text:
"We Were Out to Save the World"
Nearly 40 years after it ceased to exist, the Don Henry Co-op, an experiment in communal residential living at the University of Kansas, was still generating a lot of emotion on the part of its former residents.
"It was a truly amazing and important introduction to campus life," remembered John Hall, a 1955-1956 occupant of the co-op.
"I can't think of any social organizations to which I have belonged whose members were more tolerant of different beliefs or attitudes," recalled Jerome Lehnus, a 1964-1965 resident.
And John Eberhardt, an early member of the Don Henry Co-op, saw the experience in simple but universal terms. "We were out to save the world," he once reflected. "At least, I was."
Youthful idealism no doubt animated many of the residents who chose to live in the Don Henry Co-op, which existed from the mid-1940s through the mid-1960s. After all, it was named after a KU undergraduate who lost his life in the Spanish Civil War while in service to the anti-fascist Loyalist side.
However, since the Loyalist government was socialist and accepted aid from the Soviet Union, this tenuous left-wing provenance often made the Don Henry Co-op the target of suspicion and gossip on the part of more orthodox KU students, especially during the early years of the Cold War.
This perception may not have been completely unfounded. In 1948, a reputed member of the Communist Party lived at Don Henry. As a result, it is believed by at least one former resident that the co-op was placed under an FBI mail surveillance order in 1949.
During the 1950s, according to another resident's reminiscences, "Don Henry was a loose collection of anarchists while I was there." And for much of its existence, Don Henry residents were often at the forefront of racial integration, a position then considered quite liberal.
Of course, many outsiders saw the entire co-op system at KU as being radical – so much so that the University Daily Kansan reporter assigned to cover the co-ops was said, in jest, to be on the "Red beat." Ironically, within the KU co-op community, Don Henry members were often regarded as relatively politically conservative.
The Don Henry Co-op was one of several cooperative housing arrangements that existed at KU during the mid-twentieth century. In general terms, these co-ops sought to provide their student residents with low cost room and board and thus make a college education more affordable.
Over time, the co-ops became a form of University-approved housing and were similar to KU's popular scholarship halls, especially in their organization. Residents performed household maintenance and chores such as cooking in exchange for severely reduced overhead charges. However, the co-ops lacked the same degree of oversight the University exercised over scholarship halls.
Some of the co-op houses were owned and controlled by a non-profit group called the KU Housing Association (now known as the University of Kansas Student Housing Association). KUHA collected the monthly rent from these houses and determined how many individuals could live in each dwelling. There was no formal, direct supervision of the co-op houses by the KUHA, other than its determination of how much rent the co-op members would have to pay.
The University required that either a housemother or house-parents live on-site. Food was purchased in conjunction with the other KU housing co-ops from CCA, another cooperative organization that aimed to benefit farmers and consumers. (CCA eventually evolved into Farmland Industries, once one of the biggest co-ops in America.)
The cooperative idea had been around for more than a century before the Don Henry Co-op was established in the fall of 1946. Benjamin Franklin had founded the first successful cooperative in the United States in 1752, the Philadelphia Contributorship for the Insurance of Houses from Loss by Fire. (This organization still exists, and is the oldest continuing cooperative in the US.)
In 1844, the Rochdale Equitable Pioneers Society of Rochdale, England, began operating a food cooperative under a set of principles that allowed for open and voluntary membership in the co-op, democratic control of resources, autonomy and independent control of the organization, and the equitable distribution of profits.
These tenets, now known as the Rochdale Principles, became the organic laws of cooperation and soon spread around the world. The International Cooperative Alliance was founded in 1895 in London, and the first such trade association in the United States – the Cooperative League of the USA, (CLUSA) – was formed in 1916. Given the economic dislocations of the Industrial Revolution and largely unregulated nineteenth century capitalism, it's not surprising that co-ops became popular alternatives for small farmers and businessmen, workers, consumers, and urban dwellers.
Because co-ops served group needs, offered economies of scale and were inherently socially progressive organizations, college students were an ideal population to make the cooperative idea work. By the early twentieth century, college students were forming purchasing co-ops for low-cost food buying and residential co-ops for affordable housing.
The economic hardships of the Great Depression led even more students to the co-op movement, as they struggled to pay for, and stay in, school. The 1930s saw student housing co-ops sprout in many places now famous for their residents' progressive ideas: Ann Arbor, Michigan, and Berkeley, California in the United States, plus Toronto, Canada.
KU was no stranger to these developments. Cooperative-type living arrangements began in the in the early decades of the twentieth century with informal communal residences such as Wita Wentin, Wankanta, and Lakota, followed by the "Men of 1011," a group of mostly Summerfield Scholars, who formed a "semi-organized house" at 1011 Indiana Street in the mid-1930s that had the same living plan idea. Although not formal co-ops per se, these arrangements were very much in line with the cooperative approach.
The first recognized men's housing co-op at the University of Kansas was established in 1939. Called the Jayhawk Co-op, it was located at 1614 Kentucky Street. Students contributed their labor to the house by taking care of the cooking, cleaning, and routine maintenance. In return, they received room and board at an extremely cheap rate. Five more KU housing co-ops opened in 1941 and 1942.
The co-op tide on Mount Oread ebbed temporarily during the Second World War, and in 1943-44, four KU housing co-ops were closed. But as World War II veterans on the GI Bill began to flood the University of Kansas in the post-war era. Housing options became scarce and the co-op idea found favor again.
In 1946, a new men's co-op was chartered. It was to be situated over the photography studios run by Orval Hixon in downtown Lawrence at 721½ Massachusetts Street. The 12 residents, predominantly World War II veterans, chose to name their organization after Don Henry, a KU undergraduate who had supported the ideals of the co-op movement. In fact, Henry's name had come to be associated not just with high idealism, but also with the terribly high price that living for one's principles can exact.
Henry had been a KU undergraduate who joined the Abraham Lincoln Battalion of the International Brigade, a unit that fought for the Loyalist side in the Spanish Civil War against the Nationalist forces of General Francisco Franco. Henry was killed within days of his assignment as a medical corpsman on the Aragon battle lines.
While KU mourned the death of the young idealist, Henry's support for the Communist-supported Loyalists baffled his grieving father. Ed Henry raised accusations that a left-wing agenda at the University had corrupted his son, and led to his enlistment and eventual death in Spain.
The charges led to a series of investigations on the KU campus into the supposed "communist influences" that had set the affair in motion. Although it was a cause celebre of its day, in the end no charges ever were brought against any KU professor or organization.
In the immediate aftermath of the Second World War, Henry came to be seen by some as "the first KU student killed in the war against Fascism." This made Henry something of a hero to many individuals, regardless of their ideological stripe.
The initial group of residents at the Don Henry Co-op comprised mostly veterans, with one conscientious objector and one foreign national among their number. Most of these men had fought the Axis powers, and were fiercely in favor of baseball, apple pie, and American ideals.
In addition to their war service, many of the Don Henry co-op residents were also native Kansans. These were men who had seen first-hand how agricultural, supply and distribution co-ops had benefited farmers during the Great Depression, and so were open to the idea of cooperative housing. They also appreciated its spectacularly low cost: in 1948, for example, $20.00 a month covered room, board, utilities, and newspaper subscriptions.
The co-op contained residents of virtually every political persuasion; intellectually, the defining characteristics of Don Henry men seem to have been tolerance and an unwavering commitment to First Amendment freedoms. Thus, as John Eberhardt related about the alleged Communist Party member in Don Henry's ranks during the late 1940s, there was "never any suggestion that he be expelled for his political views."
This live-and let-live attitude becomes all the more remarkable considering, as Eberhardt also pointed out, "the original members of the co-op were for the most part fairly conservative." Nonetheless, principled stances like these often meant Don Henry members often were perceived by the University at large as promoting a left-leaning agenda.
Of the first 12 members of the Don Henry Co-op, six had lived in co-ops before. In the first year of the co-op's existence, the organizers were a little late with some of the preparations and neglected to engage a housemother. That meant that, per University regulations, no freshmen could live there. As a result, the Don Henry Co-op opened as a home for upperclassmen and graduate students. In subsequent years, with a house-parent on board, Don Henry was also open to freshmen.
The reminiscences of Don Henry members run the gamut from horror stories about meals and cooking to pride in academic achievement and social activism.
John Hall lived in the Don Henry Co-op in 1955-56, and was elected purchasing agent for the house. In return for keeping the larder full, he was excused from some routine maintenance duties. His biggest problem in those pre-low carb days was keeping enough bread on the table.
"The previous purchasing agent was an extremely dutiful, conscientious young man who had regularly scoured the town on his bicycle to get the best food bargains and find day-old bread and so forth for the co-op, " he recalled. "I did not have a bicycle, and in any case, did not take my duties that seriously, I'm afraid. I remember that, as an economy measure, we were limited to one slice of bread with every dinner. This did not seem to create a problem as long as we were supplied with the rather dry day-old bread. But when I took office, and began to have fresh bread delivered daily, the dam broke. The boys could not get enough of it."
Hall knew that dramatic action would have to be taken to keep the residents from eating their way into a budgetary disaster. "I was not a large and intimidating figure," he continued, "and in any case, I did not feel that it was my function to act as policeman and guard the bread throughout the meal and lock it up afterwards. If the co-op voted to restrict our consumption, then it was up to the membership to honor that vote and provide the necessary sanctions to enforce the rule, if necessary. As it was, I had to keep increasing the order day after day for weeks, to meet the demand until finally, they began to be satisfied and it declined somewhat again.
"Naturally, this cost us more...and we were faced with the necessity of raising the monthly payment by a dollar or two. That led to all sorts of howls of outrage, mostly directed toward me as purchasing agent. I wasn't that pinched, financially, and my sympathy for the plight of those who were was somewhat diluted by the fact that they included some of the worst offenders among the bread hogs! Anyway, no one could think of a practical way to enforce the one-slice rule. They really preferred the fresh bread, and we needed to pay our grocery bills, so they finally swallowed the necessity of the increase in our monthly bill."
George Evans remembered how "one [cooking] crew put two cans of dog food in the chili one night. It was very good." And Walter Cogswell retained a memory of a menu posting featuring a meal called "SOS," a term apparently unfamiliar to the housemother. She "asked what that meant and [another house member] didn't want to disturb her or embarrass himself, and said, 'Same old stuff.' I thought it was one of the more tasty meals."
The Don Henry kitchen wasn't always the site of complete catastrophe: it also became an impromptu classroom, and a place to forge both friendships and understanding. Resident Robert Laughlin recollected that on holidays when school was not in session, the group cooked up dinners for exchange students that featured "home cooking" from their own cultural traditions.
Another cook, Jerome Lehnus, who lived in the Don Henry in 1964-65, recalled that the distribution of seconds at dinnertime did not always abide by the equality provisions of the Rochdale Principles. "If there were extra pork chops left over," he explained, "the cooks had first call on the extras (one each). After they had taken theirs, only the cook had the authority to announce that it was time for seconds. This was a signal for a race to the remaining few chops. We were always hungry, and the race for seconds was, in fact, a physical race. I do not recall anyone allowing considerations of dignity or courtesy to slow their progress toward the remaining chops."
Lehnus finally found a way to eliminate this procedure, at least when it came to spaghetti and meatballs. "After the first week or two, I always managed to make 32 meatballs out of six pounds of hamburger. Thus, there were two meatballs for each person, one extra for each cook, and no race."
Within two years after its formation, the Don Henry Co-op was prospering. At the beginning of the 1948-1949 academic year, the co-op moved to a large house at 1420 Ohio Street, which had housed KU women in the mid-1940s and was known as "Sleepy Hollow." This building was far roomier than the Massachusetts Street quarters, and the co-op could now accommodate 36 men.
