced to second on a passed ball; D'Agostino advanced to third on a passed ball.
Perillo reached on an error by 2b; Argentina scored, unearned; D'Agostino scored, unearned.
D'Agostino singled; Clawson advanced to third.
Perillo singled, RBI; Argentina scored.
Estrada pinch hit for Yee.
Jayne reached on an error by 2b; Wagner, Je. advanced to third.
Estrada singled, RBI; Jayne advanced to second; Wagner, Je. scored.
Chiaradio grounded out to ss, RBI; Estrada advanced to third; Jayne scored, unearned.
Berroa to dh for Jordon.
Jordon to p for Berroa.
Barnett to c for Robertson.
Garza singled; Picarelli advanced to third.
Wagner, Ju. pinch ran for Garza.
Wagner, Je. singled, RBI; Wagner, Ju. advanced to second; Picarelli scored.
Estrada singled; Wagner, Je. advanced to second; Wagner, Ju. advanced to third.
Hampton singled, 2 RBI; Estrada advanced to third; Wagner, Je. scored; Wagner, Ju. scored.
Hampton advanced to second on the throw.
Perillo hit by pitch; Argentina advanced to second.
MacCutcheon walked; Perillo advanced to second; Argentina advanced to third.
Zahornasky walked, RBI; MacCutcheon advanced to second; Perillo advanced to third; Argentina scored.
Saia to p for Sinclair.
Manning reached on an error by 2b.
Wagner, Ju. singled; Manning advanced to third.


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Would you like to super-size it? Why, yes! Of Course!
Remember my tiny Dove Chocolate Mug from two weeks ago. Well, I have take the same concept and made a larger version of it, perfect for gift giving. Fill it with all the ingredients for a real mug of cocoa, some other sweet treats or a small gift. Find out how to make the mug with my video tutorial above.
Start with a 8-1/2" x 5-1/2" piece of Card Stock.
On the 5-1/2" side, score at the 2" mark.
Rotate one-quarter turn to the RIGHT.
On the 8-1/2" side, score PARTWAY (just to the scored line) at the 2", 4" and 6" mark. Also Score ALL THE WAY at the 8" mark.
Turn piece 180 degrees. Cut off the rectangle as shown and cut in between the partway scored tabs.
Decorate with DSP. It should measure 8" in length to fit around the mug.
Mug Handle piece measures: 11" x 1/2".
The Stitched with Cheer stamp set is perfect for making quick & easy Christmas cards. When making simple cards like these, it's important to get the details right. I'll show you how in my 7-minute video tutorial above. Both of these cards require only minimal supplies. For a supply list, see HERE!


text:
Q: Opengl, VAO creation within a class Initializing VAOs within the main.cpp file and rendering them works as expected. However when I move the exact same initialization code to a separate class, causes my uniforms to not be found (optimized out?)
When initializing array objects within the main.cpp file (works fine):
GLuint createCube(){
    GLuint VBO;
    GLuint VAO;
    GLuint EAO;
    GLfloat vertexData[] = {
        0.5f, -0.5f, -0.5f,
        0.5f, -0.5f, 0.5f,
        -0.5f, -0.5f, 0.5f,
        -0.5f, -0.5f, -0.5f,
        0.5f, 0.5f, -0.5f,
        0.5f, 0.5f, 0.5f,
        -0.5f, 0.5f, 0.5f,
        -0.5f, 0.5f, -0.5f,

    };
    GLuint elementData[] = {
        2-1, 3-1, 4-1,
        8-1, 7-1, 6-1,
        5-1, 6-1, 2-1,
        6-1, 7-1, 3-1,
        3-1, 7-1, 8-1,
        1-1, 4-1, 8-1,
        1-1, 2-1, 4-1,
        5-1, 8-1, 6-1,
        1-1, 5-1, 2-1,
        2-1, 6-1, 3-1,
        4-1, 3-1, 8-1,
        5-1, 1-1, 8-1,

    };

    // make and bind the VAO
    glGenVertexArrays(1, &VAO);
    glBindVertexArray(VAO);

    // make and bind the VBO
    glGenBuffers(1, &VBO);
    glBindBuffer(GL_ARRAY_BUFFER, VBO);

    // make and bind the eao
    glGenBuffers(1, &EAO);
    glBindBuffer(GL_ELEMENT_ARRAY_BUFFER, EAO);

