text:
The Vault of Buncheness
Being a window into the thoughts and interests of a self-proclaimed entertainment ronin. Commentary, recipes, pop culture reviews...FUN FOR ALL!!! © All original text copyright Steve Bunche, 2004-2018.
31 DAYS OF HORROR 2018-Day 17: MARTIN (1978)
"There isn't any magic. It's just a sickness..."
After the death of his immediate relatives, Martin Mathias (John Amplas) moves into the Pittsburgh home of his aged and strict Catholic cousin, Cuda (Lincoln Maazel), who considers Martin a "nosferatu," the latest bearer of a family curse, and seeks to redeem Martin's soul before destroying him. Cuda is about as "old country" as one can get in late-20th century America and he handles Martin as a true believer would deal with the threat of a known vampire, making sure his home is outfitted with crucifixes, garlic, and other standard deterrents. But Martin is anything but a standard example of a textbook vampire, in that he has no trouble with sunlight and none of the usual anti-vampire items work when wielded against him, with Martin dismissing them and clearly declaring that there is no such thing as magic. And instead of engaging in the vampiric act in the manner that we have all become accustomed to via movies, Martin stalks his female prey, gets them alone and shoots them up with a strong sedative, strips them and himself naked, has his way with their unconscious bodies and finishes the act by opening their veins with a utility razor to sup upon their blood. In short, Martin is a shy serial rapist whose hypodermic needles and razor blades provide the penetration that he cannot otherwise achieve due to his lack of the familiar traditional fangs, and his rape of unconscious women can be read as being akin to necrophilia. As Martin tellingly puts it, he's self-admittedly "much too shy to do the sexy stuff with someone who's awake."
Martin (John Amplas), playing to Cuda's superstitious beliefs.
Martin's existence is punctuated by recurring black and white visions of his self-perception in the role of a romantic vampire straight out of a clichéd gothic horror flick, but the sordid reality of his crimes puts the lie to his delusions. But are they delusions? Though he appears to be a young man of perhaps 20, family records state that Martin was born in 1892, making him a solid 84 at the time when the story takes place, and his alleged advanced age makes his social and sexual awkwardness that much more pathetic. Desperate for a connection and understanding, Martin regularly calls in to an all-night radio talk show as the anonymous "Count," outlining his needs and modus operandi for his nocturnal misdeeds, becoming a listener favorite. But as the dysfunction in Cuda's household escalates, Martin clumsily has his first consensual sexual encounter in the wake of a particularly sloppy home invasion, and that entanglement with Mrs. Santini (Elaine Nadeau), a kind woman who has problems of her own, leads to a double-tragedy...
Bearing the same indie/DIY feel that gave his epochal NIGHT OF THE LIVING DEAD (1968) its memorable feel and power, MARTIN is by far writer/director George A Romero's darkest and most tragic effort. Steeped in a signature Pittsburgh industrial bleakness — I've been to Pittsburgh and it felt like being in a Romero movie — the film is grounded in a recognizable mundanity that makes the story's events all too believable. We've all known someone as awkward and "creepy" as Martin, and his sorry version of sexuality is simultaneously loathsome and pitiful. Whatever side on the debate over his supposed vampirism one falls on, Martin is an individual who is clearly in need of years of deep and thorough psychiatric treatment, and one cannot help but feel great pity for him. (His vile rapey and exsanguinatory behavior notwithstanding.)
Not at all a "fun" entry in the genre, what one gets with MARTIN is the most melancholy of character studies rather than an outright thrilling shocker, but it's the low-key, slow burn approach that gives the film its punch, and once seen it sticks in the viewer's memory like a wooden stake through the heart. Hardcore vampire traditionalists may turn up their noses at its eschewing and mocking of just about every undead suckface trope, but it remains a noteworthy divergence from the expected. RECOMMENDED.
Poster from the theatrical release.
An amusingly lurid variant theatrical poster.
From my collection.
Posted by Bunche (pop culture ronin) at Wednesday, October 17, 2018
Labels: 31 DAYS OF HORROR-2018
Bunche (pop culture ronin)
I'm the scribing seneschal of several blogs including this one and I am here to keep you entertained and informed. Have fun!
31 DAYS OF HORROR 2018-Day 31: BEING HUMAN "Adam's...
31 DAYS OF HORROR 2018-Day 30: THE PLAGUE OF THE Z...
31 DAYS OF HORROR 2018-Day 29: THE BLOOD ON SATAN'...
31 DAYS OF HORROR 2018-Day 28: DR. TERRIBLE'S HOUS...
31 DAYS OF HORROR 2018-Day 27: ALMOST HUMAN (2013)...
31 DAYS OF HORROR 2018-Day 26: MOM AND DAD (2017)
31 DAYS OF HORROR 2018-Day 25: FREAKS (1932)
31 DAYS OF HORROR 2018-Day 24: THE DAY I DIED (197...
31 DAYS OF HORROR 2018-Day 23: BLIND WOMAN'S CURSE...
31 DAYS OF HORROR 2018-Day 22: PLANET TERROR (2007...
31 DAYS OF HORROR 2018-Day 21: THE OUTER LIMITS "T...
31 DAYS OF HORROR 2018-Day 20: THE OUTER LIMITS "N...
31 DAYS OF HORROR 2018-Day 19: HALLOWEEN (2018)
31 DAYS OF HORROR 2018-Day 18-THE HORROR OF PARTY ...
31 DAYS OF HORROR 2018-Day 16: THE RUINS Unrated (...
31 DAYS OF HORROR 2018-Day 15: WAXWORK (1988)
40 YEARS AGO TODAY: MY "BEATLES ON SULLIVAN" MOMEN...
31 DAYS OF HORROR 2018-Day 14: HELLDRIVER (2010)
31 DAYS OF HORROR 2018-Day 13: GINGER SNAPS 2: UNL...
31 DAYS OF HORROR 2018-Day 12: GOING TO PIECES: Th...
31 DAYS OF HORROR 2018-Day 11: HERCULES IN THE HAU...
31 DAYS OF HORROR 2018-Day 10: CARRY ON SCREAMING ...
31 DAYS OF HORROR 2018-Day 9: THE FLY (1986)
31 DAYS OF HORROR 2018-Day 8: GOLIATH AND THE VAMP...
NY COMIC CON 2018-Day 4
31 DAYS OF HORROR 2018-Day 7: THE THING (1982)
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31 DAYS OF HORROR 2018-Day 5: LUST FOR A VAMPIRE (...
31 DAYS OF HORROR 2018-Day 4: WHAT WE DO IN THE SH...
31 DAYS OF HORROR 2018-Day 3: THE WITCH (2015)
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31 DAYS OF HORROR 2018-Day 2: COCKNEYS VS ZOMBIES ...
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I picked up Quarteto Em Cy's Querelas Do Brasil in Eldica Records in Dalston. As soon as I put the needle on the record in the shop I was hooked.
Quartet Em Cy are a girl group who originally formed in 1959. Despite a short break from 1970-72, they've released some 38 records over the decades. This one, Querelas Do Brasil, dates from the end of the 70s. It really covers a lot of ground, from bossa nova tracks such as 'Querelas Do Brasil' and 'Love, Love, Love' to slow jams like 'Angelica' and 'Sapato Velho'. My favourite on the record is without a doubt 'Salve O Verde' - a sort of psychedelic funk/soul jam with a heavy groove to it.
Despite my lack of understanding of the Portuguese language, in many ways the melodies and the music do the talking themselves, or rather, they tell the story. It's this emotion the captures me the most.
In recent years Latin American music has been at the forefront of musical rediscovery, with labels such as Mr. Bongo reissuing LPs and 45s, Gilles Peterson investing in his Sonzeira project and the likes of Floating Points and Motor City Drum Ensemble putting it at the centre of their DJ sets. Where this upsurge has seen many records from the continent rocket in price on Discogs, Querelas Do Brasil is one that you can (and should) pick up for as little as a tenner. It's well worth a go.
Chiaroscuro not only represents an accomplished and crucial album in terms of its contribution to jazz – and, it should be added, that other nebulous genre: ambient – it also demonstrates how culture can flourish as a shared, public good.
Dig and Discover: Todd Rundgren - Something/Anything?


California guard Darius McNeill is transferring to SMU.
Jahmal McMurray had 27 points as SMU defeated Tulsa 74-65 in the first round of the American Athletic Conference Tournament on Thursday night.
Ethan Chargois had 19 points to lead five SMU players in double figures as the Mustangs defeated South Florida 77-71 on Sunday.
Armoni Brooks had 20 points and 10 rebounds, Corey Davis Jr. added 17 points and No. 12 Houston rebounded from its second loss of the season to beat SMU 90-79 on Thursday night.
Markis McDuffie had 15 points and nine rebounds as Wichita State defeated SMU 67-55 on Sunday.
Rashawn Fredericks put No. 23 Cincinnati ahead to stay with his only two field goals and the Bearcats overcame a horrible shooting night to beat SMU 52-49 on Wednesday.
Tacko Fall had a season-high 23 points plus 20 rebounds as Central Florida routed SMU 95-48 on Sunday.
DALLAS (AP)- Jahmal McMurray drove for three straight layups in a 12-2 run late in the first half, and SMU went on to beat UConn 77-59 on Thursday night.
Shizz Alston Jr. had 28 points as Temple topped SMU 82-74 on Wednesday night.
Aubrey Dawkins had a season-high 26 points as Central Florida defeated SMU 71-65 on Sunday.
David Collins hit two key 3-pointers in the final 72 seconds, the second one lifting South Florida to a 67-66 victory over SMU on Thursday night.
Jarron Cumberland scored 24 points Saturday night, and Cincinnati let a 12-point lead slip away before rallying for a 73-68 victory over SMU.
Samajae Haynes-Jones scored 17 points and hit a dramatic layup with a second remaining to lift Wichita State to an 85-83 victory over SMU on Wednesday night.
Kareem Brewton scored 20 points with a career-high six 3-pointers, Raynere Thornton had 11 points and a career-best 14 rebounds for his first double-double this season and Memphis rolled over SMU 83-61 on Saturday.
Corey Davis Jr. scored 20 points and Armoni Brooks added 19 with five 3-pointers as No. 21 Houston led throughout in a 69-58 win at SMU on Wednesday night.
Hall of Fame coach Larry Brown and the Italian team Fiat Torino have parted ways after part of a season.


