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NewsLocalRussian involved in fatal collision pleads not guilty to manslaughter
Russian involved in fatal collision pleads not guilty to manslaughter
A 50 year old Russian involved in a fatal collision which killed 27 year old Panayiotis Christoforou appeared before Limassol Criminal Court on Wednesday and pleaded not guilty to manslaughter.
The defendant pleaded guilty to the other charges — causing death by reckless action, driving in a way which endangers life, driving under the influence of alcohol and violating a traffic signal.
The court set the case for June 29, 30 and July 1. The defendant remains in custody.
Relatives and friends of the victim gathered outside the court this morning wearing black and holding signs asking for justice for Panayiotis.
The fatal accident occurred at around 1 am on November 28 near Moutayiaka on the Nicosia-Limassol highway when the car driven by the defendant rammed into the back of the car driven by Christoforou, killing the father of a young child instantly.
A police reconstruction of the accident indicates he was driving between 180 and 190 km an hour.
Blood tests had shown a high level of alcohol and traces of sleeping pills in the Russian's blood.
Tests on the victim showed no trace of alcohol or other substances.
The 50-year-old had initially told police that he had no recollection of the accident, but after his arrest for manslaughter opted to exercise his right to remain silent.
He was arrested immediately after the accident but was hospitalised for his injuries. He was arrested again soon after his release from hospital for manslaughter.
A post-mortem examination carried out on the victim showed horrific injuries from the violent collision – including a severed thoracic aorta, fractures in the neck and spine and multiple ruptures of the lungs.
Russian involved in fatal collision was driving at 180-190 km per hour
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Q: jquery slideup not working no matter what I do I have a weird issue. Firstly I put the slideup() function into my website and it didn't work. I've tried alsorts to get it to work to no avail. I've even tried a copy and paste of example code into a fresh html file and that doesn't even work. Any ideas? I can always get the click() event to do something, but the slideup() never seems to work. Starting to drive me a little nuts!
<!doctype html>

<meta charset="utf-8">
<title>slideUp demo</title>

Click me!

A: You will have more clarity using a class, and gives you the ability for more styling.
eg, something like -
if ( $( "div:first" ).hasClass( "visible" ) ) {

  $( "div" ).slideUp().removeClass("visible");

} else {

  $( "div" ).show( "slow" ).addClass("visible");
}

You can always try slideToggle() too for this kind of job -
$( document.body ).click(function() {

  $( "div" ).slideToggle();

});

Demo with the SlideToggle - http://jsfiddle.net/e7t7F/
Update, as comment, full page example
<!DOCTYPE html>

    <title>Slide Toggle</title>

ONE

TWO

THREE

FOUR

FIVE

SIX

redpajama_set_name: RedPajamaStackExchange


Chapter 1: Why People Sell Businesses.
Most Common Reasons People Sell.
Proactively Making the Sale Decision.
Chapter 2: Should the Seller Hire an Intermediary?
What Do Investment Bankers Do Anyway?
Criteria for Selecting an Investment Banker.
Choosing the Right Investment Banker.
Chapter 3: What Is the Business Worth?
Applying Valuation Theory to Real-World Situations.
Chapter 4: The Difference between ?Value? and ?Currency?.
Mediums of Exchange in M&A.
Sale of a Company's Stock.
Chapter 5: Taking Advantage of the Seller's Unfair Advantages: Prepping and Timing.
Chapter 6: Preparing the Documents.
Chapter 7: Identifying and Cultivating the Right Buyers.
Chapter 8: How Many Buyers to Approach?
Chapter 9: Approaching Prospective Buyers.
Distributing the Offering Memorandum to Buyers.
Securing Buyers' Indications of Interest.
Appendix 9B: Sample Process Letter.
Appendix 9C: Indication of Interest.
Chapter 10: Management Presentations and Plant Tours.
Chapter 11: Negotiating the Purchase Price.
Appendix 11A: Letter of Intent.
Chapter 12: Moving from Letter of Intent to Closing.
The Negotiating Dynamics Have Reversed.
Keeping the Closing Process on Track.
What If It's Not Meant to Be?
Appendix 12A: Definitive Purchase Agreement.
Chapter 13: Sales Forced by Bankruptcy or Financial Duress.
The Painful Decision to Act.
Sales Engineered before Filing, but Closed in Bankruptcy Court.
Sales Engineered and Closed in Bankruptcy Court.
Chapter 14: Working with Lawyers.
Legal Involvement from Day 1.
?Deal Makers? versus ?Deal Breakers?.
Retaining the Right M&A Lawyer.
Collaborating with the Investment Banker.
Drafting and Negotiating the Purchase Agreement.
Appendix 14A: Seller's Attorney Pre-Transaction Checklist.
Chapter 15: After the Sale Has Closed.


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VANITY FAIR INTERVIEWS JA...
VANITY FAIR INTERVIEWS JACK CARDIFF'S SON, MASON
Posted on 14 September 2017.
Jack Cardiff: "The Man Who Made Women Look Beautiful"
Jack Cardiff, one-time silent actor, and long-time painterly, Academy Award-winning cinematographer, is one of the few members of his trade to have secured lasting recognition. Known colloquially as "the man who made women look beautiful", he was the first cameraman chosen by Technicolor to work in colour photography, and produced a series of phosphorescent films whorled with shadows.
Drawing inspiration from Rembrandt, his debut colour movie was the 1937 Wings of the Morning, starring Henry Fonda. In 1947, contrasting of shades of red and green in Black Narcissus (a sexually strained film about a group of Anglican nuns in the Himalayas), he was inspired by Van Gogh. The Red Shoes, out the following year, was even bolder in its visual experimentations: in one particularly deft piece of camerawork, a newspaper morphs seamlessly into a dancing man.
Behind his vivid, sometimes hallucinogenic, use of light and colour, Cardiff was very meticulous man, and kept a precise catalogue of notes on the stars he worked with. "Watch Lollo's [Gina Lollobrigida] cheeks, and those lips. A false light and they will film badly," he wrote. "Watch Ava's nose. It has a slight twist and a scar line."
As Hampstead Theatre raises its curtain on Prism, a play based on Cardiff's life, Mason Cardiff takes Vanity Fair behind the scenes of some of the most iconic moments in his father's career, starting with Marilyn Monroe who, arriving in London to shoot The Prince and the Showgirl with Laurence Olivier in 1956, demanded to work with Cardiff and, signing him up, said: "He's the best cameraman in the world, and I've got him."
"This picture was Arthur Miller's favourite," says Cardiff. "It was taken while Dad was shooting Prince and the Showgirl. Marilyn arranged to meet Dad at Miller's house for the photoshoot. Arriving at eleven o'clock on a Sunday morning, Miller told him she was still asleep and was invited in for breakfast. Marilyn came downstairs nine hours later looking like 'a radiantly beautiful child'.
"When Dad asked her to sign it, she wrote, 'My dearest Jack, if I could only be the way you've created me. I love you.'"
To read the full interview click here to visit Vanity Fair online.

redpajama_set_name: RedPajamaCommonCrawl


THERE WILL BE a moment, after a long day, when you'll stop believing that Epson's WorkForce WF-7710DWF is a big, A3-capable multifunction peripheral (MFP), and start thinking you've shrunk.
It's exactly like a scaled up version of a regular inkjet MFP, with an A3-capable scanner, an A3+-capable printer, and a big colour touchscreen with chunky buttons.
Happily, this Alice in Wonderland growth hasn't taken out any useful features: the WF-7710DWF can connect to a wired or wireless network, and print, scan, copy and fax single or double-sided (duplex) A3 documents.
With support for the cloud and mobile devices, and a USB port for walk-up scans or prints, it's hard to think of anything it doesn't do, although if you need a second paper cassette you'll have to spend another or so on the otherwise identical WorkForce WF-7720DTWF.
The WF-7710DWF prints a little faster than we'd expect from a typical A4 equivalent.
10-side colour document on to five sheets at a fair rate of 3.2 images per minute (ipm).
On A3 paper, five pages of black text completed in 43 seconds, while five graphics-rich colour pages took just over two minutes.
Scaled up, our duplex test completed at 2.2ipm; that may be slow, but very few other printers can even print on both sides of an A3 sheet.
Both this MFP's scanner and its 35-page automatic document feeder (ADF) top out at A3, not A3+, but again, the list of MFPs that can duplex-scan A3 pages is a short one.
Capture speeds were reasonably fast, with a preview of a 150 dots-per-inch (dpi) A4 image completing in just eight seconds. Even a 1,200dpi 6x4in photo scan took less than a minute.
A single copy took nine seconds in black or 23 seconds in colour.
Using the ADF, 10-page A4 copies needed one-and-a-half and two-and-a-half minutes respectively.
Very few devices can complete an automatic, double-sided copy of a double-sided A3 document: we timed 10 sides on five pages at 4m 15s.
For the most part, the results were great.
Scans were as good as we expect from an Epson device, with good colour accuracy and excellent dynamic range.
Plain paper prints were generally good, too, with firm black text and bold colours, but duplex prints and copies were noticeably more faint; you can increase the intensity of both at the cost of slower prints.
Photo prints aren't the WF-7710DWF's forte, however: its pigment- based inks are fine for matt media, but they can't produce a shiny finish on gloss paper.
Like a large minority of printers, the WF-7710DWF began warning of low ink during our standard tests, and two cartridges went on to run out during our extra A3 testing.
Replacement colour inks are available in standard or XL sizes, and there's an XXL black cartridge.
Worked out for the highest capacities, running costs are a quite reasonable 7.1p per A4 page.
Sensibly priced, with good performance, good results, reasonable running costs and a great selection of features, the WorkForce WF-7710DWF is a great choice for a micro-office that works extensively with A3 documents.


