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Work Tim Grierson September 27, 2019
A Song for the Workingman: How Blue-Collar Anthems Have Evolved Over Time
From John Henry to private dancers, musicians are constantly shifting their view of working stiffs
How do we judge the strength and character of a country's workforce? There are the usual statistical indicators (unemployment rates, consumer confidence, the stock market), but let me suggest a different metric: the kinds of songs that are written about the working life.
Since America started recording music a century ago, performers have sung about labor, whether it be toiling in the fields or punching the clock at a factory. We're all such different people in so many ways, but the one thing that connects most of us is that we have a job — and that we probably hate that job. That's why songs about working have always been popular. But the kinds of jobs we have — and the economic realities around that job — have shifted over time, which has meant that workingman anthems have similarly had to adjust to changing eras. Case in point: A song about a railroad man probably meant more in 1928 than it does in 2019.
With that in mind, I've put together a timeline of iconic blue-collar anthems, dissecting the songs' themes as well as their specific take on this mythic figure of the workingman. As you'll see, musicians often celebrate the Average Joe — sometimes, because they worked the same bad jobs as their audience before making it big — while lamenting how much harder it's getting for working-class families in recent years. (You can hear the class warfare bubbling through many of these tracks.) This overview doesn't pretend to be a collection of the best workingman songs, but it's a portrait of how songwriters view everyday labor — and how listeners frequently turn to music to make their working lives seem less onerous.
"Spike Driver Blues" (1928)
What's the Song About? If workingman songs have a patron saint, it's probably John Henry, a mythic 19th-century figure who, although exaggerated thanks to numerous tall tales, probably actually existed. Everyone from Johnny Cash to Drive-By Truckers has paid homage to the so-called "steel-driving man" who helped build the nation's railroads, but this rendition of the traditional ballad "Spike Driver Blues" is among the most haunting. Performed by country-blues musician Mississippi John Hurt, and collected on Anthology of American Folk Music (which features another John Henry tune, "Gonna Die With My Hammer in My Hand"), "Spike Driver Blues" is a sad, defiant song about wanting to avoid Henry's fate of dying doing backbreaking work. (The legend states that Henry took on a steam drill to see which could drive more efficiently. Henry won but died shortly thereafter.) "This is the hammer that killed John Henry," Hurt sings. "But it won't kill me / But it won't kill me / But it won't kill me."
What Does It Say About the Workingman? The folk ballads of the 1920s often celebrated or lamented the plight of the common man, so it's little surprise that John Henry was such a lyrical fixture. There remains something epic and tragic about Henry's man-versus-machine battle — the story is a tribute to good ol' fashioned strength and determination, which often finds itself at odds with technological advancement. But he's also a political symbol. As music critic and cultural historian Greil Marcus once wrote, John Henry songs are "an affirmation of the power of a single African American to deny and defeat the white power set against him even if it costs him his life, but not his dignity." Singing about John Henry is to celebrate the ultimate noble underdog — the proud worker who takes his labor seriously.
"Maggie's Farm" (1965)
What's the Song About? In his early days, Bob Dylan adapted traditional folk ballads to honor working stiffs and the marginalized in tunes like "House Carpenter" and "He Was a Friend of Mine." According to biographer Robert Shelton in No Direction Home: The Life and Music of Bob Dylan, the singer-songwriter followed a similar template for this Bringing It All Back Home standout, drawing inspiration from "Hard Times in the Country" ("a rural protest song about the tough life of a tenant farmer with an exploitative landlord") and "Penny's Farm" (also about a mean landlord) to come up with an anthem about being fed up with your boss.
What Does It Say About the Workingman? "Maggie's Farm" works as an antiauthority kiss-off to a lousy job you're happy to quit, but at the time of its release, it was also an embodiment of the counterculture, which wanted nothing to do with "straight" society. For Dylan, working on Maggie's farm is just another form of conformity that he's trying to resist: "Well, I try my best / To be just like I am / But everybody wants you / To be just like them." Years later, the song still feels defiant — a refusal to play by the rules. When Barack Obama was running for president in 2008 as a change agent, he praised "Maggie's Farm": "It speaks to me as I listen to some of the political rhetoric."
"Workin' Man Blues" (1969)
What's the Song About? The pinnacle of workingman music, Merle Haggard's country hit came about, according to David Cantwell's Merle Haggard: The Running Kind, because the songwriter wanted to have an anthem for average Americans akin to his pal Johnny Cash's "Folsom Prison Blues." The narrator of "Workin' Man Blues" has a wife, nine kids and a backbreaking job. But you'll never hear him complain: "Might get a little tired on the weekend / After I draw my pay / But I'll go back workin' / Come Monday morning I'm right back with the crew."
What Does It Say About the Workingman? There's a prideful, up-by-your-bootstraps integrity to the song's no-nonsense protagonist that's made this a beloved classic — especially for strong, stoic types who aren't partial to people who whine a lot. The "Workin' Man Blues" narrator despises welfare and is determined to work hard "long as my two hands are fit to use," and there's also an anti-hippie vibe to the song, dismissive of those who want to quit and "do a little bummin' around." If "Maggie's Farm" was for blue-collar workers who'd had enough of their shitty job, "Workin' Man Blues" celebrates the guys who "keep my nose on the grindstone."
"Working Class Hero" (1970)
What's the Song About? Fresh from putting the Beatles in his rearview mirror, John Lennon released Plastic Ono Band, which included this snarling acoustic number that flips the bird to conventional society. "Working Class Hero" examines how, from birth, we're trained to feel insignificant by our institutions — family, school, work, religion — and left scared and distracted by modern life. "A working class hero is something to be," he sings sarcastically, suggesting that the idealized "common man" is really just a sucker who's been beaten down by life and made compliant.
What Does It Say About the Workingman? Lennon was disdainful of picket-fence life, viewing those who aspired to such an existence as being brainwashed. "They think they are in a wonderful, free-speaking country, they've all got cars and tellies and they don't want to think there's anything more to life," he once said. "They are prepared to let the bosses run them, to see their children fucked up in school. They're dreaming someone else's dream, it's not even their own." "Working Class Hero" is a dim portrait of blue-collar workers who are "doped with religion and sex and TV," slaving away at meaningless jobs and trapped in small lives. Not surprisingly, Tommy Moore, a drummer who worked with Lennon pre-Beatles, later recalled, "Lennon once told me he'd commit suicide rather than get a conventional job."
"Take This Job and Shove It" (1977)
What's the Song About? Written by David Allen Coe and popularized by country singer Johnny Paycheck, "Take This Job and Shove It" is about the narrator deciding to quit abruptly — after all, "My woman done left / And took all the reasons / I was working for." The truth is, though, he isn't actually quitting — he's just fantasizing about what it will feel like to tell his stupid boss that he's outta there.
What Does It Say About the Workingman? "Take This Job and Shove It" wasn't just a massive hit; its title became a national catchphrase. (A couple years after the song leapt up the charts, there was a movie of the same name, which featured Paycheck and Coe.) To this day, articles about the best (and worst) ways of quitting a job use "Take This Job and Shove It" as their headline — an indication that people still think of that phrase when they're stuck in a horrible gig. The line was dreamed up by Coe who, reportedly, was asked in an interview if he'd ever consider being a fireman: Coe's response was "They can take that job and shove it." A bit hacky but undeniably catchy, "Take This Job and Shove It" became a way for a lot of disgruntled employees to spend a few minutes fantasizing about telling off their superiors as they walk out the door. As Paycheck sings, "I'd give the shirt right off my back / If I had the guts to say / Take this job and shove it / I ain't working here no more."
"Factory" (1978)
What's the Song About? Bruce Springsteen admitted in his memoir (and subsequent Broadway show) that, despite all the songs he's written about the workingman, he's never really had a 9-to-5 gig. Nonetheless, this Darkness on the Edge of Town track captures the drudgery and danger of a factory job with uncommon poignancy. Clocking in at just over two minutes, "Factory" paints a picture of a man who does the same thing every day: wake up, grab your lunch from the fridge, head off to the job, come home. The guy just sounds like another cog in the machine.
What Does It Say About the Workingman? This piano-driven ballad focuses on the toll that blue-collar work takes — the unnamed man is losing his hearing and perhaps his mind. (The narrator, who's the man's son, observes, "End of the day / Factory whistle cries / Men walk through these gates with death in their eyes.") But unlike a lot of previous workingman songs, "Factory" is all about the psychological damage, which gets passed along to the man's family in physical ways. At the song's end, the narrator notes, "You just better believe, boy / Somebody's gonna get hurt tonight" — an implication that this factory worker is about ready to explode around his loved ones.
"9 to 5" (1980)
What's the Song About? Dolly Parton is one of country's most beloved figures, but in 1980 she had her biggest pop hit with this title cut from the popular workplace comedy, which starred her alongside Lily Tomlin and Jane Fonda. Lyrically, "9 to 5" is a pretty straightforward lament about why working sucks — your boss is an idiot, the hours are a grind, it's hard to get ahead — but what made it instantly novel is that, for once, it was a woman singing about the workingman blues.
What Does It Say About the Workingman? Technically, "9 to 5" (and the accompanying movie) isn't really about blue-collar life. (Parton works in an office.) But this zeitgeist-y sensation tapped into an era in which women were increasingly integrating into the workplace, facing sexism and limited opportunities. The narrator complains about feeling exploited — "They just use your mind and they never give you credit / It's enough to drive you crazy if you let it" — while underlining the economic disparity between bosses and employees that would become rampant thanks to Reagan's disastrous trickle-down policies. Few punk bands have written lyrics as politically astute as this: "It's a rich man's game no matter what they call it / And you spend your life puttin' money in his wallet."
"Working for the Weekend" (1981)
What's the Song About? From the O'Jays' "Livin' for the Weekend" to Janet Jackson's "Escapade," there have been plenty of songs that celebrate saying goodbye to the work week. But none is as iconic as this Loverboy smash, a giddy salute to blowing off some steam on the weekend. What's in store? Uh, a little bit of everything: "Everybody's working for the weekend / Everybody wants a little romance / Everybody's goin' off the deep end / Everybody needs a second chance."
What Does It Say About the Workingman? Where "Working Class Hero" criticized the small-mindedness of traditional day jobs, "Working for the Weekend" became an anthem for the people whom John Lennon mocked — they're perfectly happy to be distracted from their sad lives by a little fun. The song came to guitarist Paul Dean when he was walking around on the beach on a Wednesday afternoon, realizing that nobody was there because it was a workday. As he put it, "[M]e being the musician, I'm out working and my work is, 'Okay, what am I going to do for inspiration and where can I find it?' So I'm out on the beach and wondering, 'Where is everybody? Well, I guess they're all waiting for the weekend.'" "Working for the Weekend" is unabashedly party-hearty rock, and the classic 1990 Saturday Night Live skit featuring Chris Farley and Patrick Swayze as aspiring Chippendales dancers gyrating to the song only amplified its cultural cachet — and its eternal cheesiness.
"Private Dancer" (1984)
What's the Song About? Tina Turner's Private Dancer was her comeback after years out of the limelight, and its title track was among its standouts, casting the singer as a "private dancer" who entertains her male clients. "You don't look at their faces," she tells us. "You don't ask their names."
What Does It Say About the Workingman? "Private Dancer" is one of the few great songs to talk about the life of a sex worker from that person's perspective. (By comparison, we have a ton of songs by men about sex workers.) Ironically, "Private Dancer" started out the same way: Dire Straits frontman Mark Knopfler wrote the song but decided that it would be much better coming from a woman. "The song is about prostitution," Turner wrote in her autobiography My Love Story. "I never had to stoop to that in my life, but I think most of us have been in situations where we had to sell ourselves, one way or another." Turner connected to "the sadness of doing something that you don't want to do, day in, day out," which gives "Private Dancer" its elegant, melancholy air — although it reinforces the cultural notion that all sex workers are miserable or compromised. Nonetheless, "Private Dancer" at least tried to imagine that these women had an inner life that had nothing to do with the dude that they're gyrating in front of.
"Everyday Struggle" (1994)
What's the Song About? On his groundbreaking debut Ready to Die, the Notorious B.I.G. painted the grim picture of a drug dealer who's weighed down by myriad problems — "Baby on the way / mad bills to pay" — while staring down a court date for assault. Plus, his friends are dying, and everyone around him treats him like a criminal. No wonder he's drinking too much as a way to forget his fucked-up life.
What Does It Say About the Workingman? On the same album, Biggie laid out the dire job possibilities for guys like him who were young, poor and black: "Either you're slinging crack rock or you got a wicked jump shot." Ready to Die straightforwardly illustrated the criminal life, in the process creating another form of workingman anthem. Unlike the proud portraits of blue-collar existence espoused by Merle Haggard and others, "Everyday Struggle" was an unapologetic, unromantic vision of surviving along the margins, where racism and poverty made attaining the American Dream far more difficult. (Keep in mind: This wasn't pure fiction for Biggie, who understood the drug-dealing life, getting into the game as a tween.) And as the nation's middle-class continues to erode, popular culture started presenting white antiheroes — like Breaking Bad's Walter White and Ozark's Marty Byrde — who learned, like Biggie's stressed-out narrators, that sometimes crime has to pay when more legitimate occupations fail you.
"Bright Future in Sales" (2003)
What's the Song About? As this Fountains of Wayne song kicks off, the main character is hungover and trying to remember what happened the night before. "Bright Future in Sales" is a deceptively poppy look at a corporate drone who's probably an alcoholic and most certainly half-assing his job. "I'm gonna get my shit together," he swears, "'cause I can't live like this forever." In the meantime, though, maybe he'll have one more scotch and soda.
What Does It Say About the Workingman? Welcome Interstate Managers is practically a concept album about dead-end office jobs and going-nowhere young professionals. It was inspired by the misadventures of the band's principal songwriters, Chris Collingwood and Adam Schlesinger, who seemed to be channeling the national angst over the dot-com bubble's bursting in the early 21st century. ("I think that a lot of our music is informed by the fact that both Adam and myself spent so much time in cubicles," Collingwood said around the album's release.) "Bright Future in Sales" paints the modern workingman as a dude in a shirt and tie who participates in too many conference calls and attends too many office parties. Long gone are the days of factories and other blue-collar jobs: Everyone's now working in the same anonymous, hideously-lit office slowly going mad while trying to sell stuff that nobody really needs. Maybe you'll get that promotion, or maybe you won't. It's a soul-crushing, deceptively cushy nightmare.
"Looking for a Job" (2006)
What's the Song About? Singer-songwriter Todd Snider often chronicles hard-luck cases — burnouts, criminals, losers — and here he plays an ex-con who's stumbled into an unenviable job hanging drywall for a real jerk. But our hero isn't going to put up with it: In "Looking for a Job," he turns the tables, telling his boss just how little he needs this thankless work. "I was looking for a job when I found this one," he sings. "Don't need the work like you need the work done."
What Does It Say About the Workingman? Globalization and automation may have wiped away blue-collar jobs in the 21st century, but that doesn't mean you don't still need day-laborers. "Looking for a Job" twists that reality into a dark joke as we learn just how grave the narrator's life is — but also, perversely, how cocky he is. "I'm sharing a room with two guys over at the Motel 6, boss / Sending every dime I make here home to my ex-wife," he announces. "Just did two years and 28 days / With a little better aim, I'd been in there for my life." He may be unhappy, he may have nothing, but he knows that this rich guys needs him to do this menial labor. And that, in a way, is a kind of power. "Watch what you say to someone with nothing," he warns the rich dude. "It's almost like having it all."
"This Fucking Job" (2010)
What's the Song About? The hard-working narrator of this Drive-By Truckers rocker sees little light at the end of the tunnel. Where earlier blue-collar anthems at least offered the prospect of quitting or taking pride in the job, "This Fucking Job" is a litany of desperation and disappointment: "Workin' this job / There's nothin' left but to hate it / I won't get as far as my daddy made it." And the song only goes from bad to worse: He eventually loses the job and discovers how much more in dire straits he's in now.
What Does It Say About the Workingman? DBT front man Patterson Hood wrote "This Fucking Job" just before the economic collapse of 2008. ("People are losing jobs and it scares the shit out of me," he wrote around the release of The Big To-Do, which contained the song.) The finality of this song's woes are crushing, speaking to a world in which men and women can't hope to do as well as their parents did — the idea of upward mobility is a dead as the dodo. In the past, musicians viewed regular jobs as drudgery or creatively unfulfilling, but "This Fucking Job" suggests, in today's economy, they're a leaky life preserver people cling to in order to barely survive. Forget the noble common man — forget, even, the doomed dignity of John Henry. The workingman personified by Drive-By Truckers doesn't even have a hammer to his name.
Tim Grierson
Tim Grierson is a contributing editor at MEL. He writes about film and pop culture for Screen International, Rolling Stone and Vulture.
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Solange Knowles to Receive First Ever Lena Horne Award and Will Donate $100K Prize to Charity
By Monica Otayza
https://news.amomama.com/185048-solange-knowles-receive-first-ever-lena.html
Solange Knowles receives the first-ever Lena Horne Award, and soon after reveals that she is donating the $100,000 prize to charity.
33-year-old "Can I Hold the Mic" singer Solange Knowles was named as the first-ever recipient of the Lena Horne Prize for Artists Creating Social Impact, which acknowledges her string of efforts towards civil rights activism.
Lena Horne was a singer, actress, and dancer who stood up against color segregation in the 1940s, even joining multiple marches against discrimination.
Solange Knowles attends the MET Gala | Source: Getty Images/GlobalImagesUkraine
RECEIVING THE MONUMENTAL AWARD
Aside from being a Grammy and Tony Award winner, Solange may now add the Lena Horne Prize to her list of achievements, which highlights the impact she's made in the field of activism.
The award in itself is monumental because it's deemed as the "first major entertainment award to be named after a woman of color, honoring excellence at the intersection of arts and activism."
LENA HORNE'S HONORABLE LIFE
Lena Horne was a singer, actress, and dancer who stood up against color segregation in the 1940s, even joining multiple marches against discrimination. She received Grammy Awards, Tony Awards, and an NAACP Image Award for her craft, but was also a Kennedy Center honoree.
Now that Solange Knowles uses her platform to advocate for representation and justice, she was given the first award.
SOLANGE'S CRAZY YEAR
She will be given the award on February 28, 2020, at The Town Hall, and will receive $100,000, which will be donated to Project Row Houses in her hometown of Houston, Texas.
It's been a crazy year for Solange Knowles, as aside from releasing new music, she revealed that she will be going on a five-day Australian tour. All of this happened amidst her split from her husband of five years, Alan Ferguson. Of the separation, she said:
"11 years ago, i met a phenomenal man who changed every existence of my life. Early this year, we separated and parted ways."
PROTECTING HER TRUTH
Although she's normally a very private person, Solange felt the need to let everyone know of their split, as she wanted to "protect the sacredness of her personal truth."
Solange Knowles Responds to Rumors She Cheated on Husband with Her Manager Which Led to Split
Solange Knowles Announces Split from Husband Alan Ferguson after Nearly 5 Years of Marriage
Meet Solange's 23 Years Older Husband Alan Ferguson, Whom She Pursued before Their Relationship
Now that the truth has been set free, Solange is focusing on building herself physically, mentally, and emotionally. She's dedicated herself to her craft, and that's something that people are now appreciating and acknowledging through the accolades and affirmations she has been receiving.