Ctrl+Shift+3 – Dates may change to serial numbers when imported. Use Ctrl+Shift+3 (#) to change serial number dates formatted as numbers back to dates (43160 becomes 1-Mar-2018). You can then apply any other date format.
Ctrl+Shift+2 – Imported time stamps sometimes show up as decimal values. Change time expressed as a number with Ctrl+Shift+2 (@). For example, .5 would become 12:00 PM.
Ctrl+Shift+` – Use Ctrl+Shift+` (~) to change any formatted numbers back to general format. For example, this would change 1-Mar-2018 to 43160, and 12:00 PM to .5.


text:
Try your hand in a dairy with TAFE NSW Bega
TAFE NSW Bega
Adam Wright
Dairy Farmers in the region are set to receive a well-earned helping hand as the result of a collaboration between TAFE NSW and Bega Cheese.
A Statement of Attainment in Relief Milking short course is being offered in semester one at TAFE NSW Bega. The aim is to teach job-ready skills in dairy operation to provide employees to give farmers a break.
Australia is the fourth largest exporter of dairy products globally. Dairy is vital to the Bega Valley, South Coast and Far South Coast, not just for employment but for its contribution to national milk production levels.
TAFE NSW Animal Science and Agriculture Head Teacher Jennifer O'Donnell said the short course had a proven track record among local job seekers.
"There are people who completed this nine-day-course years ago and are still working in the industry," Ms O'Donnell said.
"You can enrol now to start the course on 15 February and could potentially have a job in the local dairy industry by the end of the month."
Bega Cheese and TAFE NSW work to connect participants with farmers who need more employees.
It's an example of how TAFE NSW works with businesses, including Harley-Davidson, PWC, Woolworths, Cisco and Telstra to tailor training.
Brogo dairy farmer Jessica Pearce works on one of the region's larger farms, Sunnyside, milking 300 head.
She is progressing her career in farming. She graduated from Certificate III in Agriculture and is looking forward to semester one, continuing Certificate IV in Agriculture at TAFE NSW Bega.
"I love being a dairy farmer. I enjoy being outdoors, like the flexibility and love learning. We're always learning such a wide variety of qualifications and skills at TAFE NSW and on the farm," Ms Pearce said.
Sunnyside is a family-owned farm and while she enjoys the variety, she is very aware of how important it is for the local dairy industry to increase its workforce.
"There is always a need for more people to work on local farms. Finding the time to take a break is one of the hard parts of this industry. Local dairy farms need a mix of casual and full time employees."
In the past the Relief Milking short course had been popular with a mix of people, from the long-term unemployed and school leavers, through to those looking for a couple of hours work a week to help local farmers.
Participants will be taught skills in safety, milking management, quad bike operation and electric fencing.
Bega Cheese Senior Milk Supply officer Roger Went said people want skills. "They want to be employable and this is an industry where you can learn a lot of different skills," Mr Went said.
"After enrolling on or before 15 February, the following nine days will involve a classroom session in the mornings and then out on farms for hands-on experience each afternoon. For those who want to take their agriculture career further, TAFE NSW Bega and TAFE Digital offer courses in Agriculture. For more information visit www.tafensw.edu.au or phone 131 601.
Media contact: Adam Wright, TAFE NSW Media Officer, 4421 9895, mobile 0466 375 552.
tafe nsw tafe bega dary agriculture milking relief milking certificate iv agriculture farming tafe nsw bega
ACCOLADES, AWARDS AND ACHIEVEMENTS FOR HUNTER APPRENTICES IN 2018
Large Casino employer upskills with TAFE NSW

redpajama_set_name: RedPajamaCommonCrawl


The 2015 Legislature "passed the fewest laws in 20 years."
"Already this calendar year, since January 1, we have had more than 20,000 people come across the border, apprehended, unauthorized."
Says he has sued the Obama administration 25 times.
Says the "last non-partisan commission to improve the voting experience in America concluded that #VoterID was necessary."
Says according to the FBI, more people are killed each year with hammers and clubs than rifles.
There have been "at least four incidents where bullets from Mexico have crossed the border."


text:
Emil Dimitrov () (Pleven, 1940. december 23. – Szófia, 2005. március 30.) népszerű bolgár énekes. 1960-ban kezdte pályafutását, és majdnem 30 albumot rögzített. Az 1960-as években Lili Ivanova és Emil Dimitrov volt a legnépszerűbb, modern dalokat előadó énekes az országban.  Élete utolsó éveiben rajzművészi tehetsége is előtérbe került.

Diszkográfia

Bolgár örökzöldek
 Моя страна, моя България (Én országom, én Bulgáriám) - Emil Dimitrov

(Egy élet nem elég)
(Само един живот не е достатъчен)
 Ако си дал... (Ha adtál volna valamit ...) - Emil Dimitrov
 Писмо до мама (Levél anyámnak) - Emil Dimitrov
 Само тази нощ (Csak ma este) - Lili Ivanova
 Само един живот (Csak egy élet)  - Iordanka Hristova
 Сбогом, Мария (Viszlát Mária) - Panaiot Panaiotov

Külső hivatkozások
 Hivatalos honlapja
 Én országom, én Bulgáriám.. Emil Dimitrov elhunyt..