, we all choices the best libraries using best image resolution only for you all, and now this images is usually one of photographs libraries within our ideal images gallery concerning Best Of Pictures Of organizing A Small Kitchen. I'm hoping you might like it.
posted by means of Ann Gordon on 2018-06-03 05:23:29. To find out many photographs with Best Of Pictures Of organizing A Small Kitchen photos gallery you need to adhere to this particular website link.


periodically, the pto will run box tops contests for students in our elementary schools to win fun prizes. you are welcome to submit box tops at any time, however. please note, Any box tops submitted cannot be expired and must have visible expiration dates.
FEEL FREE TO USE ANY OF THE GENERIC SHEETS LISTED ON OUR PAGE. JUST REMEMBER TO HAVE YOUR CHILD'S NAME, HR AND TEACHER LISTED ON THE SHEET.
that the PTO uses funds raised to help offset the cost of Field Trips during the year? Every child should have the opportunity to attend Field Trips and educational experiences!!
Don't forget to clearly label the sheets with your student's name and Homeroom for credit!


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Urban Wire Neighborhoods, Cities, and MetrosRSS
The blog of the Urban Institute
Patrick Spauster
Mica O'Brien
Mica O'Brien
Olivia Fiol
The Suburbs Aren't Under Attack. They Can Be Places of Opportunity for All.
President Trump's recent appeal to "suburban housewives"—that he will preserve suburban communities and that Democratic presidential nominee Joe Biden will "destroy your neighborhood"—has sparked national conversation. But the contentious debate around suburban housing is not new.
Trump's rhetoric is consistent with decades-old efforts to paint policies that aim to make suburbs more inclusive for people of all incomes as a threat to the suburban way of life—including unfounded claims about affordable housing's effects on property values (PDF) and crime. As a result, many American suburbs have relied on exclusionary zoning and land-use policies that prevent and slow development with the explicit goal of excluding low-income people of color. In effect, this hoards opportunity (PDF) by limiting access to resources and amenities. But America's suburbs are changing naturally.
Trump misunderstands what America's suburbs look like today. Suburbs are more racially and economically diverse than they have ever been in our country's history. And local leaders can take steps to foster even more racially and socioeconomically diverse communities that benefit all residents, not just predominantly white middle- and upper-class families, by providing access to transit, homeownership, good schools, and jobs. All suburban residents benefit from racial and socioeconomic diversity through reduced traffic, economic stimulation, better outcomes for children, and a stronger workforce.
Every family should be able to live in a community filled with opportunity. Several proactive suburbs and metropolitan areas across the country have already taken steps to dismantle discriminatory policies and build strong communities of opportunity for people who want to live there. Here are three evidence-based policy commitments that other areas could take to begin realizing that vision.
1. Build affordable rental housing in suburban enclaves
This vision of suburbia—one that welcomes households of different socioeconomic and racial backgrounds—requires the construction of rental housing affordable to people of low incomes in suburban, low-poverty areas. We've had the policy tools to create such housing in wealthier suburbs for decades but often don't use them to their fullest potential. To increase inclusivity, suburban areas should consider expanding the use of federal subsidy tools in suburban communities and unraveling local resistance to affordable housing.
Affordable housing is already being built in suburbs across the country. The Ethel Lawrence Homes development in Mount Laurel, New Jersey, a wealthy suburb of Philadelphia, was one of the first of its kind. It took 30 years to complete because of local resistance, but it eventually provided affordable homes for 140 families earning less than 80 percent of the area's median income. Research shows that the development did not hurt surrounding property values or increase crime. The residents of the Ethel Lawrence Homes experienced improved mental health, reduced unemployment, and increased educational opportunities for their children, among other benefits.
The Ethel Lawrence Homes were made possible in part by the federal Low Income Housing Tax Credit program (LIHTC), available to private developers. The LIHTC program may not be the best tool for every development, but suburbs can make greater use of it. North Carolina's Housing Finance Agency has used the program to bring more affordable housing to their suburbs; half of the state's LIHTC projects were built in the suburbs between 2009 and 2019.
2. Reform restrictive zoning laws
In many parts of the country, suburbs are growing rapidly, in part because renters and homeowners are being pushed out of cities by increasing housing costs. COVID-19 may spur even more relocations from urban centers to the suburbs. To meet increasing demand, several localities are reforming regulations that block the development of denser, moderately priced housing through zoning restrictions or high development costs—namely, single-family zoning.
Single-family homes are a staple of American suburbs, and communities have used single-family housing restrictions as a tool to resist growth and change. In 2019, Minneapolis and the state of Oregon largely banned single-family zoning. Minneapolis's plan legalizes duplexes and triplexes, eliminates off-street parking requirements, and adopts "inclusionary zoning" rules, all of which will facilitate the construction of more multifamily affordable housing in wealthier suburban communities. Oregon's ban on single-family zoning increases renters' choice in cities with populations of at least 10,000 residents.
Minneapolis and Oregon are working toward the same goal. By taking steps to dismantle overly restrictive zoning, both jurisdictions aim to open suburban communities to more housing and lower housing costs so more families can afford to live there.
3. Make it easier for low-income renters to use housing assistance
Along with dismantling restrictive land-use regulations, suburban communities are expanding access to existing housing. Housing vouchers are intended to help families with low incomes find and afford housing outside of underresourced neighborhoods, but research shows that landlords in low-poverty communities routinely refuse to rent to families with vouchers. In response, some suburbs, such as Webster Grove outside Saint Louis and Woodland outside Sacramento, have recently barred landlords from refusing to rent to families with vouchers. More voucher protection laws in suburban communities could further increase access to housing for the lowest-income families.
Evidence shows, in general, families with low incomes stay in low-income neighborhoods because of barriers in access to well-resourced communities. In King County, Washington, the suburbs of Seattle, housing authorities are supporting residents with low incomes in moving to opportunity-rich neighborhoods by partnering with nonprofits who provide pre- and postmove counseling, financial support, and relationship building with landlords. The federal government has allocated an additional $50 million for similar mobility programs, which will support a greater number of households in moving to high-opportunity suburban communities.
Changes to the suburbs are already underway. Building more housing for families of all incomes and increasing access to affordable housing in resource-rich places will help communities meet their growing housing needs and benefit all residents. To foster inclusive, thriving, and diverse communities, suburban residents, leaders, and housing advocates should push for these innovative solutions.
Ariel Skelley/Getty Images
How to Put Racial Equity at the Center of Neighborhood Investment
Reimagining an Antiracist America—Starting with Our Neighborhoods
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As an organization, the Urban Institute does not take positions on issues. Experts are independent and empowered to share their evidence-based views and recommendations shaped by research.


How many pages will your new website need to have?
Do you want a contact form that your visitors can fill out on your website?
The other option would be to simply include your email and/or phone number.
Yes, I would like a contact form on my website.
Do you want an interactive Google Map on your site?
Google maps are a necessity for businesses whose customers need to visit a physical location. It comes complete with customized directions and for each of your visitors. Restaurants, retail stores or even customer friendly offices should include an interactive map on their website.
Yes, I would like a Google map so people can find me easily.
Before you say no, you should know that blogs can take many forms. One can be used to keep your customers in the loop about new products and services, it can serve as a news feed to keep employees and updated about the industry and events, or it can be used to broadcast educational and/or editorial content throughout the world. Blogs can be a highly effective marketing tool and can be syndicated automatically to social media sites like Facebook and Twitter not to mention search engines like Google.
Yes, I would like a blog on my website.
Do you have an existing blog?
If you have an existing blog, that's being used for the same reason, chances are we'll be able to import most, if not all of your past posts, categories, tags and comments fairly painlessly.
Yes, I already have a blog that I want imported to my new website.
Do you want visitors to comment on your blog articles?
Comments are not only a great way to increase user interaction and keep visitors coming back, but they're also a great way to gauge who your audience is, what they want and how you can increase their loyalty to you.. Comments come complete with moderator capabilities and the ability to reply to comments others have made.
Yes, I would like my visitors to be able to make comments.
Do you want social media buttons on your website?
Social networks have become the hub of most people's online lives. Visitor interaction has become the standard and any website without tools to facilitate that is missing out on a huge number of potential customers. Facebook has the "Like" button, and Twitter has the "Tweet" button, both of which are linked interactively to their communities and promote social growth.
Yes, I want "Like" & "Tweet" buttons throughout my site.
Do you want a newsletter subscription box available on your site?
Certainly, the most valuable website visitors you get are the ones who like what you have to offer, and plan on staying in touch with you. The problem is that there are a lot of distractions out there, and sooner or later, those visitors will forget about you. An email subscription box solves this problem. Visitors can now stay in the loop with minimal effort, just by filling in their email address. Subscription boxes can automatically add email addresses to your contact list or they can be emailed to you for future use. If you need an email newsletter also, we can help you with that too.
Yes, I want visitors to be able to subscribe to an email newsletter.
Should your website be searchable?
Though it's a nice feature, integrated site search is not absolutely necessary on many websites. With the inclusion of a blog, or a large number of pages, however, a search box will certianly improve usability and help visitors to find what they are looking for more quickly.
Yes, I would like visitors to be able to search my site from any page.
Do you want to track visitors with Google Analytics?
Google Analytics has become the norm for basic website statistics and visitor tracking. Analytics can show you which pages on your site are the most popular, how many visitors you get every day and where those people are located in the world. This can be incredibly useful to determine how you marketing efforts are working and how your webpages are performing. If you already have a Google analytics account set up on a current website you need not check the box below.
Yes, I would like a new Google Analytics account set up and installed on my website.
I understand that these are estimated fees, prices and services are subject to change.
Are there other features you need on your new website that we didn't ask you about?
We covered the basics above, but there are far too many website features to list here. Surely, you've seen something on another website that made you say "I want that!" Customer chat, voting and polls, banner advertisements, an animated slideshow on your homepage, a portfolio, flash animation, ecommerce or a shopping cart are just a few examples of the many features available to you.
Tell us a little more about your business.
What do you sell and who do you sell it to? Do you have any retail locations?
What are you looking to accomplish with a new website?
Does your current website need a refresh? Are you looking to improve your or even create an online presence? Do you want to reach new customers through various online marketing channels?
Yes, needs to be redesigned.
Yes, but it needs a new structure with a new design.
Do you have content already written for your website?
I have content written for all pages and ready to put on my website.
I have some content written, but not all of it.
No, but I will write it myself.
No, I need help writing website content.
Can you list a few of your competitor's websites?
What do you like about these websites & what could you do better?
When do you need to launch your new website?
Approximately, when would you like your website to be completed by?
A nice logo can build brand recognition and help attract the attention of potential and current customers. We offer logo design services on a customized basis, the price of which ranges based on the number of designs presented and how many revisions are made. For purposes of this website, we have used the average price for new logo design.
Yes, I will need a new logo.


