In their book about Kafka, Deleuze and Guattari put forward three characteristics for a minor literature which they claim to have been embodied in Kafka's work including the ability of a minor literature to deterritorialize, its being "collective" and its being "political". Here we are not asked to spell out these key features of a minor literature but instead we try to define 'the minor' in translation, and especially in translating Deleuze into Persian, which in consequence would mean those territories which such a translation deterritorializes (how translating Deleuze may affect the actualities in Iran and to what extent the actualities in Iran may produce a different Deleuze) as well as the collective and political senses of such an attempt. The minor is believed here to be more deterritorializing, collective and political when it happens between two majors, it is exactly the way that the assemblages work; they create something unexpected, something singular or "the new" where two territories touch or try to "communicate". Literature can provide us with a more telling example, Kafka is a German Jewish writer who writes in Prague, while both "Prague" and "German" are established territories Kafka writes in a way that "makes" these neutral territories give rise to an element of deterritorialization. Accordingly, translation can be held as a task to betray the majorities residing in both target and source languages; the task of translator in this regard would be to create the elements of differentiality which have been captured in both source material and target language.
Translating into Persian? Translating Deleuze into Persian? What is the sense of such a work if not "accumulating" some new philosophers again in the libraries? A neutral symposium! This paper wants in a sense, to start with this problem that seems to be an essential one (at least today that we witness to what extent a philosopher can be reduced to a literary or artistic toolkit); the "whyness" of translating Deleuze today in Iran especially in the present-day critical situation that our society is passing through, and the reason(s) for talking of molecular resistance in face a fascist molarity which has surrounded us. What could be the reason behind translating from a philosopher who wrote not only in a different geography but more importantly lived a different history. Deleuze is the self-confessed philosopher of concepts, the one who creates some concepts which work in his oeuvre as a whole. This could be a point to emphasize because as he himself puts it, the trouble arises when one avoids dealing with a philosopher as a "whole". The Deleuzean scholarship has gone miles away from this very fundamental warning that Deleuze himself gives. But what is wrong with not dealing with a philosopher as a whole? One could find the answer in another aspect of Deleuzean thought; Deleuze is not a philosopher of "depth". One can say that avoiding to treat a philosopher as a whole is the beginning of a "deepening" that philosophy, and it is in effect, this "depth" that is totally against Deleuzean oeuvre, as he quotes from Paul Valéry "what is deeper than the skin?" And now "what is deeper than the skin of a philosophy?" Deleuzean scholarship today in majority of departments turns very easily the minor sense in his works into a major academia which means the reception of Deleuze sounds to be a major reception that gets increasingly institutionalized and less challenging with the status quo!
I think Deleuze is alone among the great thinkers of so-called post-structuralism in having accorded Marx an absolutely fundamental role in his philosophy – in having found in the encounter with Marx the most energizing event for his later work.
It is a worn-out logic of today's academia to "accumulate" the grandeur of a theoretical authority through applying, implementing and localizing ideas and reconciling different domains with no speed limit. But back to our primary question, what would be providing us with an incentive – at least – in translating Deleuze into Persian? The problem sounds to be primarily rooted in the moment that the Persian translator starts assuming that Persian is a minor language (as a gut reaction to western languages), the illusion which is perilous at least for translation and has dire consequences; a sort of resentment in front of Persian . In fact it would be deceiving to think of Persian as a minor language at least in Deleuzean way. That is why here we should distinguish minorities from the minor in Deleuze which is vitally important.
Minor and major are expressions that characterize not entities, but processes and treatments of life. Essentially, major processes are premised on the formation and defense of a constant or a standard that acts as a norm or a basis of judgment.
This way the operation that translation is expected to undergo is very similar to writing a minor literature and it is in fact the very ability of translation and a minor literature to create singularities even through the borders of the language. Thus thinking of Persian as a minor language is a ready-made solution of the Deleuzean scholarship to the present-day problems of a target language and society such as Iran. On the other hand, what is more strenuous is to start with the major of a language and transform it to the minor, something which puts forward a composition which neither belongs to Deleuzean scholarship nor to Persian, something in "between", neither present in the source language nor in the target but felt on the skin, on the boundary of these two languages! At the same time one could raise this question that whether it is possible to translate as well from Persian thinkers or philosophers into other major languages (English, French) without falling in the trap of (as the present government in Iran claims we need) importing our "precious tradition" to other corners of the world or trying blindly to absorb these thinkers in the western local studies?
What is interesting and to some extent unique about Deleuze is his style, but here style (like a lot of other common words) bears a new sense in Deleuze, it is no more a linguistic style to play with words but a style which is more invested on creating concepts embodied in problems, what makes his translation something beyond a pure aesthetic endeavour. His challenge with the common signification of words shows best how far he starts with the major. This way translating Deleuze requires not only translating his concepts but also translating the implicit problems which made him create such concepts. Translating implicit attitudes of him or what Buchanan about Michel de Certeau calls "the inner prickling" of his thought, sets us in Persian in more motion and its political upshot would be permeating onto other territories of society as a minor which is being formed.
The minor then operates to upset any simple affirmation of a new people, or logic of an already constituted movement that is already here, indeed the minor is always a 'movement in becoming' in this sense.
This is what one can understand through univocity in translation; taking the problems into consideration. This paper tries to emphasize that the "act" of translation goes hand in hand with the "theory" or better to say the concept of translation which means none of them should be reduced to the other.
Translating his book on Foucault (by Afshin Jahandide, in 2008) and his Hume (by Adel Mashayekhi, in 2009) and some other papers translated by www.mindmotor.com (on his conception of Kafka, Sade, etc.) and www.shavand.com could be a more appropriate opportunity to get in touch with this inner prickling of Deleuze which can mean we are on the way to touch his philosophy as well as his non-philosophy for betraying a philosophy (even in translating words, sentences and texts) is not possible until one knows what a philosophy has encountered. What comes in the following part is a quick overview of the move from translating Deleuze as an organized philosopher to a philosopher that teaches betrayal and is destined to be betrayed!
In the absence of a plane.
Apparently it was around two decades ago that Deleuze was first translated into Persian in a book which was a compilation of articles of some new continental philosophers from Barthes to Derrida and Deleuze. It was there that Deleuze was introduced through a paper titled "On Simulacrum", and by Mani Haghighi. This selection of papers compiled in a book was something to some extent unprecedented as the atmosphere of those days in Iran was totally different from that of the book, an atmosphere which was the upshot of the Cultural Revolution and the endeavour to purify universities and Humanities and also the eight year war between Iran and Iraq. This atmosphere was mainly based on an orthodox Islamic approach to the sciences that was in effect replete with strict limits. That is why this book was a bit strange to that atmosphere and was hardly successful to be more than an introduction to these quite various philosophers. Amongst the translators of this compilation were some graduates of western universities (B. Ahmadi, M. Haghighi) and some others who were following philosophy non-academically. It seems as if they were in a way trying to import their experiences to the cultural and philosophical atmosphere in Iran and perhaps that was why they easily accepted being labelled as "postmodernist". It should be considered immediately that in reaction to that homogeneous dominant ideology what happened was no more than another homogeneous reaction through this so-called postmodernism especially amongst young students of philosophy or literature and sociology departments. This knowledge not only did not provide those who could not read originally in English or French with the contemporary continental thought but also fuelled a reaction to these philosophers under different labels from 'feminist', 'poststructuralist' to 'postmodernist'. I believe that this shortcoming was the result of omitting the historical from that book (and not only Deleuze's texts).
Translating some other works by Deleuze (and the others philosophers) into Persian did not help this situation and was in a way a disposition against the common perception of philosophy and it was no surprise to see one single translator translating Lyotard, Lacan, Sartre and Cixous at the same time. It was as if "choosing" (which is a very formative component of translating) any special text for translation was secondary to "importing" new texts (as confusing "new things" with "the new" in Deleuze).
Looking the words up in the street!
One can say with some confidence that it was translating western Marxism from Georg Lukács to Theodor W. Adorno and Walter Benjamin that helped Deleuzean movement to clarify itself and ponder more on its limits and its possibilities. In fact it was through the inabilities or the deficiencies of this Marxism that this movement started to be more "active". That is why after a decade, translating Deleuze was not only a reactionary import against the mainstream academia in Iran and the translators were more and more accurate both philosophically and linguistically in "choosing" and "translating" a text as these works were seen "in relation" with other works of not only Deleuze but the other philosophers from Hegel to Kojève. The "terms" became "concepts" made up of components which were all crucial. That is why one can say that translating Deleuze influenced reading philosophy, reading Bergson, Hegel, Lacan and even Žižek where one is able to implement the concepts. This way what is interesting about Deleuze today in Iran is that unlike the majority of western universities which try to restrain Deleuze to some special 'cultural studies' framework to neutralize his concepts, people (however limited) try to work with the concepts in different domains from culture to politics of the day. A real in actu way of experimenting philosophy.
Nonetheless, absolute deterritorialisation can only be thought according to certain still-to-be-determined relationships with relative deterritorialisation that are not only cosmic but geographical, historical and psychosocial. There is always a way in which absolute deterritorialisation takes over from a relative deterritorialisation in a given field.
That is why we emphasize that this field is not something given or an endowment but political par excellence, this plane of immanence has been affected by the green movement in Iran against the dominant, fascist government (but ironically in the agora which means stretching the possibilities of the society as well). Today translating in whatever way cannot avoid this plane as it is this plane which is supposed to give rise to the lines of flight. Betrayal in Iran was in dire need of this plane which is now at avail and any betrayal devoid of plane is no more than a nihilism (be academic or non-academic). Here is the turning point that aesthetics becomes political as perceptions become percepts in art or ideas become concepts in philosophy.
Translation becomes betrayal as the translator, the text and the words are primarily immersed in the event or as Guattari puts it transversalize through it. Where nobody looks for "the" equivalents as everything is a univalent! Translation in the present-day society of Iran is not based on a morality to guide the bodies how to combine, but is itself a process, an ethics which is synchronized with the bodies and is being created just as in a simultaneous translation, a being-in-the-middle and how could one ignore the protests in the streets, the ruptures that the bodies make and start translating from a "void", from the house? That is why we emphasize that betrayal is not a theme or an apriori or a neoliberal or academic décor but the very result of what surrounds us and makes us act. Betrayal is paradoxical and must remain paradoxical; it is a (non) method that is achieved on a plane (whether plane of composition or consistency) and does not transcend the differences. And that is here that one can say that the very foe to this betrayal is fascism to transcend or to find the final, correspondent equivalents; a dictatorship, a machine of dictionary. It is needless to say that "here" textualized or even contextualized translation is affirming the "state of the affairs" but more importantly betrayal is never a reaction to text or context but the very praxis of adding something to the text, to the context and in a Foucaultian way to the self when the event enters untimely into the politics of translation.We should not forget that translation is an act which first of all monitors the courage to progress even in pain and danger. This courage is not something individual which the translator acquires or not even merely a result of the personal talent, but quite the opposite something collective which faces the translator. This courage is required exactly where a style needs to be created, where a combination is inevitable for the translator, courage is the very yes to this force, this new, this political greening.
 Gilles Deleuze and Félix Guattari. Kafka: Towards a Minor Literature, translation by Dana Polan, Minnesota: University of Minnesota Press, 1986, p. 16-17.
 Fredric Jameson. « Marxism and dualism in Deleuze », The South Atlantic Quarterly, 96 (3), Summer 1997.
 Nicholas Thoburn. Deleuze, Marx and Politics, Routledge, 2003, p. 7.
 Ian Buchanan. Michel de Certeau: Cultural Theorist, Sage Press, 2000.
 Simon O'Sullivan. Art Encounters Deleuze and Guattari: Thought Beyond Representation, Palgrave Macmillan, 2006, p. 77-78.
 Gilles Deleuze and Félix Guattari, What is Philosophy?, Columbia University Press, 1996, p. 88.


