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November 17, 2010 · 15:07
Here's The Best Place For High Frequency Trading
If any of you oil company executives get a phone call from a financial trading firm who want to rent an oil rig, don't be surprised. A recent analysis concludes that the best place for high frequency trading in the near future probably is in the middle of the Atlantic Ocean.
"Simply owning or having sovereignty over a certain position on the Earth might turn out to be financially interesting."
Alexander Wissner-Gross
To exploit the 50-odd milliseconds it takes for information to cross the Atlantic, it turns out that the sweet spot isn't always at the stock exchange's door. The best places for extreme high-frequency trading might be an empty lot in Uzbekistan, a barge anchored miles off Chile's southern coast or on a floating device in the middle of the Atlantic Ocean, according to the analysis.
The analysis, to be discussed at High-Frequency Trading Experts Workshop 2010 organized by Golden Networking in November and December, tries to pin point the precise locations between the world's major securities exchanges for gaming at the speed of light.
In today's markets, computers search for and act on relevant information in a flash, sending orders through fiber optic cables at nearly the speed of light. By buying or selling shares split seconds ahead of the rest of the market, holding stock for mere moments and then doing it all again, high-frequency traders are turning fractions of pennies into piles of dollars, UltraHighFrecuencyTrading.com writes.
To trim the time lapse in this extreme markets, firms will even buy space for their computers as close as possible to an exchange's computers, a practice called "co-locating" that cuts data travel time, giving some traders an edge.
But to exploit the 50-odd milliseconds it takes for information to cross the Atlantic, it turns out that the sweet spot isn't always at the exchange's door. For some assets sold on more than one market, such as the New York and London stock exchanges, the money-making spot is in the middle of the Atlantic Ocean, researchers report in a paper to appear in Physical Review E.
The team figured out primo locations for performing particular trades on the world's 52 major securities exchanges.
The analysis considers the speed-of-light delay between exchanges, and characteristics of the exchanges themselves, such as volume and frequency of trades.
"'One surprising feature is that a lot of these optimal positions are in the ocean or other poorly connected areas," says study coauthor Alexander Wissner-Gross of the MIT Media Laboratory.
But some choice of spots, such as Los Angeles, are already well-connected, says coauthor and mathematician Cameron Freer of the University of Hawaii at Manoa. For trading some stocks sold on both the New York and Tokyo exchanges, the ideal location is probably already wired.
However, even for hot spots with preexisting infrastructure, it's unlikely anyone will take advantage of this money-making map anytime soon, according to computational finance expert Michael Kearns of the University of Pennsylvania in Philadelphia.
Related by The Swapper:
Hey, You HFT Bashers! Are You Ready For This?"Artificial Intelligence" To Be Implemented In HFTThe Ultimate Trading WeaponHFT Turns To Low Liquidity StocksDerivative Trading Just Keeps Getting Bigger
Survey; High Frequency Trading Makes Markets More Efficient.
English * Arabic * Chinese * Danish * French * German * Hebrew * Italian * Japanese * Norwegian * Portuguese * Russian * Spanish * Swedish * Turkish
Relativistic Trading: The speed of light isn't fast enough for some market transactions (knoxnews.com)
When The Speed Of Light Is Too Slow (kurzweilai.net)
Former-Lehman Team Returns to High-Frequency Trading at Nomura (blogs.wsj.com)
LSE hires manager to lure high-frequency flow (reuters.com)
Filed under Technology
Tagged as Artificial intelligence, Atlantic Ocean, Earth, Financial Engeneering, Financial Markets, High Frequency Trading, High-frequency trading, Hong Kong, Learning, London Stock Exchange, Michael Kearns, MIT Media Lab, Natural science, New York, Physical Review, Quantitative Finance, Science News, Speed of light, Technology, Trade, Trading software, University of Hawaii at Manoa, University of Pennsylvania
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Gorilla Radio with Chris Cook, Ramzy Baroud, Azza Rojbi April 16, 2022
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Welcome to Gorilla Radio, recorded March 16th, 2022.
Israeli forces stormed Jerusalem's Al-Aqsa mosque during Friday prayers last week. It was the culmination of attacks against Palestinians in towns, villages, and cities across the West Bank during Ramadan. Palestinian attacks within Israel since the beginning of the holy fasting month have too increased. As of writing, thirty people are dead on both sides, and it's feared this could be a prelude to a larger conflict. Mustafa Barghouti, secretary-general of the Palestinian National Initiative says the confrontations over these two weeks "could become a wide-ranging Intifada."
Last year, military raids against worshipers in Al-Aqsa escalated to an eleven day conflict that included Israel's air force bombing Gaza killing hundreds, including at least sixty-five children.
Dr. Ramzy Baroud is a journalist, author, and editor of The Palestine Chronicle at PalestineChroncile.com. His book titles include, 'My Father Was a Freedom Fighter', 'The Last Earth: A Palestinian Story', 'These Chains Will Be Broken: Palestinian Stories of Struggle and Defiance in Israeli Prisons,' and his latest, co-edited with Ilan Pappé, 'Our Vision for Liberation: Engaged Palestinian Leaders and Intellectuals Speak Out.' Ramzy's articles also appear across the internet and at his website, RamzyBaroud.net, where I found his recent piece, 'Gaza's Forthcoming Crisis Might Be Worse than Anything We Have Ever Seen.'
Ramzy Baroud in the first half.
And; April begins the eighth year of the World's most dire humanitarian disaster, the asymmetrical conflict in Yemen. There, backed by western nations, Saudi Arabia has led a coalition of wealthy Arab states in a protracted war that has cost the lives of hundreds of thousands of civilians; and threatens millions more.
Azza Rojbi is a social justice and anti-racism activist, author, and secretary of Mobilization Against War & Occupation, Vancouver's anti-war coalition. She's also with the Canada-wide #CanadaStopArmingSaudi campaign against this country's contribution to the suffering in Yemen, and works in solidarity with Latin America movements, including being a coordinator with Friends of Cuba Against the U.S. Blockade. Azza too serves on the Editorial Board of the Fire This Time Newspaper. Azza Rojbi's 2019 book, 'U.S. & Saudi War on the People of Yemen' is published by Battle of Ideas Press.
Azza Rojbi and Canada feeding the fire of war in Yemen in the second half.
But first, Ramzy Baroud and Gaza without water.
Chris Cook hosts Gorilla Radio broadcast on CFUV.ca. Check out the GR blog at: http://gorillaradioblog.blogspot.ca/
Author Chris CookPosted on April 17, 2022 April 17, 2022 Format AudioCategories NewsTags #CanadaStopArmingSaudi, Al-Aqsa, Azza Robji, Canada, Gaza, IDF, Iran, MAOW.org, Palestine, Palestine Chronicle, Ramz Baroud, Saudi Arabia, Water, West Bank, YemenLeave a comment on Gorilla Radio with Chris Cook, Ramzy Baroud, Azza Rojbi April 16, 2022

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From start-ups to established companies, everyone needs advice from time to time. Kingston Chamber of Commerce has a well established reputation for providing the best quality practical advice, guidance and support to local businesses, whatever their stage of development.
Through our network and partnerships we have access to experts in all areas of business. So whether you're a sole trader, partnership, limited company, social enterprise or community interest organisation, please do contact us if you need help or advice and we will connect you with the appropriate member or signpost you to the best place to look .
We offer a range of networking and training opportunities through our varied programme of events.