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Home	Reality TV	The Masked Singer: Does the show prioritise bigger celebrity names over singing ability?
Reality TVTV
The Masked Singer: Does the show prioritise bigger celebrity names over singing ability?
by Conor O'Brien 23rd April 2020
written by Conor O'Brien 23rd April 2020
The Masked Singer US began airing on FOX in January 2019 and has been a massive hit, with almost fifty different celebrities donning elaborate head-to-toe costumes and performing for the judges.
While the format originated in South Korea as King Of Mask Singer, the American iteration has since been replicated worldwide in Australia, Germany, Russia and the UK.
With recent unveilings including NFL star Rob Gronkowski as White Tiger and politician Sarah Palin as Bear, the show has gone from strength to strength in attracting high-profile names to take part.
Image: FOX
In the first season, professional singers dominated the twelve-person lineup, including Gladys Knight, LaToya Jackson, Donny Osmond and T-Pain.
Of season two's 18 competitors, eight had sung professionally in their past, with acclaimed vocalists such as Seal, Patti LaBelle, Chris Daughtry and Adrienne Bailon taking part.
In the current third season, five of the eleven unmasked contestants to date were professional singers, with skateboarder Tony Hawk and TV host Tom Bergeron also being among those exposed.
The show faced backlash on April 15 for airing a karaoke-based "sing-a-long" special instead of an actual episode, during which old clips of the remaining seven contestants were replayed with subtitled lyrics.
On April 8, Kangaroo was revealed to be reality TV star Jordyn Woods, which Digital Spy had correctly guessed.
Season 3 has also unmasked celebrities including Chaka Khan, Dionne Warwick and Disney alum Bella Thorne in recent weeks.
NEXT: The Masked Singer: Banana Revealed As Poison Frontman Bret Michaels
The Masked Singer airs on FOX.
Conor O'Brien
Conor is the Founder and Editor-in-Chief of Courageous Nerd, who has conducted several interviews as well as having written articles, features, and reviews. He enjoys watching a variety of content, although his preferences are often science-fiction, fantasy, or horror. Conor also finds it weird to be writing in third-person.
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It's SteynOnline's sixteenth birthday, and we're celebrating all weekend with sixteen per cent off everything at the Steyn Store, including my books and CDs and our Steynamite Christmas specials and even digital downloads like the all-time greatest Christmas disco single. Fill your shopping basket, and we'll apply the sixteen per cent discount at checkout. We also have fifteen per cent off tickets for the first ever Dennis Miller/Mark Steyn tour, if you enter the promo code HOLIDAYS - but please note that you have to buy before midnight on Monday.
So we're closing in on the last twenty-four hours of this sixteenth-anniversary sale. And, while we're at it, if you've a chum who's a fan of classic fiction, we've added a Christmas bonus to our Mark Steyn Club gift membership. More details on that below.
I don't know about the Shadow, but Percy Blakeney differs from Clark Kent and Bruce Wayne in that he is married to his significant other. It makes me wonder, and maybe I missed it, when he became the Scarlet Pimpernel? I would love to know the origin story.
Without exchanging more than a few words, Sir Andrew was leading her right across the town, to the other side from that where they had landed, and the way towards Cap Gris Nez. The streets were narrow, tortuous, and mostly evil-smelling, with a mixture of stale fish and damp cellar odours. There had been heavy rain here during the storm last night, and sometimes Marguerite sank ankle-deep in the mud, for the roads were not lighted save by the occasional glimmer from a lamp inside a house.
But she did not heed any of these petty discomforts: "We may meet Blakeney at the 'Chat Gris,'" Sir Andrew had said, when they landed, and she was walking as if on a carpet of rose-leaves, for she was going to meet him almost at once.
At last they reached their destination. Sir Andrew evidently knew the road, for he had walked unerringly in the dark, and had not asked his way from anyone. It was too dark then for Marguerite to notice the outside aspect of this house. The "Chat Gris," as Sir Andrew had called it, was evidently a small wayside inn on the outskirts of Calais, and on the way to Gris Nez. It lay some little distance from the coast, for the sound of the sea seemed to come from afar.
Sir Andrew knocked at the door with the knob of his cane, and from within Marguerite heard a sort of grunt and the muttering of a number of oaths. Sir Andrew knocked again, this time more peremptorily: more oaths were heard, and then shuffling steps seemed to draw near the door. Presently this was thrown open, and Marguerite found herself on the threshold of the most dilapidated, most squalid room she had ever seen in all her life.
The contrast between Mr Jellyband's convivial hearth in The Fisherman's Rest in Dover and the filth and squalor of Le Chat Gris in Calais is telling: Baroness Orczy is suggesting that radical egalitarianism leads to the sewers, whereas a more hierarchical society is paradoxically better even for those at the lower end, such as the drinking classes. Members of The Mark Steyn Club can hear me read Part Seventeen of The Scarlet Pimpernel simply by clicking here and logging-in. Earlier episodes can be found here.
Le Cap Gris Nez, by the way, is a real place. The "Grey Nose" cape (in English) is that little proboscis-like extrusion you can see sticking out into the Channel on the map just south of Calais, and from which the shores of England are visible. In September 1944 it was liberated from the Germans by the 3rd Canadian Infantry Division.
Membership in The Mark Steyn Club is not for everyone, but, if you've a pal who enjoys classic fiction, we'd love to welcome him or her to our ranks via the Christmas present that lasts all year: A gift membership in the Steyn Club. This holiday season comes with a special personalized Christmas card from yours truly and a handsomely-engraved gift-boxed USB stick with a trio of our most popular Tales for Our Time for your loved one to listen to in the car or perambulating through the wilderness or almost anywhere else. (The three tales are The Strange Case of Dr Jekyll and Mr Hyde, The Time Machine and The Thirty-Nine Steps.) For more details on our special Christmas Gift Membership, see here. Please join me tomorrow evening for Part Eighteen of The Scarlet Pimpernel.
I'm enjoying The Scarlet Pimpernel along with everyone else, but it's gotten me thinking about my favorite writer of historical fiction, Rafael Sabatini. His great story of the French Revolution, "Scaramouche" might be a good follow-up. Others made into movies "Captain Blood" and "The Black Swan" are also candidates. And while they also made "The Sea Hawk" the story is entirely different from his story. I actually think "Bellarion" or "The Sword of Islam" could be read to great effect. They would also be great illustrations of the family and city-state politics that dominated Italy through much of the Middle Ages.
On the day after Stir-up Sunday, perhaps it's a good time to remind readers who, like Pam, may have forgotten Soak it up Saturday, of your wonderful story, Plum Duff. It's a miniature tragedy and a trenchant commentary on our times.
That's very kind of you, Richard. We might reprise it as part of our Christmas celebrations in the days ahead.
I forget what prompted me to look into the matter--probably something I read here--but what a hash the French made of their soi-disant liberté, egalité, fraternité. For nearly a century, they lurched between bloody republics--like the First Republic of this tale--and reactionary emperors. Republican France was never a pique-nique. The Third Republic gets credit for lasting from 1870 to 1940, a nice little run, but a reign that began with occupation by Prussia, saw the brutality of the Commune and the even greater brutality of its dismantling, suffered the shame of the Dreyfus affair, followed by occupation by Prussia (Imperial Germany) and unimaginable slaughter in the Great War, then by global depression, appeasement, and the Maginot Line, finally to be occupied by Prussia (Nazi Germany) is hardly a resume to be proud of. I understand why the French celebrate Le Quatorze Juillet, but I wonder if they do so with just a wisp of irony.
Thank you . I am ignorant of the play by play of the French Third Republic. I lived 5 years in Montreal.
The French are legends in their own mind.
Historically their leaders seem to have made stupid decisions in governance starting with upper class membership decimation ,by guillowteen. We see another playing out in today's headlines.
Are there any great reads set in first Century of Third RepublicThat capture the times ?
As clouds darken over EU?