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Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany's unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.
https://longear.com 880882359317
Preview Video and Samples using the Cover
Jaime [Sandstone LP]
Artist: Brittany Howard
1. History Repeats
2. He Loves Me
4. Stay High
5. Tomorrow
6. Short and Sweet
7. 13th Century Metal
9. Goat Head
10. Presence
11. Run To Me

redpajama_set_name: RedPajamaCommonCrawl


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Data analytics turning the tables for vulnerable Oil and Gas sector. Improved efficiency on the cards?
Abhilasa Verma • October 24, 2020 • India, International, Recent, Technology
The integration of advanced technologies has played an instrumental role in changing the fortunes of Oil and Gas industry, as it was facing a number of industry-specific challenges and various enterprises were unable to tap their potential due to the lack of visibility and performance improvement. Management of equipment life cycle only added to the problem, when it came to managing operations in the most vulnerable sectors like Oil and Gas, before the advent of data analytics.
The advent of new technology is all set to streamline key Oil and Gas operations, including exploration, production, maintenance, etc. It can ensure operational efficiency, increased asset performance and improved profitability. Processing and analytic tools are proving their worth by reducing downtime and vulnerability, while looking after the maintenance costs of equipment to bridge the gap. For instance, a critical infrastructure protection company ACSG is capable of building analytics software for the Oil and Gas industry that can gain insights into manufacturing operations by using existing data to identify recurring patterns, helping improve the overall efficiency of the firms.
ACSG's Data analytics tools can transform enormous datasets into Oil and Gas exploration decisions, reducing operational costs, extending equipment lifespan and lowering environmental impact. With innovative techniques like route optimization, it can help Oil and Gas companies reduce service delivery costs. By utilizing this model, enterprises can identify alternative routes and cargo mix to cover the maximum number of clients across the route and decide the right set of stops in the route. This way, the total distance and transit time is reduced significantly.
On the other hand, Qlik, a data analytics solution provider, is assisting Oil and Gas firms in maintaining asset integrity, track health, safety and environmental incidents through the supply chains. Qlik has built applications to empower enterprises for making faster and informed decisions, enabling them to access timely, accurate and consistent data from multiple sources, analyzing maintenance, repairs and outages for improved performance and efficiency. Similarly, Tableau, an interactive data visualization software company, assists manufacturing companies in the Oil and Gas sector to increase the output and productivity by analyzing the data, paving the way for maximization of profits and minimization of upstream costs.
Reducing risk and ensuring better decision making is imperative for the success of enterprises in the Oil and Gas sector. The ability to draw useful insights from the data on a continuous basis can make the sector more profitable and efficient in the long run. Data analytics can also be used to ensure proper functionality of the equipment, tracing breakdowns and failures. The need of the hour is to explore all the possibilities with such technology to create a flawless structure.
Last modified: November 2, 2020


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Dr Yiannis Kountouris
Faculty of Natural Sciences, Centre for Environmental Policy
+44 (0)20 7594 9316i.kountouris
106Weeks BuildingSouth Kensington Campus
Yiannis is a Lecturer in Economics and the Environment at the Centre for Environmental Policy.
He is an applied economist with interests at the intersection between Environmental Economics and Political Economy, the Voluntary Carbon Market, Culture and Economics, Environmental Valuation, Social Capital, and Wellbeing. He joined the Centre in 2011. Before coming to Imperial he was a research associate at the Department of Economics at the University of Manchester
He is a Co-Convenor of the Environmental Economics and Policy Specialist Option of the MSc in Environmental Technology. He is also the Centre's Senior Tutor and Disabilities Liaison Officer
Harris ZM, Kountouris Y, 2020, Vertical Farming as a Game Changer for BECCS Technology Deployment, Sustainability, Vol:12
Author Web Link
Kountouris Y, 2020, Higher education and fertility: evidence from reforms in Greece., Economics of Education Review, ISSN:0272-7757
Kountouris Y, 2020, Examining the Relationship between Elections and Wildfires, International Journal of Wildland Fire, ISSN:1049-8001
Kountouris Y, 2020, Human activity, daylight saving time and wildfire occurrence, Science of the Total Environment, Vol:727, ISSN:0048-9697
Publisher Web Link
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Kountouris Y, 2020, An assessment of the relationship between daylight saving time, disruptions in sleep patterns and dwelling fires, Fire Technology, ISSN:0015-2684
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Q: Make a turn in a long line of coding in SAS program I have a very long line in SAS coding because there are so many variables that needed to include. How to make a turn to shorten the line and wrap to another line in SAS?

A: SAS is semicolon delimited. Just add a return and keep on going. That will work until it reaches a semicolon. What O/S are you using with SAS?
For example, this works:
DATA
TEST;
SET
SASHELP.CLASS;
RUN;

The semicolons matter, not the carriage return.

A: Here is the @AlanC example taken to the token extreme:
DATA
TEST
;
SET
SASHELP
.
CLASS
;
RUN
;

redpajama_set_name: RedPajamaStackExchange


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Report 194: MV Anna Marra - Cattle exported to Indonesia in October 2019
Cattle exported to Indonesia in October 2019
Report 194 - MV Anna Marra - Cattle exported to Indonesia in October 2019 PDF 4 980 KB
A total of 12,078 cattle for three exporters were loaded onto the MV Anna Marra at the Port of Townsville between 10 and 12 October 2019. The vessel departed on 12 October 2019. The first discharge was at the Port of Jakarta, Indonesia, between 20 and 22 October 2019. The second and final discharge was at the Port of Panjang, Indonesia, between 23 and 24 October 2019, making this a 15-day voyage.
An Independent Observer (observer) boarded the vessel at Townsville, and remained on board until completion of discharge.
The mortality rate for the cattle was 0.14% (17 mortalities). This does not exceed the reportable mortality rate. The causes of the mortalities were not considered to be linked to any systemic failure by the exporter.
The following comments are a summary of key observations and have been approved by the observer who accompanied the voyage.
The cattle were a loaded according to the load plan which complied with the Australian Standards for the Export of Livestock 2011 (version 2.3) (ASEL) requirements.
No animal health or welfare issues were observed during loading.
Four experienced LiveCorp Accredited Stockpersons (stockpersons) accompanied the voyage and were responsible for implementing their respective exporter's procedures to ensure the health and welfare of the livestock throughout the voyage.
The master communicated well with the Chief Officer (CO) and boson. The boson was experienced in the way they went about supervising the livestock crew, who worked diligently to feed, water, clean troughs, and the wash downs.
The stockpersons commenced duties at 7:00am and would inspect their assigned decks, move animals to hospital pens and administer treatments as required.
A cattle management meeting was held each day at 10:00am with the master, CO, bosun, chief engineer, and stockpersons present to discuss daily management plans which covered feed and water and instructions for the crew.
The cattle were fed twice daily with top-ups as required. Water troughs were cleaned daily, or more often as required.
Two nightwatch crew were rostered from 7:00pm until 6:00am, checking the cattle and water troughs.
The pelletised feed loaded on the vessel was in excess of the ASEL requirements required for the voyage length.
The vessel generated sufficient water by reverse osmosis. Water was supplied to the cattle in self-regulating troughs.
The stockpersons identified shy feeders, which were managed by reducing numbers in their pens to allow improved access to feed and water.
The observer noted that feed and clean water was always accessible and the cattle were observed to consume adequate feed and water throughout the voyage.
The vessel has 10 enclosed decks. Six large ventilators supply 72 air inlets and 94 exhaust fans extract the air resulting in good air circulation. Auxiliary fans were strategically placed throughout the decks to supply more airflow.
The pen stocking densities were lightened off in the warmer areas on some of the decks. There were no adverse impacts observed on the health or welfare of the cattle in these areas.
Maximum dry bulb temperature was 33 °C; maximum wet bulb temperature was 30 °C; maximum humidity was 87%. The cattle on the voyage were not seen to be affected in any way by the temperature or humidity.
The pad condition was moist but firm. Once the cattle had been moved around after loading there was sufficient space for all cattle to lie down and rest.
The decks were washed down on a rotational basis.
The pen conditions on this voyage did not have an adverse effect on animal health or welfare.
Sufficient veterinary drugs and equipment on board the vessel complied with the ASEL requirements.
There were 17 mortalities on this voyage. Of these, 12 cattle were found dead in their pens having shown no previous signs of illness. Three post mortems were done, in which two attributed the cause of death to pneumonia. Two cattle were euthanased during the sea voyage because they were 'downers', two because of leg injury, and one animal was euthanased because of misadventure at discharge.
There were no issues noted with the overall health and welfare of the cattle during the voyage.
The discharge of the cattle at Jakarta and Panjang went well. All livestock had access to clean water and fodder during each discharge.
No animal health or welfare issues were observed as a result of the discharge apart from an incident where an animal was euthanased after sustaining an injury after jumping off the vessel onto the wharf at the Port of Panjang.
The observer noted that the stockpersons and the vessel's crew ensured that the health and welfare of the cattle was maintained during the voyage.