    //put data into VBO and EAO
    glBufferData(GL_ARRAY_BUFFER, sizeof(vertexData), vertexData, GL_STATIC_DRAW);
    glBufferData(GL_ELEMENT_ARRAY_BUFFER, sizeof(elementData), elementData, GL_STATIC_DRAW);

    // connect the xyz to the "vert" attribute of the vertex shader
    glEnableVertexAttribArray(render.get_shader()->attrib("vert"));
    glVertexAttribPointer(render.get_shader()->attrib("vert"), 3, GL_FLOAT, GL_FALSE, 0, NULL);

    // unbind the VAO, EAO, VBO

    glBindVertexArray(0);
    glBindBuffer(GL_ARRAY_BUFFER, 0);
    glBindBuffer(GL_ELEMENT_ARRAY_BUFFER, 0);

    return VAO;

}

int main()
{
    GLuint VAO = createCube();
    glm::mat4 MVP = createMVP();

    bool running = true;
    while(running){
        running = eventHandler();

        render.draw(VAO,36,MVP);

        ui.swapBuffer();
    }

    return 0;
}

When initializing array objects in a class (MVP uniform in my shader cannot be found, maybe optimized out?)
class cube{
public:
    cube(Render rendrer)
    {
        GLuint VBO;
        GLuint EAO;
        GLfloat vertexData[] = {
            0.5f, -0.5f, -0.5f,
            0.5f, -0.5f, 0.5f,
            -0.5f, -0.5f, 0.5f,
            -0.5f, -0.5f, -0.5f,
            0.5f, 0.5f, -0.5f,
            0.5f, 0.5f, 0.5f,
            -0.5f, 0.5f, 0.5f,
            -0.5f, 0.5f, -0.5f,

        };
        GLuint elementData[] = {
            2-1, 3-1, 4-1,
            8-1, 7-1, 6-1,
            5-1, 6-1, 2-1,
            6-1, 7-1, 3-1,
            3-1, 7-1, 8-1,
            1-1, 4-1, 8-1,
            1-1, 2-1, 4-1,
            5-1, 8-1, 6-1,
            1-1, 5-1, 2-1,
            2-1, 6-1, 3-1,
            4-1, 3-1, 8-1,
            5-1, 1-1, 8-1,

        };

        // make and bind the VAO
        glGenVertexArrays(1, &VAO);
        glBindVertexArray(VAO);

        // make and bind the VBO
        glGenBuffers(1, &VBO);
        glBindBuffer(GL_ARRAY_BUFFER, VBO);

        // make and bind the eao
        glGenBuffers(1, &EAO);
        glBindBuffer(GL_ELEMENT_ARRAY_BUFFER, EAO);

        //put data into VBO and EAO
        glBufferData(GL_ARRAY_BUFFER, sizeof(vertexData), vertexData, GL_STATIC_DRAW);
        glBufferData(GL_ELEMENT_ARRAY_BUFFER, sizeof(elementData), elementData, GL_STATIC_DRAW);

        // connect the xyz to the "vert" attribute of the vertex shader
        glEnableVertexAttribArray(rendrer.get_shader()->attrib("vert"));
        glVertexAttribPointer(rendrer.get_shader()->attrib("vert"), 3, GL_FLOAT, GL_FALSE, 0, NULL);

        // unbind the VAO, EAO, VBO

        glBindVertexArray(0);
        glBindBuffer(GL_ARRAY_BUFFER, 0);
        glBindBuffer(GL_ELEMENT_ARRAY_BUFFER, 0);
    }
    GLuint get_VAO() const
    {
        return VAO;
    }
private:
    GLuint VAO;
};

int main()
{

    cube cube_object(render);
    GLuint VAO = cube_object.get_VAO();
    glm::mat4 MVP = createMVP();

    bool running = true;
    while(running){
        running = eventHandler();

        render.draw(VAO,36,MVP);

        ui.swapBuffer();
    }

    return 0;
}

Here is my vertex shader:
#version 430

in vec3 vert;
uniform mat4 MVP;

out vec3 vertout;

void main(void)
{
    vertout = vert;
    gl_Position = MVP*vec4(vert, 1.0);
}

Here is my fragment shader:
#version 430

in vec3 vertout;
out vec4 outcolor;

void main(void)
{

    outcolor = mix(vec4(1,0,0,1),vec4(0,1,0,1),dot(vertout, vertout));
}

Does creating a VAO in a class cause the MVP uniform to be removed, or is it something else?
EDIT:
I should clarify: The object still renders, but it renders white and with the MVP uniform missing.

