text:
'The Weed Gummies Cookbook' Lets You Find the Perfect Dose
2022-10-31 05:02:53 By : Ms. Cara Shih
Gummies are a perfect product for children, whimsical in color, texture, and shape. But if you had asked me at eight years old how gummies are made, my answer would be the same as if you asked me at 28. Gummies are a food that seem antithetical to a culinary education. They aren't cooked; to me, they have always just existed. The process of how they come into this world is something I have never sought more information about.
But there is a growing interest in gummies for adults. Weed candy—the adult version of Flintstone vitamins, essentially—is only growing in popularity as marijuana's legality expands and is further normalized nationwide. Cannabis-infused treats are no longer the domain of your burnout cousin. With more popularity (and increased financial success), non-smokable marijuana products are receiving more attention and care. chocolate packing machine
Now, a cookbook designed specifically for the expanding world of pot dessert has been released. The Weed Gummies Cookbook by Monica Lo was published in August 2022. According to Lo, "This user-friendly cookbook [is] designed to build your culinary cannabis repertoire and help you feel empowered to make your edibles at home."
Lo has an interesting story about using cannabis in cooking. Experiencing a herniated spinal disk, she found relief not from doctor-prescribed opioids but from an edible. She then created the cooking blog Sous Weed , "dedicated to using cannabis as a superfood ingredient as opposed to merely a psychoactive additive."
This effort to understand cannabis in a new way and expand its perception as an ingredient has led to some interesting discoveries. In the preface of The Weed Gummies Cookbook, Lo gives a brief history of the plant's long life in cultures across the world.
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"Deep-diving into history, I was shocked to discover that the medicinal properties of cannabis were first recorded in Pen Ts'ao, a Chinese pharmacological book written in the second century," Lo writes. "Not only was cannabis regarded as a foundational herb in ancient Chinese medicine, but it was also widely used in Hong Kong, Taiwan, Japan, South Korea, and India."
The Takeout was able to speak with Monica Lo regarding her new cookbook, the benefits of DIY edibles, and taking cannabis cooking to the next level.
The Takeout: Why would someone want to make their own gummies as opposed to store-bought?
Monica Lo: Good question! For one, it's far more cost effective to make your own infusions and treats at home, especially as dispensary prices are on the rise due to a variety of reasons, from taxes to operating costs. Dispensary edibles often have preservatives to extend their shelf life—but when you DIY, you can make your edibles without the commercial preservatives and also customize the dosage to your body's needs. Plus, they make great holiday gifts.
TO: Your blog, Sous Weed, is a play on the French cooking term "sous vide." What is sous vide as a cooking process and why is it helpful for cooking weed?
ML: Sous vide refers to the process of placing your food in a bag or airtight jar and cooking it at a precise temperature in a pot of water. Since the cannabis flower and cooking oil are sealed in an airtight bag and placed underwater to infuse, there's no smell. Plus, I can make multiple cannabis infusions at once, using all my favorite cannabis strains. I would use these infusions in a variety of sweet and savory dishes.
All you need to do is set the temperature on your sous vide machine, seal your ingredients up, and drop it into the water. You can walk away and go about your day without worrying about overcooking your cannabis or stinking up the house.
This is how Sous Weed was born. My sous vide cannabis experiments ended up helping me manage my back pain, and by documenting it on my blog, doors opened for me to collaborate with really amazing people and brands in the cannabis industry.
TO: What is one of the biggest mistakes that people cooking cannabis-infused food for the first time make?
ML: You might feel intimidated if you're dipping your toes in, but the easiest way to infuse cannabis is to make a simple alcohol-based tincture, which doesn't require any special tools. You can then use that tincture to make infused sugar for your gummies and candies.
Safety and responsible consumption is very important for me to harp on. If you're concerned about dosages, the recipes in my cookbook are designed to be low dose and snackable. The important thing is to use lab-tested cannabis flower so you can do some estimations on how much to use to get the dosage you want. Once you are comfortable with cannabis cooking, you can add more cannabis flower or use a more potent strain in your infusions.
TO: Gummies (weed-infused or otherwise) have never struck me as culinary. I'm sure this is my own bias or ignorance. For someone looking to experiment with cooking cannabis for the first time, what is exciting about the process? What is worthwhile about it?
ML: We've come a long way from the acrid pot brownie days. My aim is to treat cannabis as a superfood ingredient, and my blog is filled with sweet and savory recipes highlighting cannabis in all its forms. You'll get a variety of phytocannabinoid benefits from consuming cannabis in its raw or cooked state.
A few years back, I collaborated on a Stem-to-Seed Dinner (a play on nose-to-tail dining) with MARY Magazine where we used the whole cannabis plant for the meal. My team and I really wanted to push ourselves to be creative. Hemp seed was used in the bread and grissini. The cannabis root was infused in a sous vide amaro. The mackerel Crudo was cured with kief. The cannabis plant stems were used to make fresh ricotta cheese. The raw cannabis leaves were used in a gremolata and also soy-pickled. Finally, for the pièce de résistance, a capon and guinea hen roulade was smoked in a chamber with cannabis flower. It was a culinary challenge for sure and such a memorable dinner.
TO: In the introduction to your book, I was really interested in the paragraph on the history of cannabis use in cooking. What does it mean to add to this legacy? How do you feel like you're leaving your unique mark?
ML: I had the honor of presenting some research on Cannabis in Ancient Asia (with a focus on East Asia) at the Asian Art Museum back in 2019. This versatile plant evolved about 28 million years ago on the eastern Tibetan Plateau. More than 4,000 years ago, Chinese farmers used it for oil and fibers. Over 2,500 years ago, the Chinese used it for medicinal, spiritual, and recreational purposes. Believe it or not, cannabis is our ancestral medicine.
With normalization of cannabis use comes legalization. With legalization comes more medical research on how cannabis can be used as a therapeutic agent. I am happy to be part of that movement in destigmatizing cannabis use, especially within the AAPI community.
chocolate bean machine It's so important for us to understand the history of cannabis, not just the origins, but also how communities of color in the US have been disproportionately harmed by the failed War on Drugs. There are too many people still incarcerated for nonviolent cannabis offenses, and I hope to help by donating a portion of the profits of The Weed Gummies Cookbook semiannually to The Last Prisoner Project to support criminal justice reform and drug policy reform.
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Q2 2012 Greensboro/Winston-Salem, North Carolina Retail Property Sales Analysis
Greensboro/Winston-Salem
Property Sales Analysis
The January 2020 market report for the Greensboro/Winston-Salem, North Carolina Retail market includes our most recent findings on:
View our Greensboro/Winston-Salem, North Carolina Submarket Map
The $57.1 million exchanged in nine transactions through the first half of 2012 roughly matched the pace set in 2011. The average selling price and mean cap rate year-to-date were $163 psf and 8.3%. The six properties that changed hands during the second quarter alone fetched a combined total of $29.7 million at an average price and
mean cap rate of $161 psf and 7.8%. The 12-month mean rolling cap rate per quarter-end was 8.5%, up from 4.9% a year earlier. In the quarter's largest sale, third-largest in a year, Village at Robinhood LLC paid NC Holdings LLC $15.9 million ($120 psf) in June for the 132,782-square-foot Village at Robinhood property in Winston-Salem.
Village at Robinhood's new owner "plans to invest in the retail hub and have it completely leased up within about two years," the local Business Journal reported in July. Occupancy per the date of the Journal report was about 100,000 square feet. The new owner "is working on deals with five prospective tenants and that he expects to have an additional 10,000 square feet to 15,000 square feet of retail space leased at the center within the next six months," according to the report.

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Raped by Modernist Zeal
Best-seller Books, Plays and Movies
Brazzil in PDF
by Brazzil Magazine November 1, 2002
The left had a very good showing in major cities.
On the other side of the fence, the governing coalition saw
its combined tally as strong evidence of its
solid leadership position nationwide.
By Brazzil Magazine
Música de Invenção [hereafter Invention Music] is a collection of
articles written by Augusto de Campos and published in 1998 by Perspectiva, São Paulo.