The targets included several of the 2008 Obama campaign field managers as well as the president's closest White House aides and senior officials in the Defense, State and Energy Departments, the report says.
It named several officials by title, but not by name, including "several officials involved in Russian policy, including a U.S. ambassador to Russia," said a draft version of the report, authored by Area 1 Security, a Redwood, California company founded by former NSA veterans.
I wonder if they are going to blame this global ransomware attack on Russia!


Can a CVF digital back be used on an old 1000F Hassy?
Backs have been interchangeable between the 1000F and 500C, but the flash contact is on the 1000F body and not the lens barrel.
My lenses have no shutters or flash contacts [ the whole idea of the focal plane shutter].
But you will be limited to shutter speeds of 1/25 and slower.
Maybe, also because the 1000 F has a pin that shoots out during film transport. The back needs a hole to allow this to happen. I don't think many (if any at all) will have this. So you would have to remove the back after taking one shot, wind the camera, and then reattach the back.
Thanks O.G, for your input.
Pictures of the CVF back show slots for the pin that triggers the picture number indicator and the gear that winds the film.
However you are correct. The electronic flash is synced to 1/25. I would be limited to still [very still] photography.
Inerestingly, flash bulbs are synced at all speeds but on a different contact. This probably would not work with the CVF.
What they do not show, however , is small circular hole above the slot that leaves room for the gear. Because there is no such hole on a CFV back.
So you will need to remove the back before winding the camera after very single shot.
Flash bulbs came in different flavours, have different lead times and different burn times. Some of them (the FP ones) but by no means all, would synch at all speeds.
Different contacts were used for bulbs and strobe, because the electronic flash units used today do not need a lead time. In fact, they will not work properly if given a lead time (the flash will fire before the shutter opens. No good). The CFV does not either.
Never mind, I see the hole you're talking about..... I was looking on my 500 and not the 1600.


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Pennsylvania Pressroom
Media > Game Commission Details
PA.Media.BreadCrumbs - MediaBreadCrumbs
Media > Game Commission > Details
NEW CWD-POSITIVE LEADS TO DMA 2 EXPANSION
HARRISBURG, PA - The discovery of a road-killed deer testing positive for Chronic Wasting Disease (CWD) is behind another expansion of Disease Management Area (DMA) 2 in southcentral Pennsylvania.
The deer, an adult female, was found in South Middleton Township in Cumberland County. As a result, DMA 2 is expanding east into more of Cumberland, Adams and York counties. The change will be in effect for the upcoming hunting seasons and hunters within the new DMA 2 boundaries will be required to comply with additional regulations designed to slow the spread of the disease.
Within DMAs it is unlawful to:
Remove or export any deer or elk high-risk parts (e.g., head, spinal column and spleen) from a DMA or EA.
Use or possess deer or elk urine-based attractants.
Directly or indirectly feed wild, free-ranging deer. It is already illegal to feed elk regardless of DMA location.
Rehabilitate wild, free-ranging deer or elk.
The new boundary line for DMA 2 follows Route 134 north from the Maryland line for about 4 miles to the intersection of U.S. Route 15, then follows Route 15 north for 36.4 miles, crossing Route 581 where it becomes Route 11. It then follows Route 11 for 2.4 miles to where it meets the west shore of the Susquehanna River at Front Street. The boundary follows the Susquehanna River north for about 15.1 miles to Route 22.
The change follows on the heels of a previous expansion of DMA 2 announced in April.
Besides DMA 2, DMA 4 in southeastern Pennsylvania grew in southern Lancaster County earlier this year and DMA 7 in northeastern Pennsylvania was created in response to a CWD-positive deer at a captive facility. DMA 7 is the fifth DMA formed following the detection of a CWD-positive deer within a captive facility.
Up-to-date boundaries for all DMAs, as well as maps, can be found online at https://arcg.is/1G4TLr. It's important that hunters and the general public are aware of those.
Hunters can assist in slowing the spread of CWD by harvesting deer in areas where the Game Commission wants to conduct enhanced surveillance. There are 15 CWD DMAP – or Deer Management Assistance Program – areas this fall. That's up from 10 a year ago.
"Each of these DMAP units is around a high-priority CWD detection," said Game Commission CWD Section Coordinator Andrea Korman. "We hope to increase sample numbers in these areas so that we can have a better understanding of the extent of the disease."
Hunters can purchase up to two antlerless permits per unit. They're good for taking an antlerless deer in any open deer season, anywhere within the CWD DMAP unit, though hunters must still acquire permission to hunt private property.
The units are designated by number: 3468, 3934, 4311, 4312, 4313, 4314, 4315, 4316, 4464, 4760, 4803, 4806, 4825, 4839 and 4843. Of those, units 4803, 4806, 4825, 4839, and 4843 are new this year.
Hunters can find the units by county and check for available permits at https://www.pgcapps.pa.gov/Harvest/DMAP. Permits can then be purchased at any license issuing agent or online at huntfish.pa.gov.
As of now, all CWD DMAP units still have permits remaining.
An always-fatal neurological disease caused by a misfolded protein called a prion, CWD is a threat to deer and elk. It's classified as a transmissible spongiform encephalopathy (TSE) and is similar to scrapie in sheep, mad cow disease in cattle and Creutzfeldt-Jakob disease in humans.
CWD spreads through direct animal-to-animal contact, as well as indirectly through prion-contaminated environments. CWD-infected individuals shed prions through saliva, urine and feces, and infected carcasses contribute to environmental contamination. Once in soil, CWD prions remain infectious for decades.
There is no evidence of CWD infecting humans or other species under natural conditions. However, much is still unknown about CWD, therefore the Centers for Disease Control and Prevention recommends not eating the meat of a CWD-positive deer.
The Game Commission monitors CWD by conducting road-killed deer surveillance year-round and testing samples from hunter-harvested whitetails. Hunters can have their harvested deer tested for free by dropping its head in one of the Game Commission's collection bins, the locations of which will be announced prior to hunting season.
Hunters can check those test results, and the public in general can see data on CWD distribution, prevalence and more, on the Game Commission's CWD Surveillance Dashboard at https://pgcdatacollection.pa.gov/CWDResultsLookup. It's updated weekly.
For more information about CWD or to ask questions, contact the Game Commission's CWD Hotline at 1-833-INFOCWD, email INFOCWD@pa.gov or visit https://arcg.is/1G4TLr.
MEDIA CONTACT: Travis Lau - 717-705-6541
PA.AgencyPortal.Media - MediaPageTitle