text:
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This project is the result of partnerships with the Little Italy College Street BIA, the Toronto Chinatown BIA, and the Toronto Railway Museum.
1. Welcome to the Outdoor Exhibits
Toronto Railway Museum
Our mission, represented by the exhibits, is to present the history of Toronto's railway and to explain their significance to our city, communities, and our nation. As the great poet and playwright William Shakespeare once wrote, "What's past is prologue." Please note, some of the cars and locomotives described in this guide may have been moved inside the Roundhouse on the day of your visit. Some of the buildings may be closed. This is for restoration or maintenance. The Audio Guide narration will take about forty-five minutes to an hour. But you are welcome to take as long as you like. Please check out the Interpretive Plaques located across Roundhouse Park for additional information and insights. Feel free to stop at any point, take photos and videos, and if the exhibits are open, to tour inside. Our very knowledgeable guides, known as docents, will be happy to show you around and answer your questions.
2. John St. Roundhouse
The John Street Roundhouse, where the Toronto Railway Museum is located, was built in nineteen twenty-nine by the Canadian Pacific Railway, or CPR for short. It was used to house and repair its large fleet of passenger locomotives travelling through Union Station. It was last used in nineteen eighty-six.
The CPR is a private railway company incorporated in eighteen eighty-one. Over a period of six years it built a railway network spanning Canada from Montreal in the east to Vancouver in the west.
The John Street Roundhouse was a very active industrial building. It was in use twenty-four hours a day, seven days a week until the end of the nineteen fifties. This was when diesel locomotives completely replaced steam locomotives, a process that began in the nineteen-forties.
The John Street Roundhouse was an eco-innovator for its time. This is due to its use of direct steaming technology. The Roundhouse used steam from steam heating plants for buildings like the Royal York Hotel and Union Station to warm up the locomotives' boilers.
Steam locomotives and most buildings of that era used coal. Direct steaming cut down on the burning of coal and the harmful emissions that it releases. Yes, greenhouse gases, like carbon dioxide or cee-oh-two, and sulfur dioxide or ess-oh-two, that is linked to acid rain, just to name two. Not to mention soot, that can harm the lungs and heart. The introduction of diesel locomotives cut down, but not eliminated pollution.
Today's diesel locomotives, like you see on trains today, are much cleaner than their predecessors. GO Transit, the Toronto area's commuter and regional rail and bus network, is looking at electrifying trains from clean energy sources.
Just west of the John Street Roundhouse was another roundhouse, the Spadina Roundhouse, which was built for the Canadian National Railways, or CNR, or CN for short. It was demolished in nineteen eighty-six to make way for the construction of the Rogers Centre and several condominium buildings.
In nineteen ninety the John Street Roundhouse was declared a National Historic Site. It is described as a quote "architecturally and historically important surviving reminder of steam technology and role of rail transportation in the city of Toronto." End quote.
Where are the locomotive maintenance facilities today? You will find out shortly.
3. HK Porter Compressed Air Locomotive
The Porter Locomotive is the ultimate "green machine". Instead of fossil fuels, it used compressed air for power, making it useful for specific industries, such as rope making. Because fuel is flammable, and could easily set things like rope on fire, an engine like the Porter here would prevent that.
This Porter was built in nineteen oh-six and was used in a rope-making plant in Welland, Ontario, named the Plymouth Cordage Company, until its retirement in nineteen fifty-six. A full tank of compressed air in the Porter could power it for four continuous hours. But the widespread introduction of forklifts into industrial sites replaced locomotives like our Porter.
4. CPR #7020
Seventy twenty is a diesel-electric switcher. It was built by the American Locomotive Company, in partnership with General Electric, in the USA, in nineteen forty-four. It is called diesel-electric because it has a diesel engine that turns a generator which creates electricity. The electric power is then supplied to the motors on the axles. Nearly all diesel locomotives in North America are the diesel-electric type.
Seventy twenty was the first diesel-electric locomotive used extensively in the Toronto area, and it was retired in nineteen eighty-five. It delivered freight railcars to and from customers and coupled them in rail yards into trains. These were then pulled to their destinations by larger steam and later diesel locomotives.
It is hard to believe, but much of downtown Toronto was made up of factories, warehouses, and yes, rail yards. Where Roy Thomson Hall is today the CPR had a big freight terminal that Seventy twenty and locomotives like it switched. Items from freight cars would be loaded onto trucks and delivery vans, and vice-versa. The trucks would serve customers that did not have railway tracks to their premises, like department stores and clothing manufacturers.
So, what happened? Factories and warehouses began moving to the suburbs, where land was cheaper. There they could build large, efficient single-story buildings that avoided moving items up and down elevators. At the same time governments began investing large sums of money into highways. Consequently, businesses switched most of their freight directly to trucks, especially for short and medium distances. The same new highways also prompted people to buy cars and drive more, instead of taking the train or buses or streetcars.
Cheap land and the need to consolidate facilities led the CPR and CN to move their freight yards, and their locomotive maintenance facilities, to the suburbs. Both railways also have large intermodal terminals, where containers are lifted from railcars to trucks, and vice-versa.
CN had a huge freight yard in Mimico, which is about eight kilometres or five miles west of Union Station. When CN moved most of its operations out, GO Transit and later VIA Rail, located their maintenance facilities on that site.
All of these changes left vacant—and valuable--land in the downtown. Even so, for efficient operations GO has two small yards on each side of Union Station.
5. Locomotive Turntable
In front of the Roundhouse is its Turntable, which is officially the longest turntable in Canada at over thirty-six point five metres, or one-hundred twenty feet long. Turntables were used to spin steam locomotives around to get them out of the workshops and onto the tracks. Steam locomotives generally operate with the crews looking straight over the wheels to the front.
Today the Toronto Railway Museum uses the Turntable to move our locomotives and rolling stock. We use a small purple and grey industrial Diesel Switcher, Number One, for that purpose, which you may or not see today. It was built by the Canadian Locomotive Company in Kingston, Ontario, under licence from Whitcomb, a subsidiary of the Baldwin Locomotive Works of the USA.
At the Toronto Railway Museum restorations of our historic equipment are always taking place. Our volunteer staff work throughout the year to preserve them. Be sure to Like Us on Facebook and check frequently for updates, like when we are moving our locomotives and rolling stock.
To continue our work, we welcome your donations. To donate online, please visit the TRHA website. And if you are interested in volunteering, please email us at [email protected] Or you can ask at the Museum or at the Gift Shop at Don Station when they are open.
6. Toronto Railway Lands
Some 200 years ago the land around you did not exist, but the need for railways to access Toronto prompted civil engineers to fill in the shoreline and create artificial land. They used landfill that was dredged up from the bottom of Lake Ontario. This is why Front Street was so named, because it was originally on the waterfront.
The land you are standing on was actually created around 1927. An earlier John Street Roundhouse was built near this spot in 1897, about 5.5 metres or 18 feet lower than the one you see now. The higher elevation of the new roundhouse was necessary to match the height of Union Station, which was completed around the same time.
In 1990 the John Street Roundhouse was declared a National Historic Site. It is described as an "architecturally and historically important surviving reminder of steam technology and the role of rail transportation in the City of Toronto."
7. CNR #6213
Here is our CNR steam locomotive, Sixty-two thirteen. But first, a little history of the CN is in order. Today CN is a private company, like the CPR. But the CN was formed in nineteen eighteen by the Government of Canada to fund and absorb financially defunct railway companies, such as the Canadian Northern Railway, and later, the Grand Trunk Railway. The government privatized CN in nineteen ninety-five.
Now let's find out more about CNR Sixty-two thirteen. It is a U-two class four-eight-four Northern Type steam locomotive built by the Montreal Locomotive Works in nineteen forty-two for both passenger and freight trains.
The four-eight-four tells us the configuration of the wheels. The four wheels in the front and back are for steering the locomotive on curved tracks and to help support its weight. The eight wheels in the middle propels it. That is done through those big side rods that extend from the cylinders in the housings in the front.
The two sets of four wheels have other critical functions. Those in back support the cab, where the crew sits. It also carries the firebox, which turns fuel, in sixty-two-thirteen's case coal. But steam locomotives sometimes used heavy oil, into hot gases. These travel through a boiler, heating up the water inside, thus creating steam. The steam then travels through pipes into the cylinders, which pushes the pistons and turns the wheels. This makes the distinctive chugga-chugga noise. The cylinders are supported by the set of four wheels in the front. Some of the steam was also used to heat passenger cars.
Trailing behind Sixty-two thirteen is a railcar that is called a tender. It carries both the fuel and water. Now if you are familiar with Thomas the Tank Engine it has tanks on each side, which carry the water and there is a hopper behind the cab to carry the coal. But the tanks and hopper are small, which meant that these locomotives cannot travel far without refueling. As a result, most steam locomotives have tenders. But tank engines were used for limited purposes, like at roundhouses, at industries such as mines and for logging, and for commuter trains.
8. GO Transit Cab Car