However, with this growth came a new controversy. The increase in size and closer proximity to campus made Don Henry a more visible University-affiliated group. The co-op now had a chance to take the lead on one of the most important issues facing KU and the nation – the struggle for civil rights and integration.
For many of the men who had been living in Don Henry prior to its relocation, it was imperative that the new, larger incarnation of the co-op be racially integrated. This was in keeping with the co-op approach to things. Wesley Elliott became the first black student admitted to the Jayhawk Co-op, breaking the color barriers for University-sanctioned housing at KU.
At the time of the move to the house at 1420 Ohio, the Don Henry Co-op itself was not integrated. Don Henry resident John Eberhardt claimed that in 1948, he was actively recruiting members for the co-op who were at least agreeable to the idea of integration. Although Eberhardt admitted there were some co-op members who were not overly enthusiastic about the prospect of integrating Don Henry, there was a core group of pro-integration residents who eventually carried the day.
These members effectively integrated Don Henry when they voted to admit Bennie Grigsby, who moved in for the spring semester of 1949. As it turned out, Grigsby only stayed for that one semester, but his membership set a precedent. The Don Henry Co-op became known as a place where black men were welcome to live. Indeed, much anecdotal evidence demonstrates that once the wheels were set into motion, the co-op showed a consistent and sincere commitment to civil rights and diversity.
For example, Charles Haas recalled the entire co-op boycotted the Wagon Wheel Café in 1957 and 1958 until its owners would agree to serve "Mr. Augustine Kyei from Ghana." Roger Youmans remembered the extreme diversity of Don Henry residents from 1951 to 1955, mentioning "Catholics, Jews, Protestants, agnostics and atheists; some were military veterans, others were pacifists....'bull sessions' were frequent, often intense and long, with views presented and defended on politics, morality, justice, war, academics, religion, and women."
But for Youmans, apparently this was not enough. "I became very concerned about racial discrimination, as evidenced by the almost total absence of blacks in the co-ops...and church, town, and almost all social activities," he reflected. "At the end of my sophomore year, I left the co-op and pledged the (all-black) Alpha Phi Alpha fraternity and moved into their chapter house. I was the first white man to ever join Alpha Phi Alpha."
Eventually, the co-ops would become known for the high proportion of foreign and minority students living there. The co-ops also had a reputation as a place where scholars were welcomed and encouraged. This was particularly the case with the Summerfield Scholars, outstanding male graduates of Kansas high schools who received varying levels of financial aid to attend KU.
At the time, Summerfield scholarships were awarded on merit, but the stipend received was determined by need. The Summerfield committee established an annual budget that would cover all the expenses incurred by an undergraduate, and then grant a percentage of that figure on an individual basis to each Summerfield Scholar. Students whose financial background did not justify financial assistance received a small honorarium.
In some cases, this created a Catch-22 situation, since Summerfield Scholars were not eligible to live in scholarship halls. They were also actively discouraged from living in fraternities, the reasoning being that a student who could afford to live in a fraternity was clearly not in dire financial straits. Indeed, Summerfield stipends were reduced if the students joined a Greek Letter Organization.
These strictures left few affordable housing options for Summerfield Scholars. As a result, a large number of Summerfield Scholars banded together to form semi-organized houses such as the one known as the "Men of 1011" in the mid-1930s, or ended up residing in recognized co-ops such as Don Henry and Jayhawk that subsequently followed.
Even after the rules governing the Summerfield scholarships had changed and the Scholars were subsequently allowed to live wherever they chose, the closely-knit group of young men tended to gravitate toward co-ops. Summerfield Scholars stuck together, both in academic classes and socially. Incoming Summerfield freshmen were encouraged by outgoing Summerfield seniors to consider co-op living. This kept a steady of stream of gifted, intelligent men stocking the co-op applicant pool and "the co-ops became centers of campus intellectual life" according to Eberhardt.
Indeed, a significant proportion of Don Henry residents redeemed their early scholastic promise and went on to high levels of professional achievement, much of it in service to others.
Willard Kaufman earned a medical degree from the KU School of Medicine and performed healthcare relief work with Palestinian refugees in Hebron. Roger Youmans became a thoracic surgeon, and worked as a missionary doctor in the Congo and Ghana. Charles Haas became an oncologist, and Walter Cogswell went on to a 40-year career in clinical social work. Bernard Greenberg was a Fulbright Scholar, earned a PhD, and became a professor of biological sciences at the University of Illinois at Chicago as well as a consulting forensic entomologist with three books to his credit.
At least one Don Henry alumnus also made the ultimate sacrifice for his country. Jack Davenport, who enlisted in the Marines and became a corporal, was killed near Songnae-Dong, Korea in 1951 after throwing himself on a hand-grenade to prevent the injury or death of his companion in a foxhole. He was posthumously awarded the Congressional Medal of Honor for his service.
Still other members of the co-op went on to distinguished careers as geologists, philosophers, teachers, historians, and business executives.
KU's original co-op housing system began petering out in the late 1950s-early 1960s. The University had constructed several large dormitories that eased the chronic housing shortage. The general prosperity of the era further reduced the demand for low-cost communal living arrangements and their attendant inconveniences.
By the mid-1960s, the long-term survival outlook for the original co-ops was bleak. As befit its namesake and its members, the Don Henry Co-op went down fighting; it stayed in operation until the spring of 1967, and was one of the very last of the original KU housing co-ops to close.
Laura Lorson
Kansas Public Radio
[Source notes: This article could not have been completed without the interest and extensive contributions made by John Eberhardt of Denver, Colorado. He is the seemingly tireless editor of the KU Co-op Alumni Newsletter, "The Rochdale Rag." He was wonderfully generous with his time and his memories, and is a true scholar and gentleman. Many of the stories related in this article come, as usual, from Fred McElhenie's wonderful alumni response project, courtesy of the University of Kansas Student Housing department. Of particular use were reminiscences written by Jerome Lehnus, John Hall, Willard Kaufman, Roger Youmans, Walter Cogswell, George Evans, Charles Haas, Frank Timkin, Bernard Greenberg, and Robert Laughlin. Confirmation of the Marion Barry residency comes from The Washington Post article written by Arthur S. Brisbane, titled "Marion Barry Just Wants to Be Loved," April 26, 1987, page W20.]
The Boys Upstairs. In the fall of 1946, the Don Henry Co-op began when 12 KU men moved into the upstairs apartment at 721½ Massachusetts Street in downtown Lawrence. This initial group comprised mostly World War II veterans, with one conscientious objector and one foreign national among their number. Many of the Don Henry co-op residents were also native Kansans. These were men who had seen first-hand how agricultural, supply and distribution co-ops had benefited farmers during the Great Depression, and so were open to the idea of cooperative housing. The first floor of the building housed Hixon Studios, a photography studio owned by Orval Hixon who became famous for his shots of vaudeville and jazz stars who made their way through Kansas City.
Namesake. The Don Henry Co-op was named in honor of Don Henry (above), a KU sophomore who believed in cooperative ideals and lost his life in the Spanish Civil War in 1937 while in service to the anti-fascist Loyalist side fighting the Nationalist forces of General Francisco Franco. Henry's death had been a cause celebre of its day, complete with charges that supposed "communist influences" at KU had prompted the undergraduate to join the Loyalists, who received aid from the Soviet Union. This tenuous left-wing provenance often made the Don Henry Co-op the target of suspicion and gossip on the part of more orthodox KU students, especially during the early years of the Cold War.
The circumstances of his death notwithstanding, in the immediate aftermath of the Second World War, Henry came to be seen by some as "the first KU student killed in the war against Fascism." This made Henry something of a hero to many individuals, regardless of their ideological stripe.
Buttoned Down. In general, the KU housing co-ops were known as places where Leftist political beliefs were common, and the Don Henry Co-op was no exception. In 1948, a reputed member of the Communist Party lived there, and least one former resident believed the co-op was placed under an FBI mail surveillance order in 1949. During the 1950s, according to another resident's reminiscences, "Don Henry was a loose collection of anarchists while I was there." And for much of its existence, Don Henry residents were often at the forefront of racial integration, a position then considered quite liberal. Ironically, within the KU co-op community, Don Henry members were often regarded as relatively politically conservative.
Opting For Co-ops. The Don Henry Co-op was one of several cooperative housing arrangements that existed at KU during the mid-twentieth century. Beginning with the Jayhawk Co-op (above), the first formal KU housing cooperative, these residences sought to provide their students with low cost room and board and thus make a college education more affordable.
Over time, the co-ops became a form of University-approved housing and were similar to KU's popular scholarship halls and "semi-organized houses," especially in their organization. Residents performed household maintenance and chores such as cooking in exchange for severely reduced overhead charges. However, the co-ops lacked the same degree of oversight the University exercised over scholarship halls.
Movin' On Up. Within two years after its formation, the Don Henry Co-op was prospering. At the beginning of the 1948-1949 academic year, the co-op moved to a large house at 1420 Ohio Street, which had housed KU women in the mid-1940s and was known as "Sleepy Hollow." This building was far roomier than the Massachusetts Street quarters, and the co-op could now accommodate 36 men.
Getting Closer. Don Henry's move to the Mount Oread environs made the co-op a more visible University-affiliated group. The co-op now had a chance to take the lead on one of the most important issues facing KU and the nation—the struggle for civil rights and integration. At the time of the move to the house at 1420 Ohio, the Don Henry Co-op itself was not integrated. Don Henry resident John Eberhardt claimed that in 1948, he was actively recruiting members for the co-op who were at least agreeable to the idea of integration. Although Eberhardt admitted there were some co-op members who were not overly enthusiastic about the prospect of integrating Don Henry, there was a core group of pro-integration residents who eventually carried the day.
Don Henry was effectively integrated when members voted to admit Bennie Grigsby, who moved in for the spring semester of 1949. As it turned out, he only stayed for that one semester, but his membership set a precedent, and the Don Henry Co-op became known as a place where black men were welcome to live. Once the wheels were set into motion, the co-op showed a consistent and sincere commitment to diversity.
Along with the "semi-organized houses," KU co-ops such as Don Henry and Jayhawk had the reputation as places where scholars were welcomed and encouraged. This was particularly the case with the Summerfield Scholars, outstanding male graduates of Kansas high schools who received varying levels of financial aid to attend KU. Many of them lived at the Don Henry Co-op during its heyday.
Casualty Of War. A significant proportion of Don Henry residents redeemed their early scholastic promise and went on to high levels of professional achievement, much of it in service to others as physicians and social workers. At least one Don Henry alumnus also made the ultimate sacrifice for his country. Jack Davenport (above), who enlisted in the Marines and became a corporal, was killed near Songnae-Dong, Korea in 1951 after throwing himself on a hand-grenade to prevent the injury or death of his companion in a foxhole. He was posthumously awarded the Congressional Medal of Honor for his service.
[caption]Image: MarineMedals.com[/caption]
Among The Last To Leave. KU's original co-op housing system began petering out in the late 1950s-early 1960s. As befit its namesake and its members, the Don Henry Co-op went down fighting; it stayed in operation until the spring of 1967, and was one of the very last of the original KU housing co-ops to close.
"I can't think of any social organizations to which I have belonged whose members were more tolerant of different beliefs or attitudes," recalled one of the co-op's former residents. "I moved into Don Henry because I couldn't afford to live elsewhere. If I had to do it over again, I'd live at Don Henry again, regardless of funding."
Buy The Book. If you're enjoying this article about KU student housing history, you'll want to read Making Do & Getting Through, a book containing hundreds of reminiscences about the KU residence life experience from the 1930s through the 1960s. Compiled by Fred McElhenie, former associate director of the KU Department of Student Housing, Making Do & Getting Through is a major contribution to the social history of the University of Kansas. A portion of the proceeds from the sale of each copy of the book will benefit the Fred McElhenie Scholarship Fund that recognizes students who are active in community involvement, and the Historic Mount Oread Friends organization.
[caption]Image: Historic Mount Oread Friends[/caption]
Order this book online