A lawsuit has been filed by Cause of Action against the Markell Administration over the deal made with Bloom Energy.
WASHINGTON – Government accountability group Cause of Action (CoA) filed suit today in federal court to challenge Delaware's sweetheart deal with Bloom Energy, Inc. (Bloom). Governor Jack Markell and the members of the Delaware Public Service Commission are unconstitutionally discriminating against Bloom's competitors and taxing a segment of Delaware residents to subsidize the crony company.
My only concern is holding only the Markell Administration accountable when members of the General Assembly voted in support of the bill.
In late 2011, the Delaware Renewable Energy Portfolio Standards Act (REPSA) was modified solely to accommodate the state's deal with Bloom. In return for Bloom's promise to construct a manufacturing facility in Delaware, the state established a system of discriminatory eligibility requirements, subsidies, and energy-portfolio-standards multipliers that benefit Bloom. These requirements deny out-of-state companies equal competitive footing and increase costs for Delmarva ratepayers who might otherwise benefit from the competitive interstate market. According to a report by the Delaware Public Service Commission, the cost through tariffs to ratepayers will amount to $133 million.
If fuel cells are so great, they should be able to stand on their own without regulatory carve outs. We should not be offering these carve outs or tax benefits to any kind of energy and allow them all to compete on an even footing. I admittedly don't remember seeing this bill in 2011, but I'll start looking for it on the Delaware Legislature's website. If anyone remembers it or finds it first, please leave it in the comments section below, or contact me some other way and I'll post an update to this article. kthxbye.
The bill was SB124, sponsored by our Senate Pro Tempore, Tony DeLuca. Go offer him your thoughts. Don't be too hard on him though, the bill was cosponsored by just about everybody and passed with 35/41 yes votes in the House and 18/21 yes votes in the Senate. Making Markell the scapegoat for a General Assembly that rubber stamps legislation like this is missing the forest for the trees. They passed NINE days after introducing it during the last month of the session before our legislators retire to the beach for the summer. They must be held to account too.
We have met the enemy, and it is us. We must demand better of ALL of our legislators and we must demand better of ourselves. We must demand a process in the General Assembly that offers us the time to educate ourselves and our communities about these complex issues and inform our legislators of what is at stake for us. We can do this. We have the technology. We should not introduce and pass a bill with such an impact in nine days. 9. We are now left with one brave Delawarean rallying us to fight the will of the State of Delaware over whether or not this sweetheart deal will stand. Where were our legislators? Where were we? Where will we be on September 11th this year when we cast our primary ballots?
In OTHER news, Kent County is the only county in Delaware where unemployment is still going up instead of down. While the State is handing out special favors to the politically connected constituencies elsewhere, we're paying for it and being pushed out of our own jobs by increased red tape we can't circumvent with well timed and well placed campaign contributions, a wink, and a handshake.
It's the Delaware Way. It is exceptionally unwise. We need to do things differently.
The problem in this state is the one-party rule at the state level, causing the "official" minority party to go along to get along in exchange for occasionally getting their own bills passed. Unless more voices (Republican, Libertarian, Green, Independent, etc.) are heard, this go-along to get along attitude by the state GOP and DEM parties will continue to milk the taxpayers in order to do things to win votes in November.
As a follow up to naming Gov. Markell in the lawsuit, I assume the Cause of Action folks are arguing since he is the CEO of the state, he could have been the leading, sensible voice against the Legislature and vetoed the bill on the grounds that not opening the bid up for competition was unfair. That said, the Legislature deserves blame too. Follow the case-perhaps Cause of Action will make that point during the hearing.
Going after the entire legislature falls to the people to vote for different legislators and run for office themselves against this nonsense. Thanks for your comments.


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Officials to investigate use of deadly force by Webster County police on New Year's Eve
A suspect attempted to avoid and reportedly shot at law enforcement before they returned gun fire that resulted in the suspect's death.
Officials to investigate use of deadly force by Webster County police on New Year's Eve A suspect attempted to avoid and reportedly shot at law enforcement before they returned gun fire that resulted in the suspect's death. Check out this story on desmoinesregister.com: https://www.desmoinesregister.com/story/news/2019/01/01/officials-investigate-officer-involved-shooting-deadly-force-webster-county-new-years-eve-fort-dodge/2459902002/
Alex Ivanisevic, Des Moines Register Published 6:00 p.m. CT Jan. 1, 2019
Crime news(Photo: The Register)Buy Photo
The Iowa Division of Criminal Investigation has been asked to assist the Webster County Sheriff's Office with the investigation of an officer's use of deadly force in the pursuit of a suspect on Monday, according to a news release from the Iowa Department of Public Safety.
The Webster County Telecommunication Center received a call of a disturbance just outside the City of Fort Dodge that was domestic in nature, Chief Deputy Rod Strait of the Webster County Sheriff's Office said in a news release Monday. A responding deputy observed a vehicle matching the description given and attempted to stop the vehicle.
The vehicle did not stop and attempted to avoid the deputy. During the attempted stop, gunshots came from the suspect vehicle that was avoiding law enforcement. Law Enforcement that were on scene returned gunfire. The suspects' vehicle drove out into a field near the intersection of Highway 175 and Oak Avenue in rural Webster County and came to a stop.
Law enforcement agencies secured the area around the vehicle. When the vehicle was approached, the suspect was found to be deceased inside the vehicle, Strait wrote in the release.
Names of the subjects are not being released at this time.
Webster County Sheriff's Office, Iowa State Patrol, Calhoun County Sheriff's Office, Hamilton County Sheriff's Office, Boone County Sheriff's Office, Dayton Police Department, Gowrie Police Department and the Fort Dodge Police Department assisted with the incident.
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Follow the Register on Facebook and Twitter for more news. Alex Ivanisevic can be contacted at aivanisevi@dmreg.com or on Twitter @alivanisevic.
Read or Share this story: https://www.desmoinesregister.com/story/news/2019/01/01/officials-investigate-officer-involved-shooting-deadly-force-webster-county-new-years-eve-fort-dodge/2459902002/
Iowa DCI investigating multiple deaths Friday morning in Bancroft
Teacher at boy's trial: 'He pulled the trigger'
Children locked in Des Moines movie theater after close
Witnesses describe tense minutes after boy, 12, pulled out gun
Kim Reynolds brags on moving Supreme Court rightward
Trucking company abruptly closes Des Moines facility