If you live or visit Toronto chances are you will have seen, heard of, and ridden on the GO train. The GO Transit commuter trains operate on the tracks below the overhead walkways and bridges between Union Station and Front Street and the CN Tower. The GO trains are typically made up of cab cars that have full operator controls, coaches, and one, but sometimes two locomotives.
GO cab car, Number one-zero-four is an example of the first generation of GO train equipment. It entered service in nineteen sixty-seven, when GO Transit began. It was designed and built in Canada and was state of the art with comfortable seating and air conditioning, which was a rarity in commuter trains at the time. It also had automated doors that the crews could operate for the entire train from one car, like a subway train. In fact, Number One-zero-four and other cars like it roughly resemble the subway cars that were built for Toronto's Bloor-Danforth subway, or Line 2, that first opened in nineteen sixty-six. This wasn't a coincidence. They were both built by the same manufacturer, Hawker-Siddeley, now Bombardier, in Thunder Bay, Ontario.
This car was retired in nineteen ninety-four from GO Transit, replaced by the multilevel cars we see today. It was then used on Montreal area commuter trains. In twenty seventeen it was reacquired by Metrolinx, which is the Crown corporation which operates GO Transit. Metrolinx restored the cab car to its original appearance to celebrate the fiftieth anniversary of GO Transit. The corporation then donated it for permanent display here at the Toronto Railway Museum.
This GO car symbolizes a revolution in transportation. GO was the first purpose-built commuter rail system in North America. It replaced a handful of commuter trains that had older equipment on limited schedules. The GO logo is appropriately green because planners and governments, even back in the nineteen-sixties, began realizing that we can't keep building expensive urban highways congested with polluting cars.
GO Transit proved that people would get out of the cars and ride trains. It inspired cities like Vancouver and Los Angeles to introduce commuter rail and for other cities that still had it to modernize their systems. In fact, many of these new systems bought copies of the GO multilevel cars. They too were designed here in Canada and first built in Thunder Bay. The GO multilevels were the first true multi-deck commuter railcars. Other multideck railcars generally have their upper seats in galleries above the first level seats.
9. TH&B #70
Here is our Toronto, Hamilton and Buffalo Railway Caboose Number Seventy which was built in Berwick, Pennsylvania in nineteen thirteen. The TH and B, now owned by the CPR, links Toronto with the American railways at Buffalo and serves the steel mills.
Up until the nineteen-nineties, cabooses like Number Seventy could be found on the back of every freight train and served a significant purpose. Cabooses were where the train crew slept and worked on their long journeys, functioning almost like a rolling home office.
Inside our caboose you would see many things that would be necessary for a train crew to be comfortable and productive. You have bunks for sleeping, desks for paperwork, a stove for cooking, and a closet for the toilet. Most importantly, there are two brake wheels on each end for the brakemen, and yes in those days it was men who did that job. There is a cupola for the conductor to see above or alongside the train. He could then ensure that the train cars hadn't derailed or had caught fire.
The amenities on a caboose were a necessity. That is because crews aboard cabooses lived in times where labour laws didn't govern how much they could legally work before having time off. So, as a result, they often spent long periods travelling.
Cabooses were gradually phased out as new technology called Flashing Rear End Devices were introduced. There were far fewer fires when railcar axles switched to roller bearings from friction bearings. Meanwhile labour laws reduced the time crew spent on the rails. Ultimately the railway companies wanted to lower their staffing expenses. This would help keep them competitive with the trucking companies and with the St. Lawrence Seaway.
This caboose is especially significant for the Toronto Railway Museum. It was recently restored completely by our skilled volunteers to its operational appearance in the mid-nineteen fifties. We have other similar restoration projects underway and planned.
10. CNR #79144
CN Caboose #79144 has a rather interesting origin story. It started life as a wooden box car built by the Eastern Car Company in 1920. Wooden boxcars were discontinued in favour of all-steel boxcars later that same decade, and by the 1950s wooden boxcars were being phased out.
One of these was rebuilt into this caboose in December 1957. It still sits on its original trucks from when it was built as a boxcar. After retirement it ended up at Picketts Nurseries and Garden Supplies were it was used as an office and living quarters.
A developer acquired Picketts Nurseries and donated the caboose to the museum in 2014. On its arrival a team of volunteers began restoring the caboose inside and out. As we already have our Toronto, Hamilton, & Buffalo caboose on display for the public, we are currently using this caboose as an extension of our museum's operational space.
11. CNR #4803
Here is our CNR GP seven diesel locomotive numbered Forty-eight zero three. It was built by General Motors in nineteen fifty-three. The GP seven is our example of the technological shift from steam locomotion to diesel that was completed in the 1950s.
The GP in GP seven means "General Purpose", meaning that Forty-eight zero three was suited for any task it needed to complete, be it hauling freight or passenger cars. Both the CN and the CPR began to experiment with diesel locomotives in the nineteen thirties and early nineteen forties. The railways realized that although they were more expensive to manufacture than steam locomotives, they were much easier to maintain and less expensive to operate.
But what really gives diesel locomotives like the GP seven their superiority over steam locomotives is their greater versatility. They can be coupled together to pull longer and faster trains. And operated with the same number of crew members. That made them more powerful and efficient than the CNR sixty-two thirteen. This is done with what is known as multiple unit or MU controls. But the diesel locomotives can also be operated in single units for shorter trains. Whereas railways had to have many different types of steam locomotives for specific purposes.
Today quite a few GP series of locomotives are still in service as switchers. They have the shorter of the two hoods from the cab cut down for crew visibility. This really goes to show how good the concept was and how well built these locomotives are.
At each end of the locomotive there is a big hose in the centre. It is for the air braking system. And above the hose is the automatic coupler. It is used to connect the locomotive with other locomotives and with freight and passenger cars.
The air brakes and automatic couplers are why we have safe trains today. Air brakes stop trains when the train operator, commonly known as an engineer, opens a valve. Or if the trains uncouple accidentally. In both cases the air is released from the system, forcing the brake shoes against the wheels.
Before there were air brakes crewmembers had to climb onto each car to turn hand brakes, leading to many accidents and injuries, and yes, deaths. While steam locomotives and cabooses, like we will see later, also had brakes, they were inadequate for longer trains.
And before automatic couplers were introduced coupling was done by hand. It was also extremely dangerous, often resulting in severe injuries and deaths.
12. CPR Cape Race
Cape Race is our luxury solarium passenger car. It was built in nineteen twenty-nine for the CPR as a lounge car for the Trans-Canada Limited series of trains that ran from Montreal and Toronto to Vancouver. Sleeping rooms were added in the nineteen-forties to provide revenue. This car, and others like it, were originally named after famous Canadian rivers. Cape Race was first known as River Liard, after the river that runs off of the Mackenzie River in the Yukon and British Columbia.
The closed observation area, called a solarium due to the many large windows present. It allowed travellers to have an uncompromising view of the scenery as they travelled cross country. Society back in those days believed that exposure to large amounts of UV rays was a healthy thing.
Following weight-reducing renovations, the River Liard was renamed to Cape Race. Cape Race was named after a cape in southeast Newfoundland and Labrador. It is famous for receiving the distress signal of the sinking Titanic and relaying the message to the rest of the world.
When big steel heavyweight cars were phased out in favour of streamlined cars, Cape Race served as a business car until nineteen sixty-nine. Then it was sold to the Upper Canada Railway Society for railway excursions. The car was donated to the Toronto Railway Museum in two-thousand eight.
Inside Cape Race there are buzzers between each window. Passengers would use them to call for porters. They were almost exclusively black Canadians, and their service aboard sleeping cars is crucial to telling the story of minority communities in Canadian history.
Unfortunately, black porters were often treated very poorly by passengers and by their supervisors. They were derogatorily referred to as "George" (the name of a famous American railway magnate whose company made and operated sleeping cars). But their employment afforded them a stable income, which most black Canadians did not have in the early twentieth century. There is a great book written by a Canadian historian and former sleeping car porter named Stanley G. Grizzle called My Name's Not George.
This stable income gave black porters a platform for political prominence and to become leaders in their communities. In nineteen forty-six black Canadian porters were organized by an American union called the Brotherhood of Sleeping Car Porters as a Canadian chapter. It became the first trade union in Canada organized by and for black Canadians. The union pioneered the civil rights movement in Canada in the process. Canada's new ten-dollar bill also honours a black civil rights pioneer, Viola Desmond.
13. CPR Jackman
Our Jackman passenger car was a 14 section sleeping car built by Canadian Car and Foundry in 1931. It's an example of standard overnight accommodations that can be found in Canada prior to the 1960s. Accommodations consisted of 14 upper and lower bunks, seven on each side of the car. During the day the lower bunks could be folded into a pair of coach seats. At each end of the car there was a large washroom: One for men with a smoking lounge, and another for women without a smoking lounge but with additional sinks, mirrors and other amenities.