Bolgár nyelvű énekesek
1940-ben született személyek
2005-ben elhunyt személyek

redpajama_set_name: RedPajamaWikipedia


text:
Meg O'Fallon
By Philip Gould
ISSUE: Autumn 2003
My wife and I live year-round on Martha's Vineyard now, except for trips south to warmer places in January and February; I haven't been back to Chicago in years. Neither of our children lives there nor any other blood relations nor close friends. My wife is from the East and never did have ties to the city. I hear it's still a vibrant place, well worth visiting. But at 80, and my wife 75, we don't even get into much-closer Manhattan very often these days and the kids bring their families here from Portland, Oregon, and San Francisco.
But Chicago shaped and nurtured me and I left a story there many years ago I think it's time to relate before one day, perhaps not so far off, I simply won't be around to tell it.
Before I begin though, a bit of a preamble seems called for. To wit: even under the most favorable circumstances, and such circumstances surrounded me as a child, no matter how loving, conscientious, understanding and always available parents may be we never really get to know them, get to know their secrets. Or seldom do unless some crisis accidentally rips aside the masks we wear with each other. The better we get along in fact the easier it is to hide behind them. For both parents and children. Behind courtesy, agreeable manners, amiable dispositions.
It is axiomatic that we don't tell our parents everything. It only stands to reason they keep things from us when it suits them. Certainly when we're children, but by the time we're grown their habit of withholding this, that or the other piece of knowledge from us has become ingrained. That, in part, is what this story is about.
So then, to begin; 1922 to 1942 were the years of my childhood and early youth and self-evidently the most vividly conscious years for me were the 1930s. In retrospect, worldwide the '30's was an ugly decade of wars, massacres, the rise of new and terrible dictatorships, economic depression, Dust Bowl poverty and hunger and every other kind and the inexorable threat of far greater catastrophes to follow. But many of these signs and events were far off, blurred by distance and minimal reporting. The United States was in the midst of the Great Depression but Roosevelt had instilled a pervasive sense of optimism in the country, and for the 85 percent who were employed, prices were amazingly low by today's standards, for rent, food, clothing, transportation. Forty to $60 a month for a four-room apartment in a decent neighborhood. A man could clothe himself from BVDs to overcoat and fedora for less than $50. An entire ham cost $3. Hamburger was ten cents a pound. For a few hundred dollars you could buy a car that would last for years.
My parents and I lived the good life at the top of the economic pyramid, to borrow FDR's phrase. My neighborhood, the Gold Coast on the Near North Side, or more specifically the Astor Street District, is an enclave of elegant town houses in a variety of styles from Queen Anne, Richardsonian Romanesque and Georgian Revival to Art Deco behind the splendid apartment towers of Lake Shore Drive. Adjacent to the lake and just below Lincoln Park, it was the most fashionable neighborhood in a city of more than three million. What fixes this enclave in my mind as vividly as its architecture were the gleaming symbols cruising past, entering driveways, parked along curbs: the great cars of the era: Cadillacs and Lincolns of course but also wonderful long vanished marques: Packards, Auburns, Cords, Duesenbergs, Pierce Arrows, Graham-Paiges and so many other forgotten names. Cars with running boards, with spare spoke wheels set into polished fenders, cars with front grills of chrome like shining, distinctive coats of arms. The late 20's, early 30's was the golden age of the American automobile, an age of classic, beautiful styling that would never be repeated or equaled. In America and Europe automobile design was a distinctive and memorable art form. The great cars, the great trains—the Orient Expresses and the 20th-century Limited—the great ocean liners like the Normandie, and as background music superb jazz and always haunting popular songs, were achievements of this otherwise so often corrupt and sorry era, whose passing would be mourned.
For the first 20 years of my life, those years, say, from about the age of eight on, I had a marvelous time. I led a privileged, glamorous life as the only child of indulgent parents, Jack and Liz Darcy, socialite patrons of the arts who seemed to know absolutely everyone interesting who lived in the city or who came to town to perform; the world's best in their fields, and if my parents and I weren't watching them perform at Orchestra Hall or the Civic Opera House or in a jazz club on Rush Street, at a legitimate theater or on movie screens, at The Stadium for a championship bout, in seats behind home plate at Wrigley Field or Commisky Park, constellations of stars seemed to glitter at least once a month, often every fortnight, in our very large Lake Shore Drive apartment: symphony conductors and virtuosos, jazz musicians, opera singers, stage and motion picture actors, baseball heroes, championship boxers and golfers, tennis aces. I wasn't hidden from these distinguished, celebrated, indeed often dazzling personalities. From an early age I was trained to mingle with them socially, helping to pass little silver dishes of things to nibble on, being seen rather than heard except to answer any questions briefly and politely, and not be seen too long, until I was old enough to carry on a conversation if encouraged to do so. I was not to make a nuisance or pest of myself, nor to show off, and I learned soon enough that good, reticent and modest behavior was an easy price to pay for the enjoyment of being able to watch and listen to many of the luminaries of the day.
Like his father and grandfather before him my father was a banker. Though I never heard him described as anything but competent at his profession I'm sure banking, just banking, bored him. But he had time and energy to burn and abhorred idleness. He served on the boards of the Chicago Symphony, the Civic Opera, The Art Institute and several other cultural, educational and charitable organizations. And still had time to write an excellent history of the theater in Chicago. At the height of its glory before the First World War, the city could boast of two dozen legitimate playhouses and nine vaudeville stages.(In the '30's, more than a half dozen playhouses were left, not as many as in Manhattan but still a respectable number.) The book sold well and is still considered one of the authoritative works on the subject. He followed that up with a lively history of the early years of the 20th century when Chicago was a movie capital of the nation.
Jack Darcy was a kind of Renaissance man: banker, author, civic leader, philanthropist, tennis champ, musician. A ranking amateur tennis player for years, he'd been the victor two years in a row in a major regional tournament. He played almost professional quality jazz and pop music and at parties late in the evening, accompanying himself, might render a chorus or two of popular ballads in his agreeable saloon tenor, modestly not over-projecting himself but letting Porter or Hart or Ira Gershwin, whoever, speak for themselves.
I see my father in a straw boater and often enough in a top hat, both worn at jaunty angles, though of course in colder weather most often in a snap-brim brown fedora that suited his kind of refined Irish-American face.
My mother was slim, pretty, fashionable, fast-moving, fast-talking, sociable and democratic in virtually any company, skilled at repartee, at drawing out the shy, at the same time accomplished at dissembling boredom, distaste or both. In other words, the perfect hostess and the ideal mate for my gregarious father.
My parents were not at all in awe of famous performers as people; as my father once noted, away from the keyboard, a great pianist's hands were like any other pair of hands. And on his feet or knees crossed at a social gathering the question to ask is: is he simply an agreeable, interesting guy? They knew the chemistry of the celebrity world—who got along with whom and who didn't. Those noted for bad behavior were not on the Darcys' guest list. Those who were invited knew they could relax in the Darcy apartment among their own kind and so they came. And came again.
But as much as I liked and admired them both, as children will I took my parents for granted. It was actually a glamorous outsider who had the greatest influence on my life.
From about 1930 on, once a year for a month or so, the length of her annual run at the Harris Theater, or the Selwyn or the Erlanger or one of the others, a frequent visitor was the Irish actress Meg O'Fallon. She was a family friend. My father had known her in Dublin shortly after the First World War before he returned to Chicago to marry his Liz. Meg was learning her craft with the Abbey Theater. My father had been in military intelligence with the Rainbow Division in France, served in the army of occupation and considering his love of the stage had managed a side trip to Dublin to take in the celebrated Abbey for the first time. Then in 1935 we'd gone to Europe, including Ireland, and at 13 I'd seen Meg play "Pegeen Mike" in The Playboy of the Western World.
Bored in her suite at the Drake Hotel, on non-matinee afternoons in the late '30's, Meg O'Fallon would sometimes stroll over to our apartment. Liz was invariably off doing one thing or another; she led a nonstop social life and was active in several charitable organizations, and I would be Meg O'Fallon's host. We played a lot of two-handed rummy and double solitaire and she'd help me to better understand the Shakespeare play I was currently studying at the college-prep Latin School of Chicago in my neighborhood. On fine days we strolled in Lincoln Park and sat on benches with ice cream cones purchased from a kiosk or a mobile vendor.
"Ned, darlin'!" she might exclaim when she caught sight of me. Or "Ned, my love!" Or simply hug me by way of greeting. She had a daughter, who lived in London. Maybe she also wanted a boy. In Chicago for a month a year I supposed I was a kind of a temporary, surrogate son.
I see her clearly, a woman rounding 40 of medium height who could make herself tall or small or stay the same, as a role demanded. Not a great beauty; her features were, nonetheless, harmonious, above which flourished a glorious mop, cascade or turban of titian hair, depending on her roles or mood of the day. She could arrange it in a remarkable variety of ways. Who dominated every stage I saw her on with her consummate, stunning acting skill and magnificent voice that gave you the joyful shivers, but who, in person in one of our drawing rooms in the late afternoon, would withdraw into her private self, her voice still well modulated but muted, her manner modest and relaxing. Even as a guest at one of my parents' parties, among other performers and celebrities, her voice might become somewhat more musical but not emotive and her manner would remain refreshingly natural and non-intimidating. She was neither assertive nor self-effacing but simply the perfect guest who fit in any gathering, who could converse with anyone, to some degree on virtually any subject of general or professional interest with quiet intelligence and wit. But as often as I came to observe her offstage appearances I could never forget her onstage performances, the thrill of them, and for me she was always a goddess, one of the great ladies of the theater, a master of her indispensable art.
Meg had left the Abbey in 1928 to join Micheál MacLiammóir's Gate Theater of Dublin with its eclectic repertoire. The Gate came to Chicago and I remember Meg as "Olga" in The Three Sisters, as "Nora" in A Doll's House and Hedda Gabler, and most memorable of all as Shakespeare's Cleopatra with all her "immortal longings."
A month in Chicago, and then she'd be gone again to fulfill engagements in London, Dublin, New York. She remembered my birthday every year with a gift, always chosen with thoughtfulness and care, but it would not be accompanied by a card or note, only by her signature, "Meg," and similarly would she send gifts to all three Darcys at Christmas. Otherwise she never wrote. We knew her itinerary and read reviews in the New York and London newspapers to which we subscribed. Beyond these details, her life on her peregrinations away from Chicago was a kind of mystery. She was married to a British actor and sometimes they traveled together as a team or part of a troupe but more often they did not; these were the hazards and downside of the life of strolling players. They made their home, such as it was—though they could live there so seldom it may have meant a great deal to them—in London. As I said, they had a daughter, some years younger than I was. I would meet her later but not for another ten years or so, after the war.
At 15, 16, 17, what I thought I wanted to do in life was a source of deep introspection, speculation and discussion during my scattered afternoons with Meg O'Fallon. Not an actor. That urge and drive was missing. Certainly not a banker. Something exciting, different, but what? I had no known nor observable talents except at tennis but not enough to be a pro at that.
"Read, study, look!" Meg advised. "But decide? No, not yet."
"At my age you knew what you were going to be," I said.
"But you, my love, are still undecided, don't you see? You must wait until you know. Then follow your heart."
She didn't say what to do if you knew and then tried and failed, which of course happens all the time. But of course she was right not to. No matter what fate awaits you eventually, to deny yourself dreams of glory is to live a lesser life.
At the Latin School of Chicago I was not an outstanding student, not even a good one. I wasn't stupid, I was lazy, and disinterested in anything that didn't come easily, the one thing that did being French, though I did well enough in Latin. In math, science, history, literature I just squeaked by.
It was Meg who shamed me and encouraged me to read. For enjoyment and enrichment, not just what I was forced to read to pass an exam. All her stage career she'd had to commit to memory long and short passages of writing, some of it great literature, to interpret nuances and larger meanings and then to transform the written word into the nuances and meanings, the sonorities and poetic rhythm of speech. With love and great skill she selected stories and chapters and poems and read some of them to me aloud which I learned to love because Meg loved them, magic beyond the powers of my teachers. But though Meg could not help upstaging my teachers she did not undermine them. She urged and admonished me to listen to them and faithfully and carefully read what they assigned: Old classics. And new. Fitzgerald and Hemingway, Faulkner, Katherine Anne Porter. . .And my grades in English and world literature took a remarkable leap upward.
Meg focused on Shakespeare, on Chekhov and Dickens. I hear Meg's great voice and for the rest of my life my own inner voice reciting things like "For God's sake let us sit upon the ground and tell sad stories of the death of kings. . ." How can one not be at least for a high moment lifted above ordinary life by such an exalted line?
Now let me recall an incident of that era that might seem trivial but at the time it struck me as possibly significant. We don't really get to know our parents as I noted at the outset of this narrative. But 16-year-old boys do notice things nonetheless.
One afternoon Liz came home sooner than expected when Meg was still visiting.
Walking swiftly towards the back of our apartment and looking straight ahead, Liz called, "Meg, you'll have to excuse me. I have a splitting headache."
"My dear, then you need absolute quiet and I am just about to slip away," said Meg before Liz disappeared.
Meg didn't raise her eyebrows, not so I could notice, but I raised mine. This wasn't typical behavior for Liz at all; it seemed to verge on rudeness, and this wasn't her way. She rarely complained of minor aches and pains, especially not around guests. What struck me too was that I couldn't recall another occasion when Liz and Meg had crossed paths in the afternoon. As though perhaps they had tacitly arranged not to be there at the same time. Of course they were always in the same rooms of our apartment at large parties but we all know how easy it is to avoid one-on-one encounters at affairs like that.
Was there some antagonism between them I wondered back then? More accurately, was Liz in some way jealous of Meg? Of her artistry and relative fame? Of her friendship with my father who had known her first? But I never saw any evidence of even innocent flirtatiousness between Meg and my father. If anything, though scrupulously cordial, they seemed rather formal with each other.
In any event Meg was in Chicago only a month or so a year and was soon gone again, life went smoothly on and I forgot the incident soon enough. Only recently did I remember it.
Trained by being judiciously included in my parents' extremely active social life, I had become, or perhaps was by nature, a grownups' child. But because I may have appeared in adult eyes more mature for my age than most children did not mean I was always confident and at ease among my peers. At 17 I had never dated, was shy around girls, and in love from afar.
With Meg in Lincoln Park one afternoon a year later the slender girl with straight dark hair I adored came along the gravel path and passed the bench where Meg and I were sitting. My heart must have been on both sleeves, in the blood rising in my face and in the at once joyful and despairing expression in my swiveling eyes as the girl approached and passed and walked on, once again out of my life. All of which Meg absorbed instantly and acutely.
"What a perfectly lovely girl!" she said. "We're so near your school, do you know her?"
"She's in the class behind me," I said. "She doesn't know I'm alive."
"Then you must somehow stun her into the realization of your existence! We must plan a campaign of conquest! Up 'til now perhaps there is something to be said for pure, idealized, secret adoration free of any social gaffes and physical awkwardness. But the time has come to buckle on your armor my boy and charge ahead! What's her name?"
"Natalie. Natalie von Kaunitz. Her father was Austrian consul here until he decided to become an American. Her mother is an American already. He teaches German and political science at De Paul."
"A man of honor considering the devil's brew swirling in his native land. Your girl comes of noble blood. What are her interests? Do you have any idea?"
"No," I despaired.
"Then you must find out! She was quite likely born in Vienna. Is she musical? I'm willing to wager even if she plays no musical instrument she has been brought up to appreciate music. You do. You've been to Orchestra Hall many times. Ask her to a symphony concert."
"I don't even know her, Meg."
"You do know her. You know who she is, who her parents are. That's the essential beginning. You'll be amazed how easy it's all going to be!"
"What if she hates music?"
"In that case you must give her up. But I don't believe it. Like you she's a student at the Latin School. She springs from cultured parents. We'll think of something! Let me put my mind to it!"
Fearful uninhibited Meg in her enthusiasm and worldliness might cook up some elaborate and possibly embarrassing scheme beyond my histrionic powers, I was forced to take matters into my own hands as quickly as possible. There was no time, and I knew no one I could ask; I had forgotten where I had learned about the background of her parents, to find out Natalie von Kaunitz's interests, especially whether or not she appreciated classical music. I had to steel myself to plunge ahead blindly, to "stiffen the sinews, summon up the blood" as Meg had challenged me to do. I couldn't chicken out and let her down. Soon after that afternoon in the park I looked for Natalie and found her in a school corridor alone. My heart threatening to race ahead twice as fast as usual and then stop dead, my mouth dry, my limbs shaking, I was sure visibly, I walked up to this beautiful, marvelous girl and spoke.
The banality of our exchange of words need not be recorded here. I only remember the gist of it anyway. Yes she would love to go with me to the Chicago Symphony concert the following week in which Sergei Rachmaninov would be the soloist, but she would have to ask her parents for permission. Could I telephone her that evening to confirm?
I could have leapt into the air and walked on it. Meg, the miracle worker, had wrought another. I couldn't imagine what elaborate scheme to bring us together Meg might have dreamed up but as she admitted later neither could she. What she had done was simply to inspire me to take action for myself. And it had worked.
In my life I never had a more glamorous evening than that evening in 1939 at Orchestra Hall. Incomparably thrilling as the exquisite girl beside me who knew music, was the impact of the great, tall Rachmaninov himself striding on stage, ramrod straight in white tie and tails, hair cropped closely to his skull, his features craggy and commanding, his hands huge; unmistakably no one else.
Cabbing it back to Natalie's apartment house, stunned by so much superb music: Brahms, Beethoven, Richard Strauss—and Rachmaninov (his "Rhapsody on a Theme of Paganini"), so much of it played so magnificently by a man who at 66 was already larger than life, and enraptured by the kisses Natalie and I exchanged, the first of their kind in my life, there was no need to speak.
It didn't last of course, less than a year. Natalie was too popular and I had graduated from the Latin School to begin classes at Loyola University and was dating other girls now that through Meg O'Fallon's inspiration I had been given the confidence to ask them out. And through Meg's inspiration was applying myself to my studies across the board.
The last time I saw Meg before the war she was wearing a blonde pageboy wig and flourishing a cigarette holder as long as Franklin Roosevelt's playing the phony Russian aristocrat "Irene" in Sherwood's antiwar Idiot's Delight. It would be nine more years before I'd see her again.
I spent the war years, '42 to '45, training in the States and as a gunner with the 10th Air Force in the China-Burma-India Theater and by 1946 was back at Loyola for another three years, years Meg had no stateside engagements. As a graduation present my parents gave me a trip to Europe. Naturally I planned to try to see Meg in London. "Let her know you're coming," my father said, but I didn't. I thought it would be more fun to surprise her after so long a time.
Cities never seem to look quite the same on the second visit, especially after a 14-year absence. But I remembered London when I was there at the age of 13, as one of those tall, capacious old London cabs tooled me quietly to a narrow house on Half Moon Street just beyond Shepherd Market at two one afternoon.
A lovely dark-haired girl of about 20 opened the front door after my ring, looked at me questioningly but then, quite suddenly excited when she heard my name, called "Mother!" pulled me into the front hall by one hand, and Meg soon appeared from the back of the house and clapped a hand over her mouth when she saw me.
To say that Meg was surprised was, not surprisingly, absolutely the case but that she was overwhelmingly pleased to see me was obviously a matter of some doubt. Pleased, yes, once she recovered from her surprise and began to get used to the idea that I was standing there in her front hall, a grown man of 27 now, not a boy of 19. But my father had been right, I should have let her know in advance of my pending arrival, because now she was unprepared for my unscripted appearance, and of all things to see this great actress whose stage presence was absolute, briefly flustered! And, briefly, not pleased to be caught in that state.
The girl was her daughter, Moira, an actress now herself, currently playing Juno Boyle's benighted daughter, Mary, in a revival of O'Casey's Juno and the Paycock. She went to make us tea and Meg and I began to talk a blue streak, to catch up, to fill in the last eight, going on nine, years. After bringing tea, Moira left us to our flood of information and recollection and on the edge of my consciousness I found myself sorry she wasn't with us.
Meg told me about air-raid shelter life during the bombing of London only a few years back. I told her about Calcutta (one of the lost outposts of empire—Malta, Cairo, Calcutta—she would, as it turned out, tour with the Gate Theater in the '60's for the British Council), and about being rescued by Kachin Scouts from the Burmese jungle after my plane flying over The Hump lost an engine and the crew had to depart by parachute. I didn't meet her husband. He was on location in Wales, making a film. Then it was time for her to leave for The West End where she was starring in a new comedy. I was able to get a ticket at the last minute and watched two acts before crossing the street to see Moira in the last act of Juno, returning with a bouquet of flowers to present to Meg, once again her dedicated stage-door Johnny. It seemed politic not to mention having missed part of Meg's comedy in order to watch some of Moira's performance.
But it was Moira herself who told her mother we'd had lunch and then drinks and then dinner together during the week I stayed in London and Meg sent a note to my hotel asking me to call on her "urgently" backstage where she strode about and delivered one of her most impassioned performances.
"Are you mad, Ned Darcy? Completely daft! You tell me you're contemplating a diplomatic career. The life of a diplomat and the life of an actress? World's apart! Separated by your careers! Don't I know everything there is to know about separation, and my husband an actor, in the same profession! You and Moira? A recipe for disaster! Unhappiness! Destructive to your kind of life and hers!"
I knew she was right. I had sense enough to see that, though somewhat dimly through the thunderclap of love at first sight, the blindness of infatuation. With tears in her eyes far more real than theatrical Meg embraced me and I left London without ever seeing Moira again.
As always, after a certain age, you wake up one morning and are amazed at the passage of time—four decades from the '50's to the '80's. If you're 30 reading this, that won't mean very much, just more ancient history, but it means a lot to me.
During the five years, the first half of the '50's I spent in Manhattan working as a political analyst for the Free Europe Committee, Meg O'Fallon had no New York engagements. She was making movies in England. She was in her late 50's then, a character actress, not the star, but they were small movies to begin with, a domestic comedy, a costume drama, two detective mysteries, good in their way but no Academy Award nominations came out of them. Though as an ardent partisan I thought Meg should have been cited for best supporting actress in two of these films; the others had less scope.
I began a career in the foreign service, fell in love with a girl named Dorothy and we were married, the best thing that ever happened to me. Our two children were born and we spent the next 26 years serving in a half dozen posts from Europe to the Far East.
Meg had started touring with the Gate Theater to the Mid and Far East for the British Council but in the mid-'60's she was back in London playing Mrs. Patrick Campbell in Jerome Kilty's Dear Liar, based on correspondence between Mrs. Campbell and George Bernard Shaw. Dorothy and I traveled to London to see it. Meg, almost 70 then who could play her age and a woman 20 years younger, was perfect in this delicious bravura role where she must devolve from famous actress to an indigent old lady with only slight costume changes, and the reviews were ecstatic:
". . .a natural actress, a consummate professional, an inspired performer. What more could one ask?"—The Times.
"Sheer bliss. . ."—The Daily Telegraph
To say that Meg O'Fallon lacked vanity would be foolish. At the same time she never claimed to be younger than she was nor to make herself appear younger with plastic surgery or flattering photography. Instead she simply trumpeted with no false modesty: "It takes 70 years to acquire character and true beauty!" and made all who saw her believe it.
We took her to dinner at the Connaught Grill and she was magnificent in her success and splendor, signing autographs en route like the star she was.
"How wonderful to feel like a just discovered ingenue again!" she said in her husky melodious voice, her great eyes flashing emerald sapphire.
Meg's flare of flamboyance that evening was really a role put on for her admirers in the restaurant. It was uncharacteristic of her offstage and she was soon quietly, albeit intensely, drawing us out about our life, our children and telling us about Moira's life as a mother in a country town and about her grandchildren.
The last time we saw Meg we saw her perform in New York in 1978. She was 80 who looked a slim 60. She played the lead, the landowner "Liuba Andryeevna Ranyevskaia," who was an even younger woman, in a splendid repertory theater production of The Cherry Orchard. Dorothy and I timed a long planned visit to her parents, and mine, to coincide with the opening of Chekhov's—and Meg's—last play. Jack and Liz flew to New York to join us in a kind of gala three-way reunion. After the performance we supped at the Plaza Hotel. A few people actually recognized Meg or so I assumed from whispered asides I could see. Others, seemingly intrigued by her queenly mien perhaps saw in her some personage, a frail but still flinty presence, impressive but unidentified. Most didn't notice her at all. There were Hollywood actresses without an ounce of her talent but far more famous who would not have gone unnoticed for a second,
"Dear friends I embrace you all," Meg said. "How important you are to me! How diminished this evening would be without you!"
The trip may have been too much for my father, though he seemed to enjoy himself immensely. Sadly, not long afterward he succumbed to a fatal stroke.
By 1982 Dorothy and I had lived most of a quarter century abroad. It was time to resettle in America. Our last post had been Paris and we'd lived in a village about 25 miles from the city. Martha's Vineyard struck us as an approximate match. At our age Paris, becoming more and more crowded, and Manhattan—and Chicago—were for long weekends.
A week or so after Meg died in 1983 and her death was still very much on my mind, I flew to Chicago to visit Liz who was still living on Lake Shore Drive after so many years, six decades. A London Times turned to the obituary page with Meg's obit and tribute was still folded on a coffee table between our chairs.
I don't remember when I had started calling her Liz. When I came back to Chicago after the war? Oh way earlier than that it must have been. As a kid. Whenever it was she didn't seem to mind. We'd always had an easy relationship.
Of course I had had sad and frightened moments like any other child. Not so often that was true. But Liz had little or no time for them. Instinctively it seemed. Or literally, she was always so busy with one activity or another. I didn't hold it against her. I liked her. She was cheerful and she could be funny and we were friends. Lord knows she was generous, and overlooked my shortcomings and failings. But it sometimes seemed to me I got more mothering from our Irish immigrant housekeeper-cook.
I took a small box from my pocket and opened it to show Liz the small gold and silver Celtic cross secured in velvet, a neck pendant. I showed her the opposite side inscribed with a date, 1922, nothing else. "Meg's last birthday present to me before she died. She never missed. Not in more than 50 years. I wonder about that."
It was only a nagging bit of wonderment but it had tantalized the edge of my mind for years.
"You once told me you couldn't have any more children," I said. "The subject never came up again."
Liz looked at me over the tops of her glasses for a very long moment.
"After three miscarriages that seemed to be the case." She seemed to hesitate, then to wave away whatever misgivings she might have had. "But the word more," she said, "was, shall we say, a slight exaggeration."
A long silence hovered between us but perhaps not so strangely it was a peaceful silence. She was so very old and I was getting there. Between us so much life had flowed for so many years and it had been a good life, a rich life. We had escaped the horrors of the 20th century. We had had money and success and luck. We had been fulfilled by art, by friendship, by love.
"So now you know what I suppose you might have wondered about for years," Liz said at last. "Your father knew how to get a new birth certificate issued, place of birth changed from Dublin to Chicago after a not so quick trip by ship in those days to bundle you up and bring you back here. It was the only thing to do and neither your father nor I nor do I believe Meg O'Fallon ever regretted it for a minute. I can't imagine you do either, my dear. Do you?"
And then I remembered Moira and with a chill up my back thought how we might have defied Meg and run off together, might have had an affair even without running off. But I thought that Meg, terrified of such possibilities, must at some early moment, probably right after she had summoned me to her dressing room that day in London to warn me off, have told Moira who I really was.
Philip Gould
After a long career as a journalist and foreign service officer on four continents, native Chicagoan Philip Gould turned to writing fiction. Two of his novels have been published by Algonquin. Since the turn of the century he has focused on short stories and short memoirs and seven of these have been published, in The Virginia Quarterly Review and three other leading literary journals. "Gould handles exotic settings and character portrayal with impressive skill." –Publishers Weekly "Marvelous reportage on some far places."–Kirkus Reviews He and his wife Molly make their home in Charlottesville, Virginia
Issue: Autumn 2003 Volume 79 # 4