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Track-Tricks: Footstep and Hexing Tradition
Pulvis
"It is said in Knott County, Kentucky, a lover may win his lady's favor by counting her steps up to the ninth, then taking some earth from the track made by her left shoe heel, and carrying it in his pocket for nine days."- Tom Peete Cross, Witchcraft in North Carolina
My ancestors knew the value of the footprints we leave on this earth, and they knew how to alter fate from the soil in footsteps. I look back on this magic and wonder how the various protective arts of my black American ancestors have shaped the witch I am today. Some things are lost to the dust of time, while other things are sprinkled in our tracks, just waiting to catch us. "If your sweetheart is going to see another girl, sprinkle salt in his path before him, and he will quit her and come back to you."- Edith Walker, Watuaga county; Frank C. Brown Collection of North Carolina Folklore
Magical powders; they're a great gift of the magician, the witch, the hoodoo-woman, the shaman, the cunning-man alike. All those magical folk of the world who know the secret blends are accustomed to the arts of dust. My joy lies in adapting old charms for my modern needs- in exploring the syncretic origin of American folk magic and how its traditions can be reclaimed today. One hexing tradition I'm fond of is track-tricks, also known as foot-track magic: The African American syncretic sympathetic magic of placing harmful powders in the footprints and walkways of one's enemies has connections to the Gold Coast where it was believed that harm could be done by tampering with the tracks of an enemy, according to Puckett. To curse someone's path, much like cursing their home with a "conjure ball" is to bring them a great deal of harm. You can lay the mixture in their expected path or sprinkle it in their wake, even over their shadow. "To get rid of an unwelcome guest, sprinkle salt in his tracks, and sweep the salt in the direction in which he went."- Frank C. Brown Collection (p.520, Vol 6)
The dust is often dry and acrid, or it can be sweet and floral. It depends on who has doomed your path. If you've cuckolded your lover, you can expect the scent of liverwort and violet to their magic; deceptive as it covers the scent of human hair and urine. If you've been making enemies and burning bridges, you can expect a hot foot, tireless and restless legs, ill-health and black luck for days- weeks on end, perhaps to your death. There are many ways to hex an enemy according to European folklore, including witch bottles, poppets, and knots. American witches, descended of many paths, have our own traditions of hex magic, some of which include witch bullets, conjure-balls, and track-tricks. "In other cases poisonous balls of various sizes, filled with roots, herbs, and other mixtures, were put in the road. They could have no effect on any but the intended victim. These charms or tricks seem to have been made personal by securing something from the body of the victim, as a strand of hair, or some earth from his footprints."- Journal of American Folklore
My powders are usually made of flowers, dried and sweet of smell. They come from the rulership of Venus and Moon, or from Hecate and the realms of hell. They linger with the perfume of their former life and are intoxicating to the senses. Most of my powders are meant to be added to other love mixtures or consumed in food. Only in very dire circumstances do I ever turn to track-tricks. Typically, I like my track-tricks to be protective or diverting, leading away baleful spirits and protecting the many travelers, wanderers, and hikers in my life. I always keep my track powders in small, discreet but decorated gourds- small enough to slip up your sleeve on a long walk. However you lay tracks, be careful when you do; there's danger in this magic, and it will follow in your steps.
On the Nature of Track-Trick Powders
"And by a variety of charms involving a person's tracks, you may make him stagger or paralyze him, make him follow you or leave."- BA Botkin, Southern Folkways
African American folk magical traditions are largely where our North American traditions of track-trick lore comes from, and it's where you'll find most of the old recipes still in circulation today. Witches were just as tied to the folk magic of tracks as any other practitioner, and the folklore reflects a deep-set fear of witchery in the conjure traditions. You may have your tracks laid by anyone with the desire to do so; family members, lovers, Christians, witches, hoodoo-men, conjurers- anyone. Track tricks and how to lay them can come in a variety of forms with varying instructions; sometimes they take the appearance of "conjure-balls" or similar to "witch bullets", other times they can appear as red-bundles in the middle of the foot-path, or as bottles set into the ground or as cursed objects buried in the earth, placed in the chimney or hidden in the cellar. While track-tricks aren't always powdered (sometimes they are bundled in bags or hairballs), the most commonly were made up of ground materials to divert evil, some of that powder containing diabolic substances like snakeheads, ground lizard and human body; "powder made from the dead was strewn in the path of obnoxious individuals to cause them to become ill" (Frank C. Brown Collection).
"Hotfoot powder is employed in Hoodoo as a protective device or deterrent to what is perceived as evil behavior in "foot track magic"." -Anand Prahlad, The Greenwood Encyclopedia of African American Folklore
Hoodoo and conjure lore are both ripe with different operations regarding the enchantment of someone's path- ranging from the casting of mud/cotton/hairballs into the path of an enemy, sprinkling the hair of black animals in someone's footsteps, or even "plugging" one's footsteps by casting their tracks into water to waste, or, one could do a "plugging" as a love project using track dirt; "To keep a woman true, take some dirt from her right foot track and a wisp of her hair on the back of her neck and stob it in the hole with a hickory stob" (Frank C. Brown). One bit of Alabama folklore says that to get rid of unwanted guests, you must gather up their tracks and cast it into a river over your shoulder without looking back (Ray Broadus Browne). Sometimes the charm is as simple as casting some bent nails and horsehair in the path of your enemy, or even more simply, tossing graveyard dust in their wake. Other operations were more difficult- involving rare substances, corpse materia and personal concerns of your enemies that are hard to obtain.
These foot-track charms are usually done so for negative purposes, earning it a reputation as malefic magic, but it could be used for benevolent purposes too; like recapturing a wandering lover, sweetening your intended, protecting a traveler from harm or simply to bless your steps. In general Southern and some Midwestern (Indiana) folklore, particularly among African Americans familiar with hoodoo and conjure traditions, it is believed that one's tracks and footprints had power, and through contagion, a person may be affected by having their tracks tampered with; this was accomplished using a variety of materials, the most popular of which is graveyard dirt, hair, nails, and the seeds of acrid spices like mustard and pepper.
"Conjurers use dirt from them in conjure. Practitioners most commonly use foot track dirt in spells designed to drive off or keep away enemies, although numerous other uses are known."- Jeffrey E. Anderson, Hoodoo, Voodoo, and Conjure: A Handbook
Putting tricks down in someone's tracks is an odd and interesting form of magic, one most popularly referenced in Southern folk magic- particularly traditions related to hoodoo. Conjure people were said to be able to create powders, mud-balls or bundles that when cast in the tracks of one's enemies, could render them dead (Puckett). Track-tricks were a countermagic as well, used to protect the footfalls of a person from witchcraft, or, to punish suspected witches or bad conjure folk.
"If a thief's trail is found, a nail from the coffin in which a corpse has decayed, driven into the track with three blows, will produce the same effect as if it entered the robber's foot. Fasten a string around the nail's head so that it can be drawn out when requisite; otherwise the man will die."- Folklore of the Mountain Whites of the Alleghenies, Journal of American Folklore
Witches, like robbers and ghosts and mad-men, are said to be confounded by having nails staked in their tracks, causing them deep pain. Alternatively, one can have their foot-tracks tricked (causing harm) through the use of glass shards, quartz shards or even whole bottles. Even just having your tracks gathered and plugged into rotting trees, cellar floors and chimneys could cause harm.
"If someone steals from you in rainy weather or comes in the mud so that you can get his footprint, cut out his footprint in the clay and hang it in the chimney-corner, and the thief will waste away with the footprint."- Cora Linn Daniels, Encyclopedia of Superstitions, Folklore, and the Occult Sciences of the World
From what I can see, there are cross-cultural parallels among Americans of West African and Western European descent regarding track magic. Folklorists like Andrew Lang in his 1887 work, "Myth, Ritual and Religion" drew parallels between Scottish footprint nailing charms and foot-track poison charms of West Africa. Powders to draw love or to hex an enemy are the most common kinds found in the folklore of the Americas, especially that of the South where love powder magical charms enjoy a long history among witches and non-practitioners alike.
"Shameweed or the Sensitive plant will shame a recalcitrant woman; sprinkle the powdered dry root in the woman's path an she will close up like a sensitive plant; mix it with snail dust and snail water and she will leave like a snail going into its shell." -Benjamin Albert Botkin, A Treasury of Southern Folklore: Stories, Ballads, Traditions, and Folkways of the People of the South
It was a simple magic, one expected of young people in love or jilted housewives and mistresses. For those green witches who have come to rely on the tradition of plant medicine and magic for their arts, creating powders from herbs and roots is elementary, and apparently, it was very common for young people in the past to resolve to love charms, innocent of witchery but devious magic nonetheless. As always with North American love charms, the sacred number of operations is 9, and this is reflected in a number of charms from nine-knots in a lover's thread to nine-hairs from the head of your intended to place in a conjure bag. Some track lore specifically states the number 9 as paramount to the operation.
"If a man counts nine steps a girl takes and gets some dirt out of her left heel track, and carries it in his pocket for nine days, she will be crazy over him." (Kentucky folklore), Frank C. Brown, The Frank C. Brown Collection of North Carolina Folklore: Popular beliefs and superstitions from North Carolina
Tracks have a special meaning; they're tied to the path one has taken in this world, and we leave behind our marks in this world in various ways, including simply by stepping forward. When we disturb the soil of the world, we are creating that small ripple that marks our impact, and, from an animistic standpoint, we are bound to the things we leave in this world, as they gain power through sympathy, contagion or imitation. For example, one charm from Paulsen states that one can can draw a lover by scraping the wood of the floor of the person you desire has sat upon, mix with soil from their tracks and wax from a deserted honeycomb and shape into a figure, which is then censed and incanted over (The Complete Book of Magic and Witchcraft). So, if one was to collect the soil a person has just disturbed they may be able to alter the fate of that person. Or, if they wish to influence the path of a person going forward, they may do so by essentially poisoning the path of their intended. With every step, they are ensnared...
Messing with someone's tracks by planting magical powders in their footsteps, or, gathering their footprint up in the dirt (their tracks) and blending this soil with the hair of black animals and other materials, allowing the concoction to dry and then casting that powder back onto the tracks of another were among the principal means of completing this operation according to some of our Midwestern and Southern folklore. Botkin's collection has a decent section on track magic, one bit of which mentions gathering up the tracks of your enemy and casting it into water to make them run away or decay (this reminds me of the old Western European charm of making clay figures of your enemy which are cast into a stream to deteriorate). A parallel of track-to-water magic can be found in the magical folklore of Cape Verde which made its way to the Americas, where tracks were said to be boiled and tossed over cliffs to harm enemies (Journal of American Folklore).
Even animals were supposed to be ensnared by track magic; with some folklore stating that wolves can be dissuaded from the hunt by salting their tracks, and red pepper is used as a foot-powder to throw off hunting dogs (C.L Daniels). Animals could also trick your tracks themselves according to Southern folklore; snake tracks over your path need to be rubbed out to lift the curse (A Tennessee Folklore Sampler: Selections from the Tennessee Folklore Society Bulletin), squirrels and rabbits running over your tracks in certain directions could do you harm, and horse tracks with silver in their wake are actually good luck.
It's scary, what our ancestors believed could be done with the pathways and footfalls of another. I for one seek to keep this tradition of American folk magic alive when I need to. I've looked to the old blends and recipes of folklore and found a balance in what I need and want. I think the best part of reconstruction is evolving with modern times; honoring our ancestors while moving forward with new ideas. It's not like our ancestors had stagnant traditions- not at all, not in America especially. Our magical heritage is a mix of the old and new worlds, and we today are tasked with reviving and reinvigorating the old ways for the new times. I've been having fun following in the footsteps of my ancestors.
"You must never step in a footprint that points towards you."
A Personal Pantry of Foot-Print Powders
These love projects typically included heart-shaped herbs or flowers and roots well known for their use in love magic; liverwort, periwinkle leaf, violet leaf, and blood-root among many others. Mixed with a little hair or personal concerns, these powders were dangerous red magic. My favorite blend above shown is a blend of dried red rosebud, honey powder, angelica, cinnamon, nutmeg, bloodroot, rosewood, bloodwood powder, orris powder, Adam and Eve root and morning glory vine powdered along with various other materials including sugar, periwinkle, violet, fern seed (gathered on St. Agnes Eve), rabbit bone and hibiscus.
Track Trick
This one needs to be made outdoors where it's well ventilated because it is a natural sneezing powder laden in red and black pepper flakes and corns, ground alum, slippery elm, clove and cayenne in addition to very fine burrs and splinters. Handling this powder without a face mask is sure to cause you the fits and burn your throat. Mine calls for a strong and well-blended powder of black salt, white salt, red and black pepper, black and yellow mustard seed, volcanic ash, honey locust thorns, graveyard dirt, ground skins, among other materials. And my favorite Gossip-Killer is a simple blend of alum, salt, slippery elm, cloves, and nutmeg powder.
Purification Steps
This one calls for my own recipe, and it's called Silver Steps, it's one I've come to enjoy; will call for a pinch of alum and a pinch of saltpeter mixed with a pinch of corn starch, some powdered cascarilla, a few tablespoons of blessed sea-salt and a few silver shavings. Putting this in the path before you as you travel will not only purify your way forward but protect your feet beneath you.
I love turning to old blends and recipes to inspire new recipes. That's evolution for you, always adapting to the new environment over time. We witches are no different. Bringing tradition into the modern world means tapping into the very best parts of our ancestral ways while allowing room for change, improvement, imagination, and improvisation. Among witch bones, witch bottles, witch bullets, love projects, Halloween charms and the other traditions of magic that are part of the folkloric identity of the New World witch, is the magic of track-tricks. As we walk in the footsteps of our ancestors, I'd watch out for the pepper and nails if I were you...
A Treasury of Southern Folklore: Stories, Ballads, Traditions, and Folkways of the People of the South by Benjamin Albert Botkin
The Frank C. Brown Collection of NC Folklore: Vol. VII: Popular Beliefs and Superstitions from North Carolina, Part 2 by Newman Ivey White, Wayland D. Hand, Frank C. Brown
America Bewitched by Owen Davies
Folk Beliefs of the Southern Negro by Newbell Niles Puckett
Encyclopedia of Superstitions, Folklore, and the Occult Sciences of the World by Cora Linn Daniels, C. M. Stevans
A Tennessee Folklore Sampler: Selections from the Tennessee Folklore Society Bulletin, 1935-2009 by Ted Olson, Anthony P. Cavender
Popular Beliefs and Practices from Alabama by Ray Broadus Browne
The Greenwood Encyclopedia of African American Folklore by Anand Prahlad
Journal of American Folklore
Hoodoo, Voodoo, and Conjure: A Handbook by Jeffrey E. Anderson
Witchcraft in North Carolina by Tom Peete Cross
Foot-track Magic in the Hoodoo Tradition from Lucky Mojo
Tags: North American Witchcraft, Traditional & Folkloric