Sealed cars like these were known as heavyweights, not just for their steel construction, but also because they were ballasted with concrete to make them heavier. This was to offer a smoother ride on the jointed rails used at the time. Such cars were widely used by families, commercial travellers, troops during wartime, and immigrants.
Beds were prepared, curtains arranged, and ladders provided by sleeping car porters, a profession traditionally reserved for black Canadians. Unfortunately, black porters were often treated poorly by passengers and their supervisors. They were often derogatorily referred to as "George", the name of a famous railway magnate whose company made and operated sleeping cars. Their employment afforded them a stable income, a benefit not afforded to many black Canadians in the early 20th Century. This gave black porters a platform for political prominence and the ability to become leaders in their communities.
In 1946 black Canadian porters were organized by an American union called the Brotherhood of Sleeping Car Porters as a Canadian chapter. It became the first trade union in Canada organized by and for black Canadians, pioneering the civil rights movement in Canada in the process.
In the late 1960s or early 1970s this car along with several others like it from the first half of the century were put into maintenance of way service. Maintenance of way crews who worked to maintain the track across the Canadian Pacific system would live out of this car while going to work on sections of track in rural areas that are inaccessible except by rail, such as parts of northern Ontario.
It ended up in the collection of the Upper Canada Railway Society, who generously donated it to the City of Toronto. We plan to restore this car and make it a keynote exhibit on the history of immigration, railways, and the history of Toronto.
14. Don Station
Don Station is an original train station that was situated on the west bank of the Don River just south of the Queen Street Bridge, which is east of here along King Street. It was built in eighteen ninety-six to serve CPR passengers who lived in the east end of Toronto. In nineteen sixty-seven it was closed and moved to Todmorden, north of the downtown, before being moved to Roundhouse Park in two thousand eight.
On top of the roof you can see what are called semaphore signals. They indicate to the engineer when to slow down to collect train orders from an operator at the station if the train is not intending to stop at that station. Train orders would instruct the crew, like where to pass another train or what station to stop at next.
At one time Toronto had many such local stations that were later abandoned. Metrolinx is bringing them back in several locations, with new stations planned, such as at Liberty Village and St. Clair West. Many people now live in these areas, which have also attracted businesses. Toronto has become a leading global technology hub as well as Canada's financial centre.
Inside of Don Station the largest room was a passenger waiting area which is now our Gift Shop. It has adjacent rooms including a baggage room, a station operator/ticket office, and also a washroom. The Gift Shop at Don Station is where you can buy tickets for the Roundhouse Park Miniature Railway when it is in operation.
And that concludes our audio guide. We hoped you found the guide fun and informative. And we welcome your feedback. Please click the stars at the top of the app screen to provide your comments.
Thank you very much for joining us and helping support the preservation of Toronto's railway heritage!
15. Cabin D
At the east end of Roundhouse Park is the two-story building labeled Cabin D and an adjoining toolshed. It is called Cabin D because there were once several lettered and also named switching stations located along the tracks stemming from Union Station. These switching stations are being phased out by more advanced technologies.
Cabin D was an interlocking switching tower built in eighteen ninety-four by the Grand Trunk Railway. It was originally located west of Bathurst Street, and the toolshed was built alongside it as well. But parts of it date back to the eighteen-fifties.
All switching towers were elevated to give operators a clear view of the tracks, including signals. Looking at the shingle skirting and the upturned roof design of Cabin D, you can see elements of Asian pagoda design. It was quite popular in North American architectural designs in the late Nineteenth Century.
In towers like Cabin D switch operators would pull or release levers that were connected to long metal rods that would open or close track switches. They have locking mechanisms that prevented someone causing one train to collide with another train.
Interlockings are still used today, but they are electrically and electronically operated. And their towers are now out of sight of the tracks. Tower operators no longer need to see where trains are to route them safely. Track circuits, which are tripped when a train rolls over them, and in the near future GPS systems, tell the personnel where the trains are.
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text:
A Three Minute Education
controversial commentary from our one-time regular columnist
by howard male » Wed May 16, 2007 10:45 pm
Pop music taught me that my parents would have been OK about it if I'd been gay.
I was obsessed with Bolan and Bowie and by the time I was fifteen I had a foot-high pile of scrapbooks full of pictures of these two apparently homosexual weirdoes, so what else were my parents to think? I was also painfully shy and had a mouthful of metal, a face full of spots, and habit of blushing twenty times a day, which meant I had no girlfriend, and no hope of getting a girlfriend.
And then one day my dad gave me one of those brief, cryptic man-to-man talks which he was so bad at. He basically said that there had been some very talented artistes like Noel Coward and Oscar Wilde had been persecuted wrongly for who they were, who were, nevertheless, great artists. He just seemed to want me to know that he didn't hold their poofiness against them and therefore I could infer from this that he wouldn't hold it against me.
My dad came from a strict Presbyterian background and I don't think it was easy for him to speak to me about this, or take this position. So I learnt from pop music that he could be a good, open-minded person, if he needed to be, and if love meant he had to be.
I was a bit of a tease as a teenager so I didn't put him out of his misery by telling him I wasn't gay. And anyway, sexual identity was something I think many teenagers of that era had an opportunity to explore, if only by growing shoulder-length hair and wearing pink or purple shirts in interesting new fabrics - and that was all pop music's fault.
Funnily enough, once the metal was removed and the spots decreased, I got a girlfriend and the gay issue came up again. This girl's evil stepfather* used to spy on the two of us when I'd meet her from school and walk her home. He asked her what was wrong with me - apparently I never gave a second glance to any of the cars we passed, and this made him suspect I was gay. Then when I failed to turn my head at a couple of apparently attractive women who walked passed, that was it - I must be a screaming queen. So I just laughed and told my girlfriend to tell him that this was the case, and just as I'd hoped, he left us alone after that. But he was a very scary man.
I seem to have gone off the subject a bit there, but sexuality and its changing face (or faces) was such a part of growing up in the early seventies and also such a part of popular culture - particularly music at that time - that I don't think it's influence can be overstated.
I suspect that there are very few forumites who hit their formative years at precisely those strange years of 71 - 73, and so won't be able to relate to the experience of having their first thrill of the visceral joy of distorted guitars (which we're all so tired of now) delivered by musicians who were apparently a new race, or even sex, from another world. You only have to be a couple of years younger or older than me for it all to have seemed either a little lame or a little too tame.
* And he really was evil - years later we found out he was a pedophile who had forged qualifications in order to get a job running the boys juvenile delinquent home in which he lived with his wife and daughter.
howard male
Location: Crystal Palace
Re: Boston Tea Party
by CantSleepClownsWillGetMe » Wed May 16, 2007 11:24 pm
nikki akinjimni wrote
I do recall hearing a song called "The Boston Tea Party", (I can't think of the name of the group/ person)
'Boston Tea Party' was sung by The Sensational Alex Harvey Band. I know this only because I was a fan of the band in the 70's otherwise I'd probably have had to Google it too. By a strange coincidence, I downloaded this very track (along with 'Next', another of their songs) a couple of nights ago!
CantSleepClownsWillGetMe
by Adam Blake » Thu May 17, 2007 1:45 am
howard male wrote: I suspect that there are very few forumites who hit their formative years at precisely those strange years of 71 - 73,
Hello Howard! You're not alone! 1971 was the year that pop became my religion and I had a fantastically good time with it. It was the year I went to secondary school and that was so ghastly that I completely retreated into pop and it provided me with just about everything I could possibly want or need. I loved it all without reservation and I don't regret a moment of it. It was a great year for pop/rock: "Who's Next", "Electric Warrior", "Hunky Dory", "Led Zep 4", "Tapestry", "Sticky Fingers", "A Nod's As Good As A Wink" - plus all those great singles. I have only the fondest memories of that music and, yes, I think it was a great time to hit puberty. My first crush had her big sister's record collection at her disposal and she turned me on to Humble Pie, Caravan, Man, Hawkwind, Yes, ELP, crappy crumbly Morrocan hash, Afghan coats and awkwardness beyond all imaginings.
You just don't get an education like that nowadays!
Adam Blake
Location: Notting Hill Gate, London
by howard male » Thu May 17, 2007 9:09 am
Ah yes - the ghastliness of secondary school! Pop was a lifesaver wasn't it? I was at a very homey infants school were boys just scrapped by wrestling each other to the ground and playfully punching each other on the arm or shoulder.
Then on the first day of secondary school the fist came from nowhere, landed on my nose, and sent me flying - just because I'd questioned another boy's right to push ahead of me in the lunch queue. So, this is the new order I remember thinking as I tilted my head back to stem the flow of blood. And so it was, for the next five years (stuck on my mind!)
My school even looked like Colditz (as seen on the TV series at the time) and was populated by teachers even more evil and sadistic than the pupils. God, how we needed our pop music during that dark, dark time!
by Adam Blake » Thu May 17, 2007 10:53 am