From SH 25 approximately 2.3 miles east of Archer City southeastward a distance of approximately 4.8 miles. (Archer County) New Designation.
From SH 25, 2.3 miles east of Archer City, southeastward and eastward to US 281, a distance of approximately 11.4 miles. (Archer County) Extended eastward approximately 6.2 miles.


text:
//-----------------------------------NOTICE----------------------------------//
// Some of this file is automatically filled in by a Python script.  Only    //
// add custom code in the designated areas or it will be overwritten during  //
// the next update.                                                          //
//-----------------------------------NOTICE----------------------------------//

//--BEGIN FILE HEAD CUSTOM CODE--//
//--END CUSTOM CODE--//

#include "../../include/FixLink.h"
#include "../../include/ObjectRegistry.h"
#include "../../include/NIF_IO.h"
#include "../../include/obj/NiPSysCylinderEmitter.h"
using namespace Niflib;

//Definition of TYPE constant
const Type NiPSysCylinderEmitter::TYPE("NiPSysCylinderEmitter", &NiPSysVolumeEmitter::TYPE);

NiPSysCylinderEmitter::NiPSysCylinderEmitter() : radius(0.0f), height(0.0f)
{
	//--BEGIN CONSTRUCTOR CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

NiPSysCylinderEmitter::~NiPSysCylinderEmitter()
{
	//--BEGIN DESTRUCTOR CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

const Type & NiPSysCylinderEmitter::GetType() const
{
	return TYPE;
}

NiObject * NiPSysCylinderEmitter::Create()
{
	return new NiPSysCylinderEmitter;
}

void NiPSysCylinderEmitter::Read(istream& in, list<unsigned int> & link_stack, const NifInfo & info)
{
	//--BEGIN PRE-READ CUSTOM CODE--//
	//--END CUSTOM CODE--//

	NiPSysVolumeEmitter::Read(in, link_stack, info);
	NifStream(radius, in, info);
	NifStream(height, in, info);

	//--BEGIN POST-READ CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

void NiPSysCylinderEmitter::Write(ostream& out, const map<NiObjectRef, unsigned int> & link_map, list<NiObject *> & missing_link_stack, const NifInfo & info) const
{
	//--BEGIN PRE-WRITE CUSTOM CODE--//
	//--END CUSTOM CODE--//

	NiPSysVolumeEmitter::Write(out, link_map, missing_link_stack, info);
	NifStream(radius, out, info);
	NifStream(height, out, info);

	//--BEGIN POST-WRITE CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

std::string NiPSysCylinderEmitter::asString(bool verbose) const
{
	//--BEGIN PRE-STRING CUSTOM CODE--//
	//--END CUSTOM CODE--//

	stringstream out;
	out << NiPSysVolumeEmitter::asString(verbose);
	out << "  Radius:  " << radius << endl;
	out << "  Height:  " << height << endl;
	return out.str();

	//--BEGIN POST-STRING CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

void NiPSysCylinderEmitter::FixLinks(const map<unsigned int, NiObjectRef> & objects, list<unsigned int> & link_stack, list<NiObjectRef> & missing_link_stack, const NifInfo & info)
{
	//--BEGIN PRE-FIXLINKS CUSTOM CODE--//
	//--END CUSTOM CODE--//

	NiPSysVolumeEmitter::FixLinks(objects, link_stack, missing_link_stack, info);

	//--BEGIN POST-FIXLINKS CUSTOM CODE--//
	//--END CUSTOM CODE--//
}

std::list<NiObjectRef> NiPSysCylinderEmitter::GetRefs() const
{
	list<Ref<NiObject> > refs;
	refs = NiPSysVolumeEmitter::GetRefs();
	return refs;
}

std::list<NiObject *> NiPSysCylinderEmitter::GetPtrs() const
{
	list<NiObject *> ptrs;
	ptrs = NiPSysVolumeEmitter::GetPtrs();
	return ptrs;
}

/***Begin Example Naive Implementation****

float NiPSysCylinderEmitter::GetRadius() const {
return radius;
}

void NiPSysCylinderEmitter::SetRadius( float value ) {
radius = value;
}

float NiPSysCylinderEmitter::GetHeight() const {
return height;
}

void NiPSysCylinderEmitter::SetHeight( float value ) {
height = value;
}

****End Example Naive Implementation***/

//--BEGIN MISC CUSTOM CODE--//
//--END CUSTOM CODE--//

redpajama_set_name: RedPajamaGithub


text:
Wells Fargo launches Stakeholder Advisory Council
Stakeholder Advisory Council will provide insight and feedback to the Board of Directors and senior management.
Earlier this year, Wells Fargo's Board of Directors announced several actions to strengthen oversight and rebuild the trust of shareholders, customers, and other stakeholders — including team members. One of those actions called for the creation of a new Stakeholder Advisory Council, which the company formally announced today.
The council — comprised of a diverse mix of the company's stakeholders — will provide insight and feedback from a stakeholder perspective to the company's Board of Directors and senior management. The council's focus will be to deepen the company's understanding of important current and emerging issues relevant to both the company and its stakeholders, including serving the financial needs of underserved communities, diversity and social inclusion, and environmental sustainability.
Council members include:
Michael Calhoun, president, Center for Responsible Lending
Mindy S. Lubber, CEO and president, Ceres
Marc H. Morial, CEO and president, National Urban League
Janet Murguía, CEO and president, UnidosUS
Sister Nora Nash, director of Corporate Social Responsibility for the Sisters of St. Francis of Philadelphia, a member of the Interfaith Center on Corporate Responsibility
Anne Sheehan, director of Corporate Governance, California State Teachers' Retirement System
John Taylor, president and CEO, National Community Reinvestment Coalition
Elizabeth "Betsy" Duke, who currently serves as Wells Fargo's vice chair of the board and will become its chair on January 1, 2018, says, "The council consists of representatives of stakeholder groups especially important to the company, including groups focused on consumer rights, fair lending, the environment, human rights, civil rights, and governance. It is important that the top leadership of our company hears directly from our stakeholders, and we look forward to benefiting from the council's diverse perspectives and experiences, particularly with respect to our commitment to our customers and communities."
The Stakeholder Advisory Council will be led by Duke and include the participation of Wells Fargo CEO Tim Sloan.
"We see the council as an extension of our regular engagement with stakeholders to ensure that we gain a strong understanding of what they expect of us and are taking those concerns and feedback into account," says Sloan. "The council's insight and input will be instrumental in our efforts to maximize our ability to make a positive impact on customers and communities as we build a better Wells Fargo."
For more information about how Wells Fargo is building better, reference the two-page Progress Report (PDF), which summarizes actions the company has taken to rebuild trust, and Wells Fargo Today (PDF), a five-page quarterly fact sheet that contains stats and other information about Wells Fargo.