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redpajama_set_name: RedPajamaGithub


If you need to get the best competition check for your keywords then this is the gig for you. Moz.com is the #1 source for SEO tools but comes at a price premium.
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Superior Meuble 9 Cases #8 - Les 25 Meilleures Id233es De La Cat233gorie 201tag232res Murales was uploaded in February 3, 2018 at 2:58 pm. If you wish to apply this photo as your desktop background, you can tap the download link at the bottom or you may just right click on the picture at the top , then select "Save Image As" to download the Superior Meuble 9 Cases #8 - Les 25 Meilleures Id233es De La Cat233gorie 201tag232res Murales or by select the "Set Desktop Background As" choice if your internet browser has this option. If you could not find the the most outstanding image you are looking for, you shall go for "Search Column" at top right or browse other image wallpapers that you want. This image has the picture size is 51kB and the resolution of 600x900. Superior Meuble 9 Cases #8 - Les 25 Meilleures Id233es De La Cat233gorie 201tag232res Murales has been seen by 89 visitors and it is a photo from Meuble 9 Cases.


Sepio Systems has introduced the next generation software solution that offers comprehensive mitigation of hardware-based cyber attacks. The advanced mitigation capabilities protect against manipulated peripherals, transparent network devices, and firmware vulnerabilities.
Sepio's solution has been deployed in over 20 mid to large banks, insurance, and telecom companies in the US, Singapore, Brazil, and Israel. The current install base secures over 600,000 workstations and network ports.
Rogue device cyber attacks are rapidly growing as demonstrated by recent reports of European banks losing tens of millions of dollars after hackers implanted hardware attack tools that compromised the secured infrastructure.
"Manipulated devices, intentionally used by insiders or socially engineered employees, are causing significant damages. We also witness an increasing number of penetrated uncontrolled supply chains that deliver infected equipment." said Appleboum.


Parsley, Sage, Rosemary and rhyme.
My fridge has Satchel's call to Rob about Bucky marking his territory everywhere.
Even though it is an ancient rerun, this is still one of my all-time favorite Satchel bits.
When did Larry get a human disguise?
Well, we've got the rhyme; we just need some reason.
"Cooperation of a cat." That's good for a laugh right there!
Is this the restaurant "L'Idiot" from "LA Story" by any chance?
I've lived with many cats over the years; can't claim to have owned a single one.
Bucky is so dumb, he'll smack the only person in the apartment who knows how to use a can opener.


So a month ago, I got in on a super-sekrit website beta program. It was called Project Greenfields, and proved an ambitious undertaking to create a buy/sell site to rival the likes of eBay and the current ruling site – Mudah.com.my.
Well, the embargo is off and I can now talk my mouth off about MySimplifieds.com and the beta program. It's definitely something that could be a candidate for next year's Technology Campaign of the year, just saying.
It was ambitious – take a pool of bloggers, consummate online sellers and give them carte blanche to pick apart a website and say what makes it tick. Online networking tools such as Facebook and Twitter were used to get feedback on the site, but it was probably the Facebook group that got the most participation.
There were plenty of posts with suggestions for tweaks as well as new features. What amused me was the general consensus that the original logo just didn't cut it, which led the developers back to the drawing board. We beta testers then got to vote for our favourite – which of course is now prominently used on the site.
And the result? A cleaner, more user-friendly site that I find far more intuitive than what the current competition has to offer. Personalised profiles, Facebook and favourites options are neat, but right now I'm happiest with the site's stability and decent loading times. My experience with Mudah.com.my wasn't exactly awesome, to tell you the truth. Selling stuff on Lowyat.net was far easier than trying to navigate the headache which is Mudah.
And eBay Malaysia? Hear my loud raucous laughter. Punctuated with a snort of extreme derision.
It was a unique experiment which was fun for the participants involved, giving us plenty of incentive to say our piece on what would make MySimplifieds.com an effective online marketplace.
1. Extensive user testing is always the way to go. Otherwise, just do it the lazy Google way and just slap 'Beta' on it.
2. Beer smoothens all things.
3. Text 100 still wins the Most Able To Connect With Bloggers without sounding like jackasses Award.
There's a contest running for best/most creative Classifieds Ad. Unfortunately, I have nothing left to sell after divesting most of my crap. But hey, perhaps you could win yourself a snazzy new phone or PSP or one of those delectable goodies up for grabs.
Of course, right now I'm more distracted by the pre-order of the Nokia 5800. Yes, Nokia is finally having pre-orders for phones online in Malaysia. On MySimplifieds.com!
If I could marry a phone, I'd be Mrs.Nokia Music Xpress 5800. Yes, I am that besotted with it.
So if you have anything to sell or are looking for bargain gifts for the coming Christmas celebration, then head on over to MySimplifieds.com. And order me the damn phone while you're at it.