text:
Palestinians Don't Need Jared Kushner's Racist Peace Plan
Jared Kushner's plan to bring peace to Palestine reads like a real estate developer's brochure laden with "white man's burden" racism. Palestinians are right to view him with contempt.
Jared Kushner leaves 10 Downing Street during the second day of Trump's state visit on June 4, 2019 in London, England. Leon Neal / Getty Images
Last week, a group of US envoys and senior officials, led by Jared Kushner and flanked by Arab Gulf leaders and regional investors and shareholders, convened in Bahrain for a workshop titled "Peace to Prosperity," where the Kushner team unveiled a $50 billion peace plan for Palestine. According to a joint statement released by the White House, the workshop aimed to "facilitate discussions on an ambitious, achievable vision and framework for a prosperous future for the Palestinian people and the region," and "to empower the Palestinian people to build a prosperous and vibrant Palestinian society."
The ambitious agenda included a set of glossy "economic incentives" such as enhancements to economic governance, development of human capital, and facilitation of rapid private-sector growth. Big donors, mainly wealthy Arab Gulf states, were asked to foot much of the bill by pledging "grant money," while private investors would offer "low-interest loans and private capital."
The Kushner blueprint, which has been shrouded in secrecy for nearly two years, was billed as an "economic peace" plan, with the West Bank and Gaza pitched as the next Hong Kong or Singapore. The plan reads like a real-estate developer's brochure. Or, in the words of treasury secretary Steven Mnuchin, who attended the workshop, "It's going to be like a hot IPO."
In return, Palestinians were told to keep their political and national aspirations off the table. Nowhere does the Kushner plan address the political aspects of the conflict, including the humanitarian crisis in Gaza, the decades-long Israeli occupation, or the status of Jerusalem. In statements both cynical and arrogant, Trump administration officials insisted that the plan would not deal with political disputes because, well, they want to "keep the event from being political." In other words, Palestinian leaders are being pushed to repeat the same mistake they made at the 1993 Oslo Accords, where they agreed to suspend "final status" issues — permanent borders, settlements, Palestinian refugees, the state of Jerusalem — only to see Israel turbocharge its occupation, expand its settlements, and annex Jerusalem. Not surprisingly, Palestinian leaders boycotted the Bahrain workshop.
There are 50 billion reasons why Palestinians should reject Kushner's 50-billion peace plan.
For starters, the scheme was masterminded by Trump's hawkish "peace team": Jared Kushner, Trump's son-in-law and senior adviser; David Friedman, the US ambassador to Israel; and Jason Greenblatt, Trump's chief negotiator in the region. This is the same trio that has orchestrated the most punitive set of anti-Palestinian measures in US foreign policy history, from moving the American embassy to Jerusalem to working to defund USAID (the US Agency for International Development) to cutting all funding to Palestinian civilians in the West Bank and Gaza to shutting down the Palestine Liberation Organization's diplomatic office in Washington.
Not to mention promoting Israel's settlement activity: Kushner and his family have been generous donors to Israeli settlements in the West Bank for years (as well as friends of Benjamin Netanyahu himself — the prime minister once spent the night at the Kushners' home in New Jersey). Both Friedman and Greenblatt have bankrolled settlement projects. Greenblatt lived in a settlement bloc near Jerusalem, which he guarded with an M16 assault rifle. Friedman, a settler himself, has advocated for Israel's right to annex the West Bank, because, he believes, "Israel is on the side of God." (Friedman was perhaps echoing his evangelical boss, secretary of state Mike Pompeo, who said that God sent Trump to save Israel from its enemies, and who, in a January speech in Cairo, told a large Muslim audience: "In my office, I keep a Bible open on my desk to remind me of God and his word, and the truth.")
More than political stooges, the triumvirate of Kushner, Greenblatt, and Friedman belong to a close circle of settlers and Trump's campaign donors, who reportedly dictate the president's policy on Israel and who include World Jewish Congress president Ronald Lauder and casino magnate Sheldon Adelson and his wife, Miriam Adelson (the latter of whom wondered, following the US embassy's move to Jerusalem: "Would it be too much to pray for a day when the Bible gets a Book of Trump?").
But perhaps most appalling of all in the Bahrain plan has been Kushner's sheer arrogance — a brazen mix of colonial paternalism and "white man's burden" racism. He has repeatedly questioned the feasibility of independent Palestinian self-rule, saying, "The hope is that they over time can become capable of governing themselves." He has called the Palestinian leadership "hysterical and stupid" for refusing to participate in his workshop. He has dismissed Palestinian demands for an end to Israel's occupation as "a high bar." Asked why Palestinians should trust him, given his record, Kushner said: "I'm not here to be trusted."
Kushner's paternalistic attitude has deep historical roots. It embodies the very logic of the mandate system, which was imposed on Palestinians a century ago and which entrusted the British government to act as a trustee until the native inhabitants were "able to stand on their own." Now, with its "Deal of the Century," the Kushner team seems keen to replace an old imperialist machinery with a new one, entrusted to Israel, spearheaded by the United States, and sprinkled with neoliberal economic sweeteners.
No wonder some Palestinians have dubbed the Kushner plan "Balfour Declaration No. 2." Just as the Balfour Declaration excluded Palestinians from the political and national rights it accorded to Jews, Kushner's "economy first" doctrine views Palestinians' political and national rights as dispensable. And just as the Balfour Declaration failed to mention Palestinians by name, instead referring to them as the "non-Jewish population of Palestine," US peace envoys continue to plan for the future of Palestinians in the absence of Palestinians.
Once again, Palestinians are faced with the grim prospect of having their destiny dictated by foreign officials who, drunk on their own superpower mandate and armed with secretive memos and proposals, are telling Palestinians what Lord Curzon condescendingly told the Indians more than a century ago: "You cannot do without us." Like their British predecessors, the US peacemakers refuse to even offer Palestinian rights the dignity of hypocrisy. After all, why would Palestinians trust someone who is bluntly telling them that he is not there to be trusted? No wonder most Palestinians see Kushner and his acolytes as staunch Zionists posing as peacemakers.
This is a perilous recurrence. We know how the British Mandate ended.
Seraj Assi is the author of The History and Politics of the Bedouin . He is a visiting fellow at Georgetown University.
Last week, a group of US envoys and senior officials, led by Jared Kushner and flanked by Arab Gulf leaders and regional investors and shareholders, convened in Bahrain for a workshop titled "Peace to Prosperity," where the Kushner team unveiled a $50 billion peace plan for Palestine. According to a joint statement released by the […]
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The exhibit Abstraction in Los Angeles consists of seventy abstract works from the Los Angeles area. The exhibit brings to attention the prominence of abstract art and highlights its diversity as well as its ability to evoke a multiplicity of experiences. The works have been taken from the collection of Murray and Ruth Gribin. Artwork displayed in this exhibit include the works of John Baldessari, John Miller, Helen Pashgian, and Ed Ruscha. Curated by Jean-Luc Bordeaux.


