text:
The most effective move would be to punch up or recast most of the young cast, who range from nothing more than ordinary to dreadful. I have never been a fan of (recent Emmy winner!) Christel Khalil (Lily) and Daniel Goddard (Cane). Lily and Cane are insipid and I don't care to see any more about Cane's past. The relative newbies such as Blake Hood (who plays the newly adult Kyle) and Jessica Heap (who plays Eden) don't do much for me. I have a feeling the show will be bringing in lots of new young people anyway, and it will be interesting if any new faces come from Phelps' old shows, as is this veteran executive producer's legendary want.
The Young and the Restless and General Hospital: Are daytime soap operas sleeping with the enemy when they feature reality shows in their plots? First we had the mercifully aborted Mob Princess on General Hospital (starring Kristina Corinthos) and last week we had the hilarious satire Restless Style on Y&R (the TV version of the magazine) hosted by a divinely snarky Billy Abbott (Billy Miller) who was reminded me of Access Hollywood 's Billy Bush, complete with the real life host's oily smile. Restless Style was pure tabloid sleaze with Abby revealing her father Victor's marriage to the much younger Sharon and Billy going for the jugular aiming to reveal magazine editorial employee Phyllis' long held hit and run secrets. I loved the snide "Restless Style" almost as much as I truly detest reality shows. What do you think?
General Hospital: Five days later I am still wiping away the tears after a SoapNet Gold Medal Moments rebroadcast of the highly emotional 1994 episode in which we watched B.J.'s heart (she had died in a school bus accident) being transplanted into her cousin Maxie's chest, saving her life. What soap magnificence! Everyone from mothers Bobbie and Maxie to Laura and Lucy — who heard the news from afar — was crying throughout this beautifully directed episode. Dr. Tony Jones, B.J.'s father, played by the amazingly subtle Brad Maule, witnessed the entire operation in the operating room and held his daughter's hand as her heart stop beating. Sob! Hail GH era headwriter Claire Labine and executive producer Wendy Riche, and the cast and crew once again. What pure emotional truth was shown here — the gist of great soap opera. This was soap the way it was and ought to be!
Vintage One Life to Live: — So sad to hear this week of the death of Al Freeman Jr. who played Ed Hall on One Life to Livefrom 1972-85. What a magnificent actor he was, bringing power, dignity and great depth to the police captain character who married Carla (Ellen Holly) and was the adoptive father to Josh (played by a very, very young Laurence Fishburne).
Al Freeman Jr.
Freeman had such a distinguished career — starring in the landmark TV movie My Sweet Charlie with Patty Duke in 1970, the mini-series Roots, performing on Broadway in various productions, and eventually teaching and chairing the theatre department at Howard University. And of course, he was the first African-American to win the Emmy for Outstanding Actor. He was 78.
Marlena De Lacroix: As of last February, "moi" has been a soap journalist for 32 years (minus a few for grad school). If you have any questions about soaps past and present, please send them to me in the "Comments" section. I'll answer the questions and perhaps use them to springboard more midweek columns. Merci beaucoup, darlings.
BREAKING NEWS: Ron Moss (Ridge) is leaving the CBS daytime soap "The Bold And The Beautiful" after 25 years with the show due to a salary dispute!!! Thoughts on this Marlena?
Marlena says: Marlena doesn't get involved in salary disputes. However, this should really hurt B&B, especially internationally. Moss is a superstar in Europe, particularly in Italy. Marlena swooned over Ridge in the beginning of the show (coining the description "perfectly symmetrical cheekbones") and found Moss very down to earth when she interviewed him. But some actors/people are very sensitive about money. It should be interesting to see what the Bell-Phillips' production company's longterm reaction is to this sudden move.
I'm very nervous about where the axe will fall on Y&R. I agree with your choices of relative newbie's that should go. There are many more of the younger set, besides those you mentioned, that should also go. But if Ms. Phelps starts getting rid of the long-term vets, then this viewer is out the door. And you're right, the ratings would fall miserably and the show would probably get canceled.
RE: Ronn Moss…I've only watched B&B for two very short stints in the last couple months, and from what I've seen, it's no great loss. I'm sure he's a nice person, but not a good actor. I have no history with the show, but I've been rather surprised at all the negative comments I've read online about him.
Marlena, with the soaps in such a sad state right now, do you honestly believe they will last beyond 2013?
I have my doubts.
Marlena says I honestly don't know what to believe. But I think Y&R and B&B should survive possibly past that. Who knows what will happen to Days and GH next year?
I have been enjoying General Hospital more lately than I have in years. When the mobsters are featured it is more about their personal lives, which makes them slightly less repugnant, and I like how the stories are intertwining.
Of course I wish it would be fun again, maybe bringing back the best of the best, Lucy Coe, to lighten the mood and liven things up.
Marlena says: So glad you are enjoying GH! I'd love to see Lucy Coe again too. I guess for now the humor on GH is mostly coming from Todd, whose remarks are often very funny. I'd like to see more humor on the show too.
As an avid follower of Y&R (26 years strong!!!!) I want to wish Jill Farren Phelps and Josh Griffith all the best! I am familiar with JFP's work from her GL days. I hope we get that kind of result in what is a necessary revamping of my old favorite.
One of the biggest things that needs to happen is the humanity needs to come through again. Under Maria Bell characters like Victor became one note and vapid. Victor was always shrewd and ruthless but he had a heart. I remember vividly his romance with Hope Newman back in '93. He moved her…and us. In return we fell in love with them. Or how about that amazing death bed marriage to Nikki? Or the wonderful friendship he had with Colonel Douglas Austin? It's been so long since we have seen Victor's heart. Under MAB she took the Black Knight meaning too literally. We got a man that paid to have Patty change her face into someone he didn't know (Emily) all so he could hurt Jack. He was directly responsible for Colleens death. He crucified Adam mercifully. The emotional abuse towards Nikki has been relentless. He's escaped punishment for his numerous crimes and now he has married his former daughter in law. I don't care about Old Vic anymore. I want so badly for him to get hit by a mack truck. He is no longer an interesting three dimensional character. I think a reboot of Victor should involve his transplanted heart failing him. He needs to introspect and become relevant again.
Sharon is another character that has become too one note for me. She may not have always been a good wife to Nick but she loved her children. Under MAB Sharon fell love with the guy who stole her kid. She jumped into the bed of any man who rubbed against her. She was tried for a pointless murder and basically abandoned Noah and Faith's best interest over her own. She's become self-centered and selfish. Sharon needs to find herself…without a man. I would love the new regime to bring back an absent Noah, in a re-casted role with a stronger actor, and carefully examine what it's meant to him to have Sharon and NIck as parents. There is so much done wrong over the last several years to play off.
Noah should come back as both gay and addicted to drugs. The drug element stemming primarily from growing up a screwed up Newman. It would also give the show a topical social issue story. The type of story that was so lacking during the Maria years when she was busy scrapping the bottom of the barrel for her inspiration. Jack, Kay, Nikki and Phyllis are also characters that need refocusing, just to name a few. I am aware there is more to heal but it all starts somewhere.
Lastly I don't know if you saw Maria Bells postings to her facebook account following her firing? If one thing was made clear to this viewer it's that she was wearing blinders on to what was playing out on our screens day in and day out. Her delusional assessment of her tenure was laughable. She is also someone who would benefit from some introspecting. I hope no one ever encourages her to write for television again. I saw what she's made of. Loud and clear!!! I don't wish or want to be beat over the head with her anemic talents ever again.
Marlena says: Wow, what a great letter. You certainly hit in the head–the show needs its humanity back. Every show needs an antagonist, but, as you say Victor was more than that, a man with a heart. He is so bust scheming, we see so little of it–just give me a glimmer in the midst of all his shenanigans. Many fans argue that Sharon, once a heroine, has been completely ruined. I just think she's lost whatever brain she had through her multiple problems and travails. Marrying Victor! Her ex-father in law! (Although I ove the bitch scenes between her and Nikki!) As far as Ms. Arena Bell, her statements upon being fired were painful to read–it's incredible any daytime executive could be so blind to the state of their own show. Here's a real example of what makes the soap business so interesting! Hopefully, things will improve with the new executive regime. I'm sure Phelps/Griffith will give us plenty to write about.
Dear Connie/Marlena,
The death of 1979 Emmy winner Al Freeman Jr. saddens me. But I'm glad he had a lengthy life. (I recently learned of a fellow high-school classmate who died at age 40.) Freeman was a top-quality actor and was brilliant in Spike Lee's "Malcolm X." (I recall either or both of Gene Siskel and Roger Ebert having suggested him for a 1992 supporting-actor Oscar nomination, with their "For Your Consideration" special on their syndicated "Siskel & Ebert & the Movies.") He was an actor with strong characterization and whose work was grounded in reality.
I don't want to lose any of the vets on "The Young and the Restless." Lately, the one who has impressed me most is Doug Davison who, for a good couple decades, was one of those long-underappreciated actors whose acting seemed effortless. He has been very believable as a father so profoundly shocked and saddened by the end of his son's sickened life. Davison should be in the hunt for a 2013 Emmy. (He may be a frontrunner.)
Marlena says: Hi DSO! I agree, Davidson deserves a nomination. I usually dislike when actors submit scenes of themselves crying at the melodramatic heights of their storylines just to demonstrate that they are "act-oors." But Davidson is never one to cry crocodile tears. He was so good and so authentic in this story as a man in real torment here. It's sad Davidson's formidable talents are so often overlooked. Maybe not this time! Thanks for telling us about Siskel and Ebert's feelings about that great actor Al Freeman Jr. in Malcolm X. What a tremendous performance!
Marlena, back in the 80's, AS THE WORLD TURNS Karen Haines, a scheming social climber blackmailed James Stenbeck into marrying her. At the time, James was engaged to Dee Stewart and Karen discovered that James wasn't the real heir to the Stenbeck fortune. James' mother was a nanny and Gunnar was the true Stenbeck scion.
She threatened to reveal this tidbit to the world if James didn't join her in holy matrimony. James was livid. He categorically refused to allow this viper to take advantage of him. He wanted dirt of Karen. He wanted information that would stop her madness. He ordered Nels, his yes-man, who I think had a secret crush on James to do a background check on Karen.
Nels ascertained that Karen's brother, a school teacher had made a porno movie–maybe when he was a wild and crazy collegian. James told Karen that if she didn't back off that he'd destroy her brother professionally. Karen said that her brother had created this hellish situation for himself and he would have to live with the consequences.
It was a scrumptious Jackie Collins type story written by the stupendously talented Bridget and Jerome Dobson.
My question to you is who played Karen's brother? For years, I've been trying to get this question answered.
Marlena says: Well, I've researched your question and there's no listing for what I think was a non-contract role in Julie Poll's definitive book "As the World Turns,a 40th Anniversary Edition." I have a so far unanswered request in from a former P&G adjunct press person. But Karen Haines Stenbeck Dixon was played by the delightful Kathy McNeil from 1981-1984. She was a relative of Cynthia Haines, who was played by our Linda Dano from 1981-82. Anyone know the answer to this question? Write in!
DF says:
Happy 32nd Anniversary! (Well, I'm off by a few months).
Al Freeman, Jr. was a special actor. I remember seeing him in several black and white television shows when he was in his twenties, but the first role that had a big impact on me was his star turn in Baraka's "Dutchman." He got great reviews and I think everyone expected him to be a star at a time when Sidney Poitier was the only African-American who could front a movie. It never happened, unfortunately. I had the opportunity to meet Al a few times, and I think he had a love/hate relationship with OLTL. He appreciated the steady paycheck, and the ability to do theater and the occasional movie or nighttime show while working on the soap, but I think he always resented that he wasn't a bigger star, and sometimes it showed in his work on OLTL. Still, when given good material, and the Ed/Carla/Sadie storyline was certainly that, he shined brightly.
Marlena says: Thanks DF both for your anniversary wishes and your special insights into Al Freeman, Jr. I hope he appreciated that even though soaps were a relatively small part of show business, he was a star of the first magnitude in our little world.
Patrick Erwin says:
Happy Anniversary Marlena! Here's to 32 more years!
I'm going a bit off topic here to add on to what's been said in the comments re: Ronn Moss. I know he's meg-popular, especially overseas, but I think the character of Ridge is out of gas. If Brad Bell were wise, he'd follow his father's genius and slowly incorporate a new family tied to the Forresters, as Bill Bill did by incorporating the Abbotts and Newmans.
I've read suggestions that Jon Hensley should come to B&B full time and I think that would be a great idea (if the story is there). Though B&B always frustrates me with its inability to focus on more than one story or character set at a time. I get that it's only a half hour.
Marlena says: Thanks so much, darling Patrick. Interesting suggestion, but Jon Hensley isn't my Ridge. I think Ridge should be played by a more commanding actor; a character who could project the huge power of Ridge's professional and familial positions–and his great and classic looks. And an actor capable of showing some real vulnerability for a change. I have a wild suggestion–how about Michael E. Knight? He could really act the fuller role. (He's NOT Tad.) I guess, though, they'll be looking for a perfect face like Moss' and as all soaps do. The show's choice should–and could– be very interesting.
There is a huge article in last week's Globe magazine about Jill Farren Phelps coming to the show and that insiders in the soap world are predicting this will literally kill "Young and the Restless."
They are saying that it is a sure thing that both Melody Thomas Scott and Jeanne Cooper will be fired within the next two years very similar to what Phelps did with Jacklyn Zeman and Anna Lee on "General Hospital" a decade ago. We will also never again see Jess Walton nor Kate Linder.
As much as I don't want to believe it, I am bracing myself for the worse. I have seen the destruction Phelps has left behind over the past 20 years.
Marlena says: Can one really believe what's in the Globe? I think not. Hang in to see what really happens.
La Phelps certainly has her work cut out for her as the takes the Y&R reins this fall, Marlena! (You didn't even mention the character of Heather, who has been played by two of the most exciting young female soap actresses of the last half-century — Eden Riegel and Jennifer Landon, who have a combined total of roughly a million Emmys and zillion nominations between them — and yet is still a boring BOMB of a character! Yes, Doug Davidson is doing terrific work in what is an inane storyline, but why don't they do a story from character — say, Paul and his children finally and truly coming to terms with the fact that his paternal skills have never been up to snuff — than from plot (father shoots son in cold blood, news at 11!)?)
Marlena says: I'm intrigued why the character of Heather is such a bomb. Is it because she's not written for adequately? Jennifer Landon is a superb actress, and I've been waiting for her to blossom in this role. But there's not a lot for her to play, save for externals. Re: Paul and his kids: it's a shame Y&R–which used to be the most pychological of soaps–is so plot-oriented now. Sign of the soap times!
I do not watch Young&restless.To much evil Victor getting away with EVERYTHING>.Now finding out the one person who has ruined every show I ever loved,is coming,I won't be watching. JFP ruined Santa Barbara for me.Guiding light the same ,others GH mostly. I hope for the people who do watch Y&R she has learned her lesson. If not all the females on that show will be on their way out. Genie can come back to GH now that Guza and Frons are gone..
I hope soaps are not on their way out because sometimes I enjoy GH when the mob is not on,and Anna is.
I also hate reality shows.Most of the ones I have seen seem to be scripted no matter what they say. No one is as stupid as these people act.