Hyundai engineers are out testing prototypes for a brand-new generation of the Veloster. The prototypes expose that the redesigned Veloster keeps the basic shape of the present model, including the special three-doors-and-hatch setup. (There's a single door on the chauffeur's side and two on the other).
At first look, it looks quite like the existing model, but closer examination exposes some distinctions. Up front, the hood looks lower, and it tapers down to exactly what appears to be an exaggerated version of the "waterfall grille" Hyundai has carried out on the Elantra GT, and new Sonata. The headlights look slimmer, and there appear to be fewer hectic, "quirky" lines.
Moving backwards, we find the exact same uneven door design consisting of one door on the left, and 2 on the right. On the best side, the rear door deal with is still embeded the corner of the window. The glass area on the right also appears a bit larger thanks to a lower edge that stays lower for longer. From previous test mules, we know that the redesigned Veloster has a somewhat longer wheelbase than the existing model, which need to result in more space inside. The new car also looks to be much sportier thanks to a lower, more streamlined profile.
In the powertrain department, the base alternative will likely be a variation of the 1.6-liter turbocharged inline-4 discovered in the current Veloster Turbo, where it delivers 201 horsepower. Above this might be a 2.0-liter turbocharged inline-4 being established by the Hyundai N efficiency division. The engine makes its launching this year in an i30 N model to be sold overseas, and in its tamest setting needs to deliver around 246 hp. While the United States will lose out on the i30 N, there's a possibility we see a Veloster N rather.
Hyundai will take the wraps off its redesigned Veloster in late 2017 or early the list below year. Sales won't start till 2018, with the car likely arriving as a 2019 model.
14 photos of the "2019 Hyundai Veloster"


From 25 students in a double transportable in 2001, the Paralowie Campus of Temple Christian College has grown into a well developed and resourced educational and training facility now home to over 500 students. With a passion to support all subject areas with the latest in equipment and technology, Temple Christian College is driven with the desire that all families can bring their child to school with the confidence that their personal strengths will be supported.
Accessed via the main entry gate on Countess Street, the Campus Administration building is home to the Principal, Administration, Reception and Registrar's Offices and operates each school day and as advised during school holidays. Parents meeting with the Principal or other teaching staff will be directed to enter via the Administration Office. A voice mail system is in operation for contact outside of office hours.
The Paralowie Student Services Office is the main hub of the school and is accessed via the Courtyard within the school grounds. It is home to the Assistant Deputy Principal-Student Development, the Student Services Manager and a number of staff who offer specific services which directly relate to daily student welfare, including: Student Mentors, First Aid Facilities and Book Room. The Student Services Office, commonly referred to as the SSO is the first contact point for all parents in relation to student matters.
Located within the Student Service Office, the Book Room is open each day between 8.30am and 3.00pm during school terms. This office oversees a number of student related services including booklists, textbook hire, daily stationary needs, student lockers, student ID cards, bus passes and the collection of money for events. EFT transactions are permissible for amounts over $10.
The Bethany Christian School Canteen operates daily during school terms and is available to Temple Christian College students at recess and lunchtime.
The Campus Student Mentors facilitate the Breakfast Club which runs daily to assist students arriving early in the mornings.
The Uniform Shop operates under the direction of the Uniform Shop Manager and is open to students and parents as per the days and times advertised. All listed uniform items are available for purchase. Appointment for fitting can be made via the Uniform Manager.
Open in 2011, the Innovation and Learning Centre is home to a number of practical and functional facilities including the Science Laboratories, Art facilities and Diverse Learning.
The Learning Hub, IT department and senior study rooms fill the top level of the Innovation & Learning Centre, giving students convenient access to these valuable services. The Learning Hub is a dynamic and exciting place; the space is always buzzing with students, staff and volunteers collaborating and supporting one another, engaging in learning, research and reading. Along with a large collection of relevant fiction and non-fiction resources, the Learning Hub also provides students with access to exciting learning opportunities such as audiobooks and podcasts at the Listening Wall, flexible learning spaces for dynamic group collaboration, and access to a range of current and engaging online resources.