A: For OpenGL operations to work, there must be a OpenGL context around and made current on the thread. If your "other" classes are instanciated without a OpenGL context being available it's as if nothing was created at all. To make matters worse, glGetError may return GL_NO_ERROR if there's no context around, so just checking for errors using that may not show that problem.

redpajama_set_name: RedPajamaStackExchange


At Parkside we share a common belief that all of our children should be confident and competent readers. We want our pupils to embrace and enjoy reading so that they are able to access increasingly challenging texts and be exposed to reading for a variety of purposes. As a result, we have invested in the Accelerated Reader, to raise our children's literacy levels and embed a culture where our children love reading.
Make essential reading practice more effective for every pupil.
Personalise reading practice to each pupil's current ability.
Assess pupils' reading skills through fun quizzes, so that intervention strategies can be brought in when necessary.
Accelerate reading progress throughout the school.
Accelerated Reader is a computer program that helps Parkside staff to manage and monitor children's independent reading. Your child selects a book at his/her own level and reads it at their own pace. When finished, they take a short quiz – passing the quiz is an indication that your child has understood what has been read. Since children are reading books at their own reading and interest levels, most children are likely to be successful and enjoy the books and quizzes. Best of all they learn and grow at their own pace.
How can I help my child become a better reader while they are on the Accelerated Reader programme?
As with any skill, performance improves with practice. According to research, children who read 20 minutes per day with a 90% comprehension rate on Accelerated Reader quizzes make the most progress. At home, families need to continue with what already takes place…..listen to your children read, discuss books and ask questions about what they have read.
How does Accelerated Reader work in school?
Initially, your child will take a 'STAR Reading Test'. This is a computer based reading assessment program that uses computer adaptive technology. The questions continually adjust to your child's responses – if your child's response is correct, the difficulty level is increased, if they answer incorrectly, the difficulty level is reduced. We will use the results of this test for pupils to choose books from the library, which are at an appropriate level for their reading ability.
Books are labelled with colours and levelled numbers (from 0.5 to 13.5). Pupils will be encouraged to read books within and from the level above their suitable band, to ensure that they are reading books which challenge, but do not cause frustration and consequent disengagement. After reading the books, pupils will take a short quiz (the programme offers over 140,000 quizzes on different, modern books), which will assess how much they have understood, monitor their knowledge of grammar and vocabulary and present their English teachers with detailed advice on how to progress your child's reading.
In addition to this, every book gives a points value. The points are based on the length of the book (number of words) and each child has a target number of points to collect through each half term. Certificates will be presented to everyone who reaches their targets. Pupils will all have a dedicated hour for Reading in their timetable, which is in addition to their usual Literacy or English lessons.
How can I monitor my child's progress on the Accelerated Reader Programme?
As parents, you can view their quiz results, and monitor their progress via the Home Connect link. Guidance on suitable books to read can be found on the Accelerated Reader Bookfinder website.


Науковий репозитарій Університету імені Альфреда Нобеля: Business English Teaching: Imaginative Continuous Simulations and Critical Analysis Tasks.
Назва: Business English Teaching: Imaginative Continuous Simulations and Critical Analysis Tasks.
Короткий огляд (реферат): A business English course taught to adults in Ukraine is described, focusing on the classroom approach that incorporates imaginative continuous simulations and critical analysis tasks. It is noted that simulations ordinarily in business English courses have two shortcomings: they are disconnected episodes; and the situation, conditions, and purpose are set by the teacher or developer of the instructional materials used, limiting the learner's creative share in the exercise. An imaginative continuous simulation represents uninterrupted modeling of business activities and communication, with the conditions and proceses invented by the learners. Situations include a variety of business interview, negotiation, and discussion conditions ranging from getting to know the structure of a company to discussing sales results and targets. The simulation begins with one topic and continues throughout the course until all situations have been addressed. Each situation contains a number of critical analysis tasks concerning different aspects of the firm's business activities, including preparation for meetings, business strategy discussions, and decision-making. Students prepare much of their own material for the tasks, and create a group portfolio. The approach is found to motivate students and develop varied English skills.