redpajama_set_name: RedPajamaCommonCrawl


Strip 1096 - Click on page above to goto the next page.
The end of Volume 3: Seamus also concludes the grand story arc which we began serializing way back in January of 2011. I wish to personally thank my long-term readers for staying with me these past fifty-two months, as well as those who discovered the strip later and have come along with me this far.
building game in the Civilization mode, taking place on a fictional planet being colonized by humans.
The game included a novella which offered a back-story explaining how the colonists had divided into six competing factions, thus creating the conflict required for gameplay. 	I had in mind developing a galactic empire-building game, �Conquest of the Milky Way,� and began writing a back-story of my own.


Call number: 428.007 N178E (TH.) Material type: BookPublisher: 2014Dissertation note: Thesis (M.A. (TESOL))--Payap University, 2014. Description: xii, 135 p. : charts.Other title: การประเมินความมีประสิทธิภาพในการสื่อสารของหลักสูตรภาษาอังกฤษของโรงเรียนสอนภาษาในประเทศเมียนมาร์..Online access: PRELIMINARY | CHAPTER 1 | CHAPTER 2 | CHAPTER 3 | CHAPTER 4 | CHAPTER 5 | BIBLIOGRAPHY | APPENDIX Availability: Items available for loan: PYULIB-CL [Call number: 428.007 N178E] (4). Items available for reference: [Call number: 428.007 N178E] (2).


How do our energy choices affect the health of our communities? A conference at Boston University on January 30, 2018, brought together experts in the areas of science, public health, and public policy to examine the implications of natural gas infrastructure on our health from a local to a global perspective. NRC vice chair, Dr. Regina LaRocque, who is also a physician at Mass General Hospital in Boston and an assistant professor at Harvard Medical School, was a lead organizer of the conference.
Click here for conference information and to view presentations from the speakers.