Want to give you a sense for where pricing is, right now.
We look at literally every deal that comes on the market in our target neighborhoods, and everything that looks close to working in other neighborhoods.
For us, the renovated stuff is an obvious pass. We're value-add buyers, so we focus on the most beat-up properties, the ones where there ought to be embedded value waiting to be unlocked.
But, right now, except in extremely rare instances (almost always off-market), there is no embedded value. Every deal I see on the public market is priced way, way over where I see value.
By "way, way", I mean 15-30% above the price I would pay… so not within the range where it makes sense to try to make a deal.
It's hard to understand who, exactly, is buying this stuff. It certainly shouldn't be buy-and-hold buyers… these deals are real-life 2-3% caps. Even with interest rates down somewhat over the past few months, buying 2-3% caps means little / no cashflow.
So it must be value-add buyers looking to do something like what we do. But we know the numbers, and there's no way they work paying those prices. I suspect there are loads of sponsors sitting on busted pro formas, having uncomfortable conversations with their lenders and equity partners.
The problem, from our perspective, is that we can't short projects (in other words, we can't make money betting against stupid buyers). Instead, we have to wait for enough people to get burned such that demand for beat-up properties falls, allowing prices to re-set to reasonable levels.


A highly prized species, Blue Eye have a mild flavour and moist, firm flesh with medium to large flakes. Caught in depths from 300m to 700m.
The Best of the Best, firm texture, superb taste highly sought after by chefs around Australia. Caught in depths from 40m to 100m.
A smaller cod species found on inshore reefs, with white firm flesh and a subtle fish flavour. Caught in depths 20m to 80m.
Renowned as a top restaurant fish around the world the banded rock cod has firm white flesh and a sweet fish taste with high versatility. Caught in depths 80m to 300m.
A subtle tasting moisture filled white flesh fish, made popular by several appearances on television cooking shows. Caught in depths 160m to 350m.
A multigenerational favourite, this firm white flesh fish with an almost perfect taste, the best of the snapper varieties. Caught in depths 30m to 180m.
Pink snapper offers a very versatile fillet that can be battered, crumbed or grilled and offer a crowd pleasing taste. Caught in depths 30m to 180m.
For those who want to try something different, leatherjacket provides a unique subtle flavour and robust texture. Caught in depths 40m to 400m.


Our Herbal CBD Salve is great for acute pain and soreness. It does wonders to relieve stiff joints, recoup after a long workout, or soothe arthritic pain. We soak a blend of 15 different herbs in olive & grape seed during a biodynamic cycle. This extract is then mixed with our CBD Coconut Oil, VT Beeswax, Shea & Cocoa Butters, Castor Oil and Eucalyptus.