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text:
Q: Adding a .zip file to the body of an LWP::UserAgent POST request I believe I have a general Perl problem, rather than an LWP::UserAgent problem... however its somewhat complex.
The task is to write a test-script that does a SWORD deposit.
I create tests by first writing code to prove the thing works, then add in the Test::More wrappers to make it a test.
BACKGROUND
A SWORD deposit is simply an http post request with a bunch of defined headers, and the content of the body being the thing to be ingested. This all works fine, I can perform the actions through CURL, and I've written scripts to do this.... but within a a larger application environment (that'll be EPrints.)
CODE
My problem, I believe, comes when I try to attach the contents of the file on the disk.
#!/home/cpan/bin/perl
use strict;
use warnings;

use LWP::UserAgent;
##use WWW::Mechanize;
use File::Slurp;
use MIME::Base64;

my $auth     = 'username:password';
my $domain   = 'devel.example.com';

my $ua = LWP::UserAgent->new();

my $basedir = "./test_files";

my $package  = 'http://opendepot.org/europePMC/2.0';
my $filename = "$basedir/PMC165035.zip";
my $mime     = 'application/zip';
print "filename: $filename\n";
my $deposit_url = $domain . '/sword-app/deposit/archive';

my $file = read_file( $filename, { binmode => ':raw' } );

# Set up the SWORD deposit
my $autho = "Basic " . MIME::Base64::encode( $auth, '' );

my %headers = (
  'X-Packaging'         => $package,
  'X-No-Op'             => 'false',
  'X-Verbose'           => 'true',
  'Content-Disposition' => "filename=$filename",
  'Content-Type'        => $mime,
  'User-Agent'          => 'Broker Test Harness',
  'Authorization'       => $autho,
);
my $r = $ua->post( $deposit_url, %headers, Content => $file );

# DEBUG TEST
write_file('foo.zip', $file);

my $ret = $r->decoded_content;
print "Content: $ret\n";
if ( $r->is_success ) { print "Deposited $package successfully" }

WHAT WORKS, WHAT DOESN'T
This code is lifted pretty much directly from working code I have - the only difference is that the working code gets the content for $file via an object-call within EPrints.
I know the file exists on the disk, if I do an ls -l on the filename printed, I can see the file, and its readable
In the code above, there is a line write_file('foo.zip', $file); - that writes a file which unzip -l foo.zip happily tells me has 3 files in it.
The line print "Content: $ret\n"; should print an atom response - for me, it prints nothing....
The Access log reports an error 500, but there's diddly-squat in the error-log.
The help
What I need to know is how I get the actual contents of the .zip file into the content part of the LWP::UserAgent post request...
(I'm going to spend much time not trying to dig into EPrints, to track where the error-500 is coming from, and why nothing appears in the log file.... but that's probably going to be down to an issue with what's been posted)

A: The solution lies in realizing what LWP POST is doing.
my $filename = "$basedir/PMC165035.zip";
my $file = read_file( $filename, { binmode => ':raw' } );
my %headers = (
  'X-Packaging'         => $package,
  'X-No-Op'             => 'false',
  'X-Verbose'           => 'true',
  'Content-Disposition' => "filename=$filename",
  'Content-Type'        => $mime,
  'User-Agent'          => 'Broker Test Harness',
  'Authorization'       => $autho,
);