Garments and Textiles In Vietnam – Is The Future As Bright As The Past?
Vietnam's garment and textile industry has been one of the country's leading sectors, recording growth of more than 15% annually between 2001 and 2014, remaining the chief contributor to Vietnam's economy. 18% year-on-year growth was registered by Vietnam's textile and garment exports in 2013, which took exports value to a whopping US$20 billion.
Garment and textile exports also accounted for a significant proportion of Vietnam's GDP (approximately 15%) and total exports (about 18%), in the same year. The industry provides jobs and salaries to over 4.5 million workers, out of which approximately 2.5 million are direct workers in 4,000 textile and garment enterprises. Products of the industry get shipped to more than 180 countries across the world.
A lot of optimism is budding around the industry's performance for the year 2015 and ahead, part of which is arising from the market's consistent positive growth trajectory traced during the past several years.
Another reason for the optimism is Vietnam's potential Trans-Pacific Partnership (TPP) with 11 countries (Australia, Brunei, Canada, Chile, Japan, Malaysia, Mexico, New Zealand, Peru, Singapore, the USA) and FTAs with the EU, South Korea, and the Eurasian Customs Union of Belarus, Kazakhstan, Armenia, Kyrgyzstan, and Russia.
The TPP and the FTA with the EU are in last stage of negotiations, while the FTAs with Eurasian Customs Union and South Korea were signed in December 2014 and May 2015, respectively. Industry stakeholders are relying on the TPP and the FTAs to steer the sector into the future.
Completion of the TPP is estimated to increase Vietnam's garment and textile exports to the USA to US$30 billion by 2020, as compared with US$8.6 billion exports recorded in 2013, recording growth of approximately 250%.
With the EU being the second largest importer of Vietnam's textiles and garments, a FTA between the two would further boost Vietnam's garment and textile industry. It is expected that exports from Vietnam to the EU would increase by 20% during 2013-2020 as the value of textiles and garments exports is projected to increase from US$2.7 billion to US$3.2 billion.
Vietnam's FTA with South Korea is expected to almost triple bilateral trade value during 2015-2020, to reach US$20 billion by 2020. Garment and textile industry is expected to be amongst several Vietnamese industries, which are likely to be positively impacted by the FTA. Also under the FTA between Vietnam and the Eurasian Customs Union, Vietnam's exports, including textiles and garments, as well as seafood, wooden furniture, and agricultural products, are benefiting from preferential tariffs and are expected to increase by 30% during 2013-2020.
According to VINATEX (Vietnam National Textile and Garment Group, Vietnam's state-owned largest garment and textile corporation which manages Vietnam Textile Garment Group), in 2013, the country's domestic cotton production satisfied only 1% of the industry demand while domestic fabric production fulfilled 12-13% of the demand. Materials from China account for almost 50% of the total raw materials imported by the industry. As of 2013, cotton worth US$7.5 million, yarn worth US$350 million, and fabric worth US$3 billion were imported from China to Vietnam.
Raw material development in Vietnam is challenged by environmental protection laws implemented by Ho Chi Minh City Garment and Textile Association (HCMC, a government association) wherein limited licenses have been awarded to Vietnam's garment and textile dyeing and weaving plants as they cause heavy pollution. Moreover, farmers have been earning higher profits through plantation of crops other than cotton which further hampers local cotton production.
The potential TPP is likely to be based on the yarn-forward principle. The principle mandates every stage of garment and textile production (such as sourcing/developing of raw materials, weaving, dyeing, finishing, and sewing) to be executed in Vietnam or 11 other TPP member countries. Only if this requirement is met, the products will be eligible for a duty-free export to other TPP member countries. Since China accounts for almost 50% of the total raw materials imported by Vietnam's garment and textile industry, the yarn-forward principle would further compel Vietnam to locally produce raw materials to manufacture garments and textiles to be exported to other TPP member countries.
Growing prices of electricity and transportation, along with an increase in minimum wages are also becoming new causes of headache to the industry players. In Vietnam, minimum wages witnessed a hike of 15.2% in 2014 (while it is generally assumed that already a 10% increase in minimum wages pushes up a company's salary costs by almost 17% due to increased allowances and other social benefits).
For the year 2015, Vietnam's garment and textile manufacturers believed that if the increase in minimum wages goes beyond 12%, the impact of the increase will be noticed in terms of higher market selling prices of Vietnam's garments and textiles. Such a situation would reduce total revenue generated by the industry as higher selling prices might adversely affect exports and thereby, take away some FTA-related potential revenue. In order to avoid the situation, Vietnam's garment and textile manufacturers attempted to cap the increase in minimum wages by a maximum of 12%, in 2015. However, Vietnam's government decided the hike for the year 2015 to be 13-15%, which is bound to adversely affect selling prices of the industry's products.
FTAs such as those with the Eurasian Customs Union, the EU, South Korea, and the TPP would open doors of Vietnam's garment and textile industry for foreign players. Foreign companies have already accelerated their investments in the industry. This is leading to higher number of foreign firms, which are usually technologically advanced and capital rich, sidelining local industry players (as per Viet Nam Chamber of Commerce and Industry report published in 2014, as of 2013, 96% Vietnamese companies operated on small scale and lagged behind on capital and technology fronts).
For the period 2015-2020, Vietnam's garment and textile industry targets a production growth of 12-14% on an annual basis, 3 million people additionally employed in the industry, and export revenues valued at US$25 billion by end of 2020.
In the light of challenges faced by the market, the industry has started to take efforts in order to have a roadblock-free path ahead to achieve its targets.
After realizing the importance of localizing raw material production for the industry, initiatives to increase domestic raw material production are being undertaken. A cotton manufacturing plant, known as "Rang Dong Industrial Park" (infrastructure development expected to complete by end of 2015), at a size of 1,500 hectares and worth US$400 million is being established in Vietnam's Ninh Thuan province. The park is expected to record production value of US$3 billion on an annual basis.
In addition to this, Vietnam is urging for inclusion of "weak rule of origin" or "single transformation rule" in the TPP agreement. Inclusion of the rule will mandate only cutting and sewing aspects of garment and textile manufacturing process to be performed in one of the TPP member countries. This would allow Vietnam to export garments and textiles manufactured with imported raw material to other TPP members.
Since the production cost is bound to increase due to growth in minimum wages, it is of paramount importance for Vietnam's garment and textile manufacturers to look for ways to control and minimize the overall production cost hikes. This might be possible through adoption of more efficient and advanced technologies.
To make the adoption possible, the government in channeling its efforts to attract higher number of FDIs in the industry.
The industry plans to host "Vietnam Garment and Textile Forum – 2015 edition" in June 2015 in Hanoi. Major garment and textile companies such as H&M, Adidas, Puma, and Li & Fung are expected to participate in the forum.
The government undertook attempts to help domestic raw materials producers as it noticed that certain raw materials utilized by the Vietnamese industry are being imported without any tax.
As such imports tend to hurt domestic producers, in May 2015, Vietnam's Ministry of Textile and Garment proposed a 2% import tax on polyester staple fibre, which is presently enjoying no import tax.
All these initiatives will have to stand the test of time, and whether they prove themselves to be sufficient to help Vietnam's garment and textile industry grow while deriving maximum benefit from the potential of the TPP and various other FTAs, is to be seen.