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Yes, April 2018. This post may be long overdue, but I cannot even begin to elaborate enough on what an important and heartfelt event this was was for so many people.
To expand a little more on the idea behind the workshop, while it was very much about learning new techniques, business perspective, and meeting other floral designers, the final day of the workshop would feature a fashion show benefiting Along Comes Hope and Team Matthias, two organizations with the mission of helping children and families affected by pediatric cancer.
Susan McLeary, Amy McGee, Holly Chapple, Allison Ellis, Francoise Weeks, Gregor Lersch, and Hitomi Gilliam. Many thanks to each of you for your presence and master knowledge.
Holly Chapple, host of the workshop and "Flower Mama" as she is known by many in the industry, dreamed of utilizing Hope Flower Farm as a way to give back, to do something meaningful for a good cause. It was evident that Holly put her heart and soul into organizing this event. Our group spent the days leading up to the fashion show observing demonstrations and lessons from Holly, Gregor Lersch, Hitomi Gilliam, Francoise Weeks, Susan McLeary, and Allison Ellis. We used the techniques taught by the masters to create botanical couture to be worn by the fashion show models, who were all cancer survivors - many of whom were children that deserved, more than anything, a day to have fun and let their strength be known. It was an incredibly moving and emotional culmination.
This gathering reaffirmed what I say about flowers and what I love most about flowers, which is that there is an emotion tied to every single bouquet or bloom that is given from one person to another. From our client's point of view, they are often experiencing an overwhelming emotion - be it joy, love, or grief as we all inevitably face in life. Yet these emotions are all to be celebrated; maybe it's a love to last a lifetime, a newborn baby, or a celebration of a life that touched others. In these moments, a florist channels that emotion and turns it into something of beauty to be honored, affirming the heart. What happened at the Flora & Fauna show was a celebration of the undeniable strength of every individual who walked the runway.
Reflecting on it all, I look back to the day when I clicked 'Register' to attend this workshop with a completely different perspective. It was really not such a thing to have been nervous about in the grand scheme of life. But I guess, the moral of the story, is simply a reminder to do the things you're afraid of - because you do have the strength to do them.
I am honored & humbled to have been in attendance and want to give many thanks to Holly Chapple and Amy McGee, Along Comes Hope, Team Matthias, and Sarah Collier who captured the event with many beautiful photos.
Holly was an incredible host - heartfelt, sincere, and genuinely happy for each one of us to be there learning together.
Francoise teaching & apparently enjoying it!
Me learning & apparently enjoying it!
Cynthia Damico of Design in Bloom and myself sifting through a bucket to find the most exquisite bloom for the runway. Cynthia and I arrived at Hope Farm simultaneously, gave each other a nod and said, "I think we're in the right place!"…"Phew - made a friend!" I thought to myself.
Little one having a blast. I see a proud mom in the background capturing the moment. Bouquet by Jaclyn Millonzi of Feisty Flowers in Milwaukee.
My creations were worn by Chapel Designer Lindsey Diminick, owner of Yellow Twist Design based in Maine. Meeting Lindsey and hearing her story was such a joy. LOVE that smile.
Cathy Seeliger of Roses & Rice in East Quogue, NY made this incredible parasol. I don't know how she did it, but I love it!
Gregor Lersch makes completely unique designs, unlike anything I had ever seen before and unlike anything most people in Indiana have probably ever seen. Before the flowers were ever touched, Gregor spent hours crafting the intricate wire armature that makes the base of this bouquet.
This journal will be a way for me to share what thoughts I have that may otherwise fall in the TL;DR category with the audience/small following of a) close clients who are really interested in my business, or b) friends and family who want to better understand what I do, or c) other floral designers to relate, get to know me and get a dose of florist humor.
I'd like to get a little more personal with this audience too than I do on IG. While a huge piece of running a business is about staying on-brand, authenticity is huge for me. A couple planning their wedding has to trust their florist, and authenticity is key to building trust. Just to prove how authentic I am, I'm going to tell you that as I type I've just downed nearly one-third of a package of Oreos. They're not the name brand Oreos, though still edible, but I am never buying anything but the name brand again. Now I'm back on brands. This paragraph has actually come full circle.
Write something about flowers now, Angela!
Raise your hand if you've ever wondered what you want to be when you grow up. Keep it raised if you're still asking yourself this and you're over the age of 22. Raise it a little higher if you've started down a path without an end goal in sight, not knowing where the chosen path leads. If your hand is still up, give it a little wave — Hi, nice to meet you friend, we've got something in common. In my *first blog post* I want to introduce myself and tell you the story of how I've come to find myself in the flower world.
Warning – I'm going to talk a lot about myself in this post and I'm hyper-aware of it. I have a list of many more topics to cover that that will pertain to YOU – the brides and grooms, the vendors, and the flower lovers! That being said, if there are any topics you're particularly interested in please leave a comment. I want to know what you want to read about!
Back in my college days at Indiana University, it seemed like everyone around me knew exactly what they wanted to do after graduating. I, on the other hand, simply adhered to my family's suggestion and went for a business degree. Unlike many of my classmates at The Kelley School of Business who had dreams of investment banking, I chose business because it seemed like the practical choice, and I would have a good chance of getting a decent job post-graduation. I had always worked hard in school. Studying, completing assignments and turning in work on time came easily to me, but when it came time to look for a job, I lacked direction and passion for any one particular field. Yet having to go through re-do's in real life seemed so complicated to me, and I was deeply afraid of making a misstep.
The first job I took was at a small software company as a data analyst, and there is no better way for me to describe the angst I felt from being pent up in a cubicle than to say I simply wanted to claw my eyes out.* Reading that back in my head, I know that sounds so dramatic. And PLEASE, if you're reading this and you do work in an office or cubicle, know that I respect you and you're probably doing much better, meaningful, more important work than I ever did. It was simply the wrong habitat and line of work for me. The line from that Smashing Pumpkins song that goes "Despite all my rage I am still just a rat in a cage" repeated in my head day in and day out and I. felt. it. (I realize I may not be reaching my audience with that song reference). Putting my headphones on and blasting it did get me through some tough days though. Again, I know it all sounds dramatic, and I did debate editing out this entire paragraph to read that my first job was "not my cup of tea" but hey, to downplay it like that is just not my style.
*If any of my former colleagues happen to be reading this, you guys were GREAT, seriously! But yeah – I did hate that job.
Without a degree in fine art, and not a ton of solid work experience at the age of 24, I didn't have much success as I applied to jobs in creative industries. After some time, the family florist (Hi, Valerie!) suggested I apply to flower shops, which I had never thought of before. She was even kind enough to give me my first tutoring session on floral arranging. To this day, we love to talk flowers.
Once I started working in a flower shop, the days didn't seem to pass so slowly, the team became a second family to me, and while I initially feared the frequent social interaction with customers, it didn't take long to realize how wonderful it feels when a customer's breath is taken away by their flowers. Much of who I am today I discovered at that shop, and the people I met there helped me so much along the way. In a way, I feel like I grew up and found myself there.
As I dove into the world of weddings, I had the "eureka moment" — Wedding floral design was where my love for floral design, service, and business savvy could come together. After months of pros/cons lists, agonizing internal and external debates, and some visits with mentors at the Small Business Administration, Fleurish was born.
No longer am I left wondering how to use my business degree. My thinking has become that of a business owner – and thanks to my B-school background I've got mad skills in Excel that yes, are surprisingly useful as a florist. Since I've embarked on this small business journey, I've constantly re-evaluated my processes and workflow and will never stop looking for improvements. The creative side of my brain gets a ton of exercise looking for creative business solutions, but even more so as I challenge myself to heighten the artful quality of my floral designs. There are literally nights when I dream about color palettes and flower combinations. Since I started this venture in the fall of '17, it has blown my mind how I'm constantly learning as a small business owner, and how much I still need to learn— and I'm hungry to keep learning (like I touched on above, school was my favorite).
This path I've been on has been pretty bendy and bumpy, but it does feel like I've found a home in this business. It's been empowering to know I'm building something, growing something, with every decision I make.
When I'm not putting my mind, body and soul into this budding flower business, I spend a lot of my time out in the yard, though only when Indiana graces us with beautiful weather - I don't do cold. The garden was a big project for my husband and myself last year (I'm hoping to incorporate some homegrown blooms in this year's bouquets and I've got another blog post in the works about this!). Patrick and I love working on our home together, exploring Indy's culinary offerings, traveling, and spending time with our families; however, our most favorite thing in the world is enjoying time with our fur baby, Sadie. Teaching her to bring the frisbee back to us after she catches it has been taking up bits of free time (for the last 3 years, but I'm not giving up), and we're hopeful that she'll eventually learn how to play a proper game of fetch. I've also tried to keep up with painting classes when there's time by attending watercolor classes at the Carmel Art Education Studio. I've found that the principles of art that I've learned and practiced in these classes is 100% transferable to the world of flowers.
If you're still with me, thank you so much for listening! As I mentioned above I will keep my future posts focused on your interests – so please leave me a little insight in the comments if you've got a hot topic!


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Home > Vol 7, No 1 (2019) >	Hidayat
Implementasi Undang-Undang No. 6 Tahun 2014 Tentang Desa Terhadap Pengangkatan Dan Pemberhentian Perangkat Desa Di Kecamatan Manggelewa Kabupaten Dompu
Rahmad Hidayat, M. Ulfatul Akbar Jafar, Eni Astuti H. M. Nur
Based on Law No. 6 of 2014, village officials are appointed by the village head after consulting with the Camat on behalf of the Regent / Mayor. In this case the lifting and dismissal of the village apparatus must be in accordance with the Law and regulated by local regulations which refer to Law No. 6 of 2014 concerning villages in this case the Dompu Regency with Regional Regulation No. 2 of 2015 concerning procedures for appointment and dismissal of village officials. The aim is to determine the extent of the implementation of Law No. 6 concerning villages in upgrading and dismissing village officials and to find out what factors are inhibiting the appointment and dismissal of village officials in Manggelewa Sub-District, Dompu District.
The research method used in this study is a qualitative method with data collection techniques used in this study: interviews, observation and documentation
The results of this study indicate that the process of appointing village officials in Manggelewa Subdistrict is in accordance with the rules of both the law and regulations that refer to the law including permendagri No 67 of 2017 concerning the appointment and dismissal of village officials. Which is accommodated and implemented with the district regulation dompu No. 2 of 2015 concerning procedures for the appointment and dismissal of village officials. Which is where the Dompu district regulation takes the form of implementation and includes all terms and conditions. In terms of appointments, both general terms and administrative conditions where these conditions are the requirements points contained in Law No. 6 of 2014 concerning Villages. And the supporting factor is the existence of regency regulation dompu No. 2 of 2015 concerning procedures for the appointment and dismissal of village officials. While the inhibiting factor is the lack of resources, namely the ability of the village apparatus to implement the rules.
Implementation, Law No. 6 of 2014, Dompu, Village Devices