All work by setting $filename to be something like /home/services/foo/testing/test_files/PMC165035.zip, and passing this (full) filename to the server example.com.
The problem is that the server is looking for a filename, not a filename-with-path... so when the service does its thing with the file by dumping the content into its temporary upload location, and then it looks for  ~~~temp_location/home/services/foo/testing/test_files/PMC165035.zip, it can't find it!
The solution is to read in the file, but ensure that the filename given in the headers is just the filename, not with-a-path

redpajama_set_name: RedPajamaStackExchange


Marketing Automation has grown exponentially with an increase in marketing technologies, giving marketers the power to nurture leads through a funnel that seamlessly converts them from a suspect to a loyal customer and brand ambassador. The efficient and effective capabilities of the marketing automation platform allow you to reach a number of prospects, which simply cannot be achieved through cold calling. This has made marketing automation the most powerful revenue contributor in top performing organisations generating 50% more sales ready leads at a 33% lower cost (source: Act-On).
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text:
Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes
Averdung J, TorresGarcia G, Luftmann H, Schlachter I, Mattay J (1996)
Fullerene Science and Technology 4(4): 633-654.
Averdung, J; TorresGarcia, G; Luftmann, H; Schlachter, I; Mattay, JochenUniBi
Fakultät für Chemie > Industrielle Organische Chemie und Biotechnologie
Various types of cycloaddition such as [2+1], [2+3], and Diels-Alder reactions have been investigated for the purpose of exohedral functionalization of [60]fullerene and also in few cases of [70]fullerene. Thermal and photochemical activation have been used and lead to a variety of new fullerene derivatives which may be further functionalizable. In addition, a new approach to aza-heterofullerenes has been developed starting from an exohedrally activated fullerene.
Fullerene Science and Technology
Averdung J, TorresGarcia G, Luftmann H, Schlachter I, Mattay J. Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes. Fullerene Science and Technology. 1996;4(4):633-654.
Averdung, J., TorresGarcia, G., Luftmann, H., Schlachter, I., & Mattay, J. (1996). Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes. Fullerene Science and Technology, 4(4), 633-654. doi:10.1080/10641229608003008
Averdung, J., TorresGarcia, G., Luftmann, H., Schlachter, I., and Mattay, J. (1996). Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes. Fullerene Science and Technology 4, 633-654.
Averdung, J., et al., 1996. Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes. Fullerene Science and Technology, 4(4), p 633-654.
J. Averdung, et al., "Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes", Fullerene Science and Technology, vol. 4, 1996, pp. 633-654.
Averdung, J., TorresGarcia, G., Luftmann, H., Schlachter, I., Mattay, J.: Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes. Fullerene Science and Technology. 4, 633-654 (1996).
Averdung, J, TorresGarcia, G, Luftmann, H, Schlachter, I, and Mattay, Jochen. "Progress in fullerene chemistry: From exohedral functionalization to heterofullerenes". Fullerene Science and Technology 4.4 (1996): 633-654.

redpajama_set_name: RedPajamaCommonCrawl


text:
Film Favorites: Hiroshima mon Amour
Updated late 2018: Still one of the peaks of modernist cinema. Modernist not only because it feverishly critiques the ideological gaps in Western society's desire for connection to a particular trauma Europe wishes to frame as universal, as an experience Europe can "have" as immediately as Japan. But also modernist because Resnais preserves some imaginative connection, some space of shared potentiality and togetherness between the two symbolically-freighted but humanly-complex protagonists amidst the pock-marks of race, gender, and distance which are not simply counter-cultures of modernity but its various currents. A truly wonderful depiction of Europe losing its colonies and experiencing a crisis of self under the deluded belief that the rest of the world was ever truly under its moral purview rather than merely its circumstantial jurisdiction, that the non-Western world was the West's possession to experience. Resnais imagines participation in an other's trauma as a liberal aporia, an oscillating bridge, and a perceptual torrent.
Original Review:
How does one deal with the film that outed the single most seismic and volcanic cinematic shake-up in the entire history of the medium, the French New Wave? As much as Godard would become the face of the movement one year later, Alain Resnais' Hiroshima mon Amour was, for many, the first breath of renewed light into the no man's land of the once-proud French cinematic landscape. It was a film of many firsts. Of course, most obviously, it was the first Western film to seriously grapple with the horrors, both tangible and intangible, of the atomic bombing of Hiroshima. But its most important first was much more elemental and, arguably, circumstantial: it was the first movie of what would become the New Wave to devour the international box office, and the first to turn eyes France's way for the first time in a handful of decades.
Thankfully, Alain Resnais' provocative thematic extension and revitalization of his short film Night and Fog requires no circumstantial caveats to stand on. Had it been the second, or the tenth, or the hundredth film of the New Wave, it would still boast a bounty of corporeal and cosmic visual and aural sensations that titillate, instigate, suppress, introduce, and chill to the bone in equal measure. Had it only just been unearthed in 2015, over a half-century after its production, it would still feel as singular and as culpable for its own genus. Poised at the intersection of classical, teleological narrative cinema and avant-garde aesthetics, of galvanic neo-realist scruff and highly cultivated, highly curated theatrical craft, of the past and the present, and of the intimate and the ethnographic, Hiroshima is essential cinema for anyone who has never seen a film, or anyone who has seen tens of thousands. For anyone who has ever spent hours pondering about the limits of the possibility of image and motion to convey expression and feeling, or for anyone who has ever, simply, known the pleasure and the impermanence of another human trapped in a mortal coil. Its release year will be forever linked to the film, but, fittingly for a film about the pigmentation of time, it requires no positioning within any cinematic movement to provoke to this day.
In most romances, time is a currency, or an enemy. In Hiroshima mon Amour, it is an enigma. The film unfolds over a short period, within the bounds of a one-night romance between Elle (Emanuelle Riva) and Lui (Eji Okada) as they discuss their time together in a conversation that bleeds together the distinctions of disjuncture and conglomeration Yet it is also a film that, because it is so aware of the limits of time, transcends any nominal period of tangible length and moves into the realm of the intangibles. As much as it is an honest depiction of two people confronting the knowledge that they know nothing about one another and that their space together is receding into oblivion, it is also a study in how their external, individual visages may be merely portals into the hazy temporal masquerade of the past (Lui, for one, is threshed together with the filaments of Elle's flashing memory of her prior love many years before). As much as Hiroshima is a study in the end of a short time period, it is an excavation of the concept of time itself, a reminder that the time the two had together was, in its fleeting moments, intimately linked to time as it existed before they met, and as it will continue to exist afterward.
The conversation changes locations, but the themes, the words, and sometimes the sensations, repeat – a fact that makes Hiroshima a film-length treatise on Resnais' favorite pet subject, the persistence of time through the frailties of memory. The final ultimatum of his prior film Night and Fog saw the shattered bones and faceless, impersonal skeletal structures of human remains lashed together underneath the soil of a now superficially clean and empty German countryside where Nazi death camps once stood. The film ended by tacitly undercutting its own existence. After spending a blunt and tactile thirty minutes clenching on to the harsh memories of human destruction, Resnais questioned the mortality of his own film, reminding that, for all he could show us of the Holocaust as fact, even his film could only truly debate with history through the refracting lens of time; it could only truly "know" the mellow breeze of the modern day field, and only feel the autumnal chill of death hanging over that field through the warped specter of time. No documentary, he implied, could ever truly capture the past as it existed, for any moment in time is too molded into the drifting moods and atmospheres of time and memory to exist outside of the passage of time. We can only know history through the fact that we cannot know it as it happened, but only as it is remembered, his film told us.
Hiroshima tackles the same theme, but through disparate and often intentionally conflicting mechanisms. The production, a Japanese and French co-production (itself a harbinger of melding memories and historical wounds), necessitated a political adversity: the film would only be financed if teams in Japan and French, composed of technical experts from each nation, would work in harmony for the finished project. A businesslike reality, perhaps, but Resnais evokes it as possibility in the way he establishes the connections and limits of cohesion in the film. The editing, by a cadre of certified knife experts in Jasmine Chasney, Henri Colpi, and Anne Sarraute, accentuates its own construction, dauntingly superimposing a linear structure over images taken from across disparate locations and time periods. The film feigns linearity, but the images do not necessarily come from the same shooting schedule or even the same cameras. In doing so, the film dares us to confront the construction of linear time – to confront how we construct linear cinematic narratives through distinctly non-linear mechanisms. While watching, we are made to grow aware that the images exist more as a collage of spacial memories across time and space than as a narrative; we are made to connect the construction of cinema with the construction of memory, and the construction of experienced time.
The net effect, as in the famous opening montage of images of life and death, art and kraftwerk, past and present, all nominally capturing the mood of Japan post-bombing, is to remind that time is both a friend and an enemy. Time establishes possibility – it allows us to compartmentalize sounds and images to make sense of their flow from one to the next – but it also curtails our abilities of understand memory and imagination as they exist outside of linear time. The film's images, which marry the two trends of relentless neo-realist linearity and deliberately abstract anti-linearity, evoke how we can never truly know anything – not a person, not a place, not an essence – through either alone, and how each is clouded with the other.
By clashing styles and production schedules, Resnais is able to interrogate not only the ways that two nations can construct art greater than the limits of either national style, but the ways in which the art, as with all art from any nation or nations, must be prone to disarray and entropy, to chaos and fleeting memory of other fictions come before. In watching, we are trenchantly aware that we cannot but relate Hiroshima through the lens of cinemas, both French and Japanese, to come beforehand, and that cinema is as much a product of human reaction to images in the present as it is a live wire trapeze act of collecting jumbled memories.
What does that image remind me of, the film beckons? Or this image? Do I detect the impressionist milieu of Renoir's The Grand Illusion in the expression of cultures harmonizing only through tragedy? Or the diorama-like structures and subdivided images-within-images of Ozu in the purposefully mediated and intentionally circumstantial examination of Japanese culture? Is this shot the product of Japanese cinematographer Michio Takahashi studying his Japanese forebearers, or French visualist Sacha Vierny alighting with the full weight of Japanese cinema, trying to recreate its visual stylings through his own French eye? Is this a stepchild of Italian neo-realism or Japanese formalism? A marriage of both, or is that harmony simply a trick of the mind, something we impose on the film from the knowledge that it is about the malleable space between a European and Japanese person and European and Japanese film production teams.
A question that boils down to the ultimate cinematic curiosity: what, in essence, does watching a film mean? Are films but portals into the memories, stored often as half-sensations and reflexes rather than cohesive thoughts, of our own cinematic pasts? Is the construction of cinema a ruse to allow us to connect the lines where films do not, or is that part and parcel with the sly genius of film? Constantly forcing us to debate its own relevance and construction, the majesty of this film is that its subject of subjectivity is expressed in the very subjective architecture of the motion picture itself.
All of this is thoroughly inexhaustible, precisely because the film is a study in the exhausting inexhaustibility of the human mind as it exists in relation to physical space. As we interrogate the contrasts in Resnais' depiction of Japan – a location both empty and cluttered with confrontation – do we recognize it as "Japan", as a fictional representation of Japan, as a dreamlike memory of a nation we conjured from prior images? Is it Japan having a nightmare about itself? Confronting a film weaned on both absurdism and naturalism such as this, where accidents of imagery and chaos seem to float next to intentional and carefully planned sequences of order and metronomy, is not easy, which is why Resnais allows it to wash over us almost as a pre-cognitive experience. Hiroshima is not a work one needs to intellectualize, but simply to experience. The senses of time lost and time refound, time imagined and time hoped, all exist as sensory fabric in a delicate tapestry, or an aggressive coil, of images and sounds.
The cheeky pre-mod music over the opening credits, slinky and sinuous by Georges Delerue and Giovanni Fusco, layers over an abstract image of a crack, a picture that might be a ripple in time, a fracture in sanity, a mistake in the concrete we walk on, or the bandaging and healing memories of past conflict still creeping and seeping into the present. It is a void of nothingness and a prismatic, spiderlike web of lines that encompass everything we know. It might mean everything, or, perhaps, it is simply a crack. It is all of these, and none. The image – among the most pregnant ever on the subjectivity of existence – is in the eye of the beholder. Since the very crux of the New Wave was, after all, the constructed, subjective mechanisms by which films and humans relate to other films and humans, what more perfect and fitting an introduction to that movement than a film alive with all of the possibilities the movement would soon fulfill? Temptation beckons to reduce the film's libidinal romance to the realm of ephemera amidst the toxic aftershock of national crisis, but Resnais invokes this romance and settles in on the sweat-soaked human form to summon a provocation. Rather than a graveyard promenade, the film's surge of tactile human feeling and flesh-gripping sweat glimpsed in slivers amidst the fractured shards of memory and trauma suggests the battle to reconnect with humanity, a quarrel incarnated formally in the film's elusive editing rhythms that abstract and stir literal flickers of half-formed human flesh, and human connection, within an aftershock crockpot of disfigured perception.
Resnais made his own film called Guernica, but Hiroshima mon Amour most accurately embodies and extends the duel of disfigured space and scrambled history that mark the ethos of that famous howl of despair and rage from Picasso. But Resnais' true achievement is his own intervention, evoking Hiroshima's passage into the seventh art as irreducible to a repurposing of painting or another art form: a sense of truly, perhaps irreparably, disorganized time, a world of memory in disarray and one's personal connection to the past in a shambles that is dangerously, in the case of one's feigned personal connection to a past one did not actually experience, being restitched. Hiroshima mon Amour is one of the rare cinematic feats where one detects the birthing pains of a new nomenclature – "The French New Wave" – simply to attempt to wrangle its sheer singularity of vision into a category.
This entry was posted in Film Favorites, Review on October 21, 2015 by jakewalters98.
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The 25th anniversary performance of Miss Saigon will play in cinemas around the UK for one night only on 16 October.
Shot in front of a live audience at the Prince Edward Theatre, this one-off screening gives fans around the UK the chance to enjoy the spectacular, sell-out event that was Miss Saigon's 25th anniversary performance. Cinemagoers will also witness a special finale that sees the cast joined on stage by original cast members Jonathan Pryce, Lea Salonga and Simon Bowman.
Cameron Mackintosh is also the mastermind behind two of the West End's longest running shows, Les Misérables, currently playing at the Queen's Theatre, and The Phantom Of The Opera at Her Majesty's Theatre. He will also be bringing the much-anticipated theatre sensation Hamilton to London in October 2017.
More information on the Miss Saigon UK cinema release can be found on the official website.