Ha ha!! See The Smiths "Headmaster Ritual" for further painful identification. Only pop/rock band from the 80s I can listen to. Cross country running in the freezing rain, cold custard made with water, snotty nose, spots, B.O, horrible communal showers, getting flicked with wet towels, getting put in detention, getting beaten up, having ink flicked at you, hard toilet paper in toilets that don't lock - all part of growing up and being British!
by howard male » Thu May 17, 2007 11:29 am
Mashed potato with blue-grey lumps was always a favourite of mine. And being literally lifted off the ground by my sideburns by the aptly named Mr. Dangerfield. And having my nose held while playing-field earth was shoved into my mouth for missing a penalty. And being sat on the water fountain, and having a damp arse for the rest of the day. And feeling the sharp sting of a gym shoe on the backside from the PE teacher who used to wait on the cross-country route to catch out boys who had taken to strolling rather than running.
And you only had ink flicked at you! Spitting was fashionable at Coleridge Secondary School a good five years before punk rock.
I finally got my revenge on one bully when he decided to tear in half a drawing I was particulary proud of - it was one of those last-straw moments.
It only takes a couple of judo lessons to learn to throw someone over your shoulder, even someone several stone heavier than you. So this guy ended up on his back on the concrete and baffled as to how he got there.
But as I didn't have the killer instinct to then kick the shit out of him while he was down, I stood there petrified at what he was going to do to me next, as he stood up again, now shaking with rage. But fortunately I'd sufficiently freaked him out with my sudden display of marshal arts skills and so he just verbally threatened me and then never bothered me again.
But then after a day of crap like that, I'd get home, slide the Slider from its cool black and white cover, and be transported to a world of fantasy which was nevertheless a kind of reality. That was one of the joys of pop for me: it was a natural progression from my TV heroes of only a few months earlier - Tom Baker's Dr Who, The Prisoner, Tarzan, Superman. Anyone remember Timeslip?
Perhaps we should expand this to - what did popular culture teach you?
I learnt more about how to draw from American comics than I did from a dozen art teachers - from school right through to BA, there wasn't a single teacher who taught me as much as those comic artists did.
By looking at Superman and Batman comics I learnt that a billowing cloak helps to give the impression of movement (something that the comic artists had in turn learnt from Renaissance artists - that's why they gave those guys cloaks in the first place) and I learnt how shading could give the illusion of shiny roundness, when I carefully drew a little square of light on each of those circular bumps on the casing of a Dalek.
by Adam Blake » Thu May 17, 2007 1:36 pm
It's interesting - this brings it all back. I learned very little at my school. It was institutionalised brutality from day one and, as I say, that was a GOOD school! Perhaps if there'd been girls there it might have been slightly less awful. If you just allowed your spirit to be broken and did everything they told you to do - then you'd probably wind up at a pretty good university. I was a bright kid but I just turned off completely. I enjoyed acting in the school plays, enjoyed doing English and Music - and that was it. Everything else was torture. It's IMPOSSIBLE to overstate how important pop was in a context like that. It literally made my life worth living. I studied it with all the love and fanaticism of a religious zealot and if I had applied 10% of the care and attention I gave to pop to my schoolwork I would have got straight A's instead of barely scraping my way through to a miserable four 'O' levels.
To give credit where it's due: I was very much in the present in the early 70s with regard to pop but I was fascinated by the 60s and I remember reading about Frank Zappa and how he said, "drop out of school and go to the library and educate yourself!" I took that very much to heart and I wonder how many other people had similar experiences.
If I hadn't been so miserable - traumatised - at school, would I have been so obsessed with pop? As you describe, it virtually did my living for me when I was 11, 12, 13. By then I knew I was going to be a musician and that sustained me through all the rest of it. I just got on with my guitar playing and the rest of it could go hang. Still my attitude in many ways! But maybe that's a reason why us Brits were always so good at pop/rock - at least once The Beatles got us kick-started. Because the old post-war education system, where it was perfectly ok for sadistic old bastards to hit male children in their charge, made boys so thoroughly miserable that they embraced pop with a truly desperate passion. Love, revenge, respect, beauty, truth - it was all there in those 45's, wasn't it?
"A crack on the head is what you get for asking. A crack on the head is what you get for not asking" - The Smiths (again)
by howard male » Thu May 17, 2007 3:38 pm
Adam wrote -
I studied it with all the love and fanaticism of a religious zealot and if I had applied 10% of the care and attention I gave to pop to my schoolwork I would have got straight A's instead of barely scraping my way through to a miserable four 'O' levels.
Yes, what an infuriatingly contrary thing the human brain is. Those pesky history dates just wouldn't stick, but all the lyrics to Aladdin Sane are still up there for me to access should I ever need them.
I left school with two 'O' Levels and a bunch of totally useless CSEs and so had to spend another year taking some more O Levels before I could be considered not too stupid for art school.
But if I hadn't gone to York Street Further Education centre I never would have met the three guys who were to become John Peel favourite, The Users, and I wouldn't have seen a totally forgetable band called the Police (I only know I saw them because someone told me I had, and because they also functioned as the backing band for Cherry Vanilla who was headlining) support the Users just round the corner at the Howard Mallet Club (no relation), and I wouldn't have developed the ambition to form my own band, and I probably wouldn't have been introduced to the subtle pleasure of smoking marijuana while listening to 'Venus in Furs.'
So once again, pop (or at least it's bastard offspring, punk) saved the day.
by Ted » Thu May 17, 2007 8:00 pm
Adam Blake wrote: It's interesting - this brings it all back. I learned very little at my school. It was institutionalised brutality from day one and, as I say, that was a GOOD school!
Like Saki said: "You can't expect a boy to be truly vicious until he's been to a good school"
I try not to think too much about school. Thankfully 1973 is a long time ago now. Experiences generally pretty similar to Howards & Adams. Pop music as religion/ sanity saver especially.
Location: Hackney, East Of Java
by nikki akinjinmi » Thu May 17, 2007 10:51 pm
Con Murphy wrote:
Gordon Moore wrote: F-
Not for Nikki's post, surely?
Thanks Con, at least Gordon did not give me a "U" (I think that was the lowest grade at one time...for unclassified, or utter b.... I suppose)
And thanks to CantSleepClownsWillGetMe - (Is there a Steven King thing going on here?) - for providing the name of the group, the Sensational Alex Harvey band. I was trying to resist the google search, and was hoping the name would come back into my consciousness eventually.
On the subject of learning from pop music one that springs to my mind is Bruce Hornsby & The Range's "The Way It Is" which makes a point about racial discrimination in America in the 1960s, and a song recorded by Gilberto Gil called "Quilombo" (which is about a settlement, I think it was called Palmares, which was founded by free born and runaway slaves of African descent in Brazil). This song can be found on Beleza Tropical the Brazilian music compilation put together by David Byrne.
I heard both these songs a lot later in life. (I did try to find out about Palmares at the time the album came out and could not find anything. This was before the spread of the internet.)
I am sure there are Bob Dylan songs such as "Hurricane" that have spurred people on to finding out about the subject of the song, or prompted some to go on a quest for knowledge. No quips about about carnal knowledge and/or lingerie, please...
Sorry to hear about the painful memories...I can relate to Adam Blake's quote of the Smiths, alas...
nikki akinjinmi
by Con Murphy » Fri May 18, 2007 9:40 am
Didn't any of you guys play football? That was a sure way to avoid the worst of the bullying, and a short cut to acceptance with just about every gang going.
But Adam's Zappa comment struck a chord with me. Music mainly taught me which books I thought I should be reading - 1984, A Clockwork Orange, Catcher in the Rye, Absolute Beginners. God, I must have been insufferably smug! Orwell in particular was massively influential, and I only learnt about him because Strummer, Weller and the like name-checked him. So, having suffered hours of History at school taught by a teacher-cum-lecher who put all the best looking girls at the front of the class and taught their breasts about the Industrial Revolution, the Spinning Jenny and Stephenson's hur-hur Rocket, I would go home and learn about the conditions suffered by the actual workers. Ah, the idealism of youth! Anti-racism was the other big thing. Punk and ska (or 2-Tone, as we called it) were completely at odds with the numbskull racism of many of my Heavy Metal or non-music loving peers.
Con Murphy
Location: Stoke-Barehills
by howard male » Fri May 18, 2007 10:19 am
Con wrote -
Well, I'm sure Nikki kicked a ball around in her youth, but not me. As a kid I always enjoyed games where you used your imagination - being soldiers or secret agents or whatever. Then all of a sudden I lost my best friend (and secret agent sidekick) to football. I know I should have taken the opportunity to grow up too, but he was good football and I was crap - no co-ordination. So that was that. I had no one to play with after school, and I realise (in retrospect) that that's probably why I have no time for football to this day.
by Adam Blake » Fri May 18, 2007 11:22 am
I would have loved to have played football but they made us play rugby which I hated with a passion. My school was run like a minor public school except it had all the thugs from the local council estates in it. This made for a very, er, interesting atmosphere...
by Gordon Moore » Fri May 18, 2007 6:36 pm
nikki akinjinmi wrote: Who knows what would have happened had I written "Coulda Woulda Shoulda".
Perhaps I was harsh. It is a clever homophonic alliteration, and though not original, was used reflectively and in context with a sensitive approach.
Therefore on appeal you are hereby accorded a II2 degree. We hope you have a successful future in advertising.
The University of Webbery.
Location: Feeling Blue about CG
by nikki akinjinmi » Sat May 19, 2007 12:34 am
Gordon Moore wrote:
Gordon, thank you...I was considering going into therapy....
Return to Howard's World Views