They originally appeared between 1957 and 1997 in Suplemento Literário de Minas Gerais,
Enciclopédia Abril, the magazine SomTrês, and the newspapers Folha de
São Paulo, Jornal da Tarde, and Jornal do Brasil. The book is divided
into an introduction, three chapters, one post-chapter, two appendixes, and an index of
Chapter I, "Word and Music", contains articles on Occitan music, Pound's Le
testament, the music of Pound/Antheil and Stein/Thompson, and Schoenberg's and
Giraud/Hartleben's Pierrot lunaires; it includes Campos' recreation of Hartleben's
translation of Giraud's Pierrot lunaire and Campos' translation of Schoenberg's
preface to the piece. Chapter II, "Radicals of Music", contains articles on
Satie, Joplin, Smetak, Webern, and Varèse; it includes translations of excerpts from
Satie.
Chapter III, "Musichaos", contains articles on Cage; it includes Campos'
interview to J. J. de Moraes and pastiches of Cage. "Post-music", the
Post-chapter, contains articles on Scelsi, Nancarrow, Antheil, Nono, Ustvolskaia, Cowell,
and post-music. Appendix I, "Notes on Notes", contains articles on timbre
melody, microtonalism, and Stravinsky. Appendix II, "Polemics", contains Campos'
1957 defense of Boulez and his translation of Boulez's "Homage à Webern".
On the back cover, Tragtenberg sets the tone. The book is for those who enjoy music
"with love & rigor". Campos has been "the first to tackle composers
such as Webern, Varèse, Cage, Boulez, and Nono, the first to champion true `underground
sonic earthquakes' such as Antheil, Cowell, Nancarrow, Scelsi, and Ustvolskaia". He
is "the poet of post-everything" now introducing readers to "the post-music
of silences, sounds, and noises." Invention Music is "the most important
book on the subject" ever published in the "land of `deaf musicians'",
a.k.a. Brazil.
As Campos explains in the Introduction, the articles serve no systematic purpose. What
links them is the fact that all deal with what he terms, after Pound, inventor musicians.
Having fought for the Tropicalist composers of the sixties (Gilberto Gil, Tom Zé, and
Caetano Veloso) and seeing them enthroned in the media, Campos now turns against "the
aural desensitization to contemporary music". It is utterly unacceptable that
"the marvelous adventure of […] high music" be thwarted by "aural
laziness" and the "mercantile eagerness of the media". We must all rise
from "the sound cushions of palatable music" and listen to "the
thought-music of the great masters and inventors", "the saints and martyrs of
the new language". Campos will tackle "questions to which contemporary
invention-music has given admirable answers". Between the lines, he will recount
"a bit of the history of artistic guerilla."
According to Campos' introduction to Pound's ABC of Reading, there are six
categories of writers: (1) inventors, those who may be held responsible for the
discovery of a new process; (2) masters, those who explore some such processes; (3)
diluters, the less successful followers of the former two; (4) good writers
without qualities, who produce reasonable work in period style; (5) belles lettres
types, who cultivate particular fields; and (6) faddists, fashionable but
forgettable. The best critics, Pound says, are those who effectively contribute to improve
the art they criticize; then come those who focus attention on the best writing; the worst
are those who divert attention from the best to second rate works or to themselves. One
recognizes a bad critic when he or she starts going on about the author and not about the
work. The preliminary and simplest test is to check the words that do not work.
As Perloff suggests in "The Music of Verbal Space" (in Sound States,
1997) and Hollander notes in Vision and Resonance (1975), the concrete poets of the
Brazilian Noigandres group (Augusto de Campos, Haroldo de Campos, and Décio Pignatari)
are not particularly remarkable for their aural explorations. Invention Music is
prodigal with assonances, consonances, alliterations, epithets, commonplaces, adjectives,
and metaphors, not always in the best possible taste: the music of Provence is "a
prowess"; "the era of Erik" is "the era of rag"; music is
"the most abstract of artistic genres"; Ustvoslkaia is "the musical Sphinx
from Russia"; Reich's music is "the provocation of molecular tautology".
Cage is "the prophet and guerilla fighter of interdisciplinary art"; Cowell's
pieces "adumbrate the polyrhythmic pranks of Colon Nancarrow's unbridled
pianolas"; Eisler is "that mediocre disciple of Schoenberg, whom the bad
conscience has sought in vain to raise to the rank of first rate". Outbursts of
reactive rhetoric are legion. Apparently, artistic guerilla started when Willy Corrêa de
Oliveira vetoed Universidade de São Paulo Press support to one of Campos' publishing
Invention Music wears the appearance of a biblia pauperum of the concrete
poet's musical cult. Upon a page of Quattro pezzi per orchestra, Campos
superimposes Scelsi's signature and symbol. Upon a photograph of Webern in the Alps,
Campos superimposes a page of Piano variations op. 22. Upon a close-up of
Schoenberg's eye, Campos superimposes Schoenberg's dodecaphonic scheme. Upon a close-up of
young Varèse, Campos superimposes a page of Ionisation. Upon a close-up of elderly
Varèse, Campos superimposes a page of Hyperprism. Upon a photograph of an
interstellar phenomenon, Campos superimposes middle aged Nono's balding head: "Big
Bang Nono" (!).
Upon the photograph of another such phenomenon, Campos superimposes elderly Nono's
balding head: "Quasar Nono" (!!). Upon a photograph of Cage and himself, Campos
superimposes the score of 4'33". Campos himself is everywhere to be seen: with
Olga Rudge in Castel Fontana in 1991; with members of his household chez Cage in
1978; cleaning lipstick from Cage's face in 1985; molesting Cage with concrete poetry in
1985. Invention music abides by the rules of neither etiquette nor scholarship. So why
should Campos? And why should we?
How does Campos fare when Invention Music is set against Pound's agenda as
expounded by Campos himself? Neither a belles lettres type nor a faddist, he stands
in between. Specializing in record review, Campos sets forth the ins and outs of his
modernist creed while inexorably marching towards the concluding instance of record
company vituperation. In this kind of upper highbrow Hello! there is little room
for whatever theoretical apparatus the subject may require.
Those who share in Campos' tastes will find that he fulfills the task of the second
rate critic. But he cannot help diverting attention to himself. Campos talks about authors
and himself. As to the works, he has precious little of interest to say: "Long Life
Webern!", "Long Life Varèse!", mind the similarities between these names!
The reader is made witness to a competition where it matters to ascertain: (1) who has
discovered the last composer first; (2) who has written about his first work first; (3)
who has bought his first record first. Having made the wrong choices, Mário de Andrade
(Nationalism) and Willy Corrêa de Oliveira (Bolshevism) have lost their ways and lose the
game. Seconded by Nestrovski, Campos wins.
In his Pequena História da Música [Short History of Music] (1942),
Mário de Andrade states that "also in trios, quartets, and quintets, there has been
a most interesting blossom, employing the most unusual and curious soloist ensembles (Kurt
Weill, Falla, Ezra Pound, Anton Webern)". This leads Campos to conclude that Andrade
was a musicological travesty. And yet one reads in Invention Music that "from
him [Nestrovski] I have received two tapes with musical novelties: Wishart, Ferneyhough,
Smalley, Philip Glass etc. Everything very interesting."
Now, the founding father of Brazilian ethnomusicology was a modernist in the early
twenties, when being a modernist was de rigueur for a bright youth of progressive
São Paulo intelligentsia. The modernist Campos is a latecomer, the postmodernist Campos
is unconvincing; he strictly fits into the high-art-plus-best-of-pop-culture pattern that
Born identifies at IRCAM (Rationalizing Culture, 1995).
So far as it presents an essentially visual poet in the role of avant-garde music
beacon, Invention music indeed is, as Tragtenberg wishes, "a unique document
on the Brazilian musical and cultural life of the last decades", from Maestro X to
Maestro Y. Campos is to be held responsible for the fact that facile punning has come to
be viewed as an honorable form of mental activity, and hence for the fact that pop singers
have come to be viewed as intellectuals. In this manner, thinking has been debased.
The ease with which the amateur Campos collects and distributes novelties from abroad
is the ease with which the retired intellectual Cardoso collects and distributes writs
from the International Monetary Fund. The musicologist Campos will be rendered redundant
by the World Wide Web.