Dr Haedar Nashir, Muhammadiyah's general chairman, recently outlined the concept of Islam with Progress during his visit to Singapore. It is the organisation's new platform to reemphasise the doctrine of moderation in Islam in Indonesia, by promoting socio-economic development to counter radical ideas in the country.
On 26 October 2017, Dr Haedar Nashir, general chairman of Muhammadiyah, Indonesia's second-largest Islamic organisation, delivered his RSIS Distinguished Public Lecture in Singapore. The main thrust of his speech is to introduce the concept of Islam with Progress (Islam Berkemajuan), the organisation's new platform, which was adopted during its 47th national congress (muktamar) in Makassar, Indonesia, in August 2015.
Dr Nashir argues that from Muhammadiyah's perspective, Islam is a religion that is constantly progressing. The Qur'an and the Sunnah (Way) of the Prophet Muhammad – the principal sources of Islamic teaching – contain messages which exhort all human beings to think critically and rationally. The first revelation to the Prophet is iqra or read. "Read" has a broad definition: exploration, research, as well as to think about everything created by God. Dr Nashir adds that within the Qur'an, there are messages in the form of questions and orders that encourage humans to think rationally to resolve their worldly problems.
Dr Nashir argues that Islam is not only asking humanity to worship God but also to be able to manage its own affairs. In other words, Islam teaches Man to be proactive actors to promote various socio-economic changes. Humans will not be able to change their socio-economic conditions unless such change starts from their own efforts.
Dr Nashir highlights that Muhammadiyah is strongly committed to implementing this vision in order to improve the socio-economic conditions of Indonesian Muslims. The promotion of social welfare and development is the key characteristic which defines Muhammadiyah ever since it was founded in 1912. Muhammadiyah continues to build new schools, universities, and hospitals throughout Indonesia. Currently, Muhammadiyah has established more than 5,000 schools and 177 institutions of higher learning – including 42 universities – in all of Indonesia's 34 provinces.
Recognising Indonesia's diversity, Dr Nashir states that Muhammadiyah opens its schools, universities, and hospitals without regard to the ethnic, religious, and socioeconomic background of their users. Muhammadiyah has established universities in Sorong, West Papua province where 80 percent of its students are Christians, and in Kupang, East Nusa Tenggara province, where 95 percent of its students are also Christians.
Many of these students come from low socioeconomic background. They are able to attend these universities thanks to generous scholarships provided by Muhammadiyah. Thus, Muhammadiyah does not only preach the Islamic principle of promoting mercy to all mankind (rahmatan lil alamin), but is also promoting it through good deeds, through the development of education and health facilities throughout Indonesia.
One reason why the concept of Islam with Progress was introduced within Muhammadiyah is to counter hardline ideas promoted by a number of Islamist groups, including Islamic Defenders Front (FPI), Islamic Community Forum (FUI), and Hizbut Tahrir Indonesia (HTI). In recent years, these groups are attracting many new members, particularly those who are young and of university-going age.
Dr Nashir argues the rise of radical groups in Indonesia is caused by an open political process that enables such groups to express their ideas freely, especially through the Internet and social media. He considers such actions as a misuse of religion to achieve political ends, but also added that the growing popularity of these groups can also be attributed to the poverty and the increasingly unequal income and resource distribution among Indonesians.
He reasons that the majority of Indonesian Muslims are still living in poverty. As they feel they are being marginalised economically and politically, they express their grievances to the political elite by using religious arguments, as religion is one resource they possess. Hardline Islamist groups such as FPI and FUI have no significant financial resources. However, they utilise their religious networks to achieve their political goals, often with relatively successful outcomes.
Another Muhammadiyah leader, its General Secretary Dr Abdul Mu'ti, asserts that religion should not be used to polarise and politicise a multiethnic and multicultural society like Indonesia. There is no place for the use of violence and hate speech in society, he says, even as Muslims and non-Muslims alike have utilised both means to polarise Indonesian society.
While religiosity is a highly prized value in any religion, he says, religious preachers who promote violence and intolerance within society should be rejected. Instead, religious texts and teachings should be interpreted rationally and implemented as teachings about good deeds.
Dr Nashir adds Muslims should not only promote good words among their fellow men but also should match those words with good deeds, especially through the development of socio-economic infrastructure. Radical groups are not interested in building such infrastructure, he argues, as they are only interested to promote violence. As a result, the real essence of Islam in society is being undermined by the actions of these radical actors.
Instead, one must interpret Islam, he says, through reason and promote socio-economic development in order to eliminate 'triggering' factors for a few Muslims to engage in radical actions, such as poverty and socio-economic inequities.
He asserts that Islam with Progress is similar to the concept of Islam Nusantara promoted by Nahdlatul Ulama (NU) – Indonesia's largest Islamic organisation. He states both Islam with Progress and Islam Nusantara are concepts used by Muhammadiyah and NU respectively, to strengthen the identity of Indonesian Islam characterised by values such as moderation (wassatiya), peace, and tolerance.
Quran (2:191-193) – "And kill them wherever you find them, and turn them out from where they have turned you out. And Al-Fitnah [disbelief or unrest] is worse than killing… but if they desist, then lo! Allah is forgiving and merciful. And fight them until there is no more Fitnah [disbelief and worshipping of others along with Allah] and worship is for Allah alone.
In order to be " moderated" Islam needs to confront verses such as this and reconcile them with modern civilisation.