Actor Chris Hemsworth was born in the city of Melbourne, Australia. His family later moved to Phillip Island, south of his hometown. After attending Heathmont Secondary College, Hemsworth took an interest in acting and starting his career on Australian television shows including Guinevere Jones.
His older brother Luke and younger brother Liam Hemsworth (ex-boyfriend of Miley Cyrus) are also actors, and have also had recurring roles as on the Australian show Neighbours.
Chris' claim to fame was on the popular Australian soap Home and Away as the character Kim Hyde. It was while on the show that he started dating fellow Aussie actress Isabel Lucas, with whom he was with for one year. After leaving the show in 2007, Chris moved to L.A. and started landing movie roles.
He portrayed James T. Kirk's father, George Kirk, in the opening scenes of Star Trek —a small but pivotal role. He went on to star in the thriller A Perfect Getaway , The Cabin in the Woods and Red Dawn .
Chris' big break came in the form of a hammer-wielding Marvel superhero named Thor . Landing the role of Thor was the chance Chris needed to put him right in the Hollywood spotlight. Ironically, he won the role over his brother, Liam, who was also vying for the part. His character continued in The Avengers , alongside other Marvel superheroes played by Robert Downey Jr. (Iron Man), Chris Evans (Captain America) and Scarlett Johansson (Black Widow).
Chris also played the part of the Huntsman in Snow White & the Huntsman (2012) alongside Kristen Stewart and Charlize Theron and the part of a teen taking on North Korean soldiers in Red Daw (2012). He starred in Rush (2013) alongside Daniel Brühl. In 2015, he was seen in Avengers: Age of Ultron (2015), Blackhat (2015) and In the Heart of the Sea (2015). In 2016, he reprised his role as the Huntsman in The Huntsman: Winter's War . He then starred in the comedy reboot Ghostbusters (2016) alongside Melissa McCarthy and Kristen Wiig. He reprised his most famous role as the Norse God in Thor: Ragnarok (2017) and then again in Avengers: Infinity War (2018).
Most recently, Chris appeared in the thriller Bad Times at the El Royale (2018) as cult leader Billy Lee where he played alongside Jeff Bridges and Jon Hamm. He will also appear in the upcoming fourth installment in the Avengers franchise in 2019 and in the Men in Black spinoff film that same year.
Chris is married to Spanish actress Elsa Pataky and the couple have three children together. In 2015, he and his family moved back to Australia from Los Angeles.


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text:
Q: Write comment in matlab plot using script I need to plot a few points in a graph and then write a comment next to each point. How can I do this?
I plotted the points like this
plot(5000,  211   , 'o')
hold on;
plot(5000,  100    , 'o')
plot(5000,  20     , 'o')

and then i need to write a comment next to each "o".
I tried using the same method but it didn't work.
plot(5000,  215   , 'some comment')

How to solve this most easily?

A: Use something like that for that particular point (adapt spaces for your use)
text(5000, 211, '   some comment', 'FontSize',12)

To add arrows, use something like:
text(5000, 211, ' \leftarrow some comment', 'FontSize',12)

Also check the Matlab docs on annotating graphs.


text:
bne IntelliNews July 16, 2019
In June, the Supreme Court of Austria cleared the way for Firtash to be extradited to the US to face corruption charges, but he is allowed to stay in Austria while a court considers a defence motion to re-open the case against him.
Specialist LSE listing to provide investors with chance to get in early on Uzbekistan's move from Soviet-type economy to market economy.
Jibe follows meeting of EU foreign ministers at which delicate question of accepting Iranian oil in barter trades arose.
The troubles of Russia's largest independent vertically integrated refinery Antipinsky led Sberbank to prepare to bankrupt the company, while London courts froze €225mn worth of assets.
Sergei Kuznetsov in Kyiv July 16, 2019
Naftogaz says it's better able to prepare for the next winter season by accumulating gas in its underground gas storage facilities after raising funds on attractive terms.
Nelly Tomcikova in Prague July 15, 2019
Consumer lender majority owned by Czechia's richest man Petr Kellner mulls Hong Kong listing that could raise more than $1bn.
Ben Aris in Belrin July 15, 2019
Zelenskiy's Servant of the People party still riding wave of popularity. Looks set to win by far largest share of vote and possibly outright majority.
Discussions are ongoing on whether Russia's largest companies will be able to maintain stable long-term oil output with Siberian brownfields alone, without tapping into challenging Arctic offshore fields.
Newly elected President Volodymyr Zelenskiy wants to change the law to extend lustration to officials who held high-level posts following the 2014 Euromaidan, including former president Petro Poroshenko.
Denitsa Koseva in Sofia July 14, 2019
Kanat Shaku in Almaty July 12, 2019
Neighbouring Uzbekistan produced six times more cars than Kazakhstan in 2018 — but that could change with the launch of a new $1.1bn Chinese-Kazakh joint venture.
The National Bank of Serbia lowered the key rate to 2.75% after keeping it at 3% for thirteen consecutive months.
Troubled aluminium smelter was forced to halt operations as power supplies were cut off due to its unpaid debts, and no strategic partner has been persuaded to take it over.
The European Union's row with Turkey over access to potential deposits of oil and gas in the disputed waters around Cyprus has flared up again.
Russia's oil output fell to a three-year low of 10.79mn barrels per day (bpd) in early July, due to a row between oil pipeline monopoly Transneft and Rosneft, the country's biggest oil producer