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Summary Of Stephanie Hanes Little Girls Or Little Women
In "Little Girls or Little Women? The Disney Princess Effect", Stephanie Hanes makes the argument that Disney princesses and modern day media influence young girls in negative ways. Hanes suggests that sexualization is everywhere including cartoons. She points out that any detail such as Ms. Piggy showing cleavage, leads girls to assume that doing so is okay and natural. Furthermore, Hanes asserts that allowing girls to see themselves as sex objects is a contributor to depression, eating disorders, and many other health problems for young girls. Hanes incorporates logos multiple times through statistics, testimonies, surveys and polls. For examples, Hanes mentions things like the percentage of teens that are now sending and receiving naked
Gender Influence Watching Disney Movies
Research Question: Since the beginning of time, parental figures have read fairy tales to their young children as the typical "bed time story". As technology progressed, these fairy tales turned into animated movies vigorously watched by young children across the globe. It is evident that the viewers of these movies are at a very young and easily influenced age; the ideologies they begin to build at this age will be the basis for the rest of their lives. The following research proposal addresses the question of what influence watching Disney princess movies have on young girls' ideologies.
Meredith Small Essay On The Book Kids
Parenting and raising children is a hot topic and because of this, there are thousands of self-help child-rearing books available to consumers. Meredith Small's book Kids reveals how biology and culture shape the way we raise our children. She captivates the reader by demonstrating how various cultures raise children and how they compare to Western civilization. The book is filled with compelling information regarding diverse parenting practices which allows the reader to consider assorted parenting techniques.
Disney Princess Effect Analysis
She defines "the Disney Princess Effect" as something that little girls perceived through watching Disney princess movies. These movies make girls want to be sexy, not feminine. How is that happening? What's so sexy about a princess? I mean I get the whole damsel and distress part, but I thought we have overcome that concept with the stats the author wrote to prove her point.
Disney Gender Stereotypes
Media has the capacity to capture an audience's attention and influence someone's thoughts and ideas. Due to their growing and innocent minds, media can be very influential to children, in some cases it can stick with them as they grow into adults. Recently, this idea has been more concerning because as the world and society changes, the messages these movies are portraying have not. Therefore, researchers are interested in knowing how children are being affected, or not affected, by these films, and what other things may be adding to it.
The Importance Of Gender Characterotypes In Disney Princess Films
Literature Review This study will examine princess films and decide whether color of the princesses has an effect on the portrayal of gender role of each character. By using a content analysis, this research will identify the difference in each princess with respect to their color. To study the gender portrayal in the Disney princess films is important to analyze due to the reach of Disney movies among the children (Setoodeh & Yabroff, 2007, pp. 66–67) . These movies are molding the ideas of gender portrayal among the children.
Personal Experience In Little Woman
"I want to do something splendid… something heroic or wonderful that won't be forgotten after I'm dead. I don't know what, but I'm on the watch for it and mean to astonish you all someday." Little Women by Louisa May is about the four March sisters-Beth, Jo, Meg, and Amy. They are growing up in Civil-war era New England and although they are lacking money, they do not lack love. As the 4 girls are waiting the arrival of their Mother on Christmas Day, they learn something about the spirit of giving along the way.
Louisa May Alcott's Little Women
"The emerging woman… will be strong-minded, strong-hearted, strong-souled, and strong-bodied… strength and beauty must go together." Introduced to the novel of Little Women at the age of 11, I quickly fell under the trance of Louisa May Alcott's astounding writing. Louisa May Alcott… Teacher, domestic servant, feminist, army nurse, and most famously, a novelist. Her self-reliance openly resisted the cultural worldview of women's equality.
Disney Princesses: Role Model Of Little Girls
Disney has been known for their theme parks and in producing movies and shows. They became famous starting from their first cartoon character, Mickey Mouse, and their lists of cartoons started to expand from then on. Disney started to have their own princesses which are looked up to by many young audiences and they somehow became the role model of little girls. This paper will discuss how far Disney Princesses have come in terms of gender politics and female empowerment, from princesses who are 'damsels in distress' to princesses who are capable of defending their selves. Renzetti said that, "Media content mirrors the behaviors and relationships, and values and norms most prevalent or dominant in a society" (1992, p. 107).
The Disney Princess Effect Analysis
Stephanie Hanes wrote the article "The Disney Princess Effect" which was published by Christian Science Monitor on October 3, 2011. Hanes argues that Disney Princess images have a negative effect on the way young girls look at unrealistic women. The author wrote this article in response to Disney being at its peak of economic benefits, but the company is overlooking its effect on young girls. This article is divided into five sections. In the introduction, the author opens with Mary Finucane's daughter's behavior changed after discovering the Disney princesses.
Body Images In Disney Movies Essay
When we're young, we don't understand much of what is going on around us, if we see something we like, we want it, or we would want to look like it. For someone who has grown up obsessed over Disney Animation movies, it's very easy to say I have been a victim of their unrealistic body changes. Ariel for example, I thought being a mermaid is the most outstanding thing in the world, however, she changes herself, she traded what was her identity, for a pair of feet, and for who? For a man. I grew up thinking for a man to like me, he doesn't have to accept me for who I am, I have to change myself to fit into his definition of how my body should look or how I should act.
More about Summary Of Stephanie Hanes Little Girls Or Little Women


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text:
Yes There Is Good News Despite The Ongoing Pandemic
With all the Covid-19 news we are digesting everyday, it can become overwhelming. I understand that as much as anyone else. That's why we do our best to give you the information you need, but most of all, entertain you with good news and great music. It's a much needed diversion, and it's what we do best.
That being said, all around us there are so many good things happening that gives you a bit of appreciation for people around the world who are simply trying to uplift you with whatever cool things they are doing or creating.
For example, according to WGAL-TV in Lancaster, Pennsylvania, a business in Lancaster County is helping struggling families with free milk.
WGAL-TV notes:
We have the ability to help people in need or help hungry kids or hungry families. Why shouldn't we do it? It's twofold. We're helping the community, and we're helping the dairy farmers, said co-owner Karl Sensenig. - WGAL-TV
That's an awesome thing to do. Kudos to them for giving back to the community.
WTLA-TV in Los Angeles reported that the Los Angeles Dodgers paid some grocery shoppers tab in full:
The Dodgers surprised shoppers Thursday morning at a Smart and Final Extra! store in South Los Angeles by paying for their groceries at the checkout counter. - WTLA-TV
These great acts of kindness are happening everywhere, including in our community. It shows that even in the worst of times, we all are doing our best to work together and help anyone in need. And right now, we all need as much support as we can get.
via - WGAL-TV and WTLA-TV
READ MORE: See how some companies are changing their businesses to combat COVID-19
Filed Under: Coronavirus, covid-19, Good News, happy, Helpful
Categories: Articles, Lifestyle, News, Newsletter


text:
The 22835 / 36 Shalimar–Puri Express is a Superfast Express train belonging to Indian Railways – South Eastern Railway zone that runs between  and  in India.

It operates as train number 22835 from Shalimar to Puri and as train number 22836 in the reverse direction, serving the states of West Bengal and Odisha.

Coaches
The 22835 / 36 Shalimar–Puri Express has 1 AC 2 tier, 5 AC 3 tier, 8 Sleeper class, 5 Unreserved/General, 1 Pantry car & 2 Generator car EOG Coaches.

As is customary with most train services in India, coach composition may be amended at the discretion of Indian Railways depending on demand.

Service
The 22835 Shalimar–Puri Express covers the distance of  in 8 hours 55 mins (56.07 km/hr) and in 09 hours 05 mins as 22836 Puri–Shalimar Express (55.05 km/hr).

As the average speed of the train is above , as per Indian Railways rules, its fare includes a Superfast surcharge.

Routing
The 22835 / 36 Shalimar–Puri Express runs from Shalimar via , , , ,  to Puri.

Traction
As the route is fully electrified, a -based WAP-4 powers the train for its entire journey.

Operation
22836 Puri–Shalimar Express runs from Puri every Tuesday reaching Shalimar the next day.

22835 Shalimar–Puri Express runs from Shalimar every Wednesday reaching Puri the next day.

References

External links

Transport in Puri
Rail transport in Howrah
Express trains in India
Rail transport in West Bengal
Rail transport in Odisha
Railway services introduced in 2011