text:
CLICK BELOW TO VIEW PROM:
DEREK CLARKE
PROM 17: August 2
Derek Clark studied in Glasgow at the Royal Scottish Academy of Music and Drama then at the University of Durham and the London Opera Centre. He joined Welsh National Opera's staff as a repetiteur in 1977. His career developed steadily as he worked on a wide range of productions, conducting many performances during twenty years with the company. His conducting debut in 1981 was with Handel's Tamerlano.
In 1997 he joined Scottish Opera as Head of Music, since when he has been a regular influence on opera in Scotland. He selected the programmes for thirteen years of the Essential Scottish Opera touring groups, as well as creating reduced orchestrations for several of the medium scale Scottish Opera on Tour productions, including Hansel and Gretel, Cinderella, Die Fledermaus, Carmen, Orpheus in the Underworld, The Elixir of Love and Rodelinda. He also conducted several of these.
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Allison Aiello, Ph.D., M.S. & Jennifer Dowd, Ph.D., M.A.
For decades, researchers have attempted to clarify the well-established connection between certain social determinants of health and disease. Aiello, an assistant professor of Public Health and Epidemiology at the University of Michigan School of Public Health (Scholar 2003-2005) and Dowd, an assistant professor of Public Health and Demography at Hunter College School of Health Sciences at the City University of New York (Scholar 2006-2008), have combined their expertise to advance our knowledge of social epidemiology by trying to explain why—in the most straightforward biological sense—poverty and associated conditions have such an impact on long-term wellbeing.
In their research, Aiello and Dowd discovered a previously unknown factor that appears to play a key role in the development of cardiovascular disease, dementia and other illnesses—the impact of latent infections on the immune system. "We are trying to identify the actual mechanisms that connect certain conditions and we've been the first to show that a high immune response to certain pathogens, acquired early in life, causes the immune system to end up in a complex interplay with specific viruses causing inflammation and possibly higher rates of certain diseases," Aiello said.
Aiello and Dowd look first at the burden of multiple, common infections generally thought to be benign throughout life, specifically cytomegalovirus (CMV) and herpes simplex I. They, and other members of their research teams, found that people with lower levels of education had significantly higher immune responses to these viruses. Their study, "Socioeconomic Gradients in Immune Response to Latent Infections," published in the American Journal of Epidemiology in 2007, was the first to show the relationship between socioeconomic status and a marker of cell-mediated immunity.
The following year, Aiello and Dowd discovered a similar connection between latent infections, socioeconomic position and cardiovascular disease, their work, "Persistent Pathogens Linking Socioeconomic Position and Cardiovascular Disease in the U.S.," was published in the International Journal of Epidemiology. Further research by the team would reveal associations between latent infections and atherosclerosis, dementia and asthma.
"A lot of these infections were also not necessarily associated with lower socioeconomic status," Dowd adds. "So now we want to learn how these infections are getting transmitted at such high rates so early in life in these populations." She also noted that many prevailing explanations, such as the impact of stress hormones on people of lower socioeconomic position, do not fully explain the phenomenon. "We now have an exploratory grant from the National Institutes of Health to push forward, to try and make the links and find out what types of economic and social factors are involved, including things like housing prices and job loss," Dowd said.
Dowd and Aiello discovered their mutual research interests and decided to work together when they met through the Health & Society Scholars program. "I became Jen's mentor," Aiello recalls, "I wanted to work with someone with her background in social science and economics," she says. Dowd has also conducted research on economic inequality and the markers of stress.
"We are thinking about the public health implications for this work," Aiello says. "We now have more targets for prevention, possibly vaccination or addressing multiple factors on many levels." While Dowd and Aiello's previous studies have focused on specific population groups, their latest research will be the first to look at the pathogen burden in the U. S. population. Their next article, "Socioeconomic Differentials in Immune Response in the U.S," will be published in an upcoming issue of the journal, Epidemiology. "Together, our research examining infection and immune-response has filled important gaps in understanding the role that socioeconomic determinants play over the life course in creating and sustaining disparities in infection and ultimately, related chronic disease outcomes," Aiello said. Their new study continues this trend.
In 2001, the Robert Wood Johnson Foundation created the Health & Society Scholars program to produce leaders in the field of population health who would focus on understanding the interconnected roles of biology, behavior, environment, economics and other social factors and health. Each year, the program accepts 18 scholars. As of 2008, 109 scholars had participated.


She was here Friday but by Friday night she was gone and we've not seen her since. She never really ventured outside before but maybe she slipped away?
It's just odd timing. I was anticipating life with Ben and a cat and I, now it's just Ben and I. No cat. No roommate. No siblings. No grand plans for adventures.
Just lots of meditations and emptying spaces. Cleaning and clearing energy to make room for the next steps I need to take.
Now that Johnny isn't in Faerin's rooms anymore I'm back to wandering through them and crying like a fountain all day. So much has been lost. So damn much.
My sense is that I have to lose even more. I need to release my energy from everything I can; weddings, furniture, books, people, cats… I guess. I need to concentrate the energy I have instead of diluting it with people and things that do not serve my higher purpose. It feels like becoming a seed, drawing all of my energy into my tiny body and saving it up to do something new.
I offered to join a local(ish) Renaissance singing group. I'm not really qualified, but it would be fun and I'm willing to spend my energy on it. We'll see if that materializes for me.
I'm looking for a new source of income to replace the two I'm losing (weddings and child support). I'm mapping out a book to write. It's enough. It has to be. For now. Because so much has been lost, a lot needs to come into my life to replace it. I just need to make sure that the things I choose are worthy of my newly minted time and energy.
I'm learning to listen to me. There's no one else to listen to anymore.


when i am in file>settings>realtimeprogramming within crome none of the selectable com ports work. (1-3) they all fail to connect.
when i first plugged in the burner it says i need to download a driver for it but ive never heard this before.
i dont know what im doing wrong .


text:
Cast a Bright Shadow
Tanith Lee
LIONWOLF
Son of both god and mortal, his destiny must be death or power everlasting.
The setting is a world of eternal winter, where once thrived hit climates and exquisite luxury. Saphay, neglected daughter of a sub-king in the civilised west, is sent off to marry a leader of the barbaric Jafn...not realizing that her own father has arranged for her to be betrayed and abducted on his perilous journey.
Escaping her pursuers, then dragged into the depths of an arctic sea, Saphay is miraculously discovered by her Jafn betrothed. She is still alive, though entombed in an ice pyramid, and their marriage proceeds as intended. However, when it becomes evident that Saphay is not only carrying a child already but is also the focus of a sorcerous and preternatural force, dark suspicions are aroused about the infant's true origin...Driven out into the icy wilderness to face certain death, Saphay somehow manages to reach unwelcome shelter. There her son can grow up safely in exile, while displaying all the skills of a future hero...and a future god.
More Books by Tanith Lee
The Silver Metal Lover
Don't Bite the Sun
Weird Tales #325
Law of the Wolf Tower
Wolf Star Rise


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text:
Mayor Menino, Massport & BRA Welcome New Legal Sea Foods' Facility to the Boston Marine Industrial Park; Groundbreaking C
Mayor Thomas M. Menino and Massport CEO Craig Coy joined with Boston Redevelopment Authority Director Mark Maloney and Legal Sea Foods CEO Roger Berkowitz to break ground on Legal's new state-of-the-art seafood processing headquarters in the Boston Marine Industrial Park (BMIP). The event celebrated the welcomed addition of Legal Sea Foods to the BMIP, which is currently home to more than 3500 jobs and 180 businesses. Legal will relocate from their current facility in Allston, bringing 150 employees to the BMIP with the potential to further grow their job force.
"Legal Sea Foods is a leader in the seafood industry and a fantastic neighbor to the City of Boston," said Mayor Thomas M. Menino. "Our waterfront continues to be an valuable economic engine for the City of Boston and the New England region. This new facility illustrates the city's and Massport's commitment to making the Marine Industrial Park a catalyst for the growth of our maritime industries."
"Whether it is the Fish Pier, the Black Falcon Cruise Terminal or the Marine Park, Massport is committed to working with the City of Boston to support our historic maritime business. Legal Sea Foods' Processing Center represents the second of Massport's four-phase development plan dedicated to the seafood industry and will be an exciting new addition to our thriving working port. We are fortunate to have such strong believers in our waterfront like Mayor Menino and Roger Berkowitz," said Massport CEO Craig Coy. The first phase was the Harbor Seafood Center, Pilot Seafood, which opened in September 2001.
Massport has reserved approximately 10 acres of land on the North Jetty for the development of a seafood district. The district will join the New Boston Seafood Center (on city of Boston land in BMIP) in the Marine Industrial Park in creating local maritime related jobs. South Boston is a key area for the seafood industry due to historical ties and its proximity to major highways and Logan International Airport.
Due to its logistical and infrastructure advantages, the BMIP is an integral component of the Mayor's Back Streets initiative, which provides commercial and industrial companies the financial help, technical assistance and general support to retain businesses, grow them, and cultivate their diverse job base. The Boston Marine Industrial Park is where many of these companies call home.
The addition of Legal Sea Foods to the BMIP continues toward the City's and Massport's goals of maintaining and preserving the working port of Boston, while specifically encouraging and supporting maritime dependant uses. Already nearly 400 hundred seafood processing jobs exist in the BMIP.
"Our Allston operation has served us well for many years. When we started there, we were servicing two Boston restaurants. Today, we're supplying 26 restaurants in seven states. We look forward to the convenience and efficiency our new plant in the Seaport District will provide us," said Legal Sea Foods CEO Roger Berkowitz.
Shawmut Construction Company will develop the new 75,000 square foot plant on the vacant site on the BMIP's North Jetty. Designed by local firm Edwards and Kelcey, the $10 million project will be completed in about 11 months.