redpajama_set_name: RedPajamaCommonCrawl


text:
Het laatste nieuws uit de metalwereld
MACHINE HEAD release video for 'No Gods, No Masters'
MACHINE HEAD has released the official music video for the song "No Gods, No Masters". The track is taken from the band's tenth studio album, "Of Kingdom And Crown", which is out now via Nuclear Blast/Imperium Recordings.
Watch "No Gods, No Masters" below.
MACHINE HEAD frontman Robb Flynn states: "We're really proud of the video for 'No Gods, No Masters'. It was an incredible collaboration between three different creative teams working across two different continents. Our director/editor Mike Sloat teamed up with the amazing Grupa 13 (BEHEMOTH, AMON AMARTH) and then the stunning 3-D CGI came from Phil Radford a.k.a. MayaGuy of Strangebox. The track was masterfully mixed by longtime MACHINE HEAD collaborator Colin Richardson and his engineer Chris Clancy. This is a really special song from the album."
The follow-up to 2018's "Catharsis", "Of Kingdom And Crown" includes the three songs that were featured on last year's "Arrows In Words From The Sky" single: "Become The Firestorm", "Rotten" and "Arrows In Words From The Sky". Much of the new MACHINE HEAD album was recorded at Sharkbite Studios in Oakland, California with engineer/producer Zack Ohren.
Back in December 2021, drummer Navene Koperweis (ANIMALS AS LEADERS, ENTHEOS, ANIMOSITY) joined Flynn, MacEachern and Ohren at Sharkbite Studios to jam on the final tracks for "Of Kingdom And Crown" and add some finishing touches to the songs.
In a recent interview with El Cuartel Del Metal, Flynn stated about the lyrical inspiration for "Of Kingdom And Crown": "The concept is set in a futuristic wasteland where the sky is always crimson red, and it's based around two characters. Character number one is named Ares (pronounced Aries), and he loses the love of his life, Amethyst, and goes on a murderous rampage against the people who killed her. Character number two is Eros (pronounced Arrows), who loses his mother to a drug overdose and, in his downward spiral, depression, becomes radicalized by this charismatic leader and goes on his own killing spree and is one of the people who killed Amethyst. And so the lyrics detail how their lives intertwine. The opening track, 'Slaughter The Martyr', is essentially… it's the origin story for character number one. He's just lost the love of his life and he's in just a murderous, venomous rampage and revenge is all he's thinking about. And so the story unfolds from there."
As for how he was inspired by the Japanese anime series called "Attack On Titan" for the new MACHINE HEAD album, Flynn said: "When I first started writing the concept, it was a very American story arc: it was good guy, bad guy, good guy wins. And I wasn't connecting to it. It was good, but I couldn't connect to it; I couldn't get any kind of emotion out of it. And then my family, my kids started watching — I've got two two teenage boys and they both started watching a lot of anime over the pandemic. And we were all locked up anyway and we couldn't go out.
"I used to be a total anime nerd when I was their age — 'Akira' and 'Space (Battleship) Yamato' and 'Robotech' and all these anime series. So to see them go through this same thing, I was just, like, 'Dude, this is rad.' And of course, it's now modern and it's super bloody, and it was even better. So I was, like, 'Let's watch this together. I'll fucking totally watch this with you.' So we started watching it. And one of the things about that particular series — 'Attack On Titan' — the part that inspired me was in that series there is no good or bad guy; both sides believe they're doing good, but both sides are committing evil and atrocities. And that was like a total lightbulb going off in my head. I was, like, 'Oh, wow. I can maybe write it like that.'
"So then… here I am writing through… Now I'm writing through not just one character's eyes but a polar opposite character's eyes. And for a guy who's written nine albums pretty much solely through my eyes — my experiences; the way I see the world — now to have to try and write through these other characters, it was really cool," he added. "It was really interesting and it just made the whole experience awesome."
Asked if there was any research involved in writing the lyrics for "Of Kingdom And Crown" or if it was all just in his head, Robb said: "It was just in my head. Jared (MacEachern, bass/backing vocals) wrote a lot of lyrics too — Jared contributed quite a bit of lyrics, and we bounced a lot of ideas off of each other. He came up with some great melodies, some great lyrics. But it really was just about constantly writing and just consistently waking up… Most of this record was written at three in the morning. (Laughs) I'm a total night owl — I wake up at 3 a.m. almost every night and I just do work or I write or whatever. So I just would set a timer for 20 minutes and I would just write anything that came to my mind — dumb shit, killer shit. I would just try and make everything rhyme; I would try and make a sequence out of it. And then I would just go back to bed and then wake up and look at it the next morning and then I would either sing it or try and mess around with it. And I think just doing it, kind of just chipping away at it like that every day, really helped the story come together."
"Of Kingdom And Crown" track listing:
Slaughter The Martyr
02. Choke On The Ashes Of Your Hate
03. Become The Firestorm
04. Overdose
05. My Hands Are Empty
06. Unhallowed
07. Assimilate
08. Kill Thy Enemies
09. No Gods, No Masters
10. Bloodshot
11. Rotten
12. Terminus
13. Arrows In Words From The Sky
Digipak CD bonus tracks:
Exteroception*
15. Arrows In Words From The Sky (acoustic)*
CDs, Digipak, cassettes, and all digital formats will be available on Aug 26th, with all vinyl formats arriving on Nov 25th.
ØF KINGDØM AND CRØWN
1. SLAUGHTER THE MARTYR
2. CHØKE ØN THE ASHES ØF YØUR HATE
3. BECØME THE FIRESTØRM
4. ØVERDØSE
5. MY HANDS ARE EMPTY
6. UNHALLØWED
7. ASSIMILATE
8. KILL THY ENEMIES
9. NØ GØDS, NØ MASTERS
10. BLØØDSHØT
11. RØTTEN
13. ARRØWS IN WØRDS FRØM THE SKY
ORDER MACHINE HEAD'S NEW ALBUM "ØF KINGDØM AND CRØWN" AT THIS LOCATION.
Catch MACHINE HEAD on the road across Europe, starting in August. For ticket information, click AT THIS LOCATION.
Electric Happy Hour Live:
August 31 – Glasgow @ Garage (SOLD OUT)
September 2 – Inverness @ Ironworks
September 4 – Aberdeen @ Lemontree (SOLD OUT)
September 5 – Dundee @ Fat Sams
September 6 – Edinburgh @ Liquid Room (SOLD OUT)
Machine Head & Amon Amarth "Vikings & Lionhearts" Tour Dates:
08th NOTTINGHAM, Arena
09th CARDIFF, Arena
10th LONDON, Wembley Arena
12th MANCHESTER, Arena
13th DUBLIN, 3 Arena
16th ZURICH, Hallenstadion
17th VIENNA, Stadthalle
18th KRAKOW, Tauron Arena
20th TALLINN, Saku Arena
21st HELSINKI, Ice Hall
23rd OSLO, Spektrum
24th STOCKHOLM, Hovet
26th COPENHAGEN, Forum Black Box
27th HAMBURG, Barclays Arena
28th FRANKFURT, Festhalle
30th OBERHAUSEN, König Pilsener Arena
01st BERLIN, Velodrom
02nd AMSTERDAM, Afas Live
04th MILANO, Lorenzini District
06th BARCELONA, Sant Jordi
07th MADRID, Vistalegre
08th LA CORUNA, Coliseum
09th LISBON, Campo Pequeno
12th PARIS, Zenith
14th MUNICH, Olympiahalle
15th LEIPZIG, Arena
16th PRAGUE, Tipsport Arena
18th BUDAPEST, Barba Negra
20th ESCH SUR ALZETTE, Rockhal
21st BRUSSELS, Forest National
22nd STUTTGART, Schleyerhalle
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KORPIKLAANI release single "Krystallomantia"
MEGADETH receives platinum and gold records after Los Angeles concert


Very soft. Very cherry. Very fast.
Symptoms persist beyond 2 weeks or recur.
Adults and pregnant women: chew 2 – 3 soft chews as needed.
Pregnant women: 4 soft chews.
corn starch, corn syrup, corn syrup solids, FD&C red #40 aluminum lake, glycerin, hydrogenated coconut oil, natural and artificial flavours, non-fat dairy milk, propylene glycol, soy lecithin, sucrose. Contains milk and soy. May contain magnesium.