redpajama_set_name: RedPajamaWikipedia


text:
Victoria County History - Oxfordshire
A History of the County of Oxford: Volume 13, Bampton Hundred (Part One)
Yelford: Manors and other estates
A History of the County of Oxford: Volume 13, Bampton Hundred (Part One). Originally published by Victoria County History, London, 1996.
MANORS AND OTHER ESTATES.
In 1086 Walter son of Ponz held of the king 3 hides in YELFORD, together with estates in Westwell and Alwoldsbury (in Alvescot or Clanfield) and a piece of land belonging to the royal manor of Bampton, probably the 40 a. given before 1279 to Robert Pogeys by the lord of Yelford. (fn. 1) Walter also held Eaton Hastings (Berks.) and estates in Gloucestershire, notably Southrop. (fn. 2) Later Walter's Domesday estate, sometimes described as the honor of Hastings, was held by the Hastings family for 5 knights' fees, of which the Oxfordshire portion comprised 1½ fee. (fn. 3) Walter was probably a direct ancestor of the Hastings family, (fn. 4) of which, in Yelford, the earliest recorded representative was Philip, patron of the living in 1221. (fn. 5)
The overlordship of Yelford, held by William of Hastings in the 1240s, (fn. 6) passed on his death c. 1278 to a daughter Joan, wife of Benet of Blakenham, (fn. 7) and in 1279 Benet held Yelford in chief as ½ knight's fee. (fn. 8) By 1285 he had been succeeded by a minor son, (fn. 9) presumably the Benet who in 1297 conveyed the overlordship of the honor to his sister Alice, wife of Hugh de St. Philibert. (fn. 10) Their son John, a minor, held Yelford in 1305; (fn. 11) John de St. Philibert died in 1333 and was succeeded by his son John, a minor, who was recorded as lord of Yelford in 1346. (fn. 12) In 1428 the rector of Edington (Wilts.) was recorded as the holder by writ of John de St. Philibert's former estates in Westwell, Alwoldsbury, and Yelford. (fn. 13) John had sold Westwell in 1351 to William of Edington, founder of Edington monastery, but Yelford was not mentioned in that or other conveyances of the St. Philibert lands in Oxfordshire. (fn. 14) In 1401–2 Yelford was not listed among the possessions of Edington, (fn. 15) and it seems that the overlordship had effectively ended.
Philip of Hastings, patron of the living and presumably lord of the manor in 1221, was apparently of a junior branch of the family: certainly his successor Miles, probably his son, held Yelford as an undertenant of the main line represented by William of Hastings (d. c. 1278) and Joan of Blakenham. Miles, a supporter of Simon de Montfort, suffered temporary confiscation of his estate after the battle of Evesham in 1265. (fn. 16) In 1279 he held Yelford of Benet of Blakenham, and in 1281 granted it to his son Thomas, retaining a life interest. (fn. 17) On Miles's death c. 1305 it therefore passed not to his heir, his grandson Miles, son of Philip, but to his son Thomas. (fn. 18) Thomas may have been dead by 1306 when Reynold (probably an error for Roland) of Hastings was listed as the principal taxpayer in Yelford. (fn. 19) In 1310, when Thomas's relict Agnes held a life interest in Yelford, Roland, probably their son, conveyed the reversion to Hugh Golafre. (fn. 20) Roland, however, seems to have retained or recovered the property, and was lord in 1316 and 1333; (fn. 21) he died c. 1335. (fn. 22) His heir, Thomas, died in 1361 leaving a son, Bartholomew, who came of age in 1368; both Thomas and Bartholomew seem to have made their principal residence at Daylesford (Worcs.), although retaining Yelford. (fn. 23)
A Thomas Hastings, holding Yelford in the early 15th century and said to be Bartholomew's son, (fn. 24) was presumably the Thomas who held Daylesford by 1408. (fn. 25) Before 1455 Thomas was succeeded by his son Edward who remained patron of Yelford rectory in 1498. (fn. 26) Edward witnessed a conveyance at Northmoor in 1461 (fn. 27) but there is no firm evidence that the Hastings family was resident at Yelford until later. In the 1490s Edward was still lord but his son John appears to have settled in Yelford, his father perhaps remaining at Daylesford. (fn. 28) Yelford's manor house and church seem to have been rebuilt about that time, and John was certainly 'of Yelford' in the early 16th century. (fn. 29) He was listed as the only taxpayer there in 1523–4. (fn. 30) He died in 1542, having bequeathed YELFORD HASTINGS to his son John. (fn. 31)
John enlarged his Yelford estate in or after 1554 by purchase of the Walwyn manor there. (fn. 32) On his death in 1585 he was succeeded by his son Simon. (fn. 33) Simon (d. 1628) later lived at Daylesford, (fn. 34) and by 1610 Yelford was occupied by his son John. (fn. 35) Under a settlement of 1618–19 parts of Yelford were granted as portions for the use of Simon's younger sons and daughters, (fn. 36) an arrangement which caused prolonged dispute. John succeeded Simon and died in 1629, leaving an infant son John, child of his third wife Mary (Pudsey). (fn. 37) During John's minority, which did not end until 1648, Yelford was held for a time by Mary and her second husband John Berrow. (fn. 38) By 1651 John Hastings, living at Daylesford but allegedly owing the Berrows for costs incurred during his minority, was raising money by mortgaging Yelford. In October of that year he sold it to William Lenthall, Speaker of the Commons, to whom he was related by marriage. (fn. 39) A later tradition that Hastings, ruined by fines imposed on him as a royalist, was taken advantage of by Lenthall remains unsubstantiated; it ignores evidence that the estate was heavily encumbered as a result of earlier settlements. (fn. 40)
Yelford descended in the Lenthall family for almost three centuries, the owners living at Burford Priory and later at Bessels Leigh (then Berks.). (fn. 41) William (d. 1662) was succeeded by his son Sir John (d. 1681), John's son William (d. 1687), and William's infant son John. In 1727 John seems to have settled Yelford on his son William, although occasionally acting as lord or patron thereafter. (fn. 42) John died in 1763 and William, unmarried, in 1781. (fn. 43) He was succeeded by his brother John (of Burford), after whose death in 1783 Yelford descended to John's second son William John (of Bessels Leigh). (fn. 44) During his lifetime W. J. Lenthall (d. 1855) conveyed Yelford to his son Kyffin John William Lenthall, lord by 1840, (fn. 45) on whose death in 1870 it passed to his son Edmund Kyffin Lenthall. He enlarged his Yelford estate by acquiring Wadham College's farm there, (fn. 46) and died unmarried in 1907. Yelford passed to a cousin Edmund Henry Lenthall, great grandson of John (d. 1783), who died in 1909 leaving Yelford to a sister Katherine (d. 1915). She was succeeded by her sister Edith, whose husband Henry Ball adopted the surname and arms of Lenthall by royal licence in 1916. (fn. 47) Edith Lenthall sold her Yelford property in 1949, Manor farm being purchased by F. E. Parker of Barley Park, Ducklington, who sold the manor house to B. Babington Smith in 1952. (fn. 48) Of the Lenthalls' tenants at Yelford from the mid 17th century few were long-established except for the Bakers, who farmed the manorial estate for some sixty years from the 1760s. (fn. 49)
Yelford Manor, 'the best and certainly the most picturesque large timber-framed house in the county', (fn. 50) stands on a partly moated site some 100 m. east of the church. (fn. 51) It was built in the later 15th century by Edward or John Hastings on the site of an earlier house. (fn. 52) It has a central 3-bay range flanked by cross wings (originally 3-bayed) projecting on the east and jettied on the west; the principal, west, front measures c. 21 m. Originally the central range comprised a 2-bayed hall, open to the roof and with a central hearth, at the north end a screens passage, and above it a gallery room extending into the hall and lit by an oriel window. The wings were 2-storeyed, the northern, service, wing having an original stone stack, presumably for a kitchen, and retaining external signs, near the north-west corner, of a timber-framed extension, probably a garderobe. The southern, solar wing, much rebuilt and lacking its eastern bay, probably had similar features. The three main ranges of building were not tied together structurally. Wall timbers were close-studded throughout, resting on a coursed limestone plinth. Roofs were of arch-braced tie-beam construction with no ridge piece, and there were two rows of arched wind braces between double purlins; the central truss of the open hall was arch-braced to the collar, presumably for decorative effect. Almost the entire construction was of elm. Roof timbers in both cross wings retain vestiges of painted decoration up to the level of the lower purlins. Externally the solar wing was more ornate than its counterpart, and there are indications on its west front of former barge boards, decorated bressumers, and oriel windows to both floors; that on the upper floor survived in 1825. (fn. 53)
In the later 16th century or early 17th the plan of the house was substantially altered by flooring over the open hall at gallery level, adding a timber-framed staircase turret, originally entered from the hall, in the re-entrant angle between central and service range, and building in the centre of the rear wall a massive stone chimney with fireplaces on both floors; a 2-storeyed hexagonal bay window was added on the west front. The surviving chimney overshadows windows in the staircase wing, and presumably post-dates it, but there was probably an earlier, narrower chimney to which the staircase turret related more easily; the chimney may have been rebuilt because of the structural problems mentioned below. A door frame between the staircase and gallery room bears the initials of John Hastings, suggesting that the instigator of the rebuilding was either John, lord from 1542 to 1585, or his grandson John, resident by 1610 and dying in 1629. (fn. 54) The latter was responsible for the fine carved overmantel in the parlour in the south wing; it bears his initials, those of his third wife Mary Pudsey, and a shield of arms with the Hastings maunche impaling a cat and a stag's head, punning allusions to Pudsey (pussy) and to Rowe, the surname of John's earlier wife. (fn. 55) John's house, as depicted on a map of 1625, seems to have had a courtyard on the front, approached through a central gatehouse on the west and flanked by buildings on the north and south; that on the south, possibly a dovecot, survived in 1825. (fn. 56)
Later structural repairs included bracing the central truss of the hall, which had been cut through on the east side when the upper fireplace was inserted; that had caused serious damage to the chimney stack and probably to the lower fireplace, and the whole central range had tilted to the west. (fn. 57) Probably in the earlier 19th century the south wing, presumably after a collapse, was partially rebuilt in stone, losing its eastern bay. (fn. 58) In the later 19th century the house was usually occupied by farm bailiffs and labourers, and in the earlier 20th century was subdivided to provide for three families. (fn. 59) From 1952 the derelict house was extensively restored by the Babington Smiths. Roger Rosewell, owner from 1984, restored the roof, removed modern partitions, planted formal gardens, and created an enclosed courtyard with a cloister linking outbuildings to the house. (fn. 60) A plaque in the courtyard commemorates the bicentenary of the acquittal in 1795 of Warren Hastings (d. 1818), governor-general of India, descendant of the John Hastings who sold Yelford in 1651. (fn. 61)
South-west of the house is a water-filled moat or ditch of unknown date, its main section running north and opening westwards into a small irregular pond. In 1876 the pond was sharply rectangular, the ditch broad and straight-edged, and a narrow ditch ran north from the pond along the edge of the lawn fronting the house; the whole had the appearance of an ornamental garden feature. (fn. 62) The stream running south through the village was evidently diverted at various dates, and there may once have been a complete circuit of water around the house. Arguments that the moat formed part of a single design with a ditch or moat around College Farm (on land historically quite separate) are unpersuasive, although both houses were depicted in 1830 with at least a 3-sided moat. (fn. 63) An eastern section of Yelford Manor's moat seems to have been largely filled in when the road between the house and College Farm was realigned to the west. (fn. 64) The uncertainty about the moat's extent suggests that it was never a substantial defensive feature, and perhaps provided drainage and protection for a garden or orchard.
Part of Yelford, attached to the royal manor of Bampton and centred on Brighthampton or Hardwick, was granted in 1131 by Henry I to the priory of Sees (Orne) and was regranted by the priory c. 1245 to Walter de Grey, archbishop of York; the estate, later usually called Hardwick manor, was held by the Greys as 1/20 knight's fee. (fn. 65) In 1279 its Yelford portion, described as 'Yelford de Grey', comprised some 5 yardlands held of Robert de Grey, and at least another ½ yardland held of him by Robert of Yelford; other land in Yelford held of Isabel de Grey belonged to a separate, Standlake, manor. (fn. 66) The Greys' Yelford estate followed the descent of Hardwick manor, passing to the Lovels in the 15th century, to Thomas Howard, duke of Norfolk in 1514, and to his son Thomas, who sold it to the Crown in 1540. (fn. 67)