text:
Q: changing spacing of caption I'm creating a figure using LyX. I would like the spacing of the caption below the figure to be 1.3. Is there an easy way to accomplish this? Setting the spacing to 1.3 for the entire document using the setspace command doesn't seem to work.
\begin{sidewaysfigure}
\begin{centering}
\includegraphics{...}
\par\end{centering}
\caption{...}
\end{sidewaysfigure}

A: Unless the exact value of font size is very important, you can use the features of the caption package. (If it is, see Old answer below.)
Go to Document --> Settings --> LaTeX preamble, and add
\usepackage{caption}

If you want to change all the captions in your document to a larger font with added linespacing, add the following line to the preamble as well:
\captionsetup{font={large,stretch=1.3}}

or if you want it to apply to tables only,
\captionsetup[table]{font={large,stretch=1.3}}

caption allows you to customize your captions a lot, see the manual for details.
If you want to apply this to just a single caption, add an ERT within the table/figure float, before the caption, and write the \captionsetup there.
Old answer
I'm not sure why you want this, and I wouldn't do myself, but if you're doing this for a single caption, you can add an ERT at the beginning of the caption containing
\linespread{1.3}\selectfont{}

To change the font size as well, use
\fontsize{11.5}{13.8}\linespread{1.3}\selectfont{}

The second argument to \fontsize is the baselineskip, set to 1.2 times the font size.
This does not, however, change the size of Table 1. To change that you can use the caption package, as explained above, and use labelfont={large}.

A: In order to make @Torbjørn T. code function correctly, it is extremely necessary to load the setspace package in your preamble (and of course, copy the setspace.sty into the /texmf folder). This is due to we are using the stretch option in the \captionsetup declaration.
Of course Caption Package can change caption's line space, with the stretch option, but it is necessary to load both caption and setspace packages. (Page 38 from: http://osl.ugr.es/CTAN/macros/latex/contrib/caption/caption-eng.pdf )
So, the code would be:
\usepackage{caption,setspace}
\captionsetup{font={large,stretch=1.3}}

Otherwise, only making:
\usepackage{caption}
\captionsetup{font={large,stretch=1.3}}

would not function.

redpajama_set_name: RedPajamaStackExchange


Your vote counts: Is the Yorkie or Golden Retriever the best dog breed?
Our new online competition: Cutest dog breed of all?
OK, who has the cutest napping dog or cat?
The Bay Area is Home to America's First "Dog Mayor"


Does the holiday season usually signal a drop in site stats and online conversion rates? Are your clients decking the halls instead of reading your posts? In this article, I'll share 8 tips to add holiday cheer to your content marketing.
The holiday season is upon us, which usually means that prospects are dealing with an abundance of distractions. From family gatherings and gift shopping to balancing work with personal obligations. Your eLearning product sales don't have to suffer as a result, though. In fact, you can use the holiday spirit to your advantage and spruce up your promotional efforts. Here are 8 tips to add a touch of yuletide cheer to your content marketing strategy.
Everyone who enrolls in your eLearning course or purchases your eLearning software receives a free gift during the holiday season. It's a great way to thank them for their purchase and increase your sales, since people are more likely to invest in your eLearning product or service with an added incentive. Even if it's something as simple as an exclusive course companion guide or 30-day access to your microlearning online training catalog. Make sure to specify the retail value so that they know they're getting something special.
Give readers the chance to earn a free eBook or eLearning course by entering your online giveaway on social media. Post the contest on Facebook, Twitter, eLearning blogs, and your site. Readers must share the post or link with their network and leave a comment. The winner is chosen at random on the specified date. To avoid confusion, make sure to clarify the rules and the way people can enter the giveaway. For example, they're able to enter up to 5 times, they must like the original post and share it on their personal page by December 15th.
Your content can also reflect the nostalgia and warmth of the holidays, or even have a hint of humor to help readers escape the stresses of the season. One of the best ways to add cheer to your posts is to tell stories or anecdotes that form an emotional connection. Find a creative angle that links the subject matter to holiday-related tales or analogies. It's also wise to incorporate images and graphics that boost their spirits.
It's the holidays, which means that it's time for gift-giving. Instead of giving readers the ever-popular tie or coffee mug, opt for a free eBook they can really use. Free guides, eBooks, and other digital goods are a great way to bring comfort and joy to your prospects. The only catch is that they have to sign up for your mailing list and agree to receive promotional materials. Readers provide their name, email address, and other basic info. In exchange, they get to download an exclusive white paper that helps them improve sales, hone skills, or overcome a common obstacle. Some people may be reluctant to share their personal info, but a free eBook makes it worthwhile.
Send out a customized greeting to clients and prospects on your mailing list. Create a template to make things easier, then simply fill in their name to personalize the salutation. Ensure that it's fun and festive, but not so over the top that it takes minutes to load. Keep in mind that many will be viewing it on their mobile devices.
The end of the year is the perfect time to reflect and share insights with site visitors. Post your top 12 blog posts from the past year on the days leading up to Christmas. It may not be anything as grand as a partridge in a pear tree. But it will give readers a second chance to read content they've missed or to revisit their favorite posts from the year and share them with friends. Thus, expanding your market reach and reducing costs, as you don't have to create new content to sustain you through the holidays. You can simply reuse the posts you already have. However, you may want to include a brief explanation or reflection on why the post is in your top 12 list.
In addition to looking back at the past, you can also fast-forward to the future of your content marketing strategy. Give readers a sneak preview of what's to come in the year ahead. Which topics will you cover? Are you launching any special eLearning courses or products they need to know about? This gives prospects the opportunity to mark their brand new calendars and leave room in their budget for your eLearning offerings. For example, set aside funds for the new eLearning authoring tool you're launching next March. Another way to build the excitement is to post a snippet of your upcoming eLearning course or product previews, such as an excerpt from your latest eBook or a demo of your eLearning software.
Host a live Facebook or YouTube event to share your valuable experience and set a festive tone. Send out invitations to your mailing list and post it on your social media page and groups. Make it holiday-themed by having reminders of the season in the background or share some personal anecdotes that lighten the mood and capture your audience's emotions. Don't forget to record the event so that everyone can enjoy it, even if they have other gatherings to attend.
The holiday season doesn't have to derail your content marketing efforts. You can use it to your advantage by offering free giveaways, reaching out to loyal customers, and hosting live festive events. The secret is embracing the cheer and using it to captivate audiences and convert readers into loyal customers.
Is it really possible to find new customers using online marketing methods? Can clickbait get your visitors to actually buy something and boost your conversion rates? Download our free eBook The Ultimate Guide To A Winning Content Marketing Strategy to discover, among others, what inbound marketing is, how to qualify leads and boost your conversion rates, how content marketing can help you generate B2B leads, as well as how to determine KPIs and measure content marketing success.