In the meantime, Brazilian poets are post-everything, Brazilian composers are the
greatest of the Americas, Brazilian transvestites are the most sought after of Europe,
Brazilian intellectuals are the most Marxist in the world. Abroad, they come from the land
of coffee, Carnaval, and football. At home, their houses are barbed-iron fenced and their
teeth are missing. They have been raped by a feudal elite, of modernist zeal. The country
of the future went wrong. "Yes, nós temos Augusto de Campos!" Anyone
Carlos Palombini currently lives in Porto Alegre, Rio Grande do Sul, and
holds a PhD in Music from the University of Durham, UK. His articles and reviews appear in
scholarly journals as the Computer Music Journal (Cambridge: MIT Press), Music
and Letters (Oxford: Oxford University Press), Organised Sound (Cambridge:
Cambridge University Press), the Electronic Musicological Review (Curitiba:
Universidade Federal do Paraná) and the Leonardo group of publications (Cambridge:
MIT Press). He has written contributions to Música y nuevas tecnologías: pespectivas
para el siglo XXI (Barcelona: L'Angelot, 1999) and The Twentieth Century Music
Avant-Garde: a Biocritical Sourcebook (New York: Greenwood, forthcoming). You can
contact him at palombini@usa.net
This article was originally published in Leonardo Digital Reviews
comments to
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Arthur Murray Jacksonville gives every person the opportunity to experience ballroom dancing by offering an intro lesson. During this time, your instructor will get to know you and your desires in learning to dance. So whether you want to "salsa" yourself onto the dance floor or choose a lively "swing", they will begin immediately to teach you the basic steps of your favorite dance or help you to begin to discover other ballroom dances. After your experience, together you and your instructor will discuss the program that is uniquely designed for you that will meet all of your dancing expectations.


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Sarah Blakley-Cartwright: Red Riding Hood (2011) The Book Based on the Movie
Posted in American Literature, Books, Fairytale, Fantasy, Fiction, Novel	by Caroline
Valerie's sister was beautiful, kind, and sweet. Now she is dead. Henri, the handsome son of the blacksmith, tries to console Valerie, but her wild heart beats fast for another: the outcast woodcutter, Peter, who offers Valerie another life far from home.
After her sister's violent death, Valerie's world begins to spiral out of control. For generations, the werewolf has been kept at bay with a monthly sacrifice. But no one is safe. When an expert wolf hunter arrives, the villagers learn that the creature lives among them – it could be anyone in town.
It soon becomes clear that Valerie is the only one who can hear the voice of creature. The Wolf says she must surrender herself before the Blood Moon wanes . . . or everyone she loves will die..
A few months ago I was browsing the Internet looking for the website of Fever Ray and that's how I found the trailer of the movie Red Riding Hood for which Fever Ray has done the soundtrack.
There are hundreds of fairytale retellings out there. The range is incredible. From literary fiction to pulpy trash you find everything.
Ever since I have read Angela Carter's Fairytale retellings and watched the movie The Company of Wolves I had a particular liking for the Little Red Riding Hood retellings. It has a few powerful elements that not all other fairy tales have, first of all the wolf and the red cloak. When it comes to the original fairytale it is far from being one of my favourites but what it inspires newer authors to do is often interesting.
For these reasons there was no way around the book Red Riding Hood as soon as I discovered it. The book is actually based on the movie, which makes the marketing strategy clear. This is even enhanced once you realize that what you hold in your hand isn't the complete book. The last chapter is missing and can only be read online. This isn't such a problem by now, as the movie has been released, but when I started reading, the chapter wasn't accessible yet because the movie wasn't playing.
The wolf in this version, like in some of the other retellings, is a werewolf. During the Blood Moon he lurks in the darkness and comes out of his hiding to kill the people of Daggorhorn. He hasn't done so for a long time because he normally gets an offering but different circumstances lead to the killing of Valerie's sister and from there to the death of other villagers. There is no stopping the wolf anymore.
The book works pretty much like a paranormal thriller. It is suspected that the werewolf must be from the village. Someone among the people they all know is transforming himself during the Blood Moon. Like in a proper thriller, there are many suspects. Red herrings abound and you really have to read until the final (online) chapter to find out who is the killer. Insofar it is quite gripping. I think it is possible to find out who it is but it is still entertaining.
What did not work for me are the characters. With the exception of the grandmother they are quite flat and interchangeable. The grandmother however is interesting, a witch-like, potion-cooking old woman who lives outside of society.
Another thing I didn't like are the inconsistencies in the story. I had a feeling it was written very fast and there were really tacky moments too.
This probably sounds as if I had regretted to read this book but this is absolutely not the case. The descriptions are what I really liked. The little village, lost in the forest, the narrow medieval streets, the picturesque settings and most of all the house of the grandmother. The description of that house made the whole reading worthwhile. The grandmother lives in a tree house, outside of the fear-ridden village, high above everyone else. The interior of that house, the security it provides, is described very appealingly. I'm not going into details, those who want to read the novel should discover this for themselves.
All in all it was a fast read, a bit boring at times but still enjoyable and worthwhile thanks to the descriptions and settings. I shouldn't forget to mention that there is also a romance part in the novel that did not work so well, or rather, the conflict keeping the lovers apart didn't work.
I think you gathered that it is nowhere near as good as other retellings of the fairytale that's why I decided to dedicate another post to a few of the really stunning examples.
Here is the Book's Homepage with the final chapter.
I haven't seen the movie yet but I might watch it since I like Fever Ray and Gary Oldman.
Red Riding Hood is my first contribution to the Once Upon a Time Challenge.
American author, Book based on Movie, Books, Fairytale retelling, Fantasy, Novel, Red Riding Hood, Sarah Blakley-cartwright	21 Comments
Once Upon A Time Challenge
Posted in Challenge, Fairytale, Fantasy, Fiction, Folklore, Literature, Mythology, Nonfiction	by Caroline
No matter what I said about challenges at the beginning of the year, forget it. Of course I'm joining the Once Upon A Time Challenge. I loved last year's R.I.P. hosted by Carl and this is the lighter springtime side to R.I.P's autumnal darkness. And I love fairy tales, folklore, fantasy and mythology.
There are different levels in the Once Upon A Time Challenge, please go there and find out all about it.
I decided to sign up for the Journey which leaves everything open from reading only one book to as many as I want, fiction and nonfiction.
I'm just about to finish a few fairy tale retellings, so this is timely in any case. I have a few ideas for other books I might read but I'm not sure it's wise to tell it yet as I have seen in the last few weeks a few projects being left behind due to time constraints. The only book I am sure to review is Red Riding Hood and a few other retellings of the Little Red Riding Hood fairytale.
Challenge, Fairytale, Fantasy, Fiction, Folklore, Mythology, Nonfiction, Once Upon A Time	25 Comments
Rebecca West: The Return of the Soldier (1918) Literature and War Readalong March
Posted in Books, British Books, Fiction, Literature, Novel, Readalong	by Caroline
The soldier returns from the front to the three women who love him. His wife, Kitty, with her cold, moonlight beauty, and his devoted cousin Jenny wait in their exquisite home on the crest of the Harrow-weald. Margaret Allington, his first and long-forgotten love, is nearby in the dreary suburb of Wealdstone. But the soldier is shell-shocked and can only remember the Margaret he loved fifteen years before, when he was a young man and she an inn-keeper's daughter. His cousin he remembers only as a childhood playmate; his wife he remembers not at all. The women have a choice – to leave him where he wishes to be, or to 'cure' him. It is Margaret who reveals a love so great that she can make the final sacrifice.
The Return of the Soldier is unusual because it has been written by a woman and during the war. But it is also unusual in its treatment of the war. Although a tale that takes place on the home-front, the horrors of the war in the trenches shine through constantly.
The novel is a first person narrative, told by Jenny, Chris's cousin. It opens on a domestic scene showing Kitty, Chris' wife and Jenny together in the nursery. We learn immediately that the child who lived there is dead and we also learn a lot about the very different characters of these two women. Kitty is not easily alarmed even though they haven't heard from Chris for weeks. The very first paragraph shows that she treats the war lightly, does maybe not take it very seriously at all, rather like some adventure, while Jenny is aware of the dangers.
"Ah, don't begin to fuss!" wailed Kitty. "If a woman began to worry in these days because her husband hadn't written to her for a fortnight—! Besides, if he'd been anywhere interesting, anywhere where the fighting was really hot, he'd have found some way of telling me instead f just leaving it as "Somewhere in France. He'll be alright."