Survivors of institutional child sexual abuse in Ballarat have dismissed the Prime Minister's national apology in Canberra on Monday as "hollow" in the face of inconsistent reporting laws.
It took 536 pages for lawyers working for the Royal Commission into Institutional Responses to Child Sexual Abuse to summarise the extent of child abuse committed within Catholic institutions across the Ballarat diocese.
It was the first time the inquiry had focused on an entire community, and what they found was a "catastrophic failure of leadership" that put the reputation of the church before children, and caused irreparable harm for the entire community.
"I want people to be serious," said Paul Tatchell, a 59-year-old city councillor who was assaulted by the former Christian Brother, Edward Dowlan, as a teenager.
"I stood up, I paid a price for it, and I need someone out there to do the same."
Mr Tatchell was one of the first child abuse victims to successfully pursue Dowlan's criminal prosecution in the 1990s.
"I would never have told a soul, had I known that at the end of the journey we were not going to get there," he said.
Mr Tatchell said he was devastated that the Australian Catholics Bishops Conference had refused to amend its practices around the seal of confession so that information relating to child abuse was immediately reported to authorities.
"I can't save people from what happened before, any more than I can take back what happened to me," Mr Tatchell said.
"But what I can do is make sure that we have rules in place, that if something would happen again, somebody will know about it.
"Now if they can't do that, well, I've just bared my soul for 25 years, I've embarrassed myself, humiliated myself, talked about things that were incredibly personal to me, that I didn't want anyone to know, I didn't want my children to know, I didn't want my wife to know.
"I certainly didn't want 26 million other people to know. Well bugger 'em, they just slapped me in the face."
Mr Tatchell said until the Commonwealth put pressure on Catholic authorities to undergo reform, any apology rang hollow.
"Do something serious — protect people, make sure they're okay.
"Tax the crap out of them, until they come to heel."
Abuse victim Tony Wardley is opposed to the apology but said he would travel to Canberra to make his voice heard.
He was a primary student when he was abused at the notorious Christian Brothers' St Alipius Boys School.
He will be joined by another student and abuse victim from the school, Paul Auchettl.
"We're not taking away from anyone who feels they need the apology, because abuse has come from all sectors, but we've still got to get our point across, for children of the future," Mr Wardley said.
"If they think saying sorry up there is going to finish it, it's not — there's still so much to be done."
Mr Wardley said his main concern was that reporting laws requiring adults in institutions to reveal information about child abuse remained inconsistent.
"It's ad hoc, across the country, what the laws to protect children will be," he said.
"The laws haven't come in to put pressure on these institutions to really do the right job."
The Commonwealth has previously said reporting laws are largely a matter for the states, although Attorney General Christian Porter has said he favours laws that ensure the protection of children.
New South Wales and Victoria are the only states to have enacted criminal failure to report laws that require all adults with knowledge of child abuse to report it, although neither state has yet removed exemptions for priests hearing confession.
In the lead-up to the Victorian election, the Victorian Government and Opposition have both pledged to make priests mandatory reporters, and to remove any religious loopholes preventing people in religious ministry from reporting child abuse.
Before he took off for the capital, Mr Wardley returned to the Christian Brothers school where he was assaulted as a child.
There was some irony to his reasoning.
"This is the first place survivors actually felt support, and it's strengthened a lot of us," he said.
The school's fence in Ballarat East is littered with coloured ribbons and is the original site of the Loud Fence grassroots community movement, where people tie ribbons outside locations of institutional abuse in a show of support for victims.
Before his send off, Mr Wardley got a few more tied to his ute from family and friends.
"I'm just recharging my batteries," he said.


Homecomings can be deadly, especially if you're Mac Barrett.
You can't run forever…Twelve years ago, Cristan's wife was murdered. He was forced on the run to keep his infant daughter safe, but but now he fears his wife's killers have caught up with them.
I'm so excited to share the release of She Can Kill with all of you!
This wasn't how Police Chief Zane Duncan expected to spend his first Christmas with fellow officer and girlfriend Stevie Taylor. But when a local motel calls in the discovery of a dead body, the couple's holiday takes a grim turn.
County investigator Seth Harding intends to spend the holidays with his newly reconciled family, but a few days before Christmas, a homicide thwarts his plan. Seth arrives at the scene and makes a painful discovery: the victim is his brother-in-law's girlfriend. Her apartment has been ransacked and her toddler left motherless.


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Home / John Hammarley
John Hammarley
Ever since his father received the world's first two heart transplants in 1968, John Hammarley knew the worlds of journalism and medicine would be permanently intertwined in his life. And he was right.
John has focused most of his journalism career covering all aspects of medicine, winning dozens of professional awards along the way – including five EMMY® Awards, four top awards from the National Association of Medical Communicators and top national recognition from the American Heart Association, American Cancer Society and the American Academy of Dermatology. John also served as science news editor at the Journal of the American Medical Association, senior correspondent for Medical News Network in New York and served as the long-time medical reporter for FOX 4 News in Dallas. He concentrated a large portion of his work on advances in plastic surgery as well as producing video content for several plastic surgeons since leaving FOX 4 News in Dallas.
A proud Midwesterner, John grew up in Chicago, and graduated with honors from the University of California, Berkeley (A.B.) and the University of Missouri-Columbia (M.A.) He lives in Bend, OR.
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Over the weekend, a crowd exceeding 750 rallied outside Kathy Tran's now-cancelled town hall in opposition to her bill loosening restrictions through all 40 weeks of pregnancy. Pro-life leaders denounced the legislation and pledged to fight through November's elections.
On a chilly Saturday morning in Fairfax County, over 750 opponents of the bill rallied outside South County High School in Lorton, VA, while national pro-life leaders denounced the legislation.
The rally, organized as a joint effort between the Susan B. Anthony List, the Family Foundation, the Virginia Society for Human Life, the Catholic Diocese of Arlington, Students for Life, Live Action, Heritage Action, Concerned Women for America, and the March for Life, was initially scheduled as a protest to a town hall held by the abortion bill's sponsor, Delegate Kathy Tran (D-Springfield). That town hall, also featuring Senator Scott Surovell (D-Fairfax) and Senator George Barker (D-Fairfax), was cancelled by the organizers, claiming security concerns.
At the rally, pro-life leaders denounced Tran's legislation and called for a renewed energy focused on pro-life causes and elections.
Dannenfelser said the group would focus on defeating politicians who supported the legislation.
"We will begin with the Virginia legislature in the fall," she closed.
Cobb continued by saying these bills were not new ideas, and had been previously pushed by Democrats in the Virginia General Assembly, before national outrage highlighted the agenda being supported in the halls of government.
"Senator Northam voted for every bill Planned Parenthood brought him," said Cobb, who noted the governor's support of pro-choice positions existed long before Tran's bill or his comments on the radio.
"Elections have consequences for life!" the crowd chanted.
As the rally continued, speakers continued to note that Tran's bill was out of step with voters, warning that a backlash from pro-life voters was coming at the ballot box in November.
Capitalizing on the outpouring of grassroots energy was the Fairfax County Republican Committee, which set up a booth outside the rally to recruit members and distribute voter registration forms to pro-life voters drawn out by the controversy over Tran's failed legislation.
Fairfax GOP leaders vowed to get out the vote in November.
In attendance was Steve Adragna, a Republican who declared his candidacy to unseat Kathy Tran in the House of Delegates. Fairfax Republicans said they expected to nominate a candidate shortly, anticipating that others might also seek to run against Tran.
With the controversy over late term abortions not going away any time soon, leaders expected the outpouring of momentum to continue through November.
Already, many of the same groups have signed on to a citizen-organized rally in Richmond next Thursday, February 7th, from 10:00 AM to 1:00 PM outside the state capitol.
The rally's crowd was estimated in excess of 750, overflowing one corner of the intersection, leaving many to listen from across the street.
Members of the Vietnamese community rallied against Kathy Tran's abortion bill.
The Fairfax County Republican Committee set up a tent to sign up new members and register voters.
One protestor had a very strong message for Governor Ralph Northam, who supported the late term abortion bill.
Delegate Tim Hugo (R-Clifton) spoke with voters at the rally.
The rally drew many students opposed to the legislation.
Women made up the majority of protestors at the rally.
Protestors called for the resignation of lawmakers who supported the failed abortion bill.