In 1544 part of the manor, centred on Yelford, was among lands sold to a speculator, Alexander Unton; (fn. 68) when Unton sold in 1545 to the tenant, Richard Edwards, the estate comprised a house and 3 yardlands in Yelford, together with two other houses and a total of 2½ yardlands formerly occupied by John Thurward and William Hyatt in Yelford and Hardwick. (fn. 69) In 1570 William Edwards, son of Richard, added two houses and 2 yardlands in Hardwick, acquired from Peter Ranckell. (fn. 70) On the death of William's grandson William in 1613 (fn. 71) an infant daughter Elizabeth became a ward of the Crown since part of the estate was thought to be held in chief; wardship was granted to Elizabeth's mother, Elizabeth, and her second husband Edward Smith. (fn. 72) In 1633 the daughter Elizabeth and her husband Ambrose Sheppard were granted livery of Yelford, which they sold to Wadham College in 1636, although, following disputes between the college and its warden, the conveyance seems to have required confirmation as late as 1642. (fn. 73)
The Wadham estate was later let in two portions, a Yelford farm, and a smaller Hardwick farm. (fn. 74) In 1904 the college sold the Yelford farm to E. K. Lenthall, owner of Yelford manor. (fn. 75) When the Lenthall estate was sold in 1949 College farm was bought by its tenant, A. G. Weeks. (fn. 76)
The chief house of the estate was depicted on a map of 1625 as Mr. Smith's house, immediately east of Yelford Manor on the site of the surviving College Farm; Smith was Edward Smith, guardian of Elizabeth Edwards. (fn. 77) The 17th-century house, perhaps that of which the roof was derelict in 1863, (fn. 78) seems to have been entirely rebuilt thereafter, certainly before 1898. (fn. 79) The garden south of the house was edged on three sides by a moat or ditch of pre-19th-century date, similar in character to that at Yelford Manor; there is no indication that it continued on the north side of the house. (fn. 80) The moat was backfilled in the 1980s.
A prominent local family taking its name from Yelford but by the 13th century having its principal holdings in Lew and Cote (fn. 81) held land freely at Yelford from three lords. In 1279 Robert of Yelford, also called the forester, held ½ yardland and 9 a. (later reckoned to be 2/3 yardland) of the Hastings manor, a house and ½ yardland of Robert de Grey's Hardwick manor, and a house and yardland of Isabel de Grey's Standlake manor. (fn. 82) At his death in 1293 Robert of Yelford was succeeded by his son Robert, (fn. 83) principal taxpayer in Yelford in 1306 and perhaps the Robert the woodward assessed to pay tax there in 1316. (fn. 84) In 1328 Robert died holding the same Yelford estate of three lords. (fn. 85) His son Robert, prominent in the service of the Black Prince, (fn. 86) was found in 1367 to have granted his estates without royal licence to Edmund of Yelford: Edmund's property in Yelford was reported to be a house and ½ yardland held of the Greys' Hardwick manor and 1½ yardland held of Standlake manor. (fn. 87)
Its descent thereafter has not been traced directly, but in or before 1373 Edmund of Yelford, clerk, and Philip Walwyn were acting jointly over rent from Boys wood in Standlake, (fn. 88) and the bulk of the Yelford family's estates elsewhere passed to the Walwyns. Land in Shilton (then Berks.), for example, granted in 1347 to Robert of Yelford by Robert at Hall was evidently the Hall Place in Shilton attached to the Walwyns' Yelford manor in the 16th century; (fn. 89) the Walwyns' manor also included the Lawns, south of Boys wood and in Standlake, which as Boys breach had been granted in 1355 to Robert of Yelford by Robert Corbet. (fn. 90) An Edmund Walwyn was of Yelford in 1433 (fn. 91) and at his death in 1439 his son Edward was a minor. The Walwyn estates were said variously to be held of William and Alice Lovel, as of Hardwick, or to be held in chief as 1/20 knight's fee. William and Alice Lovel were disturbed in their wardship of Edward Walwyn by Crown grantees, but in 1446 successfully counter-claimed that Yelford was held of them for ¼ fee; perhaps the confusion arose because the Walwyns, like the Yelford family, held Yelford land attached to both Hardwick and Standlake manors, which by then were both held by the Lovels. (fn. 92)
In 1545 Nicholas Walwyn died holding what was described as Yelford manor, later YELFORD WALWYN, again reckoned to be held in chief for a knight's fee. (fn. 93) No mention was made of any holding from Hardwick manor, and suit paid to Hardwick's court from the mid 16th century 'for Walwyn's land' by the Edwards family, owners of the Yelford estate formerly part of Hardwick manor, suggests that there had been a recent sale. (fn. 94) The Walwyns were not resident, but their tenants the Moseleys were one of the three families paying tax in Yelford in 1542–3. (fn. 95) Until 1554 Nicholas Walwyn's son John was a minor, and the king committed his wardship to Roger More. (fn. 96) In 1554 John was licensed to sell the site of his Yelford manor, the closes called the Lawns, and all his demesne in Yelford and Standlake to John Hastings. (fn. 97) It seems that John Walwyn, who married Hastings's daughter Dorothy, retained an interest in the estate for some years, (fn. 98) but John Hastings at his death in 1585 held both Yelford Hastings and Yelford Walwyn manors, the latter said to be held in chief for 1/6 knight's fee. (fn. 99) Thereafter the manor followed the descent of Yelford Hastings, although the Lawns seem to have been separated in 1651, let by Edmund Montfort on a 99-year lease, but held by the Lenthalls in 1710; (fn. 100) by the mid 18th century they had been acquired by the Harcourts and thereafter formed part of their Cokethorpe estate. (fn. 101)
There seems to have been no manor house on the Walwyn manor in 1554. (fn. 102) The site presumably formed part of the Hastings estate mapped in 1625, perhaps the close north of Yelford Manor containing scattered buildings, of which none survived by the 19th century. (fn. 103)
1. V.C.H. Oxon. i. 400, 421; Bampton Hund. R. 21.
2. V.C.H. Berks. i. 354; V.C.H. Glos. vii. 130; Dom. Bk. (Rec. Com.), i. 164, 168; Dom. Bk. Glos., ed. J. S. Moore, nos. 2.8, 55.1.
3. e.g. V.C.H. Berks. iv. 528; Red. Bk. Exch. (Rolls Ser.), i. 24; Bk. of Fees, i. 50, 438, 448, 459; ii. 822, 841, 844, 857.
4. V.C.H. Berks. iv. 528.
5. Rot. Welles, ii (L.R.S. vi), 6.
6. Bk. of Fees, ii. 822, 841. For William's probable predecessors, V.C.H. Glos. vii. 130.
7. Cal. Inq. p.m. ii, p. 153.
8. Bampton Hund. R. 50.
9. Feud. Aids, ii. 237.
10. V.C.H. Berks. iv. 528; Cal. Pat. 1292–1301, 390–1; Cal. Inq. Misc. i, p. 491; Edington Cart. (Wilts. R.S. xlii), nos. 620–3, where no mention is made of Yelford among Benet's estates, although soon afterwards Yelford was held of the St. Philiberts: ibid. no. 592.
11. Cal. Inq. p.m. iv, pp. 208–9.
12. Ibid. vii. pp. 366–8; Feud. Aids iv. 183.
13. Feud. Aids iv. 195.
14. Edington Cart., pp. xxxiii–xxxiv.
15. Ibid. no. 668.
16. Cal. Inq. Misc. i, p. 261.
17. Bampton Hund. R. 50; Oxon. Fines, 211.
18. Cal. Inq. p.m. iv, p. 208; Cal. Close, 1302–7, 284–5. For Miles and his fam., V.C.H. Bucks. iv. 467.
19. P.R.O., E 179/161/10.
20. Ibid. CP 25/1/189/14/38. An unreferenced statement that Thomas was rector of Yelford seems mistaken: O.A.S. Rep (1871), 30.
21. Feud. Aids, iv. 163; P.R.O., E 179/161/8; Cal. Inq. p.m. vii, p. 368.
22. Bodl. G.A. Oxon. b 96 (40): list of presentations; V.C.H. Worcs. iii. 336.
23. Cal. Inq. p.m. xi, p. 203; xii, p. 245. Cf. Cal. Close, 1364–8, 447.
24. Magd. Coll. Mun., Standlake 14; P.R.O., C 1/849/1–2.
25. V.C.H. Worcs. iii. 336.
26. Bodl. G.A. Oxon. b 96 (40).
27. Bodl. MS. d.d. Harcourt c 68/45.
28. Magd. Coll. Mun., Standlake 14: dispute over treefelling by John in Boys wood.
29. e.g. P.R.O., C 1/324/6; C 1/528/28.
30. Ibid. E 179/161/172.
31. Ibid. C 142/64, no. 177; C 142/210, no. 121; Oxon. Visit. (Harl. Soc. v), 5–6.
32. Cal. Pat. 1554–5, 210; below.
33. P.R.O., C 142/210, no. 121; cf. ibid. PROB 11/88, ff. 7v.–8.
34. e.g. Berks. R.O., D/EL1 T 42, deed of 9 May 1619.
35. P.R.O., E 179/163/435.
36. Ibid. C 142/440, no. 75; ibid. CP 25/2/386/Trin. 16 Jas. I; ibid. CP 43/142, rot. 72; Berks. R.O., D/EL1 T 42, deed of 9 May 1619.
37. P.R.O., C 142/440, no. 75; C 142/452, no. 60. For Hastings pedigree, Oxon. Visit. (Harl. Soc. v), 262–3. For disputes, e.g. Berks. R.O., D/EL1 T 42, deed of 29 Mar. 1652; P.R.O., C 3/446/129.
38. e.g. Berrow was of Yelford in 1634: Oxon. Visit. 262.
39. Berks. R.O., D/EL1 T42–3, passim; P.R.O., CP 25/2/587/Mich. 1651. For the relationship to Lenthall, Berks. R.O., D/EL1 F18/6, notes on deed of 29 Mar. 1652.
40. e.g. Berks. R.O., D/EL1 F 18/6: notes by E. K. Lenthall on article on Warren Hastings in Times, 10 May 1873.
41. For the Lenthalls, Burke, Land Gent. (1894 and later edns.), corrected in some details by this account.
42. Berks. R.O., D/EL1 T42, deed of 1727: cf. ibid. T43, leases of 1731, 1738, 1753; Bodl. G.A. Oxon. b 96 (40).
43. C.O.S., Burford par. reg. transcripts.
44. Ibid.; Berks. R.O., D/EL1 T2/1; ibid. T43, leases of 1797 and later.
45. Lewis's Topog. Dict. of Eng. (1840), 640.
46. Below, this section.
47. For the date, incorrect in Burke, Land. Gent., see O.R.O., MS. Oxf. Dioc. c 2086, deed of 1949, second schedule.
48. O.R.O., Adkin 1/641; ibid. MS. Oxf. Dioc. c 2086, conveyance of 1949; C.O.S., PRN 11977.
49. e.g. O.R.O., MSS. Oxf. Dioc. d 560, c 449; Berks. R.O., D/EL1 T43, leases of 1793, 1803; ibid. E 3.
50. Pevsner, Oxon. 869; above plates 36–8.
51. C.O.S., PRN 11977 contains large colln. of drawings, photos., and surveys, including P. Gilman and others, 'Yelford Manor' (TS.), based on a detailed survey (1984) by Oxon. County Mus.
52. e.g. for arch. finds on site, Gilman, 'Yelford Manor', 5–6.
53. Above, plate 37.
54. Above, this section.
55. N. & Q. 21 June 1941, 442.
56. Above, plates 37, 39.
57. Pevsner, Oxon. 869 mistakenly interprets the brace as a cruck; cf. note by A. Pacey in C.O.S., PRN 11977. The lower fireplace was also damaged by the insertion of a range c. 1904.
58. A newspaper of 1848 was beneath the south bedroom floor: inf. from Mrs. H. Babington Smith.
59. e.g. P.R.O., RG 9/905; RG 11/1514; RG 12/1125; Oxf. Times, 2 Nov. 1901; Kelly's Dir. Oxon. (1903 and later edns.); O.R.O., Adkin 1/641.
60. [R. Rosewell], 'Guide to Yelford Manor' (TS.): copy in C.O.S., PRN 11977.
61. D.N.B.; V.C.H. Worcs. iii. 336–7.
62. O.S. Map 1/2,500, Oxon. XXXVII. 4.
63. Ibid. 1", sheet 13 (1830 edn.). Gilman, 'Yelford Manor', 6–14 and fig. 1 describes surviving features but misinterprets the map of 1625: Berks. R.O., D/EL1 P2, reproduced above, plate 39.
64. Cf. above, plate 39; Gilman, 'Yelford Manor', fig. 1; O.S. Map 1/2,500, Oxon. XXXVII. 4.
65. Above, Ducklington, manors.
66. Bampton Hund. R. 63–4. For Robert of Yelford, below.
68. L. & P. Hen. VIII, xix (2), p. 471. Yelford is missing from the associated particulars for the grant: P.R.O., E 318/22/1162.
69. Wadham Coll. Mun., 86/1, 17.
70. Ibid. 86/3–4; Cal. Pat. 1569–72, p. 180. For Ranckell's acquisition of the property, St. John's Coll. Mun., XVII.5; Cal. Pat. 1569–72, p. 137.
71. For the relationship, cf. P.R.O., C 142/307, no. 64; C 142/340, no. 211.
72. Wadham Coll. Mun. 86/8–11; P.R.O., C 142/340, no. 211. Smith was named as owner or occupant in 1625: above, plate 39.
73. Wadham Coll. Mun., 86/12–21.
74. Below, econ. hist. For the Hardwick portion, above, Ducklington, manors.
75. Wadham Coll. Mun., 2/4, pp. 307, 315, 328. For completion date, ibid. 86, unnumbered copy of item 19.
76. O.R.O., Adkin 1/641.
78. Wadham Coll. Mun., 86/46E.
79. O.S. Map 1/2,500, Oxon. XXXVII. 4 (1899 edn.); ibid. (1876 edn.) appears to show a different building. No ref. to rebuilding was found in Wadham Coll. Mun.
80. O.S. Map 1", sheet 13 (1830 edn.).
81. e.g. Oxon. Eyre 1241, p. 140; Bampton Hund. R. 22–4. Cf. Bk. of Fees, ii. 830, where Robert of Yelford's serjeanty (in Lew) in 1242–3 is mistakenly located at Yelford.
82. Bampton Hund. R. 50–1, 63, 69.
83. Cal. Inq. p.m. iii, p. 65.
84. P.R.O., E 179/161/8, 10.
85. Cal. Inq. p.m. vii, p. 113.
86. Black Prince's Reg. ii–iv, passim.
87. P.R.O., C 143/362, no. 1, printed in Giles, Hist. Bampton, 139–40.
88. Magd. Coll. Mun., Standlake 26A.
89. Cal. Pat. 1345–8, 295; P.R.O., C 142/75, no. 42; ibid. C 1/1378/1–5. For other Walwyn acquisitions from the Yelford family, above, Bampton: Aston and Cote, manors [other estates].
90. Magd. Coll. Mun., Standlake 11A, 20C; Cal. Pat. 1554–5, 210. For the Lawns, above, plate 39.
91. O.R.O., Warner IV/i/1.
92. P.R.O., C 139/113, no. 14; Cal. Pat. 1441–6, 461; above, Ducklington, manors [Hardwick]; Standlake, manors.
94. e.g. St. John's Coll. Mun., XVII. 16–17. Suit paid by John Walwyn in the later 16th century was for a small cottage only.
95. P.R.O., E 179/162/223, 234. For the Moseleys' tenancy, ibid. E 134/3 Jas. I/Mich. 22; Cal. Pat. 1554–5, 210.
96. P.R.O., C 60/368, no. 29; Cal. Pat. 1557–8, 299–300.
97. Cal. Pat. 1554–5, 210; cf. P.R.O., CP 25/2/76/650/1 & 2 Phil. and Mary Hil.
98. e.g. P.R.O., E 179/162/320; ibid. C 2/Jas. I/H 2/53.
99. Ibid. C 142/210, no. 121.
100. Berks. R.O., D/EL1 T41, deeds 1651–1710.
101. Above, Ducklington, manors [Cokethorpe].
102. Cal. Pat. 1554–5, 210.
103. Above, plate 39; O.R.O., Yelford tithe map.