Allergen Research Corp. is taking in an $80 million Series B financing led by Foresite Capital to fund the Phase 3 trial of its pharmaceutical-grade oral treatment for peanut allergy.
Allergen—not to be confused with life sciences giant Allergan (NYSE: AGN)—calls its therapy, which is a peanut protein formulation, a desensitization immunotherapy—in essence it attempts to make people who are allergic to something like peanuts less sensitive to them. The company gives the patients controlled doses of the pharmaceutical-grade, standardized food allergens to increase the threshold of allergens a person can take.
The San Mateo, CA-based company has completed a Phase 2 study of the treatment, which began in February 2014. The FDA granted Allergen's treatment, AR 101, an expedited review process for approving the drug.
Allergen is also using the financing to begin clinical trials later this year using its technology to treat egg and milk allergies.
Jim Tananbaum, who founded Foresite in 2011, is joining Allergen's board, as is Stacey Seltzer, a partner with one of the other investors in the round, Aisling Capital.
Longitude Capital, which led Allergen's $17 million Series A round in 2013, also participated in the Series B, as did new investors Fidelity Management & Research Company, Adage Capital, RA Capital Management, and Palo Alto Investors.


text:
Disaster Cleanup and Repair Services in Ramsey Springs, Mississippi
Delta Restoration Services in Ramsey Springs
For water damage, Ramsey Springs turns to Delta Restoration Services® Eastern Gulf States. We are a full-service property restoration firm. Our staff and rapid response crews are on-call 24 hours per day, 7 days per week, ready to be dispatched at a moments notice to Ramsey Springs and anywhere within our two-hour guaranteed response service area.
Facts about Ramsey Springs
Ramsey Springs is an unincorporated community in Stone County, Mississippi, United States. It is part of the Gulfport–Biloxi, Mississippi Metropolitan Statistical Area.
The Ramsey Springs Community is located approximately 20 miles (32 kilometers) southeast of the City of Wiggins in Stone County, (formerly Harrison County) Mississippi, and dates back to the days of Native Americans. The Reverend Abner Walker and his brother George were directed to the artesian springs situated on the banks of Red Creek a tributary of the Pascagoula River. Red Creek watershed covers over 400 square miles (1036 square kilometers) in south Mississippi; the creek derives its name from the reddish stain of naturally occurring tannins that are carried in the water.
George Walker was suffering from a stomach ailment which the Native Americans said could be cured if he drank the mineral spring water. Walker began using the water and found that it relieved his stomach pain. Impressed with the water's curative powers, the Walkers told others about the spring, located on the A.C. Ramsey farm. In 1820, Ramsey had moved to the area and cleared land on a bluff along Red Creek. As early as 1896, a newspaper advertisement referenced a boarding house on the property. Soon, people arrived by the hundreds to camp near the natural spring and use the water for drinking and bathing.
Andrew Ramsey, an heir to the property, and A. Baldwin developed the spring and later sold out to Dr. George McHenry and George Bustin, who promoted the spring water as a cure for stomach ulcers and skin diseases. An analysis of the spring water, made by the National Bureau of Standards, listed eight chemicals, plus a small amount of radium. In the 1890s, a pamphlet advertised the advantages of Ramsey Mineral Springs water. The water was publicized for treating skin disorders, blood and bowel diseases, and liver and kidney complaints.
Through the years, ownership of the property changed hands, and around 1920, a hotel was constructed by the Miller family. The 25- to 35-room hotel was situated about one-quarter mile (0.4 kilometer) from the spring and Red Creek. As word spread, more and more visitors came to Ramsey Springs for its resort atmosphere. Guests relaxed and enjoyed home-cooked dinners and other accommodations in the rustic hotel. The hotel's interior was decorated with curious timbers, pine cones, and taxidermy specimens from the local forest. The huge lobby had a large, cobblestone fireplace and a ceiling of cypress logs that supported the upper floors. On the grounds of the hotel was a swimming pool that contained clear, cold water from the natural spring. During the first half of the 20th century, Ramsey Springs Hotel was booked solid by Mississippi Gulf Coast residents as a weekend and vacation retreat. Interest in Ramsey Springs Hotel waned after World War II, because the Mississippi Gulf Coast, from Gulfport to Biloxi, experienced development of motels and hotels and construction of a sandy beach-front along the shore of the Gulf of Mexico, which was paralleled by U.S. Highway 90.
In 1961, the Ramsey Springs Hotel was demolished. Fifty years later, the Land Trust for the Mississippi Coastal Plain acquired 57 acres (23 hectares) of the Ramsey homestead property and conveyed it to the State of Mississippi with an understanding that the property would be dedicated to conservation and managed for public-use because of its ecological, cultural, and scenic significance.
Serving Ramsey Springs
wrong city provided
News in Ramsey Springs


text:
What's On Guest Performances 2021
Information & Contact Tickets & Packages
History Photos
Haus der Berliner Festspiele
Rain (live)
Anne Teresa De Keersmaeker / Rosas & Ictus
World premiere 10.01.2001, De Munt / La Monnaie, Brussels
Revival 4.10.2016 Koninklijk Circus / Cirque Royal, De Munt / La Monnaie & Kaaitheater, Brussels
Dear Audience, It is with great regret that we have to inform you that the performances of "Rain (live)", which were planned for 2 to 4 April, have to be cancelled due to the current developments connected with the spreading of the Coronavirus. Information on returning tickets
Berliner Festspiele On Demand: From 1 to 29 April we will present on our website a recording of "Rain" (live) and an adaptation of "Achterland", complemented by a documentary on "Rain". To the videos
"Rain" is considered one of Anne Teresa De Keersmaeker's signature pieces and most successful performances. Choreographed to Steve Reich's "Music for 18 Musicians", performed live by the Ictus Ensemble, this production from 2001 unites two pioneering artists of the 20th century.
© Anne Van Aerschot
1 h 10 min, without interval
Date cancelled
Haus der Berliner Festspiele, Main Stage
Packages Ballet Rambert / Rosas
The tanzcard is valid.
In front of a gigantic curtain of ropes, ten dancers measure the space with their movements – soft circular and spiralling figures that are constantly interrupted by clear lines and diagonals. To the sound of composer Steve Reich's heartbeat-like rhythm, a constant alternation of tension and release, chaos and order, vertiginous acceleration and sudden stops generates a maelstrom that tells of vitality and connectedness.
Following "Fase" (1982) and "Drumming" (1998), "Rain" is De Keerskmaeker's third exploration of Steve Reich's minimal music. With seven female and three male dancers, she translates the slight shifts, tiny variations, mathematical formations and repetitions of Reich's musical structure into an exuberant geometric game of vital and yet exhausting group choreographies.
Anne Teresa De Keersmaeker is considered one of the most internationally influential choreography of our times. Following her studies at the MUDRA School for Dance and the Tisch School of the Arts in New York, she choreographed her first own work, "Asch", in 1980, which already clearly demonstrated her interest in the close interaction of movement and music. In 1983, De Keersmaeker founded her company Rosas. Her most recent performances at Berliner Festspiele were "Cesena" and "En Atendant" in 2012 and "Partita 2" in 2013.
The Ictus Ensemble, who have also visited Berliner Festspiele several times, is renowned for its unusual concert formats.
Choreography Anne Teresa De Keersmaeker
Music Steve Reich (Music for 18 Musicians)
Musicians Ictus
Voice Synergy Vocals
Musical Director Georges-Elie Octors
Costume Design Dries Van Noten
Lighting Design Jan Versweyveld
Laura Bachman, Léa Dubois, Anika Edström Kawaji, Zoi Efstathiou, Yuika Hashimoto, Laura Maria Poletti, Soa Ratsifandrihana, José Paulo dos Santos, Robin Haghi / Lav Crnčević, Luka Švajda
Miquel Bernat, Tom de Cock, Géry Cambier, Elliot Harrison, Ruben Martinez Orio, Jessica Ryckewaert percussions
Gerrit Nulens, Georges-Elie Octors percussion & piano
Laurence Cornez, Jean-Luc Fafchamps, Stéphane Ginsburgh, Jean-Luc Plouvier piano
Dirk Descheemaeker, Tomonori Takeda clarinet
Igor Semenoff violin
Geert De Bièvre cello
Synergy Vocals
Micaela Haslam, Amanda Morrison, Heather Cairncross, Caroline Jaya-Ratnam
Rain. © Anne Van Aerschot
Rain (2016 revival) - Teaser
Production Rosas & De Munt / La Monnaie, Brussels (2001). Co-production De Munt / La Monnaie, Brussels, Sadler's Wells, London, Les Théâtres de la Ville de Luxembourg (2016)
Rosas is supported by the Flemish Community and by the BNP Paribas Foundation.
The Berlin performances are made possible by
and supported by