text:
Tchaikovsky: His Life and Works Michael Paul Smith
Elizaveta Agladze Interview
Young Russian-American mezzo-soprano Elizaveta Agladze has been seen as a recitalist and concert soloist throughout the eastern United States. She received her Master's degree in Organizational Sciences from George Washington University, her Bachelor's degrees in Music and Psychology from Emory University, and her Associate Arts degree from Emory University's Oxford College, where she returned as a guest recitalist this fall. Elizaveta is currently a student at Galina Abiyakiy Voice Studio in Washington, D.C. and a graduate of the OperaWorks Advanced Artists Program in Northride, California. We were so lucky to grab a few moments with her…
photo: Shawn Flint Blair (used with permission)
Elizaveta, thank you very much for agreeing to be interviewed for this site.
The pleasure is all mine, Michael.
What is your first memory of hearing Tchaikovsky's music?
I'm afraid I would be very unoriginal in answering this question – it must be the music from either Swan Lake or The Nutcracker. I don't remember which one I heard first. When I was a child, my mother took me to the Bolshoi Theatre every year to see Swan Lake and The Nutcracker. I've been in love with this music ever since.
To a Russian woman, how "Russian" does Tchaikovsky's music sound?
I find Tchaikovsky's music to be very Russian, even though I cannot really explain what "Russian" music means. But when I hear an unfamiliar piece of music from the Romantic period, I can almost always tell correctly whether it's Russian or not. On a subjective level, it is something that resonates with my soul and makes me feel at home, as if the music ran through my blood. But I think many people feel that way about Tchaikovsky's music, regardless of nationality. Tchaikovsky's music is deeply emotional, revealing openness and great-heartedness, while at the same time intertwined with vulnerability, heartbreak and tragedy – I think that is pretty Russian.
What is the popular view of Tchaikovsky in modern Russia today?
I think Pyotr Ilyich is as popular as ever! And the fact that his first piano concerto was performed at the end of the Olympic Games closing ceremony stands as a good proof to that.
What was the first music by Tchaikovsky you ever sang? Did this make an immediate impression on you?
I played Tchaikovsky on the piano before I sang his music – the Neapolitan song, a few pieces from the Children's Album, and later Dance of the Little Swans. I must admit that that was not my favorite music to play at the time – I was more of a Chopin girl. But, of course I was eager to learn the Dance of the Little Swans! Singing Tchaikovsky (which I started later on in life) has been a much more pleasurable experience, since by that time I had matured to feel and express his music better.
What is your favourite piece/aria/song by Tchaikovsky?
There are so many! I love singing Da, chas nastal from The Maid of Orleans – there is just so much passion and drama in that piece. My very favorite aria by Tchaikovsky, though, is Lensky's aria Kuda, kuda from Eugene Onegin. Too bad it's not written for a mezzo!
Here is the aria Elizaveta chose as her favourite; Kuda, Kuda from Eugene Onegin (also known, more accurately, as Yevgeny Onedin). Placido Domingo sings it wonderfully here…
And here is my favourite aria in an opera so rich in wonderful moments. If you listen to the two one after the other, you will hear that each one begins with a series of descending notes. When the main theme, heard timidly at first, returns, it truly is one of the greatest moments in all Tchaikovsky…
The whole opera may surprise you; it is not on the same scale as Verdi (and certainly not Wagner!) If you can find a version with a good translation, then you really are in for a tragic treat.
A Guide to Sonata Form
Now don't go running away…! In order to write about much of Tchaikovsky's music I have to let you know something about how large scale works are built up. I promise you, if you understand sonata form, it will greatly enhance your enjoyment of many pieces of classical music.
And, as an added bonus, I shall try to tell what the difference is between a sonata, a concerto and a symphony. It's not difficult, I promise you…
A symphony is for orchestra, usually in four movements (fast-slow-very fast-fast, at its most basic level). That was the pattern established by Mozart, Haydn and Beethoven and continued to be used by Mendelssohn, Schubert, Schumann, Brahms and Grieg, among many others; so we really are talking about a huge range of music here.
A concerto is music for orchestra with a solo instrument or instruments showing off in the foreground. A piano concerto is for piano and orchestra ( a 'duel' between the two, Tchaikovsky thought), a violin concerto for violin and orchestra, and so on. There are things such as double concertos, for two prominent instruments and orchestra, or triple concertos, for three. Concertos are almost always in three movements (fast-slow-fast) although, as you can imagine, there are a few exceptions.
A sonata doesn't involve an orchestra at all; there are piano sonatas, violin and piano sonatas, and so on. Again, almost always in their movements, following the pattern fast-slow-fast.
But what binds them all together is the use of sonata form; almost all symphonies, concertos and sonatas will have the first movement in sonata form, which is why I want to spend a little time telling you the basics of how it works here…
Sonata form developed as a means to handle longer structures in music; the need for repetition and contrast. It began to be used as early as the 1730s but continued to evolve right up until the twentieth century. It's like a road map and if you can follow the map then the music will make so much more sense to you and you'll know where you are. So here goes with my little, gentle guide to sonata form. Always remember that what follows are general rules, but if you get a good grasp of them, the exceptions are never really so very different.
Sonata Form
…is usually in three sections called the exposition, development and recapitulation. But I should start with what often precedes all of these, the slow introduction.
A slow introduction was used first in music which was intended for dance. Its use was simply to say to the assembled revellers, "Get ready. We're going to start any minute now." Later, it is sometimes omitted but right through Mozart and Haydn, up to early Beethoven, it was merely meant as an intention grabber.
(For example, listen to the first movement of Haydn's Symphony No. 104; a perfect example. When the loud and portentous bit is over, we start the exposition.)
But we're not quite there yet; we have to note that, since this is a site mainly devoted to Tchaikovsky, he wrote one of the grandest introductions ever. At the start of his first piano concerto there is a monumental introduction. Can you recall it? It's one of the most recognisable pieces of music in the world with those crashing ascending chords and the glorious tune above it. But, strictly speaking, it is part of the slow introduction. We know that because, when it's over, it will not reappear anywhere else in the concerto. But who would be without it?
Now, the exposition is where the composer shows us his material, simply meaning the melodic material (tunes) that he'll be working with. This exposition is broken down into three sections:
First subject group: This is the first group of melodic material. It's rarely one single tune, more like a few of them. But they will always be in the same key and in the same mood.
Transition: Now the composer has to form a bridge between the first subject group and what will follow. He has to move the music into a new key and a new mood, ready for the…
Second subject group: This is more likely to be a single tune (or melody, or theme) but the emphasis here will be on contrast between the new material and what has gone before. Very roughly, the first subject will be relatively fast, the second subject relatively slow and probably more lyrical.
Codetta: Literally 'a little ending' to show that we're at the end of the exposition. In earlier symphonies (Haydn, Mozart and some Beethoven, the exposition will now be repeated just to make sure you have the two contrasting 'subjects' firmly planted in your head. Tchaikovsky very rarely does this.
Now we come to the development. This will give the composer a chance to mix up the music of the first and second subjects in all sorts of ways. He may take a fragment of something in the first subject group and do some work on that, repeating it in different keys, in sequences and in different parts of the orchestra. The development is the battlefield of the movement! I may take up only a short amount of time on it here but this is the central section of the form, where most of the drama will take place. The composer will take us to a variety of keys and contrasting 'versions' of the material from the exposition.
When things have returned to some sort of normality and we hear the music return to the first subject group, we are at the…
Recapitulation: Or, simply, a recap. In other words, the composer repeats the exposition and the themes are returned to how they were in the exposition. Of course there will be modifications and differences in orchestral colour but we are speaking of essentially recognisable music from before. There will be no transition this time (or very little) because all of this will now be in the home key, so there's no need for a transition to change it.
Coda: Literally, the ending; a small section at the end to round off the music.
Now, you must understand that I'm speaking in wild generalisations here, but that was the essence of sonata form. You might like to try it out with something like Eine Kleine Nachtmusik by Mozart. It is short and simple, easy to follow and the lines are very clearly drawn between the sections. Watch out, though, because in most versions you'll hear, the whole exposition will be repeated and there is no slow introduction. We get straight into the exposition. That said, it shouldn't present any problems.
Here's a quick start guide, if you will, to everything I've said above:
Exposition:
(No slow introduction. We're straight into…)
First subject group (same mood, same key)
Second subject group (contrasting mood, different key)
Codetta
Develpoment:
(the composer plays around with what has gone before)
Recapitulation:
A shortened version of the exposition, ending in the home key, probably with a little…
Coda: just to round things off.
And finally, here's a quick analysis of the first movement of Mozart's Eine Kleine Nachtmusik. This is a very short and uncomplicated sonata structure. Just go to the link and listen while looking at this guide…
http://www.youtube.com/watch?v=CDNENgxTJuM (right click this link to open in new window)
0:00 EXPOSITION: We're straight in, with no introduction. First subject group.
0:48 TRANSITION: Moving from G major to D major (changing key)
1:04 Second subject group, a contrasting melody.
1:50 Back to the start of the piece, EXPOSITION is repeated, with the same little codetta (just a few notes.)
3:20 DEVELOPMENT: It sounds like we've gone back to the beginning again but note the change and shortening of the first subject to make it very slightly more sinister. Then the second half of that opening theme is 'developed' or changed or modified.
3:52 RECAPITULATION: Note how short that last section was – those by Tchaikovsky will be much longer! We're effectively back to the beginning. The only difference from the exposition here is that there is no need for a transition (change of key) because the rest of the music will stay in its home key of G major but don't worry if you don't notice that.
5:25 After a little tinkering with the end of the recapitulation (descending notes, quietly played on the violin) we enter the CODA to round off.
Filed under Musical Forms
Stephen Hough Interview
Stephen Hough, born in 1961, is truly a polymath. As well as being an internationally acclaimed concert pianist, he is Chair of Piano Studies at the Royal Northern College of Music in Manchester, where his is also a fellow. In addition, Stephen is an Honorary Member of the Royal Academy of Music in London.
He is a fine composer; the first performance of his cello concerto was premiered in 2007, played by its dedicate, Steven Isserlis. He has also written music for piano and a number of choral works.
Stephen is an accomplished painter and has exhibited in London. He was awarded a CBE in the 2014 New Year's list for his services to music.
At the BBC Proms in 2012 he gave performances of the complete Tchaikovsky works for piano and orchestra. Stephen has very kindly and generously given us time for an exclusive interview…
Photo: Sim Cannety-Clarke (used with permission)
Stephen, thank you so much for taking the time to be interviewed. It is a great honour for us.
I'm happy to do so, and delighted that Tchaikovsky's presence on the Internet is about to increase with your new website.
Do you recall the first piece you ever played by Tchaikovsky?
I think I tinkered around with some of The Seasons as a youngster (I remember November), but the first piece I played in public was the Dumka, still for me one of the greatest tragic piano pieces. It's as full of soul as anything written for the instrument. I didn't play and never wanted to learn the 1st concerto as a student but one day, when I was teaching it in a master class, its magic hit me and I decided to learn it (about ten years ago).
'June' always brought a tear to my eyes. When you were studying music, were you aware of a certain snobbery attached to Tchaikovsky's music among scholars and academics?
Not really. By the 1980s, many serious musicologists were writing about Tchaikovsky and Rachmaninov, and in Manchester we had David Fanning.
At the time, did you ever dismiss Tchaikovsky's music as being second rate?
Never. I love music that's intellectually tight but I also love music that speaks directly to the heart.
When you played the complete works for piano and orchestra at the BBC Proms a couple of years ago, I remember you saying something about speaking to a fellow pianist who said he would much rather play Rachmaninoff than Tchaikovsky. Can you tell us what he meant by this?
Rachmaninov was one of the greatest pianists of all time and he wrote with all of that expertise at his fingertips. But Tchaikovsky was perhaps the first composer to write a piano concerto, which he himself could not play. Musically I love playing both composers' works but Tchaikovsky does feel like playing with ten thumbs on occasion.
When I first started out as a teacher, I mercilessly destroyed a textbook whose opening line on the composer was, "The popularity of Tchaikovsky's music is out of all proportion to its artistic merit." Do you think I overreacted…?
Maybe not! There have been times, particular in the more arid years of the 20th century, when something's popularity alone was enough to make intellectuals suspicious of it (books, paintings too). It's an understandable reaction to a cheapening and commercializing of culture but it's obviously simplistic and at times completely stupid. I hope you recycled the offending pages though 🙂
I put it in a box labelled, 'Silly Things People Have Written About Tchaikovsky…!' The second movement of the second concerto is a divine inspiration, is it not? Can you account for the relative unpopularity of that concerto compared with the first? Surely it just can't be the lack opening 'big tune?'
I think there are all sorts of reasons why pieces are and are not popular. The 1st concerto was a hard act to follow but I love the 2nd concerto as much. I think the (perceived) problems with the second movement had something to do with it. The piece was heard mainly in the truncated (hacked) Siloti version until the later 20th century. I've written about this movement on my Telegraph blog and I offer a solution to the movement's structural issues on my recording. It seems that Tchaikovsky admitted that there was an issue with this movement, despite the beauty of the material, and I tried to imagine my own solution.
How much research do you do, in general, to make sure you are playing the edition of the music most closely resembling that of the composer's original score? For example, do you play the original version of that 2nd Piano Concerto's slow movement?
Every piece has a different history. Some music exists in one, perfect version (Brahms' 2nd concerto); other pieces went through many versions before reaching a final one (Rachmaninov's 1st and 4th concertos). With Tchaikovsky's 2nd there is no excuse to play the Siloti version. Not only did Tchaikovsky specifically disown it, but it turns a serious slow movement with an emotional journey into a sort of intermezzo. The lovely tune is still there but the story has changed.
Would you ever consider playing the fully completed version of the third, as prepared by Taneyev?
I listened to it and did not like the material very much. It wouldn't have fitted on our CD set … and it isn't really by Tchaikovsky. Nevertheless, it's always good that such pieces are recorded by someone.
I'm relieved to hear you say that! Does Tchaikovsky's music ever make you smile, or even laugh out loud?
Oh yes – not just the mad Troika-type pieces, but the 1st movement of the 2nd, in its sheer virtuosic outrageousness, has a comical element. The same goes for the 1st movement of the Concert Fantasia when the pianist takes over for eight minutes of cadenzas then the orchestra go back to the beginning as if to say, "OK, enough showing off! Let's start over again". There are even more places in Tchaikovsky when I find myself gently smiling. The 2nd movement of the 1st concerto is so full of childlike wonder and innocence. It has a kind of magic similar to The Nutcracker.
Is it important for you to know something about the way the composer lived his life before you start seriously studying the music?
I think it usually begins with curiosity, but with certain composers the music is so woven into their lives that it's really important to know something about what was going on outside the notes.
Did you enjoy playing the complete works for piano and orchestra?
Very much. Partly because so much of it is relatively unknown. It's quite thrilling to play excellent music by one of the most famous composers, which is unfamiliar.
It was such an honour that Stephen found the time to speak to me. His version of Tchaikovsky's Complete Works for piano and orchestra can be found here:
http://www.amazon.co.uk/Tchaikovsky-Romantic-Concerto-Concertos-Fantasia/dp/B0037TTQ4C/ref=wl_it_dp_o_pC_S_nC?ie=UTF8&colid=1IUQGIXN4TDSW&coliid=I16LYJT2ZQNJL7
Stephen touched on the problem with the slow movement of the second concerto. In this set, he gives us three versions of it; Tchaikovsky's original, Siloti's* revision, and his own solution.
The Minnesota orchestra is on fine form under Osmo Vanska, and the 2CD pack comes with an unreserved recommendation from me.
*Aleksandr Siloti: (1863-1945) sometimes spelled as Ziloti or Zhiloti was a pianist and a strong advocate of Tchaikovsky's music as well as a former pupil. Tchaikovsky would often allow Siloti to proofread and edit his music and they were good friends. But his version of the 2nd concerto's slow movement robs it of some of its finest moments. In its original version, it is like a triple concerto for piano, violin and cello. And it is beautiful.
Tagged as #houghhough, interviews. https://tchaikovskylifeandworks.wordpress.com/2014/02/06/stephen-hough-interview/, piano music by Tchaikovsky, stephen hough, tchaikovsky
Moonkyung Lee
Second Piano Concerto: G Major
Piano Concerto No 1
A Visit to the Tchaikovsky museum at Klin
Violin Concerto: Judith Harris
PARMANews on Moonkyung Lee
Second Piano Concert… on Second Piano Concerto: G …
Judith on Stephen Hough Interview
Judith on Piano Concerto No 1
Michael Paul Smith on The Tchaikovsky Problem
Just listen…
Tchaikovsky: His Life and Works Michael Paul Smith · All articles (c) Michael Paul Smith 2014