text:
Long Point – (Lake Erie). Our "go to" beach. Love this sand!
Published by admin on December 13, 2017
Long Point Beach, Norfolk County.
LongPoint 1 arriving at Long Point long point ship wrecks long point 6
What great beach!
Long Point is a sand spit on the north shore of Lake Erie, part of Norfolk County ("There's no folk like the good folk of Norfolk!").
It's about 40 kilometres long and about a kilometre across at its widest point. Long Point Bay is divided into the Inner Bay and Outer Bay by a line that runs between Turkey Point to the north and Pottohawk Point to the south. Long Point is north of and across the lake from Erie, Pennsylvania. It's great to watch fireworks from Erie while sitting not he beach … actually, it's great to watch anything from the beach!
Long Point is a sand dune and is the largest erosion deposit formation in the Great Lakes. In 1982, Long Point National Wildlife Area was recognized as a wetland of international significance and in 1986, the Long Point Biosphere Reserve was designated as a World Biosphere Reserve by UNESCO and as a globally significant Important Bird Area by Bird Life International. Inner Long Point Bay is a diverse sport fish spot and is continentally important staging area for migratory waterfowl.
There are a number of access points to the beach. Here are directions to the Provincial Park: Long Point Provincial Park.
We grab food at Udderly Kool on Erie Blvd but there are also some nice places in Port Rowan.
Map to Long Point
Weather in nearby Simcoe, ON
Categories:	Beaches
Wasaga Beach (Lake Huron)
Wasaga Beach – Review to follow Map to Wasaga Beach Weather in Collingwood, ON
Turkey Point – (Lake Erie). Great mountain biking too!
Turkey Point – Review to follow Nice beach, limited restaurants along beach (I love Circus Room at Hwy 24 & Turkey Pt Road), playground near by, great mountain bike/hiking trails, change rooms & lots Read more…
Toronto – Woodbine (Lake Ontario)
Woodbine Beach, Toronto – review to follow. Map to Woodbine Beach Weather in Toronto


A fugitive with sensitive information about the Earth government flees to Babylon 5. Tony Steedman as Dr. Everett Jacobs. Bernie Casey as Derek Cranston. Richard Moll as Max. Wanda De Jesus as Sarah.
A man in a familiar outfit.
After the victory over the Dilgar, the Earth Alliance experienced a period of rapid expansion bolstered by a general sense of optimism, a sense that the future was bright. Somewhere along the way, that was lost -- Dr. Franklin says the future was like waiting for that special toy for Christmas, and when you get it you find that the reality doesn't measure up to your expectations.
Dr. Franklin studied medicine at Harvard. One of his teachers, Dr. Everett Jacobs, went on to become then-Vice President Clark's personal physician. Dr Franklin says, "A lot of us looked up to him as a role model. He's the best there is."
Dr. Jacobs examined Clark before and after the "accident" on Earth Force One that killed President Santiago -- and found no evidence of the viral infection Clark used as an excuse to leave the ship shortly before it was destroyed.
How and when will Dr. Jacobs' data be used?
What did Kosh and his ship say to each other after Sheridan and the others left the docking bay?
What did Kosh teach Sheridan?
How did Sheridan convince Kosh to allow his ship to be used to save Dr. Jacobs?
What did the ship "sing" to Dr. Jacobs?
There may be a Ranger (cf. "The Coming of Shadows") in this episode, though it's very subtle. As Sheridan and Garibaldi reach the bottom of the stairs, just before Sheridan sees the red ribbon, a man walks by the two of them, wearing the same outfit as the Ranger from the aforementioned episode. Which might be coincidence, except that Garibaldi notices the man, even turns and watches him climb the stairs, before looking back at Sheridan, who is meanwhile occupied with the ribbon.
A couple viewers have commented that Sheridan looks a bit too smug as he gives the data crystal to his co-conspirator at the end, almost as if that isn't the real crystal. Is it? Does he trust her? Is he up to something other than what the General thinks he is? (Recall that we never heard his answer in "All Alone in the Night.") Also, he doesn't give her Dr. Jacobs' code to unlock the data, though of course he could simply be giving her an unencrypted copy.
On a related note, did Sheridan keep a copy of the crystal for himself?
Sheridan confronts Kosh twice. The first time a bit tentatively, the second time directly. Amazingly, he engages Kosh's interest and actually begins what may develop into a dialog (or at least a monologue) with Kosh.
Kosh's second conversation with Sheridan, of course, bears close analysis, especially given its relation to Sheridan's dream in "All Alone in the Night."
Sheridan: "You wanted to see me?"
Kosh: "You wanted to see me."
"Well, I guess everybody does. See what you really are, inside that encounter suit."
"They are not ready. They would not understand."
"No. You do not even understand yourself."
Analysis: Is Kosh speaking in a general sense here -- "You aren't self-actualized" -- or is there something specific about Sheridan that Kosh knows and Sheridan doesn't?
"Could you help me to understand you?"
"Can you help me to understand you?"
"Well, I can try. Is that what you want? An exchange of information? I tell you something about me, you tell me something about you?"
"No. You do not understand. Go." Kosh turns away.
"Dammit, what do you want? What do you want from me? You know, ever since I got here I've had the feeling that... that you've been watching me. The records show you hardly ever went to council meetings until I showed up. When I was captured... it was you who reached out and touched my mind. Now you call me here... why? Just to throw me out? Are we just toys to you? Huh? What do you want?"
Kosh spins around to face Sheridan again. "Never ask that question."
Analysis: Almost undoubtedly a reference to Morden's question in "Signs and Portents" -- but it raises another question of its own, namely, why does that question mean anything special to Kosh? How does Kosh know what Morden asked of the various ambassadors? Perhaps it's what the Shadows always ask, since Kosh seems to know about them. Perhaps the Vorlons were, themselves, asked that question a thousand years ago.
"At least I got a response out of you. So what'll it be, Ambassador?"
"About you. Until you are ready."
Do we now have a clue to the telepathic abilities of the Vorlons? This reference to "the song" and Sheridan's thoughts "becoming" the song during his dream sequence hint rather strongly that telepathy is the Vorlon's primary means of communication. If so, then this confirms that Sheridan's dream wasn't altogether a dream, and that he may have some latent/budding psi skills himself.
In this episode we see that the ship is an independent entity, in essence a living creature. It shows up as a non-human life form, even though we are shown that Kosh himself was not on board. Further, Doctor Jacobs says that the ship "sang to him" while he was unconcious and aboard. This hints strongly that the ship shares "the song," which means that it's part of the Vorlon community mind.
If the ship is part of the Vorlon super-entity, and if the ship is itself organic technology, then this implies that the Vorlons can create any kind of physical creature they want, with that creature sharing the community mind. That means that the ship is nearly as much or as much a Vorlon as Kosh.
A number of readers have speculated that the ship is actually Kosh, and the encounter suit just a remote probe or a servant. That seems unlikely, though, given the events of "The Gathering," in which the Vorlons were ready to start shooting over an attack on what was in the encounter suit. But it's worthy of mention.
A more whimsical connection is that the actress speaking the line is named Wanda de Jesus.
In addition to its ants (cf. "Mind War") B5 has roaches.
Sheridan has what he considers very good shielding on his office. He talks to Ivanova quite openly there immediately after Agent Cranston leaves.
Kosh's comments to Sheridan bear some resemblance to the Dalai Lama's observation (cf. "Points of Departure,") namely, "It will be even better when you begin to understand what you do not understand."
Minor continuity glitch: when the station's scanners are configured to look for Dr. Jacobs, the display reads "Dr Evert Jacoby," not "Dr. Everett Jacobs."
There was no intended reference to Anne McCaffrey's story; Kosh tends to speak naturally through a series of musical/tonal/atonal chords, and I figured his ship would communicate in the same way, which to another would sound a little like singing.
At this point, Richard's part was a one-shot, but if we come up with the right role, I'd love to see him again.
What did Sarah leave behind at the meeting?
It's a flashlight, and he's also holding one. You caught a very small glitch. Originally, he came out, flashed twice with his flashlight, giving the code; then she did the same, and THEN stepped out of the shadows, putting her flashlight down on the ledge beside her. It took too long, though, interminably, so when we edited it, we cut out that sequence...and hoped nobody'd notice the flashlight sitting there.
From "Infection," the visiting Doctor points out that, regarding organic technology, "some even say the Vorlons have got it." All this stuff gets set up somewhere.
Compiled by Dave Zimmerman and Steven Grimm.