text:
United States United Kingdom Deutschland
Missions That Matter
Holly Finn July 2011
Holly Finn / July 2011
Thanks for visiting Think with Google's archives. To find more recent content about enhancing company culture, check out our Management & Culture collection.
Google looks for employees with passion and drive. We've found that these qualities usually include a desire to use technology to make the world a better place. We encourage these "intrapreneurs'" to develop and sell their ideas to the larger team, a great many of which end up being developed into successful ventures. Here we discuss the culture that allows for such innovations and some of the most important ones so far.
Maybe you're looking for the Holy Grail, maybe just a parking space. Either way, your search is important to you. But some searches matter more, like searching for loved ones. Consider this number: 90 minutes. That's how long it took for Google's Person Finder – a searchable missing persons database – to go live after the earthquake in Japan on March 11th. In the first 48 hours, there were 36 million page views. Queries-per-second peaked at 1,600. It was translated into 40 languages, and now Google is tracking over 600,000 records.
This wasn't the first time Person Finder had been activated. It launched 72 hours after an earthquake devastated the Haitian capital, Port-au-Prince, in 2010. Following the Chilean earthquake in February of the same year, the response time was six hours. Twelve months later, after the Christchurch quake, it was 60 minutes. Google, it seems, is as intent on innovating crisis response as any monetizable product. But how? And why?
The simplest answer may be the right one: Googlers themselves. Other companies screen for intelligence and experience in potential recruits. But Google also looks for "Googliness" – a mashup of passion and drive that's hard to define but easy to spot. Of the over 26,000 employees worldwide, a surprising percentage have it. While part of a huge organization, they think – and, crucially, act – like entrepreneurs. Such "intrapreneurs" exist in many corporations, of course. But conditions at Google – where creatively benevolent impulses can be backed up by engineering resources and managerial support – seem to produce an unusually large crop of them.
"They didn't realize the web was for the average Indian, not just for the English-speaking, not just for Americans, and not just for porn."
Some had an entrepreneurial bent all along. Back in January, venture capitalists and hackers, execs and engineers – all accustomed to their share of 'revolutions' out in Silicon Valley – watched in amazement as Egyptians took to the streets. It was a real revolution, in real time. But one Googler did more than watch. In a single weekend, Ujjwal Singh, co-founder of SayNow, a voice communications company Google recently bought, plus a small team of scrappy Googlers, partnered with Twitter to develop and launch a service that allowed Egyptians to communicate even when their government had blacked out most communication systems, including the internet.
The team got the call on Saturday, and by Sunday morning at 5.30am had a working model for Speak2Tweet. It relied on the last remaining outlet – telephone – to post messages to Twitter. Egyptians dialed an international phone number to leave a voicemail, which was then translated and tweeted for them instantly. All this before Singh even had his official first day.
Many more intrapreneurs spring up from inside the company. They do good in their core job and, often, way beyond it. To make change – and make change more efficient – they begin by dedicating their '20 percent time,' a chunk that can be taken out of the regular work week for worthy projects. Others work full- or part-time for Google.org (DotOrg), Google's technologically driven philanthropic organization. One of its program managers, Jennifer Haroon, works on Health Speaks, translating basic health information into Arabic, Hindi and Swahili (there are 266 articles so far). It's a collaboration between DotOrg and the Translate team. "The point of DotOrg," she says, "is to leverage every part of Google." And perhaps the point of Google is to leverage every part of Googlers.
Google looks for "Googliness": a mashup of passion and drive that's hard to define but easy to spot. Of the over 26,000 employees worldwide, a surprising percentage have it.
Prem Ramaswami was working as a product manager on network infrastructure when he joined The Internet Bus Project. "The thing looks like the Winnebago from Spaceballs," he says. It was designed to tour second- and third-tier cities in India (with populations from 150,000 to three million) to "get people online, on the internet. I truly mean the internet and not Google," says Ramaswami. "They didn't realize the web was for the average Indian, not just for the English-speaking, not just for Americans, and not just for porn." The bus became a roving educator for Indians – over a million people have been on it so far, and the program is expanding to five buses.
Ramaswami's intrapreneurial spirit has since led him to DotOrg's Crisis Response team, which works to make critical information accessible around natural and humanitarian disasters, from Queensland to Sudan, Brazil to Japan. After the Haiti earthquake, the team helped create a landing page within 24 hours, then flew to the ravaged region to understand how technology could help in the aftermath of natural disasters. "We are data-driven – we really want to make sure that when we respond, our response is useful," Ramaswami says.
Technological coordination, for instance, is an issue in any crisis. Some computer protocols, such as KML and CAP, work well with maps and are very useful for public alerts. Some aren't. The key is machine-readable formats. "We need to do a better job communicating with all these governments," observes Ramaswami. "Stop creating PDFs, start creating something that's more usable."
In Japan, the importance of consistent and open standards became clear. "We had to take all these government lists and put them online manually," says Ramaswami. "But working with Honda and Toyota, their cars had GPS tags in them, so we could deduce, for instance, what roads were open. These companies, more than governments, understand how to share geo-based information. And the population wants it, needs it. It greatly improves the ability to get information out there."
Alice Bonhomme-Biais, a software engineer, is involved in Crisis Response as well. She first worked on Google Maps infrastructure and had visited Haiti for years (her husband is Haitian) making most of her contributions independently, but also calling on co-workers for help. "I asked for a few OLPC [One Laptop Per Child] laptops from Googlers to send to a school there, and I received an OLPC from Vint Cerf [Google's Chief Internet Evangelist]. These kids don't realize it but they're using computers from the father of the internet." Bonhomme-Biais gives time to Google Women Engineers too, championing women engineers inside the company and out. "Now I see computer science is amazing because it's not an end; it's a tool to do things," she says.
'Things' like Random Hacks of Kindness (RHoK), a series of hackathons held concurrently around the world, with participants from Google and other tech companies. The aim? To create software solutions for disaster risk and response. Last December, RHoK included 21 cities and over 1,400 people (the most recent is June 2011). Features launched there were put to use in Japan, three months later. One hack built out the ability to auto translate Person Finder messages online. This is cloud computing at its best.
"Computer science is amazing because it's not an end; it's a tool to do things."
Some Googlers create technology, others leverage it. After an old boyfriend was killed in action in Afghanistan in 2007, Creative Lab's Audience Evangelist Carrie Laureno founded Google Veterans Network (VetNet), an internal group that works to make the company veteran-friendly (300 Googlers showed up to a recent screening she arranged of Restrepo, the brutally clear-eyed documentary about Afghanistan, followed by a discussion with vets and the filmmakers). Laureno's current job grew out of the work she's done with VetNet: experimenting with ways to help specific communities of users by introducing them to the products and features that could help them most – starting with veterans.
Google is now donating Cr-48 Chrome Notebooks to wounded troops convalescing in US military hospitals, so that they can keep in touch with loved ones while they're on the mend. And whole sections of the company are trying to figure out how technology can take care not only of tasks but of people – wherever they are.
YouTube is working on crisis response annotation – alerts to pop up in videos when a disaster strikes. Ramya Raghavan, a YouTube News and Politics manager, is also focused on new ways of promoting YouTube for Nonprofits, giving them premium perks like custom brand channels. So far there are 10,000 partners in the program. Recently, $35,000 was raised in one weekend by the video World Hunger – A Billion for a Billion.
GoogleServe began as an idea to help Google employees connect to their local communities and each other through community service. In year one, it launched a pilot in 45 offices; in the three years since, it has grown to become an annual tradition involving more than 30 percent of the company across more than 60 offices.
It was founded by Seth Marbin as a side project while he was working on the Search Quality team. He now works on the Social Responsibility team that focuses on encouraging and enabling Googlers to use their skills, talents and resources to have an extraordinary impact on the world. How do they do that? "The concept is, 'follow the bright spots,'" he says. "A lot of people are already giving back, and with a little bit of structure they can channel their passions more effectively – that's what our team does."
"I was compassionate about people but I had never taken any action," admits Rohit Setia, an engineer in Hyderabad, India, who coordinates GOAL: Google Outreach Action & Leadership, "then I joined Google. Here I found a group of people who spent time in orphanages, helping. And here, besides my full-time work, I have complete resources, which I know if I use properly I can reach more people. You don't have to do a lot of processing. You can just start, and start giving." He believes the youth of India are, like those in Egypt, driven by a desire to change and improve their country. "How can Google help? By giving them easy tools to help them connect to the world. By giving them information, or access to it."
Well-meaning ideas don't work every time, of course. As Prem Ramaswami says, like a true intrapreneur: "It's a Darwinian method for projects here. You have to evangelize, and sometimes people aren't interested, which is a natural way to convince yourself that this might not be worth working on." Some projects do fail. But the good ones, somehow, succeed.
Inspire Positive Change
The Eight Pillars of Innovation
Branding Brazil


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text:
The Seven Mile Journey - The Metamorphosis Project
Artist: The Seven Mile Journey
Album: The Metamorphosis Project
Label: Fonogram
01. Theme for the Elthenbury Massacre
02. The Catharsis Session
03. Identity Journals (anonymous)
04. January 4th - The Hypothesis Hour
05. A Sanctuary for Lugubrious Tracy
06. Purification - The Journey Transc
Download part2
Operating under the post-rock banner, The Seven Mile Journey's The Metamorphosis Project offers an hour of sparse and atmospheric soundscapes. It is the group's second release for Denmark's Fonogram Agency, and is released in the United States on Pumpkin Seeds in the Sand. The design is minimal yet eye-catching, with a white logo stamped in the corner of a glossy black digipak. Varying only in color, the art is identical to their previous releases. It's almost as if the band wants the music to speak for itself...
Opening track "Theme for the Elthenbury Massacre" offers little in terms of variety, using droning guitars that maintain a bleak aura. It's similar to many Explosions in the Sky songs before they crescendo and, frankly, that monotony makes it rather boring; it's the auditory equivalent of driving through the plains for hours on end. You might come across an occasional hill or curve, but it's basically a lot of the same thing. After fifteen minutes and two tracks, the album starts to pick up.
On "Identity Journals (Anonymous)," the group incorporates more energy, varying the tempo and offering a melody to counter the record's dreary start. For my tastes the melody is essential. Despite any traditionalist arguments one might make for the post-rock genre, the hint of catchiness keeps me interested. The guitars are utilized to drive a melody that overlays the earlier drone - shifting the tone from banal to foreboding and eventually optimistic. It's effective without being flashy. The next two songs incorporate a mild crescendo, subtler than their aforementioned Austin contemporaries, with a melody weaving in between the atmospheric, tone-setting drone and an emotional rise. After approximately twenty minutes of teetering on catchiness, the band briefly transitions between the earlier abyss and back to a gloomy crescendo in tune with the middle of the record on the closing "Purification - The Journey Transcriptions."
The Metamorphosis Project is parallel in structure to a screenplay: the six tracks can be broken into two-song "acts" conveying an emotional setup, change of outlook, and climax. The rise and fall are alternately intriguing, mildly catchy, and climatic. It's a solid album with emotional heights but, unfortunately, the record just takes too long to get going before its all-too-brief peak. It's an epic crescendo structure without enough epic. The record is solid but unexceptional. I would not recommend it for anything more than atmospheric background or enthusiasts of the genre.-Loren (scenepointblank.com)
Posted by JaM at 8:07 PM
Labels: EXPERIMENTAL, POST ROCK
José Carlos said...
This is a fucking damn good release!! FIVE STARS.
The Severely Departed - The Severely Departed
Monera - Well Dressed Ghosts
Bossk - .1
Gardenbox - Gardenbox
Zodiak - Sermons
Hen:ge - Stationery/Crater EP
The Seven Mile Journey - The Metamorphosis Project...
2 By Bukowski - What a Long, Strange Journey This ...
Followed By Ghosts - The Entire City Was Silent