Jenny will tell us later what a very shallow woman Kitty is. Appearances is all that is important to her.
Now, why did Kitty, who was the falsest thing on earth, who was in tune with every kind of falsity, by merely suffering somehow remind us pf reality?
The initial scene is almost idyllic as the house and its surroundings are so lovely and Jenny cannot help but think of how much Chris must miss his life there. Rebecca West is excellent when she describes the surroundings. She chooses words like a painter who tries to get every little shade of what he paints right. Her writing is nuanced and poetical.
The house lies on the crest of Harrowweald, and from its windows the eye drops to miles of emerald pastureland lying wet and brilliant under a westward line of sleek hills blue with distance and distant woods, while nearer it ranges the suave decorum of the lawn and the Lebanon cedar whose branches are like darkness made palpable, and the minatory gauntness of the topmost pines in the wood that breaks downward, its bare boughs a close texture of browns and purples, from the pond on the hill's edge.
Of the two women, Jenny is the one that brings the war into the novel through her worrying. It is deeply rooted in her consciousness as well as in her subconscious. Her feelings for her cousin are so intense, the identification is total at times and she seems to be the one experiencing the battlefield. Through Jenny we get a clear picture of how much was known on the home-front. In the movie theaters they were shown black and white footage of the front line. To be like Kitty, unaware of the real dangers, you had to be really determined to keep them away from you.
Of late I had had had dreams about him. By night I saw Chris running across the brown rottenness of No Man's Land, starting back here because he rod upon a hand, not even looking there because of the awfulness of an unburied head, and not till my dream was packed full of horror did I see him pitch forward on his knees as he reached safety—it was that. For on the war-films I have seen men slip down as softly from the trench parapet, and none but the grimmer philosopher would say that they reached safety by their fall.
Into the initial idyll breaks a shabby and elderly looking woman. She is badly dressed and seems of the lowest social class. Both women feel revolted and when they hear why she has come they are quite shocked. Margaret has come to inform them that Chris has been is in a hospital in France and suffers from severe shell-shock. He is amnesic and has eradicated the last 15 years of his memory, believing to still have a relationship with Margaret. The reactions of the two women towards this member of the lower classes is quite disturbing. They almost react as if she was contaminating the house.
Soon after this conversation, Chris is brought back and has indeed lost every memory of his wife and barely recognizes his cousin who is now fifteen years older.
In what follows we see how each of the three women reacts so differently, how each wishes and longs for other things. We learn also about the relationship Chris had with Margaret and why he broke it off and what happened to her after he left her. Despite all this there is no sign of his recovering his memory and finally a doctor is called. At first he isn't successful but he points out that there may have been a reason why Chris repressed the memory of his marriage. It is only after Margaret suggests to show Chris something that will trigger a strong emotion – in this case things that belonged to the dead child – that he will be able to regain his memory. I the moments before he is shown the baby's things Jenny is suddenly painfully aware of what a recovery truly means. Should he recover, he will have to go back to the front. In sharp contrast to this, Kitty doesn't care. She wants her husband to recognize her again, that's all she cares about. Once the recovery has happened, it's Jenny again who states clearly what will be.
He walked not loose limbed like a boy, as he had done that very afternoon, but with the soldier's thread upon the heel. It recalled to me that, bad as we were, we were yet not the worst circumstance of his return. When he dad lifted the yoke of our embraces from his shoulders he would go back to that flooded trench in Flanders under that sky more full of flying death than clouds, to that No Man's Land where bullets fall like rain on the rotting faces of the dead.
I found it very interesting that The Return of the Soldier can be read in many different ways. Considering the theme of the readalong, I focused on the way she treated WWI but that is not the only topic in this novel. One could also explore the psychological theories or the sociological dimension.
I think The Return of the Soldier is an incredibly subtle and artful novel. The war and it's horrors are like threads that are woven into the fabric of the story. As a journalist Rebecca West was interested and did report on the war but she was also very interested in Freud's theories, some of which she has applied in the novel. I think to make of Chris a shell-shocked soldier suffering from amnesia which was not realistic, shows us that she wanted this to be taken symbolically. The psychologist Glen Clifford kindly and eloquently pointed out in a comment on my introductory post that PTSD is characterized by the incapability to forget and amnesia is a very unlikely occurrence.
The three women all symbolize something else and represent different levels of consciousness. Kitty, the wife he has forgotten is the symbol of all the forces that contribute and maintain the class system and the war. She is a typical representative of the British upper class, of those who decide to send thousands of young men to a certain death. Those who don't care what is going on "over there". She symbolizes the unconscious. Margaret on the other hand stands for the working classes, simplicity, those who have to endure what others force upon them. That seems to be pretty much how Chris feels as well. She may be read as the subconscious. Jenny is by far the most intriguing. She moves back and forth between the different levels of consciousness with a capability of seeing things clearly. She is his cousin but thinks and feels rather like a lover. She seems the most authentic, the most emotional, the one who feels what either Kitty or Chris should feel, namely the horror and despair caused by this horrible war and the sadness about the loss of the little boy. It may very well be that the death of the child drove the spouses apart.
I would like to say thanks to Ann Norton from the International Rebecca West Society, for pointing me towards a new critical edition by Bernard Schweizer and Charles Thorne. It contains invaluable material and background information to the book. If you want to have a look at the content here's the link to the broadview press.
Ann Norton wrote the introduction to the Barnes and Noble Library of Essential Reading Edition.
I am really curious to read what others have to say about this complex novel, be it in a review or in comments.
Other reviews:
Anna (Diary of an Eccentric)
Danielle (A Work in Progress)
The Return of the Soldier was the third book in the Literature and War Readalong. The next one will be Carol Ann Lee's The Winter of the World. Discussion starts on Friday April 29, 2011 .
Books, British author, Fiction, Literature, Literature and War, Literature and War Readalong, Novel, Readalong, Rebeca West, The Return of the Soldier, WWI	34 Comments
Halldór Laxness: The Fish Can Sing aka Brekkukotsannáll (1957) An Icelandic Coming-of-Age Tale
Posted in Books, Fiction, Iceland, Literature, Novel	by Caroline
Abandoned as a baby, Alfgrimur is content to spend his days as a fisherman living in the turf cottage outside Reykjavik with the elderly couple he calls grandmother and grandfather. There he shares the mid-loft with a motley bunch of eccentrics and philosophers who find refuge in the simple respect for their fellow men that is the ethos at Brekkukot. But the narrow horizons of Alfgrímur's idyllic childhood are challenged when he starts school and meets Iceland's most famous singer, the mysterious Gardar Holm. Gardar encourages him to aim for the "one true note", but how can he attain it without leaving behind the world that he loves?
Have you ever read a book and caught yourself smiling almost all the time? The Fish Can Sing is so charming I couldn't help doing it. It's also quite funny at times and certainly very intriguing. I'm afraid I can't really put into words how different it is. As a matter of fact, Halldór Laxness' book is so unusual and special that I have to invent a new genre for it. This is officially the first time that I have read something that I would call mythical realism. It is very realistic but at the same time it is full of exaggerations like we find them in myths. This is due to some extent to the narrator, Alfgrimur, who takes everything he hears literally. Very probably it also has its roots in Icelandic storytelling.
I really owe thanks to Professor Batty of Flippism is the Key. If it hadn't been for him I wouldn't have embarked on my Halldór Laxness journey starting with The Fish Can Sing. The late Icelandic Noble Laureate has written some 60 books. Some haven't been translated into English but almost all of them are available in German. As he told me, The Fish Can Sing is by far more accessible than any of his other books and certainly much easier than Under the Glacier which I had planned on reading first. I went through a bit of a Susan Sontag phase two years ago and stumbled upon her essay on Under the Glacier. Many of the Noble Laureates aren't the most easy reads and I can imagine how challenging some of Laxness' other books must be as The Fish Can Sing, as charming and enchanting as it is, isn't very easy either.
To give you an impression of how different it is, let me just quote the first sentence:
A wise man once said that next to losing its mother, there is nothing more healthy for a child than to lose the father.
This sets the tone nicely. This novel is full of unusual statements and observations. If you want to walk the trodden path when reading a book, chose another one. This is a wild landscape you are entering. A landscape of harsh beauty that – as I can only assume – must mirror the beauty of Iceland itself.