Eking out an existence within indie music has become something of a challenge this decade. What times are these?
I recently read an interview with a top 50 album charting musician, who was supplementing their income by working in a non-music related job, in-between tours. Whilst I quite like the idea of a rock star by night remaining grounded with a day job, it makes you wonder if music's value is reflecting it's worth. I wonder also, if this climate is responsible for band members diversifying musically. It seems much more common now to be members of multiple outfits and to become more prolific with your output. I wonder if we can count James Hoare - of Veronica Falls - and Max Oscarnold's - of TOY - diversification as a result of this effect, as they come together again to make Foxhole.
The Proper Ornaments are ever looking back while trying to go forward. Limiting themselves to using an old eight track recorder on Foxhole has delivered a spacious. sparse sound. Whilst fashionable retroisms can often be a little misplaced, there is good craft in their approach, which buys the record enough good will. The tinny, effected vocals melt into the atmosphere on "1969". The casual composition of "When We Were Young" teases us, as the shortest track on the record is one of its most alluring. In fact, this is a steady record, with many nice turns. To mention only a couple of tracks is probably to do it a disservice, as it is really a full, start to finish listening experience. A record that works best as an understated whole, rather than a few peak moments.
When it's all done, you can hear that this is a good band, doing some good things but I wonder if with more focus or investment it might bear greater results. In fact, the same might be said of either one of TOY or Veronica Falls - it is not a lack of talent it seems, just a sign of the times.


A lot of people hire a professional dog walker because they don't have the time to do it themselves. This is definitely better than not giving your dog exercise at all but is it the right choice to make?
When you walk your dog, you strengthen your bond with them. You get to reinforce your leadership role in their eyes so they will continue to see you as the head of the pack. They will also begin to associate you with taking them on walks, which they greatly enjoy, and see you even more positively.
Many people hire dog walking companies because they don't like how their dog pulls on the leash. This is understandable, it can be really annoying when you want to go on a nice walk and your dog seems content with choking themself! However, this just means that you need to work with them and teach them the proper way to walk.
The easiest way to get your dog to stop pulling is to put them on their leash. When they pull, stop walking. Do this as many times as it takes, and your dog will eventually realize that they can't go anywhere if they are pulling. It will not take long for them to pick up on this. It might make for a couple annoying walks because you won't be able to get anywhere, but it will be worth it and it will save you from need to hire a dog walking service!
The problem with hiring dog walking companies is the fact that they usually do not try to train your pup. They are walking many other dogs at the same time and tend to just let them pull. If you are able to hire one that aims to show your dog how to properly walk on a leash, then that is a different story. You can use them to train your dog and then enjoy the benefits from that point on.
Keep in mind that by training our dogs, we build our relationship with them!
It is really convenient to have someone train your dog, but you will miss out on a valuable opportunity to build your relationship with them. With that said, you should not have any trouble finding someone that is looking for dog walking work. Many people try to get these jobs because they love to be around dogs all day, and who wouldn't? Many of them are also pet sitters.
You might feel like you need a pet sitter because you are gone all day and are worried that your dog will feel lonely. However, that is not actually the case. Dogs need time to be alone and independent. It really isn't good for them to constantly need to be around people. If you find that they are doing destructive things like digging, barking, or chewing, then you simply need to give them the attention they need when you can. Walking them should be included in this.
So Should You Hire a Dog Walker?
It is really your decision if you hire a dog walker. If you don't mind missing out on the relationship building and feel like you really don't have time to exercise them, then you should hire one. It is better that your dog gets the exercise and attention they need from someone rather than no one. They will be happy and healthy under the watch and care of a professional dog walker.
If you think you might want to strengthen the bond between you and your dog then you should try to do the walking yourself! It will be worth the small amount of time you take out of each day. You will see a noticeable change in your pet.


On Sunday I was leading a pack of boys scouts through the requirements for the Public Speaking merit badge; one of the boys, well spoken, lost track of his thoughts when speaking about his beloved sport, basketball. When he was done, I suggested the next time he delivered a speech he imagine it with a beginning, middle and an end.
Last week I participated in a business discussion where the speaker explained that "timeless lessons could be learned from classic books". Specifically he mentioned that Bill Gates took week-long read-only vacations and Warren Buffet has a "voracious reading habit". While these references were interesting, it was his curious mention of Thomas Jefferson that captured my imagination.
A few years ago my kids and I were driving to the beach, knowing parking would be horrendous, I said, "let's try to manifest a parking space". Come on guys, simply imagine the perfect space; we pull right in, grab our towels and run to the beautiful, blue waters edge.
Got it? Now keep that picture in your mind; nice and relaxing. Beautiful and blue.
I can't think of one, blasted thing to write about.
Kids are good. Mr. Rogers is happy. Work is humming along.
My grocery bag did break on Monday but the experience did not yield a lost to joy moment.
The Art of Living Lost: Welcome to 2018!
When this popped onto my Instagram feed, I immediately knew how I'd comment; I would hold onto my kids and leave about 17 pounds behind. Thinking about it a bit more, I realized there were a few more things I'd love to hold onto, and a few I'd like to leave behind.
Throw back Christmas — circa 2001.
The Art of Living Lost: No Moo for You!
Last week, I promised to write the last account of my trip to India. As I typed, I realized there was no way I could include a lost to joy moment and, while I'm disappointed, I'd feel worse if I made you read a sucky post. So instead, I'm going to pull the plug on India and prepare for the upcoming holidays.
Last year my business partner was invited to speak at a conference in New Delhi, India.
When she asked if I thought we should attend, I said no, it's a scam. Undeterred, she asked if I'd at least research the organization before we declined.
The Art of Living Lost: Happy Thanksgiving 2017!
As an American of Italian decent, my holiday meals are generally synchronized works of art. So this year when I asked Mr. Rogers what he would like to add to our holiday meal, I was pleasantly surprised when all he asked for was corn.
Corn? I've never had corn as part of my Thanksgiving feast. I can EASILY do corn.


Why decorate with store bought baubles, when you can create your own?
My Stitched Christmas Baubles pattern will be in the latest issue of Handmade magazine. These were such fun to create and they're really easy to personalise and tweak to suit your decor and taste.
As it's probably quite difficult to buy this magazine internationally (especially in time for Christmas decorating), I have uploaded my original pattern to my Craftsy store.
The baubles are stitched with a simple back stitch along with a few French knots. If you have some beads or sequins, they'll look even more lovely embellished.
I'm going to make a few more of these before we put our tree up on 1 December.
When do you put your tree up and begin decorating for Christmas?
Gorgeous. Would look great in a hoop too. My daughters birthday is the 3rd Of December so I used to wait until after then but now she is older I usually put it up on the 1st. I might sneak it up a little early this year!
Congratulations! And you are such a sweetheart to put this into craftsy. It is really hard to get these magazines here in Switzerland and postage is just so expensive! So thank you for this lovely pattern. I might just hop over and make some this year!
These are absolutely the cutest ornaments I've seen this year, or any other, and very original. You never cease to amaze me with your clever designs. Thank you for sharing your talent, you're terrific.
Your Christmas baubles are lovely, Anorina. We start decorating on the 1st December.
Love these! They are so very pretty! And as Anne D. said they would looks so sweet in a hoop! Thank you for sharing. I hope that I can find a copy of Handmade magazine or I will have to order the pattern from Craftsy. Gotta figure out Paypal first.
Have a super great sewing and stitching day!
Hello! My name is Anorina and I'd like to welcome you to my little online space.
Samelia's Mum by Anorina Morris. Powered by Blogger.