text:
Tag Archives: Geoff Holder
P is for Poltergeist: Not Just For Teenagers Anymore
April 17, 2019 ajornlin	Leave a comment
Although I have respected colleagues in paranormal investigation who immediately dismiss all poltergeists cases as fraud, to a student of history, this approach seems limited and unreasonable. So many poltergeist cases pop up throughout history and across cultures that such casual dismissals don't make sense. These eerily similar accounts of blatantly nonsensical manifestations are reported by very different populations dating back to antiquity and differ greatly from the usual ghost story narrative. This strongly suggests something is actually happening that goes far beyond mere imagination.
The German word "poltergeist" means "noisy ghost" and refers to the chaotic, cacophonous, house-wrecking phenomena that have been reported for centuries all over the world. These include, but are not limited to mysterious raps and other loud noises, untraceable fires and water damage, and the reckless hurling around of anything not nailed down by unseen forces. The word was first coined to describe such manifestations in 1638. Later Martin Luther would popularize the term in his religious writings. In 1948, the OG ghost hunter Catherine Crowe introduced the term to English usage in her groundbreaking catalog of the strange, The Night-Side of Nature.
The first recorded poltergeist case was in the 4th Century, according to Christopher Laursen, who wrote his PhD dissertation on the history of poltergeist phenomena at the University of British Columbia. Other sources attest such accounts date back to Ancient Greece.
The prevailing hypothesis maintains these violent outbursts may not be due to ghosts or any external forces at all, but to the power of the mind alone. Today poltergeists are mainly viewed as uncontrolled tantrums of telekinesis perpetrated most commonly by adolescent females. The modern study of the unexplained, parapsychology, has largely reclassified poltergeist activity as a human-centric phenomenon with the new label Recurrent Spontaneous Psychokinesis (RSPK). However, fashionable this current explanation, such activity has not always been blamed on the unconscious psychic machinations of disturbed teenage girls, but to many other monsters including ghosts, demons, fairies, and vampires.
My favorite podcast discussion about poltergeists was with Fortean author Geoff Holder. He spoke with us about his masterpiece of research, Poltergeist Over Scotland for which he examined 134 poltergeist cases documented in the historical record. Many different cultural contexts have been imposed upon poltergeist manifestations over the ages. However, in his opinion, no one explanation applies to all cases, even our modern interpretation. He has found that only 1/4 to 1/3 of poltergeists center on an adolescent human agent. To Holder, poltergeist activity usually has no obvious purpose and may just be the work of feckless entities, essentially the "numpties" of the supernatural.
Whereas most hauntings function as memento mori or cold comfort for mortality, poltergeist activity, on the other hand is often so chaotic it's more likely to remind us that humans are not the center of the universe. Holder asserts that it may represent a non-human intelligence which is almost entirely indifferent to us.
Although Holder admits hoaxes and pranks do account for some poltergeist cases, as they do for any reported phenomena, he maintains that they cannot explain away the literally thousands of poltergeist cases reported by multitudes of reliable witnesses and the consistency of their accounts over centuries. In his study of 134 cases, he found that only 4.5% involved hoaxing. The analyses of other researchers indicate these numbers are between 3% and 15%.
Holder also hopes that the physical nature of poltergeist cases will open up the possibility for the scientific study of this phenomena. He cites one 2010 study of the unique audio signature of poltergeist raps as a step in the right direction. Conceivably studies such as these could some day lead to the scientific breakthrough for which every psychical researcher has been waiting.
For more fascinating poltergeist cases, listen to the following:
a to zcatherine croweGeoff Holderpoltergeistpsychokinesisscotlandtelekinesis
122 – They're Here: Hunting Poltergeists With Geoff Holder
December 12, 2016 Mike Huberty	Leave a comment
http://traffic.libsyn.com/othersidepodcast/SYOTOS-122.mp3
Author and screenwriter Geoff Holder has written thirty-six books on the supernatural from haunted guides of Scottish cities to stone circles and zombies, but its his research into hundreds of poltergeist cases throughout history that we wanted to talk with him about. And Allison from Milwaukee Ghosts joins us again for this episode's interview!
Poltergeist is just the German term for "noisy ghost". The movie has nothing to do with any kind of poltergeist phenomena that really happens to people, that was more like a family fighting a supernatural war and it gave regular people (you know, non-weirdos who don't pay enough attention to this stuff) the completely wrong idea about what poltergeist activity was all about.
A poltergeist is paranormal activity where people don't see a ghost (usually, although Geoff Holder says that there is some visual element in about 15% of the cases he's researched) but they hear knocking on doors and walls, objects move when no one is around, lights break, lamps are knocked off tables, etc… Poltergeists are troublemakers, but there's not usually a haunting (i.e., story about a dead person) that accompanies the scene.
One of my parapsychological idols, Loyd Auerbach, discusses poltergeists at length in his awesome do-it-yourself paranormal investigation book ESP, Hauntings, and Poltergeists. And it seemed to me that the idea of a poltergeist being a spirit was a relic of a more superstitious time. After all, those peasants just didn't understand psychokinesis (moving objects with your mind, think about Luke making the light saber fly to his hand in the Wampa cave).
I always thought that it was not a spirit or intelligent haunting but a manifestation of psychic energy coming from a pubescent girl. Her blossoming into womanhood also involves throwing a lot of plates around with her mind bullets. In fact, this is the explanation used in an episode of the totally sweet 80s show, Shadow Chasers, and good God I loved that show when I was 8.