text:
Why nurse videos keep going viral (and what hospitals can learn from them)
Editor's note: This popular story from the Daily Briefing's archives was republished on Aug. 22, 2019.
Read Advisory Board's take: Why do nurse videos keep 'going viral'?
A video of Mikea Braden, a nurse technician at St. Thomas Hospital, singing "Amazing Grace" to a 71-year-old patient went viral this week after being posted on Facebook. The video has been viewed more than 24,000 times online and featured on news stations around the country—but Braden is far from alone in gaining viral acclaim for her nursing work.
Here are four ways nurses have gone viral for their extraordinary commitment to their patients.
1. 'Amazing Grace'
The video of Braden was posted by Olivia Kilburn, the granddaughter of Braden's patient, Patsy Tate. According to Kilburn, Braden had been humming a song when Kilburn's grandfather said, "I bet you know 'Amazing Grace.'"
To which Braden responded, "Yeah! I'm gonna sing it for y'all!"
In the caption for the video, Kilburn wrote that her grandmother "has been blessed with the BEST nurse tech."
2. 'The Singing Nurse'
Braden isn't the only nurse to gain internet acclaim for her musical gifts. In 2013, Jared Axen, then a registered nurse at Henry Mayo Newhall Memorial Hospital in California, similarly featured in a viral video.
After patients overheard Axen—a former child performer and classically trained vocalist—singing love songs and Broadway hits in the hallways, they began asking him to sing to them too. Soon, he was singing routinely during daily rounds and became known in the hospital as "The Singing Nurse."
3. Costumes for babies
A number of nurses also have gained recognition for their efforts to bring holiday cheer to ICUs and other sometimes-dreary spaces in the hospital.
For example, at St. Luke Hospital in Kansas City, Missouri, nurses dressed up their neonatal intensive care unit babies in a variety of costumes for Halloween, with help from volunteers and the March of Dimes.
— Saint Luke's (@saintlukeskc) October 26, 2017
Similarly, nurses from Magee-Womens Hospital in Pittsburgh hand-knit sweaters for the newborns at their hospital for an ugly Christmas sweater holiday party.
4. The patient who walked again
Bailey Murrill has a rare condition that leads her brain to act as if she's partially paralyzed. After she lost feeling in her legs at home in 2015, she ended up at UT Southwestern Medical Center in Texas. She was told there was less than a 5% chance that she'd ever walk again.
But during the stay, Murrill defied the odds—shocking and delighting her nurse. The nurse's reaction to seeing Murrill stand was filmed, and the video went viral, attracting more than 10 million views
Other viral nurses
Other viral nurses include Katherine Lockler, an RN who works at several EDs in northwest Florida. In Feb. 2018, she recorded a Facebook video that went viral, warning people of the "cesspool of funky flu" in the ED and bluntly advising them to "wash your stinking hands" to avoid spreading the virus.
In another viral Facebook post, Faye Lewis, an RN at Memorial Medical Center, posted a picture of her work badges over the years, tracing her journey from a KFC employee to an RN working on her Ph.D.
The post, which outlines Lewis' career trajectory as she pursued her nursing degree while juggling two jobs, school, and raising a child, clearly connected with many viewers. After it went viral, Lewis said, "You know it warms my heart that people can get inspired and motivated by my story" (Fox5, 2/13; Simmons, Los Angeles Times, 7/3/13; Wade, USA Today, 4/27/15).
Advisory Board's take
Anne Herleth, Senior Consultant, Nursing Executive Center
While nurses aren't the only caregivers to have their work go viral (remember the neurosurgeon who "saved" a wounded teddy bear?), nurses seem to get more than their share of viral fame.
The reason for that may be that, for many patients and families, nurses are the most visible, present member of the care team. Long after surgeons have packed up their scalpels and doctors have moved on in their rounds, nurses are still at the bedside, managing symptoms, tracking recovery, and building the sorts of meaningful relationships that sometimes give rise to a viral Facebook post or YouTube video.
"That's why it's so important to make sure we're returning the favor and taking care of nurses."
To me, this underscores just how central caregiving is to nursing. Nurses put all their energy into their patients—going above and beyond and often overlooking their own needs in the process. As a result, many nurses today report symptoms of caregiver fatigue—including stress and burn out. While nurses are incredibly resilient people, even the most resilient nurses need help bouncing back from constant caregiving and the stresses in today's care environment.
That's why it's so important to make sure we're returning the favor and taking care of nurses. One important way hospital and health system leaders can better support nurses is by addressing the 'cracks in the foundation' that can undermine their resilience. Through our research, we've identified four of the most pernicious cracks:
The rise of violence and point-of-care safety threats in health care settings;
Nurses' sense that they must make compromises in care delivery;
An overwhelming set of responsibilities that forces nurses to bounce from traumatic experiences to other care activities with no time to recover; and
New technology and responsibilities that lead nurses to feel "isolated in a crowd."
To learn more about these cracks—and what strategies you can use to fight them—download our recent infographic on the four foundational cracks that are undermining your nurses' resilience.
Get the Infographic
Then, be sure to read our full research study on how to Rebuild the Foundation for a Resilient Workforce.
Download the Study
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Current ArticleWhy nurse videos keep going viral (and what hospitals can learn from them)
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nurse-videos


Southwark Council is changing the number for housing repairs from an 0800 number, which is free to call, to an 0300 number, which can cost up to 55p per minute to call from mobiles.
They say that this will save around £65,000 a year. Council officers have also expressed that this will encourage more people to use the Council's website to report repairs.
We think that this change is unfair and will hit Southwark's most vulnerable tenants and residents the hardest.
Tenants and residents already pay for the repairs service through rents and service charges, and should not be charged twice to access such an essential council service.
The change will also create difficulty for tenants and residents who do not have access to the internet, such as the elderly and those with health complications. Having to pay to call up the repairs line will create barriers for people on pay as you go tariff who simply cannot afford the costs of waiting to have their call answered.
The average wait time for the call centre in February was was 2 minutes and 40 seconds. If a caller is charged 55p per minute to make the call, they will be paying around £1.50. The longest wait time was for 48 minutes: here the caller would be charged £26.40. This is a cost that residents simply cannot afford.
The SGTO is also concerned about the Council's drive to push residents into accessing services online more generally. Whilst most tenants and residents may not have any trouble using these online services, we are concerned that many people, particularly vulnerable people, risk being 'left behind' through not being able to access them. It is these people who rely on Council services the most who will be hit the hardest, and the change from the 0800 to the 0300 number illustrates this.
Southwark Council: Keep the freephone number for repairs so that tenants are not prohibited from getting essential repairs done!
Southwark Group of Tenants Organisations needs your help with "Southwark Council: Keep Telephone Free for Repairs". Join Southwark Group of Tenants Organisations and 99 supporters today.


Voyager 4-CD set from La La Land Records, order TODAY. Autographed.
CBS sez DSC to release in early fall.
Chris on Twitter: Which game would u like to play: 3D chess against Spock or Strategema against Data?
Special guest Cara (@Xandara) joins the show today.
We recorded just after the WoW Q&A ended, so we cover that today.
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Mike gets another character to 110 – a monk.
Could alchemy and jewelcrafting be improved if you're starting a 1? (spoiler alert: yes).
Lead Klingon done with DSC – on to other projects. His filming completed?
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How to not finish the class hall.
Wike wins WoW (ok, not really).
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Cataclysm Timewalking is this week.
When doing Vault of the Wardens, please mind the gap.
Mike's DK is now 110.
Chris on Twitter: What did u think about Scotty's engineering uniform in Trek 6?
Ren gets an accidental 110 warlock using pet battles.
Ren does Firelands for the first time.
Mike spent more time with his hunter. Which does he like better – DK or hunter?
How to get tailoring to 800 if your recipes are gray.
Pet Battles at 200% XP this week.
Love is in the Air has started.
DS9 and VOY on DVD – why do we care?
DSC: Chris Obi – T'Kuvma, the lead Klingon, Emily Coutts – Conn Officer, Maulik Pancholy.
Ren finishes up the warrior class hall.
Mike gets his DK to 100 – the easy way?
We talk about the upcoming changes to 7.2 including the Legion invasions, new rep, new artifact traits.