The Fish Can Sing is the story of little Alfgrimur whose mother gave birth just before emigrating to the US and left the baby behind at Brekkukot where he is adopted by the man and the woman he will call grandparents. His mother stayed, like so many others, for some time at the turf-cottage of Björn of Brekkukot. What a world this Brekkukot is. Dominated by the grandfather whose love for people, authenticity and truthfulness are the guiding light towards which so many are directed. The grandfather is the most important person in Alfgrimur's life. He is the personification of absolute love and security.
But whether I was playing in the vegetable garden, or out on the paving, or down by the path, my grandfather was always somewhere at hand, silent and omniscient.There was always some door standing wide open or ajar, the the door of the cottage or the fish-shed or the net-hut or the byre, and he would be inside there, pottering away.
His constant silent presence was in every cranny and corner of Brekkukot – it was like lying snugly at anchor, one's soul could find in him whatever security it sought. To this very day I still have the feeling from time to time that a door is standing ajar somewhere to one side of or behind me, or even right in front of me, and that my grandfather is inside there pottering away.
The grandfather is a real original. He follows his own rules and is not impressed by status or education. Alfgrimur feels that he is profoundly loved. The grandfather reminded me in some ways of Atticus Finch. Another culture, another society but the same aim for truthfulness and tolerance. Only a touch more eccentric. This novel is full of eccentric characters and unusual descriptions like those of the turf-cottage. The grandfather and his hospitality are so famous that people come from all over Iceland to sleep at the cottage. Some stay there always, some are on their way to the States, some are ill and look for a cure, others come to die there.
It would drive one mad to try to tell about all the visitors who ever came to Brekukkot, and indeed such a book would burst all the printing-presses in Iceland.
A dilapidated, creaking stair with seven steps connected the passage with the mid-loft in our house. It was here that and my fellow-residents lived. This mid-loft was the centre-space of the upper storey, partitioned off from the rooms on either side; we were in effect a sort of vestibule for those who lived in the east and west ends of the loft as well as for anyone who went up or down the stair. When my grandfather did not give up his bed to a visitor, he slept in the part of the loft that faced south, but which was actually called the west end; otherwise he would lie on a pile of nets out in the store-shed, and would think nothing of it. Often our living-room was full, and people were tightly packed in at both ends of the loft; there were sleepers in the passage and sleepers in the doorway, and sometimes during the autumn trips, when we had the largest crowds, they would bed themselves down i the store-shed and the hayloft as well.
The book is told in a sequence of short chapters that could almost be read independently like short stories but it is still a novel. Some of the characters and stories that are told are quite funny.
It is a small and protected world in which Alfgrimur grows up and the outside world and foreign countries are only brought to his world through the figure of the somewhat mysterious Gardar Holm, a world-famous Icelandic singer who mostly lives abroad. There is a special connection between Alfgrimur and the singer and it is through him that he discovers his own voice and will choose to follow the same path.
The first real pain in Alfgrimur's life comes from the need to go to school. To leave the safe haven of Brekkukot is terrible for him. All he had been deaming of was staying there forever and becoming a fisherman. This can of course not be and the end part of the novel is therefore almost melancholic.
All in all this was a great discovery. I really liked it a lot and think Laxness has a wonderful imagination. Professor Batty has dedicated his blog almost entirely to Iceland. If you are interested in Halldór Laxness or other Icelandic authors, also crime authors, you will find a lot of information and reviews there. He has reviewed many of Laxness' novels and done several posts on the translations that are available.
Here is his Top Ten Laxness in translation review.
Books, Brekkukotsannáll, Fiction, Halldór Laxness, Icelandic author, Icelandic Literature, Literature, Nobel Laureate, Novel, The Fish Can Sing	35 Comments
Yves Angelo's Le Colonel Chabert (1994)
Posted in French Movie, Movie, Movies based on books	by Caroline
I am really glad I have watched this movie. I liked every minute of it. It's beautifully filmed, the interiors are wonderful, the actors are extremely good.
One of the problems I usually have when a movie is based on a book is that so much I liked has been left out. Le Colonel Chabert is an example of the opposite. Where the book gives us just a few details, the movie elaborates them. The character portraits are much more interesting; the Countess Ferraud and the lawyer Derville, have more depth and complexity and also the Count Ferraud, who is more or less just a distant presence in the book, becomes a real person.
I will not summarize the plot, I have already done this in the review of the novel, I will rather point out a few differences and how the film director managed to put into pictures what has before been put into words.
The movie starts with a view of the battlefield. This isn't easy to watch. I mentioned somewhere else the problems I had with the movie Waterloo because of the dead horses. The amount of wasted horses is heartbreaking. The scene is very graphic; bodies of men and horses are piled up high and disposed of, just like garbage. There are three instances like this in the movie. They are falshbacks and represent what the Colonel Chabert remembers from the battle of Eylau where he was so severely wounded that he was reported dead.
While the book is rightly called Le Colonel Chabert, the movie could also have been called The Countess Ferraud. There is much more emphasis on her and the role and fate of women in the French society in the 19th century. She is not only greedy and ambitious like the Countess in the novel but she is also a woman who fights for her survival in the society. The movie shows that they are just pawns in a game and that "love" mostly equals lust and where that ends, "love" stops. A woman must constantly fear to be replaced by another one that is either more attractive or more likely to bring a man the social status or wealth he craves or the son he needs. I am not a fan of Fanny Ardant but she is excellent in this movie.
Derville's role is also much more substantial. I like the way he speaks about his profession and how it made him unvover the ugliest in human society. The avarice, the greed, the fighting over money. Derville is truly a good person. He has seen so many vile acts that it seems to have transformed him into a better human being. There is not much to gain for him, in helping the Colonel, yet he does it anyway. Fabrice Luchini plays this incredibly well. The scene in which he visits the Colonel in his filthy abode is priceless.
Le Colonel Chabert is beautifully filmed. The decor, interiors and costumes are really worth watching. I particularly liked how the lawyer's chambers were shown and the filthy backyard in which the Colonel lives.
Gerard Depardieu will always be one of my favourite actors no matter how often he parodies himself. I love his voice and he is often great. He is great in period drama but he excels in modern movies. The final scene of Le Colonel Chabert shows him at his very best. This alone would have made this movie worth watching for me. On the other hand I have to point out that whoever is familiar with French cinema of the 80s and 90s knows that there is one thing to deplore. Whenever there was a big budget movie, it was more than likely he was casted. This makes it occasionally difficult to see the character and not the actor and his former roles. When I saw Chabert I also saw Rodin, the Count of Monte Christo, Cyrano de Bergerac, Vidocq, Vatel, Valjean, Columbus, Maheu, Jean de Florette and Balzac.
Unfortunately I couldn't find a trailer. I attached a few film stills instead.
Fabrice Luchini, Fanny Ardant, French film, Gerard Depardieu, Le Colonel Chabert, Movie, Movies based on books, Napoleonic War, Period Drama, Yves Angelo	16 Comments
Sarah Blake: The Postmistress (2010)
Posted in American Literature, Books, Fiction, Historical Fiction, Literature, Novel	by Caroline
The wireless crackles with news of blitzed-out London and of the war that courses through Europe, leaving destruction in its wake. Listening intently on the other side of the Atlantic, newly-wed Emma considers the fragility of her peaceful married life as America edges closer to the brink of war. As the reporter's distant voice fills the room, she sits convincing herself that the sleepy town of Franklin must be far beyond the war's reach. But the life of American journalist Frankie, whose voice seems so remote, will soon be deeply entangled with her own. With the delivery of a letter into the hands of postmistress Iris, the fates of these three women become irrevocably linked. But while it remains unopened, can Iris keep its truth at bay?
I wanted to like The Postmistress and for 200 pages I really did. It has a cinematic quality to it, the descriptions are so perfect, you think you are watching a movie. A movie like Pearl Harbor, not The Draughtsman's Contract, that's for sure, but still, it's an achievement. Also the story is really interesting for far more than two thirds of the book and then it sadly collapses. What starts out as an entertaining and very well-researched read becomes slightly insipid.