Make sure you listen to this awesome theme song, it's like a paranormal Pointer Sisters.
But come to think about it, Auerbach uses the teenager poltergeist hypothesis in his book and he was a parapsychology adviser to the Shadow Chasers TV show, so of course they're going to go with that narrative! And it's been a popular trope in fiction over the years. Just think about how popular Carrie was. It just felt believable.
For some reason, the idea that we have the power in our minds to move objects through some kind of excess psychic force that happens when we're in our wild hormonal years, seemed to be a much more reasonable explanation than someone coming back from the dead.
Contrary to the movie, if you see this guy, you're not experiencing a Poltergeist, but you might be part of a pants-soiling contest.
And I didn't even entertain other theories because they were all too ridiculous. Demons? Gimme a break. Faeries? Now I know you're crazy. Bulgarian vampires? Get outta here! (Even thought you're going to want to hear Holder's great story on that one.)
But psychic teens? I'm with you. In fact, one time when I was on a bus tour of haunted sites, I heard a tour guide tell a woman that the poltergeist activity she was having in her house was a demon and that she should be wary.
I almost punched that guy. Number one, don't scare the poor woman. Number two, poltergeists aren't demons. They are manifestations of wild psychic energy. Duh.
Well flash forward a decade later and I'm glad I didn't punch that guy (he only kinda deserved it), because Geoff Holder has opened my eyes to the idea that the psychic teenager is just the latest in a long line of explanations for these noisy ghosts.
The first case he discovered was in the 5th century where of course the explanation is demons. Almost a millennium later, Martin Luther (yes, the guy responsible for the Protestant Reformation) is the first person to use the term in print. He blamed the Roman Catholic Church for them and just thought it was the Devil messing around with him. (Being a really holy dude, he considered the Pope a much more formidable opponent than Satan.) So, yeah, people have been saying poltergeists are demons long before mediocre ghost tour guides.
Look closely at the demon in the center, he's got a little demon face where his junk should be!
And not just demons, but fairies! This is where Geoff Holder blows my mind, because he talks about how what we think of as poltergeist activity, people used to attribute to fairies and they would even act in certain ways as to not upset the fairies (and of course many of the U.K.'s stone circles have faerie connections as well!) And this is where things get interesting.
Poltergeist behaviors in the hundreds of studies that Geoff has looked into, doesn't seem to follow human behaviors. If it's the spirit of a dead person, wouldn't that person still have some of their humanity left? Why would they just rattle the chandelier, why would they be knocking on the wall? For the love of God, why would they make more work for everyone by breaking plates?!
Poltergeists act more like tricksters with an adolescent sense of humor (poop is often involved), their behavior is mercurial often causing havoc at the slightest or no provocation at all. Having a poltergeist in your house is like hanging out with the Joker from Batman or Joe Pesci from Goodfellas, you're always on pins and needles because you don't know what they'll do next. They can be kind or cruel in equal measure and with no explanations why.
And that's completely in character with fairies, they're not all Tinkerbell and godmothers. Fairies in the old legends are scary, they're not just inhuman, they're ahuman. They'll do something wonderful for you one day and they'll steal your child the next and you'll never understand why. The fey are so fundamentally different from us.
It's similar to how we think of aliens. A 2012 National Geographic poll showed that a full seventy-seven percent of Americans believe that aliens have visited Earth, but you know that 77% of Americans do not believe in faeries.
One thing Geoff Holder has showed is the context surrounding belief might change, but the paranormal behavior doesn't. Whether it's Bulgarian Vampires causing trouble or Teenage Drama Queens having a psychic blowout, poltergeists have an volatile and unpredictable quality to their actions.
Humans have a particular set of needs and motivations, these phenomena, whether they're aliens, faeries, or demons, they don't have those needs. And they don't care about ours. That inspired this week's Sunspot song, "An Indifferent Universe".
Visit Geoff's website to check out his awesome books and scripts right here!
who wears the twilight
walks in starfall
who wears the cold
something ancient
from the before
some kind of echo
knocking at the door
they can save us
they can destroy
every human
some kind of toy
explaining power
you can't understand
the never knowing
will drive you mad
all reality
outside time
where infinity is a place
an indifferent universe
And here's an extra treat, Allison was so inspired by the conversation that she wrote a poem right after we finished the interview… check it out, a little bonus to enjoy after you listen to the episode!
Gone are the sacred stones,
Plowed under like lovely bones.
Dancing sylphs in circles meet,
Trample them beneath your feet.
Pebbles and peat fall from the sky,
You can't be bothered to ask why.
Apples picked and washing done,
But still you're not a happy one.
Bind her to the bedpost,
She's up to no good now.
Is she Eve or is she fae?
You'll never know her anyway.
Doesn't matter, you'll have your way.
You fear she's coming back,
Her playful smile, a sneak attack.
Wrapped in moss, draped in flowers,
Just can't bear it unless it's ours.
The daughter, the lover, the mother, the crone,
If she is all, what do you own?
Cupboards burst and dishes smash,
Worlds awaken, ideas clash.
Your homely house a hell,
She's imprisoned in this shell.
She belongs in the wild wood,
Respected, misunderstood.
She's setting fires with her mind,
You should know, you can't trust her kind.
demonsfaeriesGeoff Holderpoetrypoltergeistpoltergeistssoundtrackstone circles