Returning from a late summer holiday in Tuscany there is a noticeable change in the garden. Apples on the old tree are flushed red, and swaying clumps of bronze and copper-tinted pheasant's tail grass are now weighed down by fluffy seeds. Agapanthus flowers are over, leaving behind the distinctive seed-heads that I love to draw and architectural stems of Phlomis offer further challenges for my sketchbook.
In the dry and shady front garden, slender stems bearing pale, butterfly-petalled flowers of Cyclamen hederifolium have appeared as if from nowhere. Their distinctive marbled leaves will emerge later – to our delight we discovered them growing wild along the verges of country lanes in Italy.
The light is golden and the sun still warm – time to harvest seeds and buy bulbs to plant out this month. Time also for the the much needed annual clear-up, shed-tidying and perhaps to day-dream of spring?


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Parks Funeral Home
Send Flowers for Reginald
Reginald S. Cross, Sr.
June 24, 1930 ~ November 22, 2020 (age 90)
Reginald S. Cross, Sr., 90, of Moncks Corner, SC, passed away Sunday, November 22, 2020.
Funeral Services will be held Tuesday afternoon, November 24, 2020 at Parks Funeral Home Chapel at 1:30 pm. Burial will follow at Plantation Memorial Gardens. The visitation will be held at Parks Funeral Home from 12:30 pm until time of service. In lieu of flowers, memorials may be made to American Cancer Society, 269 Calhoun Street, Charleston, SC 29401 or Heartland Hospice, 1470 Tobias Gadson Blvd #203, Charleston, SC 29407.
Reginald was born on June 24, 1930 in Cross, SC, a son of Robert Newton Cross, Sr. and Florrie Bernice Sandefur Cross. He served in the US Army Signal Corps during the Korean Conflict. Reginald was a school teacher. He loved gardening, spending time with great grands and family, and enjoyed watching Nascar. He was a past Master of St. Stephen lodge.
He is survived by his 4 sons, Reginald Cross, Jr. of VA, Michael A. Cross, Samuel M. Cross, Stephen M. Cross, all of Berkeley County; 1 daughter, Elizabeth C. Sweatman of Berkeley County; 1 sister, Elizabeth C. Willis of CO; 2 stepchildren, Sydney Lewis, III and Linda Miles; 8 grandchildren; 6 great-grandchildren; 4 step-grandchildren; and 4 step great-grandchildren. Reginald is predeceased by his parents, Robert and Florrie Cross; his wife, Ann H. Cross; 3 brothers, Robert N. Cross, Jr., James F. Cross and Layton Cross.
Arrangements by PARKS FUNERAL HOME, 130 West 1st North Street, Summerville, SC 29483. www.parksfuneralhome.com
To send flowers to Reginald's family, please visit our floral store.
Please click here to view the video tribute
Parks Funeral Home Inc.
130 West First North Street
Interment following funeral service
Plantation Memorial Gardens
3315 S. Live Oak Drive
Moncks Corner, SC 29461
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Back in June 2003, I wrote a poem for Ms. Palamarek, teacher of my then five-year old son, as suggested by a class parent for sharing at the year-end party for parents and teachers.
This poem just came up in my mind in ten minutes or so, and I wasn'tsure about sharing it. I emailed it to Helen Lim, my best friend who was a lawyer in China. Helen was my roommate in the high school dormitory who had great talents in all sorts of arts - music, literature,and poetry. She checked my English and suggested some improvements, just as she used to do twenty years before, and assured me that this poem was worth sharing with others.
As I read the poem at the party, I saw tears not only in the eyes of Ms.Palamarek but also in those of other parents'. It was the first time in my life that I saw my words move people in the way it did that evening. Although I was somewhat embarrassed, I was happy that I took courage to read the poem.
Since then I have shared this poem with a couple of friends (who were teachers) that were special to me. Tonight, on the last day of the year in which Japan said a farewell to the 1947 Fundamental Law of Education which upheld education free from state control and freedom of individual minds, I would like to dedicate this poem to all teachers of Japan, and all teachers of the world.
Nothing can come between the honest and sincere exchange of kotoba between teachers and children, and nothing can hinder the nourishment of free souls by genuine and loving guidance of teachers. When teachers are free, children are free. When children are free, the world is free.
On June 26th afternoon, the workshop 'Article 9 of the Japanese Constitution: Common Treasure of the Humankind for Peace' was held at UBC or the University of British Columbia (photo by Peace Boat), sponsored by Peace Boat, Hague Appeal for Peace, VSA9, Gensuikyo , Gensuikin and Hidankyo. I shared the panel with the 6 other speakers who gave different perspectives on how the Peace Clause of the Japanese Constitution should be upheld and utilized throughout the world for the survival of the human kind and this earth. There were more than 200 people in the audience, and I was honoured to present VSA9, its people and activities at such a significant international conference. The detailed report of the event by the moderator Akira Kawasaki of Peace Boat can be found on the website of the Global Article 9 Campaign.
On June 27th evening, VSA9 hosted a party with World Peace Forum delegates from Japan at Floata Seafood Restaurant in the Chinatown in Vancouver Downtown. Our reserved space was packed with 180+ people including guests from the local peace communities and other international delegates of the Forum. One of the highlights of this event was the presentation of Kinuko Laskey's bust by Keith Shields (photo by JALISA) to the Japanese delegates, with the prospect that Kinuko's bust will find a permanent home in Hiroshima. Kinuko was a Hiroshima A-Bomb survivor who married Canadian David Laskey, and dedicated the last 20+ years of her life educating people throughout North America about the horrors of nuclear bombs. She passed away in 2004, and David Laskey (far right in the photo), who always supported Kinuko's peace activities, has succeeded her cause.
On the last day of the Peace Forum, Peace Boat came to Vancouver with its one thousand passengers and hosted a series of events for the Forum. I participated in the noontime program 'Travelling the World, Changing the World - People to People Diplomacy onboard Peace Boat' with speakers including Peace Boat's founder Tatsuya Yoshioka and Hague Appeal for Peace's Cora Weiss. What stood out for me in those speeches were Yoshioka's comment about ships as effective vehicle for connecting people and Weiss's stress on education and the role of women for creating world peace.
The World Peace Forum concluded with Vancouver Appeal for Peace, which included a recommendation for constitutional renunciation of war with Japan's Article 9 as an example. In the photo is the performance by the young passengers of Peace Boat at the Forum's Closing Ceremony in front of Vancouver Art Gallery, which was followed by an evening peace walk from the Gallery to Canada Place where the very last event of the Forum was held - 'Bon Voyage' to Peace Boat.
Here is a picture from the VSA9 picnic that celebrated the World Peace Forum success, at the Spanish Banks Beach in Vancouver. This is a perfect picture of peace - people of all ages being safe and happy, smiling, enjoying food and beautiful environment.
We must create a world where this is a reality for all people.
My heartfelt thanks to all that shared the incredible experiences of the Peace Forum.
On Sunday June 25th evening, VSA9 produced a public reading of The Face of Jizo, or Chichi to Kuraseba, written by Hisashi Inoue and translated by Roger Pulvers. The event was sponsored by World Peace Forum, Komatsu-za (Inoue's theatre group), and Hidankyo or Japan Confederation of A- and H- Bomb Sufferers Organizations. The performance was presented as part of the World Peace Forum Arts and Culture Programs at Roundhouse Community Centre in Yaletown, Vancouver.
The play is about a young woman who is overwhelmed by her guilt of having survive d the Hiroshima A-Bomb in 1945, and her dead father who appears in front of her three years later to be a supporter of her new romance. Tama Copithorne, one of the founding members of VSA9 brought the script to me earlier this year and I decided to produce a reading in Vancouver as part of the World Peace Forum. I was fortunate to have Manami Hara and Hiro Kanagawa (see photo above by Makoto Nishimura), Vancouver's own actors read the daughter's and the father's parts, respectively. Toyoshi Yoshihara, a play-script translator who has made great contributions to the theatrical exchange between Canada and Japan, and also one of the founding members of VSA9, was an advisor for this reading.
Four delegates from Hidankyo, the organization of hibakusha, or A-bomb survivors, brought 40 panels of The A-Bomb and Humanity donated by Ishikawa Co-op, and VSA9 volunteers displayed the panels outside of the Roundhouse Theatre for the visitors to see before and after the play reading (see the picture above taken by JALISA, or Japanese Lawyers International Solidarity Association, whose delegates were at the event.) These panels were created to tell the world about the the horrors of nuclear weapons and the reality of the people's long suffering after the Hiroshima and Nagasaki A-bombs.
At the end of the reading, Mr. Nobuo Miyake, one of the four hibakusha (A-bomb sufferer) delegates from Hidankyo, told the audience of over one hundred people about his experience of Hiroshima A-Bomb (photo by Makoto Nishimura). His testimony and the presence of the three other hibakusha delegates (Mr. Mikiso Iwasa, Ms. Reiko Ono, and Mr. Shigeru Terasawa) in the audience gave a special meaning and depth to the event. Although I had visited Hiroshima and Nagasaki before, I had never met hibakusha people before the Peace Forum, so it was a real honour for me to be able to meet them and hear their experience firsthand.