The TBS-6000RD is a towed broadcast spreader designed to work behind your garden tractor. Its large 60kg capacity with rain cover and 3.5 metre maximum spreading width covers those large areas with ease.
The plastic hopper is easily cleaned and will not corrode.
Material to be spread can be easily controlled from the fingertip control cable mounted on the handle.
Large 15" turf tyres make the 6000RD easy to manouvre over garden terrain.


This is very unlike me because I'm totally not one for the cliché quotes about love and life but I recently stumbled across creating my own motto that created an impact on myself.
I wrote it down in an instant (then obviously wrote it again with more character). This, to me, means that all of the good things that I can do will end up being all the good things that I have achieved. These days, when I'm fretting about exams this helps me understand that whatever grades I get will be the lines that map out my future.
I like to believe that this can have a positive impact on everyone.
and feel free to send it to me with what it means to you.


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The quickly replaceable grinding system is unique and the final product can be changed in less than 15 minutes.
A replaceable grinding basket closes the grinding chamber at the rear end; the mesh size (30 – 320 mm / 1.2 – 11.02'') determines the material grain size.
The load-sensing scraper floor leads the material to be grinded to the heavy feed-in roller with oscillating bearing which forwards the material securely into the grinding chamber. The scraper floor and the feed-in roller are driven separately!
Short set-up times (< 10 min.) thanks to the hydraulically foldable discharge conveyor*, which can be equipped with an optional magnetic drum*.
The swivelling radiator is easily accessible. For self-cleaning, the large fan is reversible. The low speed of the fan wheel keeps the noise level down.
The free-swinging flail holders of the flail drum (gyrating mass appr. 2,5 t / 5,512 lb) are provided with easily replaceable flail tips that can be adjusted to the materials to be grinded (e.g. hard metal, armoured tips).
Easy machine operation, remote control, the machine can be moved by the wheel loader bucket with grab and slip-on coupling or by the hydraulic drive*.


"Sharing Is Not Stealing" – Cost, Value And The Desire To Share.
As I've said before, £10 was never representative of the real value in an album. It was less than the value of the time the person takes to listen to it, and certainly not anything like the value the artist places on their finished work.
And of course, given that all albums sell in different amounts, and all the cost of making the album is upfront – before anyone knows how many it's going to sell – it couldn't really be described in any fractional way as a share of that value.
How DO Musicians Earn Online?
Social web has been buzzing these last couple of days with a visualisation by Information Is Beautiful, entitled "How Much Do Musicians Earn Online?" Click here to see it.
In case you're not able to see the list, it's a visual representation of how many instances of a range of online 'music payment events' you'd require to make a living wage solely from that service.
Not surprisingly, streaming services come out of it badly, especially when compared to sales of CDs.
I was on the internet before my first album came out (this is what it looked like back then). In fact, much of the momentum that my first album had was to do with my good standing in the various bass-related web communities that I was a part of. As a player, teacher and journalist, I had a bit of a profile, and the web was a MUCH smaller place in the late 90s.
I was asked to write a piece for Agit8.org.uk about 'The Future Of The Music Industry'. It was a nice chance to pull together a lot of thoughts, which, given that we've no idea quite how the future is going to pan out, are actually all about where we're at now. A state of the indie nation address, if you will. So here it is. Enjoy, it's a pretty good summary of where my thinking is at just now.
Major label collapse, 360 deals, Pirate Bay, Spotify, Bit Torrent, Youtube… It's clear to anyone with half an eye on the news that something huge is happening in the world of music. And if you believe the majority of the press, it's universally a bad thing – lots of very sad multi-millionaires are seeing their scarcity cash-cow sacrificed on the alter of ubiquity.
Following on from yesterday's post about the anachronistic nature of the term 'label', I've been having a think about the actual format that music is released in.
It's amazing how containers can make us lazy about content. The assumptions we make about the nature of music, collections of music, what constitutes a 'complete work' etc.
Open Letter To the UK Jazz Community, Pt II – do more recordings!
April 21st, 2009 · Comments Off on Open Letter To the UK Jazz Community, Pt II – do more recordings!
Doesn't seem to have done much thinking about its future or even its place in the 'present of music'.


ter, and I could not make out what N it was She wanted me to get her something the "whatchamacallit" from $ her bureau. I tried nearly every thing- brush, comb, handkerchief, perfume, pincushion, pocketbook, photograph of my mother. All of them were wrong, t and she grew more and more impa- tient, as if I were behaving like an imbecile. "Not the comb-the what- chamacallit!" Finally, for she was get- ting quite wrought up, I rang f'Or the nurse "She wants something," I said "But I can't make out what it is" The nurse glanced at the bureau top dnd then went swiftly over to the chiffonier; she picked up the hand mirror that was lying there and passed it silently to my grandmother, who at once began to beam and nod. "She's forgotten the word for mirror," the nurse said, wink- ing at me. At that moment, the fact that my grandmother was senile became real to me. -MARY MCCARTHY . ASSA U, BAHA '\1AS- Just in case you think that modern Egypt bears any rela- tionship to the great Upper and Lower Kingdoms of the Pharoahs other than in- habiting the same Nile valley, forget it. The glory of ancient Egypt died with Cleo- patra, the last of the Ptolemies, in B.C. 30. For the ensuing 670 years Egypt was a Roman Province. Then came the Moslem Arabs and the country has been decaying ever since. It is rotten with every disease in the encyclopedia. It has been lived in far too long. To quote from one dyspeptic critic who nevertheless enjoyed living there, "Two- thirds of its twenty million people live near starvation level thanks to the rapacious- ness of the other third. The infa'nt mor- tality rate is staggering. Promotion in the higher ranks of the army depends primar- ily on waist measurement. Civil servants abound everywhere and they earn more from graft than from salary. Students spend quite half their time pn strike. Beg- ging is a national industry: spitting a na- tional pastime. In combat, ten Gyppos with Russian tanks appear to equal one Israeli with a Bren gun." Ah well, they still grow good cotton and we stock lots of it in various guises. Come and look: you won't be "gypped" anyway. THE MEN'S SHOP -Nassau (Bahamas) Guardian. We will come, and we will bring our Bren gun. . LETTERS WE NEVER FINISHED READING HARPER'S MAGAZINE 49 EAST 33 STREET NEW YORK 16, N.Y. Your first impulse when you opened this letter, no doubt, was to ask: "Why a letter from Harper's on graph paper, usually associated with engineering ?" Well. . "=:=: -: ::: :". t :: .". .. . , ' , ':.: . ...:\ . , , ' . Y' ,' . " '.. ::.;.:........ ......-...:.; ..:.." .." ", ..... ;:: ::....;:: ':::: ..:;.::::::::.::....:.;:...: ::".::.::..:., .:.:. ::.:. '::..- :.' . ..... ;.' .. ...' ..' ..:........::..... .. ," -. .. ' . .... e ,'ff ." ': ..> >... -\'" '. 97 wKi11ll H + " ß.,,_ J: v i',::':'; < .' )(.. .. v .. , '.t:. . .? it ".m.... ... .:".:" "'IJI'. ': ::":-t.. . The quality goes in before the Zenith name goes on ZENITH RADIO CORP. · CHICAGO 39. ILL. The RO!:}Cl.lt!:} of F1 gh Fidelity ...0MJi Nk K b Ørtb1 1 -..ow "'" ii'" , . ': 1. .: "': ''" <> ,. <"I ,:' "<Ie , '." .;. , ,. ." ":-. ...... .. '." - ' ;1".. . / " ,,( ""'" .., .:. ..,... , t' - .... . J'.:^ : "" " Zenîth Ext nded Range High Fidelity Instrttme11.t:s " price.d as tow as $9$A95* ."Model tUustrated J $259 95* $. ", '",;, : '.( þ: No one is fussier about tone than a musician. That's why artists, like June Christy and Nelson Riddle, take such pleasure in listening to Zenith Extended Range High Fidelity. It brings you the original performance exactly as re- corded . . . all the delicate highs, the vibrant lows, and rich middle tones. And only Zenith gives you the Studio Sound Control Panel so you can adjust the tone to the make of your record and the acoustics of your room. Extra quality for finer performance . Exclusive Zenith Studio Sound Con- . 4 Speeds-including 16 2 3 rpm talking trols-"Presence" control (to project the book speed. Automatically plays intermix soloist out; in front of the orchestra), of ten 10" or 12" records of same speed. loudness control, bass and treble controls . Automatic Shut Off - turns off when - for unprecedented mastery of tone. last record finishes. · 4 Zenith Quality Speakers:. wo 12 n. SHOWN: the Sonata High Fidelity Record Player and AM "woofers" and two extra sensItIve ZenIth Radio Blond, mahogany or cherry finishes. Typical of Zenith's developed "tweeters" cover the full craftsmanship and distinctive styling range of human hearing. Backed by 38 years of leadership in radi- · Record Compensator - adjusts so that onics exclusively. Al.so makers of fine present-day LP records (whatever the Hearing Aids. brand) play with highest fidelity. . Zenith famous "Bass without Blast" "Manufacturer's suggested retaJi Dnce, slightly higher In the circuitry lets you enjoy even the very far West Ø11d South. lowest tones at normal volume. I!I'H Featured: two of Capitol Record's latest.. ."The Misty Miss Christy" and Riddle's "The Tender Touch "