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A reference to a CFBoolean object.
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Florianópolis is made up of a network of nature trails that connect the beaches, mountains, and lakes of the island. They are different, though, from the trails found in any state park because of the villages that quite suddenly pop up along them. There are no signs reading "Smallville 100m" warning of their existence. So you're walking along a rocky path through dense jungle, hearing the crunch of gravel under your feet and the chatter of monkeys in the trees when suddenly you hear the clatter of a cue ball making the first break shot. You've stumbled upon a pool hall. Soon roosters are crossing your path, a horse, a cow. Then there's a string of houses, modest in size and construction materials while outspoken in color. There's a grocerette, a church, a first-aid post, a video store. On the door of a dance hall is a poster that invites "the community" to a dance that night.
These villages are referred to as "communities," and it's not surprising that the poster advertising the dance doesn't necessarily say outsiders aren't welcome, but it certainly doesn't encourage their attendance. While it's clear how to reach these communities on foot, how does one reach the people who comprise them?
Anyone who knows me knows that the reason I travel – the reason I "hike these trails" – is not to hear the chatter of the monkeys in the trees; it's to hear the chatter of the villagers, then to chatter with them, and, eventually, I hope to be accepted as one of them.
I wasn't aware of this obsession, until my older sister articulated it in another city in another country. I had rented a house in the historic center of Savannah, Georgia, for a month in the summer of 2005, and I came to feel I knew the area and the faces in it as well as I knew my neighborhood in Brooklyn. Towards the end of my stay, my sister came to visit, and while we were out one day, a tourist asked me for directions.
"Doesn't everybody?" I thought. But I hadn't passed for a local; the only person who mistook me as someone who might be able to give directions was another tourist.
I was exasperated. What tourist stays in the same tiny town for 30 days?!
Why didn't he think I had moved to town to teach at the college right next door? What was so positively foreign about me? I was a native of Georgia! My people had been in Georgia for 300 years, dammit! I could even resurrect my accent when necessary. Did I really seem so out of place, y'all?
On the water taxi in Floripa, I've seen ladies from The Community share their supermarket purchases with everyone on the boat but me. I am not sad that they don't offer their bag of Ruffles for me to dig my hand into; I am just a little embarrassed that when trying to pass for a local, the only one I seem to fool is myself.
Language has always been my way of trying to reach out to people in the hope that they would take my extended hand and pull me in – whether it's a Southern accent in Savannah, though mine faded long ago, or Portuguese in Brazil. When I am the outsider, I try to express through language that I embrace and respect the local people and culture in the hope they will embrace me, too. As one of their own.
As a result, my insistence on learning Portuguese, and not speaking a word, a syllable, an utterance of English with any Brazilian person became such a point of pride with me the first time I was in Brazil, at age 23 in 1999, that it threatened to grow into a monster that might have scared off even the toughest, most stoic villager.
When I lived in Brazil for the first time, I adhered to a strict rule that I myself had invented: No English outside of the English schools where I taught. For this reason, I didn't socialize with the other English teachers, who, coming from all over the world, might have been really interesting and worth knowing. And when students invited me to do things outside of class, I answered, "I'd love to, but, just so you know, we won't be speaking English." What an abrasive response to an earnest invitation! It's no wonder some of those invitations never evolved past the stage of offhand suggestion. I'm just lucky that some of those people, like Renata – first a student, later a dear friend – gave me a chance and didn't withdraw the invitation.
Once my Portuguese had reached a level that allowed me to build relationships in the language, it was offensive to me when Brazilian strangers would approach and immediately, presumptuously, start speaking English. The sound of my mother tongue inspired real anger in me, and, on many occasions, my response certainly showed it.
Once in a bar a very cute guy sat next to me and asked my friend and I where we were from. The girl with me said, "I'm from Curitiba, and she's from the US." Mr. Cute turned to me and said in English, "Oh? What's your name?" My response? "Eu falo Português." He politely excused himself from our table and I, the cold b@#$% who was too proud even to say her name if it wasn't solicited in Portuguese, sat alone for the rest of the night. As we say in Portuguese, Bem feito. It serves you right!
Was it so hard for me to imagine that maybe these friendly Brazilians, who had worked just as hard to learn English as I had to learn Portuguese, were proud that they spoke another language, too? Imagine that.
But now I wonder if there wasn't more to it than that. Was it that the stranger, with his use of my mother tongue, had gotten too close? Instead of a hand shake, he had caressed the small of my back. Maybe he was just trying to embrace me.
I love language like a prized object. I have favorite words like someone may have a favorite sweater, words that remind me of a fond memory the way photographs trigger such memories for others. As a baby, when I cried, my father didn't shake my favorite toys before my eyes; he repeated my favorite words. Bunny. Turtle. Puppy.
For someone who has such a sensual relationship with her mother tongue, why was I so resistant against it? Sure, I don't want to be the ugly American who wanders into every store in Rio de Janeiro, expects the staff to speak English, and just picks up something and says, "How much?" But why, in intimate situations, with people who wanted to be my friend, was I so resistant to the language that was most intimately connected to me? Maybe I wanted to connect with them. Maybe I believed I was connecting with them. But couldn't Portuguese just as easily have been a wall I was building around myself, an armor I wore when among those who were foreign to me, a way of not revealing my true self? A way of sheilding my, ultimately English-speaking, heart?
I started to think about all this because, several months ago, I had the opportunity to hike a trail I had never hiked before with two people I had never spent time with before. One was my roommate's brother, André, and the other, Daniel, a friend of a friend of a friend visiting Floripa for the weekend. A group of us had gathered on the beach – mostly my roommate's family – when Daniel decided to hike the nearby trail. I didn't know him, but I volunteered to go in order to escape a Sunday afternoon with someone else's family.
I was telling the two guys some story as we walked in single file along the narrow trail. André and I had gotten a little ahead of Daniel, so Daniel yelled, in English, although no one had been speaking English, "Wait! What did you say?" And I felt that old anger creep in, stiffen my shoulders and heat the back of my neck and the tips of my ears. He had also been flirting with me shamelessly, and I thought about giving him a helpful hint that Portuguese was a lot bigger turn-on to me than English, but instead I just repeated myself, as he had requested, and I did so in Portuguese.
And that was when he did. Just when I was about to build a wall around me again, he slid a note through a crack. I don't know what changed, what made me read it, but fortunately, it was written in a language that I was beginning to understand. And maybe this time around in Brazil I would finally learn how to make a real connection.


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Tag Archives: movie
A Bi Bank Robber, His Trans Wife, and a Documentary to Love
There is something alluring about John Wojtowicz, the real-life man who inspired Al Pacino's legendary character in Dog Day Afternoon. He's a colorful braggart, an early and abrasive LGBT rights activist, a mama's boy (in his words), a bank robber, a sexual liberationist, and a lover of both men and women. More than anything, Wojtowicz, whose real story is immortalized in the brilliant new documentary The Dog, is an incurably romantic criminal, and the "who" and "what" components of his story aren't nearly as interesting as the "why" of it all.
Filmed over the course of 10 years by codirectors Allison Berg and Frank Keraudren, The Dog (which hits theaters today and iTunes August 15) interweaves extraordinary archival footage of the robbery, 1970s-era interviews, early film of what was then simply the gay liberation movement, recollections from gay activists who know Wojtowicz, and a decade of interviews with the man himself.
Wojtowicz was an unlikely gay rights pioneer in New York City, at a time when he says gay couples couldn't publicly hold hands, even in the famously queer Greenwich Village. Once, when he did hold hands with another man, a police officer called Wojtowicz a "faggot."
His response? He grabbed the man and "tongued him" right there on the street.
But that would be a life-long M.O. for a man who as an early LGBT advocate would embarrass even other activists with his coarseness, vulgarity, self-aggrandizing, and yes, his unabashed sexuality. He loved sex. He had his first gay sexual experience while serving in the Vietnam War. He left his first wife to immerse himself in gay culture, got involved with the Gay Activists Alliance shortly after the Stonewall riots, and though mostly in the background, in 1971 helped organize one of the earliest same-sex marriage protests, when seasoned gay activists and groups like GAA didn't want to touch the issue.
But Wojtowicz, who was nicknamed Littlejohn (he says it's because he has a "little prick"), believed in love and marriage.
"When I love somebody, I want to marry them," he says in the film. A message that resonates with marriage equality activists today, but one that was unusual in 1971.
He fell in love with a transgender woman, back when the word "transgender" wasn't commonly employed and pronouns usage was rarely what we'd call politically correct today. He wanted desperately to marry Liz Eden, and so the two had a wedding ceremony — she donned head-to-toe white, and her veil towered nearly a foot above Wojtowicz. Footage of the wedding shows up in The Dog and helps remind us what a romantic this guy is, without reservations about gender.
He was openly bisexual without using that word. Though he's hardly a great role model, with cheating on his lovers and his bank-robbing ways, when he loved, he loved.
Eden had been living as a woman but desperately wanted gender-reassignment surgery. Wojtowicz fought it at first — when the two met, Eden was still going by Ernie and performing in drag — but when Eden became suicidal he changed his mind and supported her medical transition in a big way. A very big way. In August 1972, he attempted to rob a Chase Manhattan bank in Brooklyn to finance his new wife's surgery. That effort resulted in a 14-hour hostage situation that was broadcast live on TV and eventually left his partner in crime, Sal Naturale, dead, shot by police during their bungled escape.
Wojtowicz went to prison. Three years later, Eden sold the story to Sidney Lumet, who made the critically acclaimed film Dog Day Afternoon, in which Al Pacino plays Wojtowicz. The film had a huge impact on Wojtowicz. Fellow prisoners called him "The Dog," in part because they couldn't pronounce his last name (it's WAHT-a-witz). The Dog embraced that persona and left prison as that man.
But not before falling in love again, with Georgie Heath, a gay man he met at Lewisburg Pennitentiary. Heath performed drag but identified as a man. Still, Wojtowicz calls Heath his "third wife."
There's plenty more to The Dog than can be summed up in a review: a mother who is as close to her son as can be; a developmentally challenged brother who is beloved; The Dog himself, now dying of breast cancer and skin cancer, getting thinner and thinner in every shot but never losing that wonderful libidinous spirit; footage of Eden, who died young of AIDS.
It's a rose-colored trip down memory lane of a larger-than-life guy who, even in celluloid, continues to seduce just about anyone who sits down to watch The Dog.
I must watch this! Sounds fascinating.
Tagged activist, bisexual, equal rights, film, gay, human rights, LGBT, love, marriage, movie, transgender, Wojtowicz
Uncategorized Video
Steven Spielberg's "Obama"
How are there people stupid enough to say "he doesn't deserve a film" blah blah blah…? It's not real! Give me strength.
Tagged Barack Obama, film, movie, Obama, parody, Steven Spielberg
Can filming one second of every day change your life?
1 Second Everyday – Age 30 from Cesar Kuriyama on Vimeo.
"When Cesar Kuriyama saved up enough money to quit his advertising job at the age of 30, he planned to take a year off to travel and spend time with family.
To document the year, Kuriyama filmed one second of video every day.
"After just six weeks, I realised I was going to be doing that for the rest of my life," he says.
After editing the clips into a single video, Kuriyama had not only a record of daily life, but a new perspective on how he lived day to day.
Inspired by the experience, he developed a smartphone app, "1 Second Everyday", which will allow users to create their own videos.
Everyone will probably have a different experience with their videos, he says, but he says self-reflection is never a bad thing."
What a wonderful idea! The app is so unique too. Would definitely download it if I didn't have a BlackBerry.
Tagged android, app, camera, documentary, film, iPhone, life, movie