Hudson firefighters spent Jan. 16 through 19 on the ice of the Merrimack River as part of an annual ice rescue training drill. The course, instructed by Joe Mokry of Ocean Systems International, began with classroom study of ice information and strength; ice rescue accidents; immersion hypothermia; equipment; planning and teamwork; and rope handling.
In the afternoon firefighter moved out to the Merrimack River off of Webster Street to complete the practical session of the course. This session covered ice identification, ice rescue suits, self rescue, rescue equipment use, planning, victim rescue, and multi-person rescue.
The location chosen on Webster Street included a very steep river bank and numerous hazards the crews would face during an actual rescue. The rescue process includes an evaluation of the conditions, victims' conditions, an assessment of personnel and equipment, and the development of an operational plan.
Firefighters practiced self rescue in the frigid water, walking across the thin ice until falling through into moving water. The current of the river pulls rescuers and victims downstream making it difficult to get out of the water.
For the victim rescue scenarios, one firefighter served as a victim in the water, while other firefighters in teams of two donned cold water suits and water rescue equipment and ventured onto the dangerously thin ice to execute a rescue. To complicate the operation, land-based firefighter had to set up rope systems and ladders to bring the victim in a rescue stokes basket up the steep riverbank.
This training has been performed multiple times in Hudson. It is vital that the fire department members complete this course every year. This ensures that they are properly trained on how to perform ice rescue techniques, so they are prepared for the real emergencies.
Individuals who fall through ice may have less than 15 minutes before becoming unconscious. Hypothermia begins immediately, and the cold water takes body heat away 25 times faster than air of the same temperature.
This leaves a very small window for successful intervention, and that is why specialized equipment and training are needed.
In some instances pets have fallen through ice, causing their owner to attempt a rescue and instead becoming a victim themselves.
If an individual falls through ice, they should remain calm and call for help. If it is possible to get back onto the ice, the individual should not stand up, instead should spread out his weight by crawling or rolling to safety.
Bystanders should not go out on the ice to attempt a rescue of someone who has fallen through ice, as they are likely to become victims themselves. Remain on the shore and use a long branch, pole or other object to reach out to the victim. Rescue can also be attempted by throwing a rope, an extension cord or a flotation device such as a cooler to the victim. Call 9-1-1 immediately to have the fire department respond as seconds make a difference.


Looking for a unique, fun, promotional give away? Try a custom word magnet set from Fridgedoor. These custom word magnet sets are easily customized with your own words, or you can word with our stock word options.
Custom word magnet sets will be used long after your event. They'll keep your message in front of your customers for years. Questions? Contact us at 617-770-7913. Office hours are 9 AM to 5 PM ET, M - F.


text:
Q: How do I include ScalaDoc options in Maven I can generate class hierarchy diagram by manually use "scaladoc -diagrams ..."
I can also generate basic ScalaDoc with Maven by "mvn scala:doc"
But How can I put "-diagrams" in when I run ScalaDoc from Maven?  In general, how do I put in any of the options that are listed in "scaladoc -help".
I have this in my pom.xml, but it doesn't work.
        <plugin>
            <groupId>org.scala-tools</groupId>
            <artifactId>maven-scala-plugin</artifactId>
            <version>2.14-SNAPSHOT</version>
            <configuration>
                <args>
                    <arg>-diagrams</arg>
                </args>
            </configuration>
         </plugin>

UPDATE
This doesn't work either:
        <plugin>
            <groupId>org.scala-tools</groupId>
            <artifactId>maven-scala-plugin</artifactId>

            <executions>
                <execution>
                    <id>generate-scaladoc</id>
                    <phase>generate-sources</phase>
                    <goals>
                        <goal>doc</goal>
                    </goals>
                    <configuration>
                        <diagrams>true</diagrams>
                        <args>
                            <arg>-diagrams</arg>
                        </args>
                    </configuration>
                </execution>
            </executions>
      </plugin>

A: I could generate java-docs for scala maven project using the scala-maven-plugin's attach-javadocs execution as shown below:
                 <plugin>
                    <groupId>net.alchim31.maven</groupId>
                    <artifactId>scala-maven-plugin</artifactId>
                    <version>3.2.0</version>
                    <executions>
                        <execution>
                            <!-- this is so we don't end with a compile error in maven-compiler-plugin -->
                            <phase>process-sources</phase>
                            <goals>
                                <goal>compile</goal>
                                <goal>testCompile</goal>
                            </goals>
                            <configuration>
                            </configuration>
                        </execution>
                        <execution>
                            <id>attach-javadocs</id>
                            <goals>
                                <goal>doc-jar</goal>
                            </goals>
                        </execution>
                    </executions>
                </plugin>

Once the above specified plugin config is added, just run mvn clean install and it'll generate javadoc's jar along with sources jar

A: I haven't tried this, but in general, you could add the executions element to bind the goal to a specific phase of maven lifecycle.  Look at this example combining java and scala project.
            <executions>
                <execution>
                    <id>scala-doc</id>
                    <phase>process-resources</phase> <!-- or wherever -->
                    <goals>
                        <goal>doc</goal>
                    </goals>
                </execution>
            </executions>


Stylistics of literary dialogue. The pragmatics of politeness and impoliteness. Historical pragmatics. Metapragmatics in relation to conduct and etiquette manuals.
I have studied Romance Philology at the University of Antwerp, where I obtained a grant (1990-1994) from the Research Foundation - Flanders (FWO) to conduct a PhD in Romance Linguistics and Literature, on 16th Century Italian theoretical dialogue. I lectured Terminology and Translation at the University of Leuven Campus Antwerp (formerly Katholieke Vlaamse Hogeschool), before moving to the United Kingdom, where, in 1999, I was appointed Visiting Research Fellow for the Department of Italian, at the School of Modern Languages and Cultures, University of Leeds. My collaboration with the Istituto di Studi italiani dates from its foundation in 2007.
I am interested in the linguistic make-up of speech-like dialogues within three genres: literary dialogue of the Renaissance (Castiglione, Guazzo), 16th and 18th Century theatre (Ariosto, Bibbiena, Aretino, Goldoni) and 19th Century novel (Manzoni, Collodi). I pursue a distinctly interdisciplinary research agenda and my work belongs to the field of literary stylistics, which uses the methodology promoted by linguistics and especially the pragmatics of politeness and impoliteness and historical pragmatics. Past uses of (im)politeness are studied in close connection with the metadiscourse on (im-)politeness of that historical period, using a wide variety of prescriptive sources such as conduct literature, rhetorical treatises, school manuals, children's literature, etc. These texts are interesting in that they are historical expressions of metapragmatic awareness: they explicitly reflect on the norms that are guiding the ongoing self-monitoring of 'polite' communication.
Currently I am the Senior Researcher of the research project "The reasons for politeness. The birth of contemporary politeness in the behavioural treatises in 19th century Italy", to which I collaborate with Carlo Ossola and Andrea Rocci. The project, which is funded by the Swiss National Science Foundation, started September 2014 and has been extended for 9 months. Together with Francesca Saltamacchia, we have developed the Corpus of Nineteenth-Century Italian Conduct Books (CGIO), for which we have digitalised the 50 most popular conduct and etiquette books.
In 2019 I will deliver a talk at the conference Historical Corpora and Variation (HICOV) organised by the università degli studi di Cagliari. I am the co-organiser, together with Gudrun Held and Daniel Z. Kadar, of the panel Historical Politeness in Europe for the Ipra conference, Hongkong, June 2019.
Within the context of the SNSF project, we have organised, together with Dr. Luca Saltini (Biblioteca cantonale Lugano) the exhibition "Costumi soavi, dolci maniere". Galatei e manuali d'etichetta nel Ticino dell'Ottocento, Biblioteca cantonale of Lugano, from the 20th of November 2018 to the 12th of January 2019. The exhibition, which is funded by the Pica Alfieri Foundation, Lugano, is accompanied by a catalogue and an anthology of etiquette books.
- Annick Paternoster e Susan Fitzmaurice (eds), Politeness in Nineteenth-Century Europe, Amsterdam-Philadelphia, John Benjamins (Pragmatics and Beyond New Series 229), 2019. Click here.
- Le leggi della cortesia. Galateo ed etichetta di fine Ottocento: un'antologia, a cura di A. Paternoster e F. Saltamacchia, presentazione di S. Prandi, Novara, Interlinea, 2018. Click here.
- "Costumi soavi, dolci maniere". Galatei e manuali di etichetta nel Ticino dell'Ottocento, a cura di A. Paternoster, F. Saltamacchia e L. Saltini, Lugano, Biblioteca cantonale di Lugano. 2018.
- A. Paternoster e F. Saltamacchia, Il vestito forma la persona 'clothes make the man'. Fashion morality in Italian Nineteenth-century conduct books, in Fashion Communication, "Studies in Communication Sciences", special issue edited by N. Kalbaska, T. Sadaba and L. Cantoni.
In 2013 I conducted a programme for the Swiss National Radio, RSI Rete Due, in the cycle "Giovanni Boccaccio e l'arte della narrazione", in which I presented the story of Tancredi and Ghismunda (Decameron, IV, 1) and interviewed the Swiss writer Giovanni Orelli. November 2015 I gave a public lecture in the conference cycle "Qui e ora - materia del vivere" dedicated to the cultural history of coffee.