text:
Kai Lossgott
KAI LOSSGOTT is a South African writer and artist who works across media. His work is concerned with the act of sensing, with language, silence, and the vulnerable instincts which drive them. He lives and works in Cape Town.
I was born in Germany in 1980 and grew up in Johannesburg, South Africa, the son of two artists. As a teenager, I attended the National School of the Arts, where I matriculated in 1998, winning the school trophies for sculpture and painting, amongst others. I went on to complete a BJourn at Rhodes University, where I majored in documentary film and dance theatre. I have an Advanced University Diploma in Visual Arts from the University of South Africa, and a Masters degree in Creative Writing from the University of Cape Town. As a lecturer, I have taught at various South African universities in subjects ranging from Film History to Digital Arts.
As a child, we would shoot and send 8 mm home movies from South Africa to Germany, where they would be developed and my aunt and grandmother could watch them. I remember the first time I saw them, many years later, being overwhelmed by the clear, bright light and a vision of myself unlike anything I had ever had before. I was shocked at seeing things I myself could no longer remember, shocked at how I lived and breathed and moved inside this lucent frame. Later, my teenage video art experiments all started with the instinctive act of witnessing and investigating myself. Film to me began as a means of self-discovery.
My experimental films are concerned with vulnerable identities and states of heightened sensitivity. Their subjects are all unfinished, caught in the process of becoming. Language and silence, or the symbolic and rhythmic marking, indexing and erasing of the world often play a role. Most of my films evoke interminable states of being and circular time frames, being concerned with how we construct time through language, memory and its absence.
I like to blend the distinction between the photographic and the drawn or painted image. I collect images over long periods of time and stretch them to their limit, in terms of speed, or rhythm, or colour, contrast or sound. I'll play with something for a while, trying to see what it is trying to tell me, and then I'll put it away. Weeks later I'll see what I like and discard the rest. Sometimes it takes years to assemble the right combination. But I always start with a feeling, and the question of how to 'say' this feeling. What you feel hits you first, before you engage the intellect. Yes, on one level its all philosophy. But I am interested in evoking visceral responses. I am bored and frustrated with the grammar of conventional film and work to transcend and re-invent its language. In this I am inspired by Méliès, Maya Deren, Jan Švankmajer, Bill Viola, the Brothers Quay to name but a few.
Apple Powerbook G4, Canon MV5i. I am quite comfortable at the moment with the 'video' look. While the slickness of HD is seductive, I think the nervous graphic qualities that one can pull out of a low resolution medium suit the work I am doing at the moment quite well.
6. What are the chances of new media for the genre film/video in general
and you personally?
I believe in short attention span cinema and in the web tv revolution. I see myself as part of a new generation of artists and filmmakers who are active and focused in the most exciting developments in film today, in microcinema.
At the moment I finance my experimental shorts by teaching, writing and selling object-based art. I believe that this will change as the medium gains popularity.
My video art / experimental films I shoot, direct, edit and distribute all by myself. Lately I have been collaborating with dancers and poets, and once the work gets longer I will need to work with a team again.
As a video artist you have more control over the process, but often have to do all the pre-production yourself. As a filmmaker you work in a team, but have to be prepared to compromise.
Quitting the television industry and giving up a dream I had spent seven years studying towards allowed me to develop the artistic integrity, innovation and quality of work which had only been present at the times at which I had been happiest.
I want to combine my poetry, creative writing and video art with live performance. I would like to become known for doing video poetry. I would like to receive more funding to make longer work. I would like to tackle some well-known poets in unexpected ways. I would like to find new audiences for my work. I would like to gain more critical recognition for my work. Most importantly, I would like to make a profit from video art / experimental film.
www.kailossgott.com
http://www.youtube.com/user/anwhynn


Learning GoLang after Ruby: What to Expect?
Here is an article about peculiarities of the GoLang programming language written by our Ruby software developer Kirill Tatchihin.
You might have already heard about GoLang (also known as Go), static typed programming language created by Google. The main feature of this language is goroutines – functions able to run simultaneously (concurrently) with other functions. They work much faster than regular operating system threads.
This feature makes GoLang an ideal skill to learn in the upcoming 2019, as nowadays there are a lot of highly loaded projects on the market that work with big volumes of data. Possibilities of this programming language allow to improve performance in such projects and effectively meet the challenges.
But what should you expect if you are working with Ruby and decided to take advantage of GoLang? Let me share my experience.
The first surprise and challenge for you as a Rubyist who is starting to work with GoLang: there are no our favorite built-in methods! There are no map, each, etc, In addition, there are no generic methods and beautiful constructions in the language.
It is pretty simple! It is easy to understand, and it will not be a problem for project newcomers. There is only one line of code and 22 symbols.
You see the difference; and you can say: "For what do I need a language that is able to solve a simple task only with a for cycle?" However, the creators of the language did not include generic functions in GoLang intentionally. Why? Because sometimes, they kill code readability: you can chain map and another map and one more, and each_with_object and reduce – it becomes a little bit messy, and what is more, it forces us to make 4 passes through the array. At the same time, you can do it with GoLang with just a for cycle. In this example, you can see that non-use of generic methods and functions may be for the best.
In Ruby it is typical to do something like this; in GoLang you cannot do this, as it is static typed, which means that a variable can have only one type. It would be great for you to return to Ruby after Go and see the differences in your code.
// key word "type" "nameOfType" "type to declare"
What did we do in comparison with Ruby class?
After that, you can see that structs are just aggregators of simplest data types. But what if I need to add a method for this object? Should I do something like this?
Hopefully, not. We do not need to do this. To add a method, you may recall the principles of programming, recall that method is just a function (in simplest examples) that has some special internal variable this or self inside of it. Those variables are just reference to the objects. What is the reference (reference type variable)? Comparing to the typical variable (value type variable): value base variable is variable that stores a value of certain type.
This mechanism provides you with a possibility to define "methods" in GoLang.
So, in my opinion, these are the most important changes to get used to in GoLang after Ruby.
If you have any questions, please ask me in SumatoSoft social media accounts.
This entry was posted in Tech Insights and tagged go programming language, golang, ruby. Bookmark the permalink.


The agent of Chelsea target Stefan Savic has remained coy on the prospect of his client leaving Atletico Madrid this summer.
The 27-year-old centre-back was regular feature of Atletico Madrid's Europa League winning squad last season despite his injury problems.
Atletico Madrid are under the threat of losing him this summer as both Chelsea and Juventus are interested in snaring him away from the Wanda Metropolitano over the course of the transfer window.
Savic has been an important part of Diego Simeone's team and Atletico Madrid are keen not to lose him but Zarko Pelicic, his agent, remained cautious over his client's future.
He admits that it is natural Savic is getting linked with big names as he has the qualities to play for the top teams in any league.
But for the moment he remained coy on his client's future at Atletico Madrid.
"Stefan has always been an interesting player", Pelicic told TuttoJuve when asked about the defender's future.
"Especially during the transfer window. He has good qualities and can play for the top four teams in the best leagues.
"I cannot name names as everything goes through the club.
Savic has a contract until 2020 with the Los Colchoneros.


text:
ASX struggles as investors search for momentum
Sarah TurnerReporter
Sep 3, 2019 — 4.48pm
Australian shares struggled for traction on Tuesday, as investors continued to recover from a volatile August reporting season while remaining wary of pushing shares to further gains in an environment filled with macroeconomic risk.
The S&P/ASX 200 index declined 0.1 per cent, or 6 points, to 6573.40. US stock futures were pointing to a softer start on Wall Street, with investors set to return from a holiday weekend on a sour note as the trade stand-off between the US and China continues.
The Australian equity market is not far from its record high at the end of July and fund manager Jun Bei Liu at Tribeca said "there is less room for error".
"We do need to manage the risks a lot more on a portfolio level. We need to think about the companies that are expensive," she said. "If you look at some of the big macroeconomic issues – slowing growth, no result on trade tensions, Brexit concerns – the market lacks the momentum to go to the next level."
The Australian dollar perked up to US67.10¢ following the Reserve Bank's decision to keep the cash rate at 1 per cent for another month.
Traders took heart at the no-change call and commentary from Reserve Bank governor Philip Lowe noting "further signs of a turnaround in established housing markets, especially in Sydney and Melbourne".
"The outlook for the global economy remains reasonable," Dr Lowe said, as "economic growth in Australia over the first half of this year has been lower than earlier expected."
Second-quarter GDP data is due out on Wednesday and economists surveyed by Bloomberg have pencilled in growth of 0.5 per cent over the quarter for annual growth of 1.4 per cent.
Economic data out on Tuesday showed that the country recorded its first current account surplus since 1975 in the June quarter but retail sales contracted by 0.1 per cent in July.
Green shoots
Super Retail declined 2.1 per cent to $9.17 over the session. Retailers reported some "green shoots" in reporting season "but people are really waiting for economic data to back up those shoots", said Ms Liu.
The retail sales data indicates that the economy is not yet getting "much of a kick" from the tax rebates announced mid-year even though Tax Office data indicates more than half of those entitled to the rebate have already claimed it, she said.
Communications satellite technology provider Speedcast was the standout individual performer on Tuesday, rallying 20.8 per cent to $1.16.
But Ms Liu said Speedcast's gains needed to be taken in context. During the last seven days the stock fell as much as 60 per cent and even with Tuesday's advance was still trading around 30 per cent lower.
"They reported weak numbers, made some board changes, cash conversion was weak and the balance sheet is stretched," the fund manager said.
She called the reporting season "volatile" overall. "Investors are lacking patience. It's so short term that if companies can't deliver then they just move on."
Some of the miners were advancing on Tuesday, with Western Areas up 7.4 per cent at $3.04. Morgan Stanley upgraded the firm from "equal-weight" to "overweight" and lifted its price target from $2.25 to $3.30, noting the firm is now its preferred nickel exposure.
Elsewhere in the sector, gold miner Resolute Mining climbed 2.5 per cent to $1.67 a share and South32 rallied 2.3 per cent to $2.70.
On the downside, wealth management firm AMP hit a record closing low of $1.62 after falling 2.1 per cent in the session.
Woolworths fell 1.4 per cent to $36.71, Spark Infrastructure dropped 4.3 per cent to $2.22 and Downer EDI declined 2.6 per cent to $7.49 after starting to trade without rights to latest dividend payouts.
Standard & Poor's is set to announce the next index rebalance for the local sharemarket on Friday and UBS is expecting Eclipx Group to drop out of the benchmark to be replaced by medical device firm Polynovo. Eclipx shares fell 2.6 per cent to $1.53 on Tuesday.
UBS is also forecasting TPG Telecom will fall outside the S&P/ASX 100 index, to be replaced by NIB Holdings. TPG shares fell 4.7 per cent to $6.29 while NIB dipped 1.4 per cent to $7.06.
Sarah Turner writes on markets and is based in our Sydney newsroom. Connect with Sarah on Twitter. Email Sarah at s.turner@afr.com.au
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