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Travis Braden: The Wheeling Wheelman
With Veteran Car Owner, 17-Year-Old Turns Heads in 2011
By Tim Quievryn, Speed51.com
On first glance, not much seems to be different now with 17-year-old racer Travis Braden compared to this exact same time last year. No ride officially lined up, facing going back after winter vacation to another semester at Wheeling Park High School, just bunkering down for another cold winter in Wheeling, West Virginia, where the Ohio Valley intersects the Alleghenies and the Appalachians.
But short track racers' seasons aren't defined by the outlook of things at the break of January. They're instead remembered for years to come by the hardware on the trophy shelf at the close of December. In that light, Braden can be excused for wearing an easy-going smile as the new year sets in. He's confident big plans are in store for he and his team in 2012. In the interim, there's still a lot of remembering to do from 2011.
Braden's rookie season in Late Model racing was record-setting, prolific, and yet somehow went largely unnoticed. Part of it may be that his deal with legendary car owner and former racer Gary Estes didn't come together until the latter stages of the offseason. Part may be that Braden, albeit charismatic and a good interview, seems to have an "under the radar" type personality. Part of it honestly might be where he raced. Ohio, despite a strong Late Model history, is just outside of the geographical and media periphery of where widely-followed series like the CRA or PASS call home.
But Estes' faith in the high school senior should have been the first sign that bright things were in store for Braden. In fact, Braden points to one moment with Estes that he says he will remember, more than any trophy or accolade, from 2011.
"He was someone we honestly didn't know," said Braden of Estes. "But he raced around where we raced, so when I heard he didn't have a driver for this year, someone gave me his number and I called him. We didn't even meet until mid-March.
"The first time I ever drove the car, was just a practice session. I had never been in the car before, so I just went out and made a few slow laps, started getting a little faster, just feeling things out. I ended up going a little too fast and turning the car back into the wall. I thought I destroyed it. My heart probably didn't beat for five minutes.
"Gary – who really at this point I didn't even know him still – came up and his first words were, 'It's all right, we'll get it fixed. We'll go back and we'll go on to win races.' I'm thinking, 'I've never even won a race for you. Why do you expect me to?' I was expecting the worst, but he gave me the best. That was the story of the season for me."
Braden's car was repaired and Estes' confidence in the youngster was fulfilled. They finished third on opening night at Columbus Motor Speedway and began a full-out attack on the weekly schedules of both Columbus and Kil-Kare Speedway in Ohio. With Estes turning the wrenches off-track and being surrounded by talented veterans such as Don Mahaffey, Chad Pendleton and any member of the Sibila or Muncy familes, Braden began to pick it up. On May 14th, in just his fourth start in a Late Model, Braden found Columbus' victory lane.
"They [Kil-Kare and Columbus] are two of probably the hardest tracks to drive in the industry, especially with some of the smartest, talented, best veterans in the country racing there too," said Braden. "I like to say that I didn't learn much about driving the car this year, I learned about racing the car against good people. I learned little tricks that I really never even thought about. It was a lot more in knowledge than skill I grew this year."
With each "little trick" came another victory. All in all, he would go on to win six times at Columbus and seven times at Kil-Kare. Even with all the hardware he would earn during the season, it was clear that Braden was most earnest in simply enjoying both the moment and the education he got behind the wheel in 2011.
Not to say the hardware wasn't nice too.
In addition to the 13 local feature wins, the Columbus track title would go to Braden. So would the Ohio NASCAR Whelen All-American Series state championship after finishing 12th amongst thousands of drivers in the national standings. Most prestigious of all was the NASCAR Jostens Rookie of the Year award as top rookie in the country. He was honored at the NASCAR Whelen All-American Series banquet at the NASCAR Hall of Fame in December. With all his titles and trophies, Braden might have left the facility with the most hardware of any driver.
Braden's brightest and career-propelling moment though might have come in October. Competing in just his third CRA/JEGS All-Star Tour career race, Braden conquered the high banks of Winchester Speedway to win the Crate Late Model race on Winchester 400 weekend.
"That [winning at Winchester] wasn't planned, obviously. We just wanted to go out for some experience on a bigger stage. It was a great way to show that we were really strong on power, not just at the local stuff. It was probably the most fun win this year and a great way to end the season."
"Great" was definitely the word Braden used over and over to describe his season and there's every reason to suspect it was be attached to him for years to come. The NASCAR Rookie title and the CRA/JEGS victory have already opened doors for Braden and while nothing is set in stone as we stated earlier, all signs point to Braden making a splash in the Midwest in some race series or another this season. His success continues off the track as well as he has consistently been an honors student at Wheeling Park High.
"Mid-March to Mid-September," Braden said when finally reflecting on the whirlwind as a whole that was 2011, "It took us that long to get used to the car. That's a short period of a time for a 17-year-old to bond with a veteran.
"It's just - just amazing. Amazing."
Travis Braden made his impact on the JEGS/CRA All-Stars Tour in 2011 with a win at Winchester. (Speed51.com Photo)
Travis Braden was one of the most decorated NASCAR Whelen All-American Series drivers in 2011. (John Rees/www.reesphotos.com)


Budget Kitchen Doors Enhance First Impression » Kitchens have modified a lot over the past few ages. Technological progress and different lifestyles have triggered kitchen areas to look completely different than they used to. New designs had to be created to allow for the modern kitchen. Kitchen areas were used and then preparing meals for the family. Nowadays, Budget Kitchen Doors kitchen is the perfect space for most of any family's activities.
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Revival of Performance Art
By Heidi Lee | June 11, 2010
Everywhere you turn in the art world, it seems like you run into Performance art. We are definitely experiencing a revival with huge exhibitions on view such as Tino Sehgal's moving acts at the Guggenheim, Aki Sasamoto's peculiar dramas at the Whitney Biennial, and Marina Abramovic's 700-hour meditation at the MoMA. This non-commercial, ephemeral-based art form that can not be treated as a commodity is a stark contrast to the market boom we experienced mid-decade.
Performance art has its origins in the early 20th century and is closely identified with the progress of the avant-garde, beginning with Futurism in Italy 1910. The Futurists practiced every medium of art, including painting, sculpture, graphic design, theater, film, literature, music, architecture, and even gastronomy. Filippo Tommaso Marinetti started the movement with his Futurist Manifesto in 1909, expressing a passionate loathing for everything old, especially political and artistic tradition, hence the focus on the future. Futurism and its emphasis on youth, speed, and technology remains a significant pillar of Western culture and Modern art.
Performance art resurfaced in smatterings after that with Picasso's Parade ballet in 1916 and again in 1919 with the Bauhaus movement. It became more common in the 1960s, the first sign being Jackson Pollack's drip paintings that earned him the moniker "Jack the Dripper" and with John Cage. Cage was one of the leading figures of post-war avant-garde and critics lauded him as one of the most influential American composers of the 20th-century (see John Cage's seminal piece 4 minute 33 seconds).
Other artists who became closely associated with Performance art include Yves Klein, Allan Kaprow, Carolee Schneemann, and Joseph Beuys. Their art was meant to challenge the audience to think in new and unconventional ways about theater and performing and break traditions in art. It could be scripted, non scripted, improvisational and incorporate dance, song or complete silence.
RoseLee Goldberg, founder of the Performance biennial, Performa, said, "Performance has always been an important catalyst in the history of 20th-century art [and] has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture."
(image: Yves Klein, Le Saut dans le Vide (Leap into the Void), Paris, 1960)