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IPhone 6s/7 Rumours….What can we expect?


Not my dad, but for my slightly-too-tubby mum, me and my siblings bought her a pedometer one year for her birthday, together with a set of kilometre targets to make 'Mum's walk around the world'. At each target (planned for about once a month for a year) one of us would take her out for a reward - a Thai massage when she had walked as far as Thailand, a home-cooked Spanish meal when she made it to Spain. She was grumpy when she first got the present and thought we were forcing her to exercise, but actually then really liked the guarantee of seeing us at least once a month.


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text:
Punch-Out Review
First Released October 1987
Cheats & Guides
Punch-Out for the Wii isn't much different from the NES version, but it hardly matters when it's this much fun.
By Tom Mc Shea | @TomMcShea on May 20, 2009 at 6:18PM PDT
Consider all the video game advances that have taken place since the first Punch-Out was released over 20 years ago. You might think that going back to the pattern-based brawls would feel archaic in the modern era, that punching King Hippo in his fat belly would lose its charm and that Doc Louis would just seem like a chocolate-obsessed crazy. Except for that last part, you would be wrong. Although the Wii version of Punch-Out plays almost identically to the NES original, the formula is still as intense, addictive, and fun as it ever was. The roster is mostly composed of fighters from the earlier games, but they are as exhilarating to fight now as they were the first time and come with a number of new moves and techniques that will flummox even the more hardened Punch-Out veterans. Some missteps with the balance board aside, this is a great update to the classic franchise.
The structure is the same as it was in the very first Punch-Out. You play as Little Mac, a scrawny 17-year-old from the Bronx. He's 5 feet 7 inches tall, 107 pounds sopping wet, and doesn't seem like he should be legally allowed to enter a ring. Your opponents are gargantuan monsters, towering over you as they try to pummel you with powerful punches. There are 13 boxers in the game, and most of them have been pulled from the NES original. You get to rekindle your rivalries with Great Tiger, Soda Popinski, and Bald Bull, among other favorites, and though they reuse many of their vintage moves (watch out for Bald Bull's terrifying charge attack), your opponents are still fun to fight against, and have enough new tricks to keep you on your toes. There are also a couple of boxers borrowed from Super Punch-Out. Aran Ryan is a crazed Irishman who has no qualms about using his head to attack, and Bear Hugger is a 400-pound Canadian with a love for maple syrup and tiny woodland rodents. The lone new challenger is Disco Kid. He doesn't have the charm of the returning entrants, but his flashy style makes him fun to pop.
The combat will evoke a sense of deja vu for anyone who has played a previous entry in the series. The two boxers stand facing each other with no opportunity to circle around, jockey for position, or perform other such maneuvers typical of the actual sport. Instead, you focus on dodging and countering, using fast reflexes and a sharp memory to lay your foe on the mat. Although your towering opponents are far stronger than you could ever be, they aren't the sharpest tools in the shed and will happily telegraph all of their punches. Don Flamenco will flash red before he swoops in with a punishing right uppercut; Bear Hugger will yell "Catch and release!" before trying to crush you with his massive frame; and Great Tiger's turban will flash before he jabs at your head. Before they take your head off, you have to dodge or duck out of the way and then counterattack when they are stunned.
The formula is exceedingly simple but eminently engaging. Winning matches is not just a matter of memorizing your opponent's attacks, though that is still a large part of your success. Boxers will mix up moves during the course of a match, changing their timing or chaining a few punches together, so you must constantly adapt or you will wind up with an ugly black eye and one more loss on your record. You could win by just dodging every punch and landing healthy counters, but there's no honor in a victory without style. Every boxer has various weak points, and if you hit your opponent at the perfect time, you earn a bonus. For instance, when Disco Kid strikes a taunting pose, you can pop him in the mouth to earn a star punch. This leaping uppercut can rattle your opponent's spine, and saving up a few of these powerful blows for one big wallop is a blast. Most of your opponents can also be knocked down with one well-timed punch, and trying to figure out the opportune time to unleash the fury is challenging and rewarding.
Super Macho Man is just asking for a beating.
Anyone who is familiar with the Punch-Out series will be able to blow through the 13 challengers with little effort. It's after you hoist the championship belt that things really pick up. Once you're crowned champion, you have to defend your title, and facing off against boxers that you already defeated is a lot more difficult than you would initially imagine. The scorned fighters are angry that they were so thoroughly embarrassed by your tiny hands and have spent their free moments devising plans to counter your cruel wrath. Glass Joe, for instance, identifies that he has a rather weak chin, so he enters the ring with a protective helmet, forcing you to take him out with body blows. He also has become significantly stronger, learned a few new punches, and changed the timing on all his old moves. The sad fact is that you will lose to Glass Joe, for maybe the first time in your life, until you find and exploit weaknesses that will take you to the next round. The second matchups against your defeated rivals are refreshing and challenging, conjuring the old joy that made initially figuring out these classic boxers rewarding so many years ago.
For the first time in the Punch-Out series, there is a two-player mode, and though it isn't quite as amazing as the single-player competition, it is utterly bizarre and offers some ridiculous fun. Two Little Macs square off against each other, using the same dodges and punches from the single-player tournament. When you land enough blows, you transform into the oversized Giga Mac. The person in control of the hulking monster gets to feel what it's like to maneuver one of the single-player opponents. You can no longer dodge attacks. Rather, you unleash furious punches or, if there's an opening, taunt Little Mac to earn a star. What this mode lacks in depth it makes up for in excitement. Squaring off against your friend when he's a rippling beast is intense and chaotic, so the matches are filled with yelps of joy and disappointment.
What exactly is wrong with Doc Louis anyway?
Further adding to the replay value are challenges for every boxer. If you face off against them in Exhibition mode after defeating them in a championship bout, there are three challenges you can meet to earn unlockable goodies. Some of them are fairly easy to earn, such as landing every punch against Piston Hondo, but many of them are much more difficult. Can you find five different ways to earn a star against Bear Hugger? Or defeat Von Kaiser with only five punches? The challenges can be difficult but rewarding, forcing you to try new strategies to defeat your opponent. The visuals are also awesome. The cartoony look of the original Punch-Out has been updated in impressive fashion, giving the game a lot of personality. From King Hippo's rotund face to Bear Hugger's adorable furry friend, the charming visuals add a lot to the experience.
Like most Wii games, there are a number of control options, but only one is ideal. You have four different choices: the Wii Remote turned on its side NES style, the remote combined with the nunchuk, and either the remote or the nunchuk in combination with the balance board. The Wii Remote by its lonesome is the best method, because the precision needed against the overbearing enemies is perfectly suited for digital controls. When you use the nunchuk, you must swing your arms to punch. Although this works well enough, it can be tiring after a while and lacks the perfect timing of its digital counterpart. It's when you use the balance board that things fall apart, because it doesn't work right. You use it to dodge and duck, but it doesn't always register your movements. Sometimes you'll try to sway left and Little Mac either won't respond at all or will sway right instead. It's maddening and pointless, but given that it's purely optional, you won't have to worry about it sapping the fun.
Giga Mac is one fine dancer.
Punch-Out is a great update to the classic boxing franchise. Although it is largely the same game that it was more than 20 years ago, it's still fun and charming. The fights are still so intense and rewarding that you'll want to see all the different tricks the boxers have up their sleeves. The silly visuals exude charm and offer a few laugh-out-loud moments. Even the two-player mode, which is utterly ridiculous, is fun, letting you gleefully bash your buddy. The motion controls are too tiring and the balance board support is a mess, but everything else about this game is pure entertainment.
Mike Tyson's Punch-Out!! / Wii
Classic gameplay is still intense and satisfying
Opponents have new strategies the second time you face them
Ridiculous two-player mode
Goofy visuals exude charm
Balance board support is lousy
About GameSpot's Reviews
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Mike Tyson joined a cast of make-believe boxers in this classic NES sports game.
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text:
in Memoir , Nonfiction by Mal Warwick
The Holocaust, mass trauma, inherited PTSD, and genetics
"I carry the words; I pass them on. I listen to the stories and tell them again." Thus writes Berkeley novelist and poet Elizabeth Rosner in her deeply moving new memoir, Survivor Café: The Legacy of Trauma and the Labyrinth of Memory. The stories are the recollections of Rosner's parents, both of them Holocaust survivors, and of countless others she interviewed in researching the articles incorporated in this book. Interspersed among these sometimes shocking stories are accounts of her three visits to Buchenwald, where her father was imprisoned as a teenager during the last year of the war, and the United States Holocaust Memorial Museum in Washington, DC.
Survivor Café: The Legacy of Trauma and the Labyrinth of Memory by Elizabeth Rosner (2017) 304 pages
The phenomenon of inherited PTSD
Thus, Survivor Café is a memoir, but it is far more than that. Rosner set out to understand the impact of her parents' experiences in the war on her own life. She read deeply in the literature about the Holocaust and about the phenomenon of epigenetics, "the study of environmentally induced changes passed down from one generation to the next." This emerging field is controversial and its research easily overdramatized. However, interpreting the findings narrowly, Rosner found in it an explanation for her own deep feelings about the Holocaust—and those in other second- and third-generation offspring of survivors. As others have observed, the overwhelming majority of Holocaust survivors experienced PTSD in later life. And "PTSD, it turns out, has an impact on the very wiring of the brain, and these changes are transmitted to the offspring." Rosner quotes a Viennese psychoanalyst "who used the term 'transposition' to describe the unconscious cross-generational transmission of massive trauma by Holocaust survivors." I'm confident that this phenomenon is not universal, but I'm equally certain that it's common. I've seen it in action.
For a discussion of recent research into epigenetics, see Benedict Carey's article in the New York Times Science Section (December 11, 2018), "Can We Really Inherit Trauma?"
Beyond the Holocaust
In the United States today, "survivors" are often taken to mean those who directly experienced the Nazi Holocaust and lived to talk about it. When analysts broaden their scope, they might refer to other documented examples of genocide in the 20th century, most notably the Armenian, Cambodian, and Rwandan tragedies. In Survivor Café, Rosner further expands the term to encompass those who experienced the atomic bomb attacks on Hiroshima and Nagasaki as well as African-American slavery, with brief references to other incidences of genocide. She also includes the Japanese internment in World War II, which was surely traumatic for those who experienced it though it did not directly lead to large loss of life. Those examples make her case.
However, Rosner includes many references to other, far different atrocities that led to inherited PTSD. She cites 9/11, the Sandy Hook school massacre, and the South Africa Truth and Reconciliation Commission, among others. Instead, to stick to a narrower interpretation of inherited PTSD that is limited to genocidal incidents, she might well have explored the subject with survivors of the Ukraine famine in the 1930s, China's Great Leap Forward in the 1950s and 60s, the Biafran war in the 1960s, the Bangladeshi war for independence in the 1970s, and the ongoing civil wars in what is currently called the Democratic Republic of Congo. Every one of those events has caused the death of at least one million people, and most of them far more, leaving tens of millions of survivors. There are other, less dramatic examples of genocide as well. As so many observers have remarked, the last century was an extraordinarily violent time in human history.
A quirky chronology
Survivor Café is eloquently written and abounds with insight. Rosner has clearly thought deeply about her subject for a great many years, and she has conducted methodical research to flesh out her own perspective. However, in one respect the book is not an easy read: it clearly represents the author's attempt to mesh together several previously published articles. The result is a quirky chronology, with Rosner's account jumping from one decade to another and back again in a fashion that is disorienting at times. There is also some repetition, in which the same event or the same source is described in much the same fashion at two different points in her account. But it's easy enough to shrug off these relatively minor problems. Survivor Café is, in the end, an illuminating piece of work and a worthy addition to the extensive literature of the Holocaust.
I've found fiction to be a rich source of insight about the Holocaust. You might wish to see my review of All the Light We Cannot See, by Anthony Doerr, This novel richly deserves the Pulitzer Prize it won. You may also be interested in The German Girl by Armando Lucas Correa. My review is at A deeply affecting novel of the Holocaust. I've also reviewed The Book of Aron, by Jim Shepherd: A brilliant novel of the Warsaw Ghetto.
You'll find this book listed on my post, 5 top nonfiction books about World War II (plus many runners-up).
You might also enjoy The 10 best novels about World War II (plus 19 runners-up).
This book is one of 14 excellent memoirs reviewed here. You might also enjoy Great biographies I've reviewed: my 10 favorites.
This is also one of the many Good books by Berkeley authors reviewed on this site. And, for your convenience, I've listed all 36 nonfiction books reviewed here in 2017.
A moving death camp survivor's memoir
Hunting Nazis in Argentina
Did FDR betray the Jews of Europe?