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Family Matters in the Zombocalpyse: Telltale's Walking Dead Season 3
14 August 2017 Tom McGee
Micro-Review Walking Dead Season Three is a bit of a departure for the series, taking the focus…
Skinner Box Storytelling: September 3-9
09 September 2016 Colin Munch
It's the 50th anniversary of Star Trek and I celebrated by playing so much Star Trek: Online. Also, a bunch of Destiny. Star Trek: Online As someone who's been playing video games since the early nineties, I'm used to turning games into what I want them to be. Most modern games are stuffed with fully […]
Fear The Walking Dead: The Season so Far
22 September 2015 Tim Collins
When a show like Fear the Walking Dead premieres, it's hard not to draw comparisons to its original inspiration (especially when the two are just one word different from one another). With four episodes under the belt, this spinoff is one that could potentially be as successful but I'm not quite sold just yet..but almost. […]
Amid the Ruins of The Walking Dead Season 2
03 August 2014 Joseph Woodward
If you've ever played another Telltale Games title, you already know what you're in for with The Walking Dead Season Two: Amid the Ruins. What's on the menu is an amazing penultimate episode with some amazing storytelling that tugs on the heartstrings of players and builds up to the story's ultimate ending episode. Playing through […]
Season Wrap Up: The Walking Dead
01 April 2014 Matt Dodge
Rick and his group have finally made it to Terminus, and the end of another season, but The Walking Dead isn't about to let the survivors relax for even a minute. Opening with a simultaneous flashforward/flashback, Rick sits in front of a dilapidated car, his hands and face covered in blood. All of a sudden […]
The Walking Dead: Us
26 March 2014 Matt Dodge
There's an expression everyone gets taught when they're children: two wrongs don't make a right. On The Walking Dead, however, it seems like 47 wrongs do make a big sappy, tear-filled happy right. After three episodes with the lead character, Rick finally makes an appearance as he and Michonne make their way done the train […]
The Walking Dead: The Grove
Crazy Lizzie killed Mika so Carol shot her in the head. There. No burying the lead, no pontificating about the small details that highlight the degradation of society, no sarcastic nicknames. The Walking Dead is now show where kids kill kids and get shot in head. Remember when Zombie Sophia shuffled out of the barn […]
The Walking Dead: Alone
This week on The Walking Dead, the splinter groups split up again, and everyone did a lot of walking, go figure. Beth and Daryl have kept trekking through the woods in search of shelter to replace the perfectly good house they burned down. This is the first time in ages that People's Champion Daryl Dixon […]
The Walking Dead: Still
This week on The Walking Dead, it's the Beth and Daryl Show! After splitting up the cast into smaller, geographically disparate groups, the show switches up the formula again and focuses on only two characters for an entire hour. When the audience last sea Beth and People's Champion Daryl Dixon, they were huddled around the […]
The Walking Dead: Claimed
27 February 2014 Matt Dodge
The Walking Dead has spread their cast of characters across the forests and suburbs of Georgia, and this week's episode features fighting themselves, walkers, and just regular human jerkfaces. After letting Rick, Carl, and Michonne have last week off, this episode further develops their new family dynamic, and immediately tries to tear them apart. Rick […]
The Walking Dead: Inmates
After last week's mid-season premiere focused on the trio of Rick, Carl, and Michonne, "Inmates" expands the focus to the other survivors of the prison while still experimenting with new forms of storytelling. It seems that the producers of the show might be taking a cue from "Game Of Thrones" by separating the cast into […]
The Walking Dead: After
After the explosive attack on the prison by the Governor and his forces, The Walking Dead has returned to deal with the aftermath. The mid-season premier begins seconds after the final ended. The walls of the prison have been torn down and the zombies poured into the once secure community forcing the survivors to spread […]
The Walking Dead: 408 "Too Far Gone"
04 December 2013 Matt Dodge
With a slice and a KA-boom, The Walking Dead has reached its mid-season finale as the Governor – er I mean One Eye – as he leads his army of people dumb enough to believe anything in an attack against the prison. But before the explosive hijinks ensue, we have to start with last week's […]
The Walking Dead 407 "Dead Weight"
28 November 2013 Matt Dodge
After a mysterious disappearance, a new name, and a new life, the Governor is back on The Walking Dead. Picking right from last week episode, Martinez rescues young Meghan and his former boss from the zombie pit. He informs the Governor that they have a new settlement, but he must accept Martinez' command and their […]
The Walking Dead 406 "Live Bait"
There's an old saying in politics: "What's a leader without any followers? Just a guy taking a walk". Last year on The Walking Dead, viewers watched the Governor turn from the benevolent leader of Woodbury into a murderous tyrant without a fraction of regard for others. The last time we saw him, the Governor had […]
The Walking Dead 405 "Internment"
Four episodes into the new season, things are still looking very grim on The Walking Dead, even by the standards of a zombie apocalypse. The mysterious illness is still ravaging the prison with no signs of abating. Herschel is still alive in the quarantine building and trying to comfort the sick, including Dr. Caleb, the […]
The Walking Dead 404 "Indifference"
The Walking Dead 403 "Isolation"
31 October 2013 Matt Dodge
The Walking Dead is only three episodes into the new season, and already the entire prison settlement is at imminent risk and the survivors have started killing each other. The mysterious illness has begun to sweep through the jail and people are getting sick very quickly. The decision is made to establish a quarantine area […]
The Walking Dead 402 "Infected"
Happiness is a tricky thing on television shows, because happiness is boring to watch. It's why couples never stay together, why the conspiracy is never really solved, and why Walter White just couldn't keep his mouth shut. The Walking Dead has faced accusation of low excitement and slow pacing (remember the farm? Man, bleep that […]
Season Four Premiere: The Walking Dead
Now we return to The Adventures of Farmer Rick and The Good Times Gang. Today Farmer Rick will show us the best way to grow your own crops, avoiding all those harmful chemicals and pesticides that you'll find in –OH CRAP ZOMBIES! And with that, The Walking Dead has returned for another year of zombie […]
We know how you obsess over your favourite shows.
Click on the images below to read our latest Episode Recaps.
28 April 2013 Peter Wicks
There was a lot of build up to the recent Walking Dead season three finale. We've been waiting for this showdown since the show returned for the second half. I'm sure the ratings remained, as they have all year, gargantuan for AMC. I assumed the body count would be equally large and the misery would be piled […]
Walking Dead 3/24/13 "This Sorrowful Life"
30 March 2013 Peter Wicks
I guess we knew some sort of Merle redemption episode was on its way. I had hoped it would be part of something greater, like Merle's little redemption story in the finale. Instead it stands as the primary driving force of "This Sorrowful Life." This episode starts out with letting us know that Rick has […]
Walking Dead 3/17/13 "Prey"
So, were you wondering what happened to Tyreese and his group? Sure, we saw them join up with the Woodbury crew, but they've remained unseen for a few episodes. Tonight, they're back albeit as a subplot to Andrea's sudden realization that the Governor is a bit off. Where are Rick and crew as they prepare […]
Walking Dead 3/10/13 "Arrow on the Doorpost"
The most recent episode has the Governor and Rick meeting for a showdown in a dingy barn. At first, I was expecting a few pithy comments, a quick draw, and the death of the Governor. Then I remembered I wasn't watching Justified. This is the Walking Dead, where tension often gets ratcheted to eleven. Soon […]
Walking Dead 3/3/13 "Clear"
AMC's lovable band of zombie slayers got a slight reprieve in this week's episode fittingly named 'Clear.' Rick, Carl, and Michonne headed out of the prison for a daytrip to Rick's hometown to supply up. A showdown with the unhinged Governor looms in the near future and for that they'll need a few more bullets. […]


Alex Duggan is a visual artist working in Portland, OR. He received his BA in Studio Arts at Humboldt State University, with a concentration in painting.
Predominantly an illustrator, Alex takes from his daily sketches and doodles and creates a sprawling fantastical world of endearing and personable creatures and demons through ink, oils, acrylics, and watercolors. His works are often finished with gold leaf and detailed pattern work. Fueled by a desire to create a fantasy world for children, Alex hopes to someday become a Dr. Seuss 2.0 of sorts. His major influences are, first and foremost, Gustav Klimt, as well as John Tenniel, Maurice Sendak, Theodor Geisel, and Francisco Goya.
I take commissions in illustration, painting and photography. You name it, I'll draw it. Or paint it. I'm also very enthusiastic about working with other artists on collaborations, murals, or any such community projects, and will take most opportunities for the sake of exposure. Don't hesitate to contact me ! I love any feedback I can get.
Thank you for viewing my website and my artwork, I hope you enjoy.


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Sud Department (originally Sud-Est Department) was one of the original four departments of Ivory Coast. It was established in 1961, along with Centre Department, Nord Department, and Sud-Ouest Department. During Sud Department's existence, departments were the first-level administrative subdivisions of Ivory Coast.

The department was established as Sud-Est Department. Using current boundaries as a reference, the territory of Sud-Est Department was composed of Abidjan Autonomous District, Comoé District, Gbôklé Region, Lagunes District, Lôh-Djiboua Region, San-Pédro Region, and Zanzan District.