The Postmistress interweaves the lives of three very different American women. Frankie Bard, a war reporter, Emma Fitch, the young wife of a doctor and Iris James, the postmaster (she insists on calling herself "postmaster" and I never really got the title).
The story that is told in the book takes place in 1941. During the first two thirds of the book, Frankie is in war-torn Europe, reporting live on the radio, during the Blitz and later from different cities in France. Emma and Iris live both, in the fictional small town Franklin in Massachusetts and hear Frankie's broadcasts that brings the war into their living rooms. They feel Frankie's engagement, they live the tragedy with her. They are so far away if it wasn't for Frankie the war would seem almost unreal. Apart from Harry Vale, Iris' fiancé, no one in Franklin, Massachusetts thinks that America will ever go to war, even though the draft has started.
The plot starts to get silly when Emma's husband decides to go and help in London. He seeks atonement for a "medical accident" for which he feels responsible.
The second third of the book shows Frankie travelling with various trains from Germany to Portugal to interview refugees on the trains. She collects the stories on disks and those voices will later be listened to – thanks to a huge story-twist – in Franklin.
The central story is the one part of the book that I didn't like and this is unlucky because it ties the three parts together. The idea was to tell the story of a letter that is not delivered because the postmistress decides to hold it back.
Something else that didn't quite work for me is due to the handling of the characters. Although all three women get their equal share at the beginning, it becomes ultimately Frankie's story. The other two seem to be mere vehicles to make the plot work.
Sarah Blake writes in her after-word that Frankie couldn't have had access to a portable disk recorder at that time. What she uses came into usage in 1944 and enabled live-recording from the battlefields.
I took liberty with the date because World War II was the first war that was brought into people's living rooms by radio, and I wanted to highlight the power of the voice to convey the untellable, the refugees speaking into an air into which they will vanish.
Sarah Blake studied a lot of books on female war reporters, Martha Gellhorn and many other books on WWII. The themes are decidedly interesting and it is no wonder the book has A Reader's Guide and Discussion Questions. An ideal choice for a book club I presume. Occasionally I wonder if these Reader Guides are not meant to justify the book and ultimately to sell it. It strikes me that I see this more in more in books, even in so-called American literary fiction.
The history of female war reporters and the evolution of reporting is interesting. I think the book also captures very well how far away the war seemed to the Americans. It looks at the way people go on about their lives while in another part of the world people go through terrible things. This seemed very timely and I was reminded of the situation in Japan. We are here and safe while people in another country fight for their survival. How do we go on living as if nothing was happening?
If you are still curious, here is The book's homepage where you can read the first chapter.
American author, Book Club Recommendation, Books, Fiction, Historical Fiction, Literature, Novel, Sarah Blake, The Postmistress, WWII	22 Comments


Launched in 2004, RingGo cashless parking has always been an innovator in the UK market and now has 140 local authority customers. Historically, RingGo usage has been driven by clear signage and word of mouth: a quick, easy-to-use service appreciated by time-pressed motorists who then tell friends and family about it. In those early days, cashless parking was new and very localised – so the marketing was localised too.
Skip forward a few years, and RingGo now has a nationwide footprint. Smartphone usage is ubiquitous, and cashless is a mainstream method of payment, often costing drivers the same – or less – than if they pay with coins. So, early in 2018 RingGo decided to embark on its first concerted consumer advertising campaign and, as befits a digital service, the marketing plan included contemporary, as well as traditional, channels.
Being able to extend parking remotely.
With the tagline 'Park Your Worries', RingGo's campaign materials use bold, bright imagery, and have a 'good karma' feel to them. They turn the confrontational view of parking on its head by emphasising the peace of mind users have when they can quickly and easily get on with their day.
With a solid base of loyal customers and the potential to grow, Glasgow and Reading were selected as pilot locations for the campaign. They were paired with control locations against which the campaign results could be compared.
For maximum impact, Park Your Worries was a truly cross-media, integrated campaign, combining: traditional billboards at key parking locations and around major arterial road; press and local radio coverage; and geo-located, targeted digital marketing across a range of networks and channels.
Using digital advertising channels allowed RingGo to target motorists during and at the end of their journeys, by serving adverts and branded pin locations within sat-nav systems, as well as retargeting customers planning their journey or searching for parking in advance.
Combining with awareness campaigns on social networks and display advertising, this created a multiple touchpoint acquisition journey that reinforced the benefits of cashless parking to residents, locals, commuters and tourists.
Positive feedback and significantly higher customer growth has encouraged RingGo to spread the campaign further. Currently, the Park Your Worries radio advert is running in a joint campaign with the City of Aberdeen and Aberdeenshire councils. Plans are also in place to run further billboard and digital campaigns in key locations across the country in the coming months.
As parking increasingly becomes a part of data-driven 'mobility', it is fitting that a digital service is fully using the latest developments in digital marketing.
Over a six-week period, the combined digital campaigns gained millions, with surveys showing that awareness of cashless parking in Reading and Glasgow grew by 60 per cent over the same period. Particularly strong results were delivered by RingGo's navigation ad partners – showing the benefits of addressing motorists at the moment of need – while social media campaigns drove high user engagements and downloads.
Digital marketing may create buzz, but traditional marketing is still effective, with the billboard, press and radio campaigns all driving significant local interest and brand recognition.
In terms of usage, both cities performed well, although Glasgow slightly better than Reading.
A year-on-year comparison showed sessions grew by 39 per cent beyond that expected in the Scottish city, and new users by 10 per cent. In Reading, new users were 22 per cent higher than in the same period the previous year. Brand research around the campaign showed that 59 per cent of motorists had praised the visual appeal of the Park Your Worries campaign and most would be persuaded to swap cash for cashless – especially if the costs of each method were the same. Respondents' perceptions of RingGo included increased knowledge of the benefits of cashless, and an enhanced awareness of the convenience, speed and ease of the service.


I am so excited about a bit of news I recently received that I couldn't wait to share — I'm now Columbia's newest gear tester! I'll be testing footwear for casual wear, hiking, and training.
I'll keep you in the loop on when I put their products to the test! Until then, here's me saying I hope you have happy trails!


Kuiken Brothers offers a wide range of siding products which can be viewed in combination with different styles of windows, doors and exterior trim. Options include real cedar siding (bevel and shingle), James Hardie and CertainTeed Weatherboard fiber cement siding, NuCedar PVC siding as well as knotty pine, knotty cedar, clear cedar, and finger-joint primed in a number of stock pattern profiles. Visit a showroom today!


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Home / Topics / Editor's Picks / Talks to Abolish Outdated Family Rites Act Move Forward
Talks to Abolish Outdated Family Rites Act Move Forward
Posted on May 21, 2021 by Korea Bizwire in Editor's Picks, Most Viewed, National, Policies and Regulation, Top News with 0 Comments
A traditional Korean wedding ceremony. (image: Public Domain)
SEOUL, May 21 (Korea Bizwire) — The government will listen to public opinions on whether or not to abolish the Family Rites Act concerning the order of wedding ceremonies and funeral procedures, etc., which has been criticized for being out of date.
The Ministry of Gender Equality and Family and the Anti-Corruption and Civil Rights Commission will jointly conduct a national survey on the need to maintain the Family Rites Act until May 28.
Starting as legislation on family rite standards in 1969, the law was amended in 1999 as the Family Rites Act.
Despite the amendment, however, the legislation contains a variety of rules and principles that have been passed down for generations, most of which remained unchanged.
A good example is the rule on the order of wedding ceremonies, for which the current legislation stipulates that the opening of the ceremony should be followed by the entrance of the bridegroom and then the entrance of the bride.
Another rule that remains unchanged is the ancestral rite that should be held every year at the home of the eldest grandchild in the morning of traditional holidays.
Government officials explained that the Family Rites Act contributed in a positive way to help break empty formalities and vanity, but is behind the times and is an example of excessive government interference in the lives of individuals.
Ashley Song (ashley@koreabizwire.com)
Family Rites Act
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Moto has listed a new inexpensive Moto Mod on its US website, the new Moto Folio. The Moto Folio is a case that is compatible with all smartphones in the Moto Z range. It is currently the cheapest Moto mod in the company's lineup. The Moto Folio is available in Super Black, Fine Gold, and Grape Juice colour variants. It has been priced at $14.99 (roughly Rs. 960) in the US. Gadgets 360 has learnt that the Moto Folio is likely to arrive in India soon.