Mitsue, the daughter in the Face of Jizo, could not rescue Takezo, her father who was trapped in the debris of their collapsed house and had to run from the fire, leaving Takezo behind. The next day she came back to the burnt site to pick up her father's bones. Thousands of people had that very experience at Hiroshima and Nagasaki 61 years ago, including one of the hibakusha delegates, Mr. Iwasa who had to leave his mother.
I could not even start to imagine what it would be like if I were in that situation. I become totally speechless just by thinking about it. At one point during the preparation of this event, I was overwhelmed and wondered if I should be doing this at all. One night I was meditating and felt like I was touched by the souls of those who died in Hiroshima and Nagasaki. By the next morning I had no more fear. I could accept that I knew nothing but I could still tell people about Hiroshima/Nagasaki in my best capacity. I felt as if all the spirits of Hiroshima and Nagasaki were there with us at the reading.
The World Peace Forum held here in Vancouver from June 23 to 28 thisyear (2006) a place for learningand sharing for those 8,000 participants from Vancouver and around theworld who are determined to help this world become a more peace andsustainable place. The first photo (right) is the Opening Ceremony at the Orpheum Theatre on June 23rd. I had the privilege of organizing and participating in many events of the Forum as a member of VSA9, or Vancouver Save Article 9, an organization that started in May 2005 for preserving and promoting the Article 9 of the Japanese Constitution, which renounces war and prohibits maintenance of armed forces.
The big Peace Walk was held on the following day, Saturday June 24th with more than 10,000 people in Downtown Vancouver. The March started at Waterfront and Seaforth Peace Park at the south end of Burrard Bridge where I joined the crowd, and gathered at Sunset Beach at the end. The whole Forum period was blessed with sunny weather (it does not happen so frequently in Vancouver) and the day of the Walk was at its peak, with 30+ C degrees with no crowds. VSA9 set up a table to collect signatures for the petition campaign to ask the Japanese government to keep the Article 9 whose mission for the survival of this world is gaining more and more international recognition.
These are my thoughts on the new Fundamental Law of Education of Japan.
I am a Japanese citizen living in Vancouver, Canada. I work in the field of adult education and I am a mother of two children who have adual citizenship of Canadian and Japanese.
First of all I would like to express my appreciation for the work that you are doing for the citizens of Japan.
I believe the bill for the new Fundamental Law of Education has many positive aspects such as the inclusion and stress on the life-long education, home-based education, and early childhood education. I would like to pay my sincere respect with the belief that this bill was developed with earnest consideration of the future of the Japanese education.
I have two requests of you as a voter for the Japanese government, as amother of children who have been educated in the international society,and as an educator working in a multicultural community.
My first request is about the procedure. I would like all the Membersof Parliaments to take more time in discussing such an important issueso that the final decision would truly represents people's opinions. The discussion should be done for the welfare of children, not for thepurpose of passing the new law within the current Diet session. Please reflect on the experience of the 'Town Meetings' that did not function well, and take alternative measures to elicit people's opinions in ways that can restore people's trust in the government. Alternatively, please have all the voters make a decision through the upcoming election forthe House of Councillors next year.
My second request is about the content of the proposed new law. I would like the new law to pay more attention to diversity. It is not only those who have Japanese citizenship that receive education in Japan. Even those with Japanese citizenship have diverse cultural backgrounds and value systems. If we go back to Japan my children will receive education in Japan, as students who have Japanese as parents and Canadaas their native land. I would like to see all children in Japan given equal opportunities for education regardless of their nationality or cultural background. I would like you to add 'nationality' and'cultural background' to the grounds that cannot be used for discriminationin the Article 4 (Equal Opportunities of Education) of the proposed new law.
The proposed new law also have many notions that individuals can interpret differently, such as 'tradition(dento),' 'culture(bunka),''my-country (waga-kuni),' 'native land(kyodo),' 'love(ai),' 'moral mind(dotoku-shin),' and 'general education (kyoyo) related to religions.' I believe these are all important aspects of education, but these notions must be combined with the guarantee of respect for diversity. All cultures need to be respected - traditions of Niigata Prefecture, culture of Naha City, cultures of big cities like Tokyo and Osaka, cultures of cities like Moscow and Vancouver, and original cultures andtraditions of those who were born outside of Japan. One person can have multiple 'my-countries' and 'native lands.' One can love and respect not just one's country but also one's city or town, a bigger region likeAsia, the earth, and the world. Only when a specific statement is made in the Preamble and the Article 2 (Purpose of Education) to guarantee such diversity of values, I will be able to support the new FundamentalLaw of Education.
I am sure that people have diverse opinions of what education should beitself, and it must be an extremely challenging task to agree on an educational philosophy of a nation. I would like to thank you and all the Members of Parliament again for working hard for us citizens.
Now it is the holiday time and things are quieter, I would like to look back on some of my activities this year that I have not had a chance to write about yet.
One was my visit to Yasukuni Shrine on August 15th, on the morning when then Prime Minister Koizumi paid a visit to the controversial shrine on the 61st anniversary of Japan's defeat in the WWII. Mr. Koizumi had pledged to visit the shrine on August 15th and finally went ahead with the plan at the end of his 5-year service as Prime Minister. I took this first picture in the huge crowd of people who gathered to witness Mr. Koizumi's visit. Unlike myself who was not necessarily there to support the visit, most of the people around me were cheering and applauding when Mr. Koizumi appeared in front of the main shrine. The people who gathered there seemed to be mostly men in their 20s to 50s. There were very few women. I was then naively expecting that there would be some protesting there, but I saw or heard none. The scene was all one of approval and praise.
What I also noticed were the signs put up by the shrine at several locations throughout the premises. According to this sign, the shrine bans the distribution of flyers, demonstrative and organizational activities with flags and banners. There were clearly double standards - only the political activities and banners that were acceptable to the Shrine were allowed. I later learnt that Yasukuni would not allow any protestor activities on or outside the shrine, and they would use force to drive them out if any approached. During Mr. Koizumi's visit, the protestors were all elsewhere, in places like Ginza, demonstrating against the Prime Minister's visit to the shrine that was harshly criticized by China and Korea as the shrine glorified the war of invasion by Japan and regarded the war-dead, including war criminals, as eirei, or heroic souls.
The day before this visit, I went to see the film 'Annyong Sayonara,' co-directed by young Korean and Japanese filmmakers Kim Tae-iI and Kumiko Kato. Yasukuni Shrine was the central issue of the film, and there was a scene where a female protestor was hit by a man who seemed to be a security guard at the shrine. It was the first time in a long time that I actually saw a man hitting a woman even on a screen, so I was quite scared. This is why for my own safety, I remained silent and observant the whole time I was at the shrine the next morning.
(現在審議中の教育基本法案について、参議院教育基本法特別委員会の議員の方たちにファクス・メールで送っている手紙です。) This is a letter that I have sent to the House of Councillors' Special Committee on the Foudamental Law of Education.
I was in Maui from November 16 to 20th, 2006 to attend a workshop called 'Self-Identity Ho'oponopono,' founded by MORRNAH NĀLAMAKŪ SIMEONA (1913 - 1992) and taught by Dr. IHALEAKALĀ HEW LEN. I wanted to find some answers for my quest for peace within myself, my family and the world.
No words can adequately express what I have experienced and learnt there, so I just give the link to the website http://hooponopono.org/ and let these photos speak for the beauty of Maui - the Arts and Culture Center where the workshop was held, the beautiful flowers of Maui that comforted me during the three-hour drive on the narrow and winding road to Hana.
and the only day off that I had at the end of my trip. Right after I passed Hana, I stopped by at a breathtakingly beautiful yet solemn beach with my son's name - Koki Beach. Naturally I was Mother, and this beach was Child. I sat there, read, meditated, and slept. It was one of the most relaxing and spiritual times of my life.