In 1963, Est Department was created by dividing Sud-Est Department. As a result of this division, Sud-Est Department was renamed Sud Department. Using current boundaries as a reference, the territory of Sud Department was composed of Abidjan Autonomous District, Gbôklé Region, Lagunes District, Lôh-Djiboua Region, San-Pédro Region, and Sud-Comoé Region.

In 1969, Sud Department and the other five existing departments of the country were abolished and replaced with 24 new departments. The territory of Sud Department became the new departments of Abidjan, Aboisso, Adzopé, Agboville, Divo, and Sassandra.

Notes

References
"Districts of Côte d'Ivoire (Ivory Coast)", statoids.com, accessed 17 February 2016.

Former departments of Ivory Coast
1961 establishments in Ivory Coast
1969 disestablishments in Ivory Coast
States and territories established in 1961
States and territories disestablished in 1969

redpajama_set_name: RedPajamaWikipedia


With so many takers on being the best agency for website design and development, it is often difficult for consumers to make the right decision. While most agencies do a pretty decent job in designing and developing your website, they still do not do an exceptional job. It is obvious that with so many design and development agencies, more and more people are getting their websites designed whether for personal blogging, for brand building for selling their products and services. This has led to a plethora of standard designs and templates that make them all look the same without any chances of innovation.


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Guy A. Daigle
Guy A. Daigle, 87, beloved husband of 58 years to the late Charlene (Martin) Daigle (2012), passed away peacefully with family by his side at his home on Sunday, March 31, 2019. Born in Lille, ME, the son of the late Pea and Jean (Collins) Daigle, he grew up and lived in Lille, ME before moving to Hartford, CT in 1950, and then Vernon in 1960. He moved to East Longmeadow, MA last year to spend more time with his much loved grandson. Guy proudly served his country in the U. S. Army during the Korean War. He owned and operated Daigle Hardwood Flooring in East Hartford for 58 years. He was a communicant of the former Sacred Heart Church in Vernon. Guy was also a member of the French Club in Hartford, the Knights of Columbus in Manchester, the British American Club in Manchester, the VFW, and his passions were hunting and snowmobiling. Guy is survived by his children, Sharon Barba and her husband Mark of Hampden, MA, and Bruce Daigle of Coventry; a grandson, Jason Barba of Hampden, MA; a step grandson, Michael Pelletier of Rocky Hill, CT; two sisters, Muriel Roy of St. Agatha, ME, and Blanche Albert of Manchester, CT; a brother, Roland Daigle of Manchester, CT and several nieces and nephews. He was predeceased by his son, Jeffrey Daigle; two brothers, Patrick and Raymond Daigle, and his sister, Yvette Holmes. His family will receive friends for calling hours on Friday, April 5, 2019 from 4 – 8 p.m. at the Ladd-Turkington & Carmon Funeral Home, 551 Talcottville Road (Route 83), Vernon. Family and friends may gather at the funeral home on Saturday, April 6th at 9 a.m. followed by a Mass of Christian Burial at 10 a.m. at the Church of the Assumption, 27 Adams Street South, Manchester, CT. Entombment will follow in St. Mary Cemetery, East Hartford with military honors. Memorial donations in his memory may be made to the American Lung Association in Connecticut, 45 Ash Street, East Hartford, CT 06108. For online condolences and guest book, please visit www.carmonfuneralhome.com Ladd-Turkington & Carmon Funeral Home 551 Talcottville Rd Vernon 06066 8608753536 Website
Gerald Abruscato
Donald MacKay Jr.


http://www.NewsAndOpinion.com | It was the big talk on talk radio all day, it was all over the Internet, it was on the cable news channels, it was reported all over the place! "Did you hear about the attack?" "You mean Al Qaeda's attack on the U.S. Marines in Kuwait?" "No-- Harry Belafonte's attack on Colin Powell."
In an interview on a San Diego radio station last Tuesday, Harry Belafonte let loose and slammed Secretary of State Colin Powell, calling him a race sellout and likening him to a plantation house slave out to please his master. Oh, that Harry -- he's such a sweet guy, isn't he?
Belafonte told the show's host that Powell was like a plantation slave who moves into the slave owner's house and only says what his master wants him to say. "There's an old saying in the days of slavery, there were those slaves who lived on the plantation and there were those slaves that lived in the house. You got the privilege of living in the house if you served the master...exactly the way the master intended to have you serve him."
"Colin Powell is committed to come into the house of the master," Belafonte continued, "When Colin Powell dares to suggest something other than what the master wants to hear, he will be turned back out to pasture." Belafonte went on like that for close to twenty minutes on air, ripping at the entire Bush administration as well, including an attack on Attorney General John Ashcroft.
The real reason why Belafonte holds Powell in such complete and hostile contempt, of course, is because Powell is a Republican. To an ultra-liberal black man like Belafonte a Republican black man is a crime worse than murder. A Black Republican is worse than being a slave --- he's a sellout. He's a traitor. He's a turncoat. If you don't go along with the liberal Democratic mantra then you must be a house slave. A shill for the master. It's not deemed possible that Powell might actually hold certain non-liberal convictions himself -- oh, no-- he's only a puppet for the white man -- saying only what "the master" wants him to say. So believes Belafonte and his liberal colleagues in the entertainment world.
Justice Clarence Thomas was, and continues to be, vilified in the same way by the left. Justice Thomas is a self-made man who believes that personal responsibility, determination, and hard work can add up to success for anyone, no matter what color -- but this approach goes contrary to the quotas, government handouts, and racial preferences long supported by liberal Democrats. That's why they hate him. It's never been about race, really, it's about ideology. Conservative blacks are attacked for not falling in line with liberal blacks. Just as politically conservative Jewish people are reviled by liberal Jews.
During the interview Belafonte also praised the United Nations -- holding it up as a prime example of global democracy. He also had some kind words to say about Nelson Mandela, who said just a few short weeks ago that the United States of America is a threat to world peace. That alone should tell you all you need to know about Mr. Harry Belafonte. Methinks the Banana Boat is listing quite a bit to the port side.


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Who are the new additions to the Victoria series 3 cast?
Daniel MackrellSunday 24 Mar 2019 8:00 pm
Jenna Coleman as Queen Victoria, Lily Travers as Duchess Sophie Monmouth and Kate Fleetwood as Princess Feodora (Picture: ITV)
Victoria returns to our screens tonight as it continues to follow the life of Queen Victoria and the many challenges she faces while ruling the United Kingdom.
Jenna Coleman returns to the role as the 1800's ruler, joined by Tom Hughes who plays her husband Prince Albert.
The third series will also see plenty of new faces providing support to the Queen, as well as new obstacles for her to overcome.
Victoria will come face-to-face with her half-sister Princess Feodora, while the new Prime Minister Lord John Russell also makes his first appearance.
Here is everything that you need to know about the newest characters to appear in the series.
Laurence Fox as Lord Henry Palmerston
Laurence Fox as Lord Henry Palmerston (Picture: ITV)
Lord Palmerston is introduced during the first episode of series three alongside Prime Minister Lord John Russell.
Palmerston is working as the Foreign Secretary at the start of the new series but in real life we know that he went on to become the UK Prime Minister on two separate occasions.
The British politician will be played by 40-year-old Laurence Fox.
Laurence is best known for playing Detective Inspector James Hathaway in the detective drama Lewis.
He has also starred in The Frankenstein Chronicles, A Room with a View and Bear Grylls: Mission Survive.
John Sessions as Lord John Russell
Actors Fenella Woolgar and John Sessions (Photo by Roberto Ricciuti/Getty Images)
John Russell is the latest Prime Minister to feature in the show, although in real life his time in the position was relatively short.
The new PM advises the Queen during the first episode of the new series as she tries to keep the public happy.
In Victoria he is portrayed by actor and comedian John Sessions.
He is mostly known for his improvisational comedy and for appearing on Whose Line Is It Anyway? and QI.
He has also appeared in various dramas including Sherlock, Outlander, Shameless, Mr Selfridge, Skins and Hotel Babylon.
Kate Fleetwood as Princess Feodora
Jenna Coleman as Queen Victoria and Kate Fleetwood as Princess Feodora (Picture: ITV)
Kate Fleetwood will be playing the role of Queen Victoria's half-sister Princess Feodora.
The two women were both daughters of Princess Victoria, but with different fathers.
Viewers are set to see some tension arise between the two sisters after she arrives at Buckingham Palace seeking sanctuary.
Kate currently plays Nancy Birch in Harlots, a period drama which airs on ITV Encore in the UK and on Hulu in the US.
She has also appeared in Walking the Dead, EastEnders and Harry Potter and the Deathly Hallows: Part 1.
Other new cast members in Victoria
Sabrina Bartlett, who played Sophia in Da Vinci's Demons and also had a small role in the sixth season of Game of Thrones, will also be joining the cast as Abigail Turner.
Other actors set to appear in the new series of Victoria include Siobhan O'Carroll as Lady Lyttelton, as well as C.J. Beckford as William Cuffay and Kerr Logan as Inspector Daubeny.
Ben Cartwright will also featured as Feargus O'Connor, who was an advocate for the Land Plan which aimed to help the working class with landholding requirements.
The Prime Minister Lord Melbourne's sister Emily Temple will be played by actress Pandora Clifford, who has starred in Pirot and Taggart.
MORE: Victoria writer Daisy Goodwin teases major character death in series 4: 'The fallout is fantastic'
MORE: Jenna Colman hints she will be recast in Victoria: 'It will be hard to give it up'
Victoria - ITV drama