This takes NYPD Blue to another level, as Lt. Patrick Brogan and his partner Officer Jack Haldane are transferred to the City of Demeter on the planet of Altor. He moves with his wife and 2 children and they have to adjust to a new life. Patrick has to deal not only with human criminals who exist in the city but also aliens. There were no aliens which had human features with forehead ridges. The aliens looked very different from humans.
It was originally planned as collaboration between Anderson and the BBC but they withdrew citing the reason as being too expensive. At $1.5 million or roughly 900,000GBP an episode, you can understand why it was dropped by the BBC. Anderson turned to the American who provided the money for the series however it was seen as being produced for children with adult themes (murder, drugs, and exploitation). When it was shown in America, it was shown late at night rather than an early evening slot it had been when the BBC showed it. In the UK, it was eventually shown on BBC after it had been shown on SKY. One episode The Snake, the assassin is pure C.G.I which makes this episode stand out from the rest.
Is Space Precient showing anywhere in the world? It was a pretty good show, I just think it was not given enough time to prove itself.
It is hard to believe that more Jerry Anderson shows are not on TV. We have many chhannels that specialize in sci fi and imaginative programming: Sci Fi, Wam, G 2 4, Action, and many more.
It's a real shame that the DVD's are practically extinct and they only came out 6 years ago! I'm a real fan of the series, so much that I'm going to make my own series 2. I've planned my 24 episodes!