The Moto Folio Mod is a regular case that claims to offer protection against "everyday scratches and bumps." With the capabilities of a Moto Mod, the Moto Folio snaps back on to any Moto Z phone and also features an internal card slot to hold a credit card, ID card etc. The case features a magnetic closure that keeps the case tightly shut.
Dimensions of the case are 156.1x74x3.5mm and the weight is 55 grams. While the Mod has been launched at $14.99, it was available for a discounted price of $11.24 (roughly Rs. 716) on Motorola's US website at press time.
The new Moto Folio Mod is compatible with Moto Z, Moto Z Play, Moto Z2 Play, Moto Z Force Droid, and Moto Z2 Force Edition.
The company has been pushing its Moto Mod series since its launch in 2016. Recently, two new Moto Mods – Lenovo Vital and Livermorium Slider Keyboard – were launched at CES 2018. Additionally, the phone manufacturer also announced three new Moto Mods – JBL Soundboost 2, GamePad, and TurboPower Pack – in India last month.


DTE Energy Co. has named company executive Mark Cousino as president of its DTE Biomass Energy subsidiary.
Headquartered in Ann Arbor, DTE Biomass develops, owns and operates landfill gas recovery systems throughout the U.S. Cousino was director of business development for another subsidiary, DTE Energy Services.
Cousino will replace Curt Ranger, who is retiring in early 2007.


... for the death of an oyster can reveal environmental changes or pollution that might have gone unnoticed.
Oyster is a feature length documentary capturing the daily routines, chaos and drama of a lively, hard-working second generation oyster farming family on Merimbula Lake on the south-east coast of Australia.
By documenting a specific microcosm of a farming family on Australia's south- east coast, OYSTER presents its audience with a story, a landscape, an environment and characters who face practical, ethical and personal decisions about things that matter to them – feeding their family, getting the boys to school, running the farm, looking after the lake, keeping their crop of oysters healthy and figuring out whether harvesting new crops will protect their livelihood.
This local story goes to the heart of matters of global urgency – climate, sustainability, farming, the health, livelihood and education of rural communities, and the challenges and uncertainties that come with farming a luxury product.
Observational in style, OYSTER stands back to watch and witness. The film's director Kim Beamish likes to sit as close to his characters as he can so as to become really intimate with the world they are experiencing. This intimacy invites the audience in, as if they are almost becoming a character too, a part of what is going on, and a part of the character's experience.
Dom and Pip Boyton are the main characters of OYSTER. Dom and Kim Beamish used to play together as boys, creating a life long rapport and a level of intimacy and trust which gives personal colour to the film and adds to the audience's involvement in the story.
OYSTER will not seek to tell the audience what to think about the ethics, morality or politics of the decisions that face Dom and Pip Boyton but, rather, will present their story. It is a story that shows what is happening for Dom and Pip, and their fellow farmers and community. The story leaves it to the audience to make their own decisions.
OYSTER depicts the changes of rhythm as characters shift space and pace. The noise and mundane routine of tasks like running the oyster through 'cling clang' the grader is forgotten as Dom, Pip and the boys settle in at home to a meal. Later, exhausted, Dom is asleep on the couch, the television streaming cable, as Pip plays Candycrush and updates her Facebook account.
When Dom takes the punt out on the water, the mood shifts again, to the vibrant colours in the wide open spaces of the lake and the sky. Pre-dawn, sunrise, the heat of noon, sunset, midnight – the oyster farmer harvests by the rhythm of the tide.
The good times build up with a slower pace: clean water, good sales, family time, right decisions. Then the noise comes, the loud voices, the fast pace that breaks the good times down: bad decisions, storms, disease taking hold, family tension.
This build up and break down – both visual and aural – is like the waves when their rhythm is building. It's as if we are awaiting that perfect wave at the back of the set. Will it be good or bad?
Kim Beamish is an award winning Australian filmmaker whose film 'The Tentmakers of Cairo' won the 2015 Margaret Mead Filmmaker Award at the Margaret Mead Film Festival and Prix Buyens-Chagoll at the Visions du Reel Film Festival. He has been a tutor in cinematography, editing and documentary production at the University of Canberra for a few years. Also having previously been on the board of OPEN CHANNEL in Melbourne, Australia.
Pat Fiske has been producing and directing documentary films since the early 1970s and has been a prominent member of Australia's independent filmmaking community. Her films have won many awards and screened in countless film festivals around the world. In 2001, she was awarded the prestigious Stanley Hawes Award for her outstanding contribution to the documentary industry in Australia.
Denise Haslem ASE is a producer and editor with over 25 years experience in the film and television industry. She produced and edited the award-winning Mabo Life of an Island Man, produced DocA Portrait of Herbert Vere Evatt and A Calcutta Christmas and co-produced Risky Business and Steel City..
Started making Super8 movies at aged 13. Worked for 5 years at Channel 10 Sydney as telecine operator grading live to air, film processing tech and news camera/sound. Moved into sound post production and was awarded the 2007 Stanley Hawes award for ongoing contribution to documentaries. Moved to Tasmania in 2008.
Michael Creswell Dooley is an Australian born pianist composer, song writer and producer. Studied classical and jazz piano, and composition at the Sydney Conservatorium of music. He has been enhanced by living and performing in the orient, India and the middle east for a number of years. He currently resides with his family in Canberra ACT, Australia.
Screen the film at your local cinema.
4. Spread the word! Invite friends and community to buy tickets via the ticket link. Let us know (info@nondscript.com) and we will send you posters and flyers as well as help you promote the event. We may even be able to come?
Tickets available through the Port Stephens Information Centre in Nelson Bay or below.


text:
First (song)
First (O'Bryan album)
First (Baroness album)
"First" is a song by American actress and singer-songwriter Lindsay Lohan, taken from her debut studio album, Speak (2004). It was released as the album's third and final single on May 10, 2005 (see 2005 in music). The song was released to help promote Lohan's film, Herbie: Fully Loaded, in which it appears on the soundtrack. The song failed to chart in the United States, but it performed well in other countries such as Taiwan.
The song is about wanting to come first in her boyfriend's life. The song incorporates high pop punk oriented instrumental sounds, but it also conserves her typical teen pop touch. The song was the least successful single from its parent album.
"First" was written and produced by hit-makers Kara DioGuardi and John Shanks, who would later produce her second album A Little More Personal (Raw). The song was recorded in Lohan's trailer on the set of Herbie: Fully Loaded in September 2004. She had been recording and filming the movie back-to-back. Kara DioGuardi and Cory Rooney, who wrote and produced Lohan's first single, provided background vocals for the song.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/First_(song)
F1RST is the fifth studio album by R&B singer O'Bryan, his first release in more than 20 years. It was released on O'Bryan's independent label, Headstorm, on Valentine's Day 2007.
The ballad-driven set derived its name from what O'Bryan calls "the first step of a new musical journey," highlighted by the songs "Just Like Doin' It," "Can I Kiss Your Lips," "Man Overboard," "Gotta Let You Go" and "Gratitude." Longtime fans of the singer welcomed his return and responded to "F1RST" with enthusiastic reviews on music buyer-driven sites such as Amazon and iTunes.
O'Bryan – lead vocals, background vocals, synthesizer bass, drums, keyboards
Romy Geroso – guitar
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/First_(O'Bryan_album)
First is the first official recording by the metal band Baroness. The art work was done by Baroness singer John Baizley.
All songs written by Baroness, lyrics by John Baizley.