text:
<meta name="google-site-verification" content="I-PfD442w3ib737_-SSQU8uWeityEECmTtdeg45ozsM" />
The Buteyko Method was developed in the 1950's by a Russian medical scientist named Professor K.P. Buteyko.
Professor Buteyko's exhaustive research led him to discover, that several hundred chronic diseases could be scientifically explained as a consequence of habitually breathing above the physiologically recommended norm, or chronic hyperventilation (CHVS).
It occurred to Professor Buteyko that if he could retrain the breathing pattern so that it reverted toward the norm he could reverse these diseases.
After years of experimentation, Professor Buteyko managed to develop a process to normalise the breathing pattern, which has over the last 50+ years enabled tens of thousands of people to reverse their chronic diseases. This system or approach has become known as The Buteyko Method.
"My method is based on fundamental laws of physiology, biochemistry, biology and so on, and the correctness of its assumptions are confirmed by experiments and tests."
K.P. Buteyko
Classical Buteyko
Since its introduction to the West, Professor Buteyko's ideas have been adopted by many practitioners of varying skills. This has resulted in several derivative and diluted approaches.
It is for this reason, that few so called Buteyko Practitioners deal with serious and complex conditions. This is to be expected when you consider that their training has been minimal and often conducted by a teacher who is themselves not qualified.
Learn Buteyko Online offers the Classical Buteyko Method, as developed by Professor Buteyko and are pleased to take on the most serious and challenging chronic health problems.
Practitioners &
Practitioners and Facilitators at Learn Buteyko Online teach under the supervision of the most qualified and experienced practitioners in the world.
Our head practitioner, Vladimor Sukhonosov, worked with Professor Buteyko from the mid 1970's, has taught over 30,000 people and holds a Red Diploma and an Audit Diploma - issued by K.P. Buteyko.
Christopher Drake, was the first "Western" practitioner to be awarded with a Red Diploma from K.P. Buteyko and has taught over 20,000 people.
A Red Diploma was traditionally awarded by K.P. Buteyko to practitioners who had worked under supervision for around six to seven years and is held by only a handful of Buteyko Practitioners in the "West".
a Free Webinar
view the video archives
Go to Learn Buteyko TV
"Now you have learnt why nature
is doing certain things and how we have to act
sensibly towards it."
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Hundreds of independent medical doctors support and recommend Buteyko's Method. But understandably, the medical industrial establishment prefers to ignore it.
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Join a Free Webinar
Join a Beginners Workshop
"Keeping in mind all the complications that can emerge during the training, we forbid self-training. Supervision by a specially trained practitioner is essential"
The The Red Buteyko Diploma was issued by Professor Buteyko to practitioners of his method who had undergone a minimum of six years of training, under the supervision of a Senior Practitioner.
It was only issued to his most skilful and experienced practitioners.
Since its introduction to the "West", Professor Buteyko met and encouraged dozens of "Western" supporters, teachers and advocates of his method. Some of whom, now claim their close affiliation, but he awarded his Red Diploma's to very few, such as Christopher Drake, Jac Vidgen, Tess Graham and Aaron Lumsdaine.
In addition to a Red Diploma, our Head Practitioner, Vladimir Sukhonosov also holds an Audit Diploma, issued by Professor Buteyko, which qualifies him to assess the work of qualified practitioners, officially making him the most qualified actively engaged Buteyko Practitioner.
Are you ready to start reversing your chronic symptoms and augmenting your health now?
Book your place in Beginners Online Workshop. You'll be working under the supervision of an authentically qualified Buteyko Practitioner over five days and it only costs USD275.00 for the entire course including follow up.
Book your place here
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From it's introduction to the "West" in the 1990's, Buteyko's Method has had dozens of positive news articles, television documentaries and reports in medical journals.
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Tens of thousands of people all over the world have discovered that practicing Buteyko has enabled them to reverse symptoms and dramatically improve their
quality of life.
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The Buteyko Method is a skill to be learnt, not a treatment that is passively taken. The quality of results, especially with serious and complex situations, is virtually linear to the experience of the practitioner and the conscientious work done by the patient.
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Prefer working individually and by appointment?
You can start by booking an initial individual consultation with a
practitioner for only USD45.00
In straightforward terms, becoming skilful with the Buteyko Method enables a person the uncommon ability, to reverse chronic symptoms and to augment their health independently.
Learn Buteyko Online
Email:info@learnbuteyko.com


text:
Myer Myers (1723–1795) was a silversmith who lived and worked in New York City.  He was a Jewish-American of Ashkenazi origin and a member of Congregation Shearith Israel, for whom be produced many works.  Historians believe he was an apprentice of the Huguenot silversmith Charles le Roux (silversmith).  He registered as a Freeman in 1746, and partnered with Benjamin Halsted from 1756-1766 as Halsted & Myers.  380 of his works survive in museums and private collections.

References

Silversmiths
American silversmiths
American Sephardic Jews
People from New York City


text:
Стадионы в различных городах:

 Старт (стадион, Саранск)
 Старт (стадион, Реутов)


text:
Jupiter Icy Moons Explorer (Explorador de Lunas Heladas de Júpiter) o JUICE es una misión espacial desarrollada por la Agencia Espacial Europea (ESA). La misión explorará y estudiará a Júpiter y tres de sus satélites galileanos Ganímedes, Europa y Calisto (excluyendo a Ío por no ser una luna helada), todos los cuales parecen ser que poseen una gran cantidad de agua líquida bajo sus superficies, convirtiéndose en entornos potencialmente habitables.

JUICE tendrá unos ocho años de viaje hacia Júpiter y las tres lunas heladas seleccionadas para la misión, además, de convertirse en la primera nave espacial en orbitar una satélite natural distinto a la Luna de la Tierra.

La misión está prevista para lanzarse entre el 5 y el 25 de abril de 2023, llegando al gigante gaseoso en julio de 2031. Comenzará su primera etapa de trabajo orbitando alrededor de Ganímedes en diciembre de 2034.

Historia
La misión comenzó como una reformulación de la propuesta Jupiter Ganymede Orbiter, el cual lo que sea componente de la Europa cancelado del sistema de Júpiter Misión-Laplace (EJSM-Laplace) de la ESA. Es wurde un candidato para la misión de primera clase L (L1) de los programas de la ESA Cosmic Vision, y su selección, que anunció el 2 de mayo de 2012. En abril de 2012 JUICE, fue recomendado en vez del propuesto telescopio de rayos X  ATHENA y un observatorio de ondas gravitacionales (Observatorio de la Nueva ola gravitacional (ONG)). En julio de 2015, Airbus Defensa y del Espacio fue seleccionado como contratista principal para diseñar y construir la sonda espacial.

Plan
Según lo planeado, la nave será lanzada en el año 2024, siendo impulsada por un cohete Ariane 5, llegando a la órbita de Ganímedes para el año 2034, después de completar varias órbitas y maniobras sobre el planeta Júpiter, y las lunas Europa y Calisto. Los instrumentos que llevará a bordo incluyen cámaras, espectrómetros, magnetómetros y un radar de penetración en el hielo.

Objetivos científicos
El JUpiter ICy moons Explorer (JUICE) llevará a cabo investigaciones detalladas en Ganímedes como un cuerpo planetario y evaluar su potencial para albergar vida. Las investigaciones de Europa y Calisto se completan un cuadro comparativo de la síntesis de galileo moons.The tres lunas podrían albergar océanos de agua líquida internas, y por lo tanto son fundamentales para la comprensión de la habitabilidad de los mundos helados.

Los principales objetivos de la ciencia para Ganímedes, y en menor medida por Calisto, son:
 Caracterización de las capas del océano y la detección de depósitos de agua subterránea putativo;

 La cartografía topográfica, geológica y la composición de la superficie;
 Estudio de las propiedades físicas de las cortezas heladas;
 Caracterización de la distribución interna de masas, la dinámica y la evolución de los interiores;
 La investigación de la tenue atmósfera de Ganímedes;
 Estudio del campo magnético intrínseco de Ganímedes y sus interacciones con la magnetosfera joviana.
Para Europa, la atención se centra en lo esencial la química de la vida, incluyendo moléculas orgánicas, y en la comprensión de la formación de características de la superficie y la composición del material no-agua-hielo. Más aún, el JUICE proporcionará a la primera sonda subsuperficie de la Luna, incluyendo la primera determinación del espesor mínimo de la capa de hielo sobre las regiones más recientemente activas.

Nave espacial

Condiciones y diseño de la misión

El principal problema que intentan superar los diseñadores de la nave es la gran distancia que tendrá que controlar con respecto al Sol, al ser su fuente de energía y también la fuerte radiación que emite el planeta Júpiter. Realizar las órbitas a Júpiter y Ganímedes y el gran número de maniobras de sobrevuelo, aproximadamente serán más de 25 asistencias gravitatorias y dos sobrevuelos a Europa, requieren que la nave espacial transporte aproximadamente 3.000 kg (6.6600 lb) de propelente químico.Las asistencias de gravedad incluyen:

 Transferencia interplanetaria (Tierra, Venus, Tierra, Marte, Tierra)
 Inserción en la órbita de Júpiter y reducción del apocentro con múltiples ayudas de gravedad de Ganimedes
 Reducción de velocidad con ayuda de Ganímedes y Calisto
 Aumenta la inclinación con 10-12 asistencias de gravedad de Calisto

Aterrizador en Ganimedes

El Instituto Ruso de Investigación Espacial está estudiando una misión de aterrizaje en Ganímedes llamada Laplace-P, especialmente destinada a estudiar su astrobiología. La cooperación y una posible sinergia con la misión orbital JUICE Ganímedes se está planteando entre la ESA y Roscosmos.  Rusia también propuso alimentar la nave espacial JUICE con un generador termoeléctrico de radioisótopos (RTG) construido en Rusia, reemplazando los paneles solares pues serían vulnerables a la radiación de Júpiter.

Referencias

Destinos

Véase también
 Jupiter Icy Moons Orbiter
 Jupiter Ganymede Orbiter
 EJSM/Laplace

Enlaces externos
 Sitio de la misión (en inglés)
 Estudio del impacto de la modificación del programa de la misión JGO para incluir una parte de los objetivos de la misión estadounidense (en inglés)

Sondas espaciales
Sondas espaciales de Júpiter
Exploración espacial en 2022
Misiones de la Agencia Espacial Europea


Coaster CMS was built with SEO in mind and therefore comes equipped with a built-in redirects manager. Redirects can be added from within the redirects tab in the admin (as pictured below). The redirects manager supports the use of regex syntax, often found in .htaccess files.
Simply click on Add Another and follow through the presented steps. After you have finished adding redirects simply click save. If your redirect doesn't appear to be working correctly, you can try checking the forced checkbox. Otherwise if your redirect pattern uses regex symbols, you may need to check your syntax for any errors.