text:
Patrick Mwanzia
Patrick Mwanzia is our new Programme Manager Kenya in the Watershed Programme. On May 9-11 he will be in Ethiopia for a three-day high-level meeting on 'Water Integrity in East Africa: Linking Policy with Practice'. We spoke to him about his hopes and expectations for this conference, WASH and the Watershed programme.
Why do you believe it is vital to improve access to WASH services? And what do you see as the main challenge in reaching access to water and sanitation for all?
"I am so much committed to the quest of improving access to WASH services to communities because WASH directly impacts on their health, wellbeing and productivity, all of which contribute national economic development. To this end, Kenya's development blueprint 'Vision 2030' envisages the realisation of equitable access for all to safe and affordable drinking water and sanitation.
The main challenge in the WASH sector in general, and the Watershed programme in particular, is ensuring sustainability in the universal provision of WASH services in line with SDG 6 – which means ensuring that no one is left behind in decision making and access to WASH services. For a long time development priorities, financing and action have been skewed in favour of providing WASH services to communities whilst ignoring Integrated Water Resource Management (IWRM) water security issues. I believe that integration processes between WASH and IWRM/Water security is another area that urgently needs redressing by development actors."
Can you tell us about the Watershed programme and your role in it?
"The programme runs from 2016 – 2020 in six countries: Kenya, Uganda, Ghana, Mali, India and Bangladesh. The main focus is to contribute towards attaining sustainable access to Water and sanitation for all, while integrating WASH and IWRM is another key focus area.
As Programme Manager Kenya, my role is to provide able leadership and coherent coordination between the Watershed Programme partners who collectively implement the programme in two County regions in Kenya (Kajiado and Laikipia, both of which have arid and semi-arid climates). The partners include AKVO, IRC, SIMAVI, and Wetlands International from Netherlands. There are five Kenyan Civil Society Organisations (CSOs) involved in the programme: Kenya Water and Sanitation Civil Society Network (KEWASNET), Neighbourhood Initiative Alliance (NIA), Kenya Water for Health Organization (KWAHO), Laikipia Wildlife Foundation (LWF) and Centre for Social Planning & Administrative Development (CESPAD).
By establishing strategic partnerships among the partners in the Kenyan programme, I aim to coordinate them towards lobbying and advocating for means of putting policies into practice, and working together to show evidence of the benefits of integrating WASH and IWRM in promoting sustainability.
Last, but not least, Watershed aims to strengthen the existing capacities of Kenyan CSOs involved in the programme to collate, analyse and use available data for evidence based lobbying and advocacy with target stakeholders. Tools like budget tracking are used to address inequalities in WASH and IWRM budgetary allocation/financing by authorities that can be addressed to achieve the goals listed above."
What are your hopes and expectations for the high-level meeting in Ethiopia?
"Several international and national CSOs involved in WASH/IWRM sector related work will meet in Addis Ababa, Ethiopia for a three-day conference with the theme 'Water Integrity in East Africa: Linking Policy with Practice'. Simavi's partners in Kenya for the Watershed programme (KEWASNET, KWAHO and NIA) will all be represented at this high-level meeting. I hope, and expect, to share and learn from others on the mechanism of translating policies into practice, especially in the field of sustainable WASH service provision and its links with IWRM. This will help to inform the Watershed programme in Kenya on the best practices available in Africa and beyond, as well as getting better acquainted with the inherent challenges involved in this area – and sustainable means of addressing them."
3 Questions to literally comprise 3 questions we ask someone with whom we collaborate: a public official, local partner, villager or donor.
More '3 questions' Read next 3 questions
Launch Watershed: Empowering citizens
During the World Water Week 2016 in Stockholm, Simavi, IRC, Akvo and Wetlands International launched the Watershed programme. In this strategic partnership with the Dutch Ministry of Foreign Affairs, we have joined hands to increase the sustainability of water, sanitation and hygiene services.
Blog series: Looking back on how to go forward
Simavi's Programme Director, Ewout van Galen, is attending the 2017 Sanitation and Water for All (SWA) High-level Meetings (HLM) in Washington D.C. to represent European Civil Society Organisations. In a series of three blogs we will capture his views, expectations and reflections before, during and after, the HLM. In his final blog, Ewout reflects on his week in Washington.