John Baizley - vocals/guitar
Allen Blickle - drums
Tim Loose - guitar
Summer Welch - bass
Vinyl Pressing Info and Pictures
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/First_(Baroness_album)
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Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis
Hiroyuki Inoue, Osamu Takimura, Ken Kawaguchi, Teruhiko Nitoda, Hiroyuki Fuse, Katsuji Murakami, Yukiho Yamaoka
The triphenyltin (TPT)-degrading bacterium Pseudomonas chlororaphis CNR15 produces extracellular yellow substances to degrade TPT. Three substances (F-I, F-IIa, and F-IIb) were purified, and their structural and catalytic properties were characterized. The primary structure of F-I was established using two-dimensional nuclear magnetic resonance techniques; the structure was identical to that of suc-pyoverdine from P. chlororaphis ATCC 9446, which is a peptide siderophore produced by fluorescent pseudomonads. Spectral and isoelectric-focusing analyses revealed that F-IIa and F-IIb were also pyoverdines, differing only in the acyl substituent attached to the chromophore part of F-I. Furthermore, we found that the fluorescent pseudomonads producing pyoverdines structurally different from F-I showed TPT degradation activity in the solid extracts of their culture supernatants. F-I and F-IIa degraded TPT to monophenyltin via diphenyltin (DPT) and degraded DPT and dibutyltin to monophenyltin and monobutyltin, respectively. The total amount of organotin metabolites produced by TPT degradation was nearly equivalent to that of the F-I added to the reaction mixture, whereas DPT degradation was not influenced by monophenyltin production. The TPT degradation activity of F-I was remarkably inhibited by the addition of metal ions chelated with pyoverdine. On the other hand, the activity of DPT was increased 13- and 8-fold by the addition of Cu2+ and Sn4+, respectively. These results suggest that metal-chelating ligands common to pyoverdines may play important roles in the Sn-C cleavage of organotin compounds in both the metal-free and metal-complexed states.
https://doi.org/10.1128/AEM.69.2.878-883.2003
Pseudomonas chlororaphis
organotin compounds
organotin compound
siderophores
metal ions
metabolite
Inoue, H., Takimura, O., Kawaguchi, K., Nitoda, T., Fuse, H., Murakami, K., & Yamaoka, Y. (2003). Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis. Applied and Environmental Microbiology, 69(2), 878-883. https://doi.org/10.1128/AEM.69.2.878-883.2003
Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis. / Inoue, Hiroyuki; Takimura, Osamu; Kawaguchi, Ken; Nitoda, Teruhiko; Fuse, Hiroyuki; Murakami, Katsuji; Yamaoka, Yukiho.
In: Applied and Environmental Microbiology, Vol. 69, No. 2, 01.02.2003, p. 878-883.
Inoue, H, Takimura, O, Kawaguchi, K, Nitoda, T, Fuse, H, Murakami, K & Yamaoka, Y 2003, 'Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis', Applied and Environmental Microbiology, vol. 69, no. 2, pp. 878-883. https://doi.org/10.1128/AEM.69.2.878-883.2003
Inoue H, Takimura O, Kawaguchi K, Nitoda T, Fuse H, Murakami K et al. Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis. Applied and Environmental Microbiology. 2003 Feb 1;69(2):878-883. https://doi.org/10.1128/AEM.69.2.878-883.2003
Inoue, Hiroyuki ; Takimura, Osamu ; Kawaguchi, Ken ; Nitoda, Teruhiko ; Fuse, Hiroyuki ; Murakami, Katsuji ; Yamaoka, Yukiho. / Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis. In: Applied and Environmental Microbiology. 2003 ; Vol. 69, No. 2. pp. 878-883.
@article{e0a60fa47f1f4b9487f148e5cde09e70,
title = "Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis",
abstract = "The triphenyltin (TPT)-degrading bacterium Pseudomonas chlororaphis CNR15 produces extracellular yellow substances to degrade TPT. Three substances (F-I, F-IIa, and F-IIb) were purified, and their structural and catalytic properties were characterized. The primary structure of F-I was established using two-dimensional nuclear magnetic resonance techniques; the structure was identical to that of suc-pyoverdine from P. chlororaphis ATCC 9446, which is a peptide siderophore produced by fluorescent pseudomonads. Spectral and isoelectric-focusing analyses revealed that F-IIa and F-IIb were also pyoverdines, differing only in the acyl substituent attached to the chromophore part of F-I. Furthermore, we found that the fluorescent pseudomonads producing pyoverdines structurally different from F-I showed TPT degradation activity in the solid extracts of their culture supernatants. F-I and F-IIa degraded TPT to monophenyltin via diphenyltin (DPT) and degraded DPT and dibutyltin to monophenyltin and monobutyltin, respectively. The total amount of organotin metabolites produced by TPT degradation was nearly equivalent to that of the F-I added to the reaction mixture, whereas DPT degradation was not influenced by monophenyltin production. The TPT degradation activity of F-I was remarkably inhibited by the addition of metal ions chelated with pyoverdine. On the other hand, the activity of DPT was increased 13- and 8-fold by the addition of Cu2+ and Sn4+, respectively. These results suggest that metal-chelating ligands common to pyoverdines may play important roles in the Sn-C cleavage of organotin compounds in both the metal-free and metal-complexed states.",
author = "Hiroyuki Inoue and Osamu Takimura and Ken Kawaguchi and Teruhiko Nitoda and Hiroyuki Fuse and Katsuji Murakami and Yukiho Yamaoka",
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T1 - Tin-carbon cleavage of organotin compounds by pyoverdine from Pseudomonas chlororaphis
AU - Inoue, Hiroyuki
AU - Kawaguchi, Ken
AU - Nitoda, Teruhiko
AU - Murakami, Katsuji
N2 - The triphenyltin (TPT)-degrading bacterium Pseudomonas chlororaphis CNR15 produces extracellular yellow substances to degrade TPT. Three substances (F-I, F-IIa, and F-IIb) were purified, and their structural and catalytic properties were characterized. The primary structure of F-I was established using two-dimensional nuclear magnetic resonance techniques; the structure was identical to that of suc-pyoverdine from P. chlororaphis ATCC 9446, which is a peptide siderophore produced by fluorescent pseudomonads. Spectral and isoelectric-focusing analyses revealed that F-IIa and F-IIb were also pyoverdines, differing only in the acyl substituent attached to the chromophore part of F-I. Furthermore, we found that the fluorescent pseudomonads producing pyoverdines structurally different from F-I showed TPT degradation activity in the solid extracts of their culture supernatants. F-I and F-IIa degraded TPT to monophenyltin via diphenyltin (DPT) and degraded DPT and dibutyltin to monophenyltin and monobutyltin, respectively. The total amount of organotin metabolites produced by TPT degradation was nearly equivalent to that of the F-I added to the reaction mixture, whereas DPT degradation was not influenced by monophenyltin production. The TPT degradation activity of F-I was remarkably inhibited by the addition of metal ions chelated with pyoverdine. On the other hand, the activity of DPT was increased 13- and 8-fold by the addition of Cu2+ and Sn4+, respectively. These results suggest that metal-chelating ligands common to pyoverdines may play important roles in the Sn-C cleavage of organotin compounds in both the metal-free and metal-complexed states.
AB - The triphenyltin (TPT)-degrading bacterium Pseudomonas chlororaphis CNR15 produces extracellular yellow substances to degrade TPT. Three substances (F-I, F-IIa, and F-IIb) were purified, and their structural and catalytic properties were characterized. The primary structure of F-I was established using two-dimensional nuclear magnetic resonance techniques; the structure was identical to that of suc-pyoverdine from P. chlororaphis ATCC 9446, which is a peptide siderophore produced by fluorescent pseudomonads. Spectral and isoelectric-focusing analyses revealed that F-IIa and F-IIb were also pyoverdines, differing only in the acyl substituent attached to the chromophore part of F-I. Furthermore, we found that the fluorescent pseudomonads producing pyoverdines structurally different from F-I showed TPT degradation activity in the solid extracts of their culture supernatants. F-I and F-IIa degraded TPT to monophenyltin via diphenyltin (DPT) and degraded DPT and dibutyltin to monophenyltin and monobutyltin, respectively. The total amount of organotin metabolites produced by TPT degradation was nearly equivalent to that of the F-I added to the reaction mixture, whereas DPT degradation was not influenced by monophenyltin production. The TPT degradation activity of F-I was remarkably inhibited by the addition of metal ions chelated with pyoverdine. On the other hand, the activity of DPT was increased 13- and 8-fold by the addition of Cu2+ and Sn4+, respectively. These results suggest that metal-chelating ligands common to pyoverdines may play important roles in the Sn-C cleavage of organotin compounds in both the metal-free and metal-complexed states.
U2 - 10.1128/AEM.69.2.878-883.2003
DO - 10.1128/AEM.69.2.878-883.2003
JO - Applied and Environmental Microbiology
JF - Applied and Environmental Microbiology
10.1128/AEM.69.2.878-883.2003