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Lifetime Achievement Award Interview
Willows Golf & Country Club, Saskatoon
Saskatchewan Recording Industry Association
Presenter: When you're an artist like Joni Mitchell, you exemplify what you have to do to really make your mark in the entertainment business. There are a million imitators out there. When you can come up with something that is so unique, that a radio announcer doesn't have to say who the record is by, people know it's a Joni Mitchell tune. The way she writes, the way she sings, everything that she does is Joni Mitchell. Nobody else out there does it that way.
I think that's all I've really got to say: something unique. We're so proud that she comes from our province, and we're even prouder that she chose to come back with us this weekend and spend a little time. The award we're about to give her, you spend...(turns to Joni) I don't know how many years you've been in the business, I don't know if you even want to talk about that... at least I don't, I don't.
Actually, before we just carry on with this, we were talking about some of the people that had really made it in the business from Saskatchewan, and, you didn't fool me about the country, guys. Do you realize that Canada's first television star was a guy that came out of Swift Current, Saskatchewan named King Ganam? Wore the rhinestone suits, when he used to dance around on the stage the women would go nuts! It's been a long time since women went nuts over a fiddle player.
But the bottom line is that if you really work hard at it, and if you really go out there and make your mark and become a mega mega superstar, we'll bring ya back to Saskatoon and give you a glass dish.
This of course incorporates the Saskatchewan Recording Industry Association logo, and it's our Lifetime Achievement Award...and I couldn't think of a better person to present it to than Joni Mitchell. (applause)
Joni: It's beautiful.
I'm gonna play you one. So, this is the latest song, this is the last song I've written. I sat out on the land in British Columbia. I've got 9 songs in the can ready for the next album, I needed the 10th one. And, I have a caretaker who looks after my land up there when I'm not there, and he had said to me, sucking on his pipe, that he -- I'm nocturnal you know, I keep vampire's hours -- and he suggested to me that I'm quite cheerful in the daytime but when I sit up and write my music at night it comes out all melancholy and he sucked on his pipe and suggested that I write more in the daylight.
So I sat out on a rock and I... I play in open tunings, and they're raga-ish, in that I tune to the environment. So I tuned to the environment that particular day, to the Canada geese and the duck mating calls, and I came up with a tuning which is the broadest one that I have. It's got a B flat on the bottom for you musicians out here and I think an E flat on the top, so it's fairly wide as guitars go.
That was the tonality of that particular day at that particular place. The chord progression is not too melancholy, it's not exactly major, major, major, major but it's a - I'll play the thing. It sat around for about two weeks with no lyrics on it and I made a terrible mistake one day, when I was buying my groceries at the local market I bought a newspaper. Wrong!
And there was a front page story that came out of Dublin, about a scandal which ended in 1970. It was a kind of a Dickens story. In Ireland, between the beginning of the last century and 1970, women who were considered amoral, or immoral, were sentenced to drudgery in a syndicated laundry chain called the Magdalene Laundries.
The laundries had been closed (in) all of Ireland in 1970, but in just this year the order "Our Sisters of the Lady of Charity" had sold 11-1/2 acres to a real estate developer. And in plowing, in getting ready to develop the land, they unearthed 130 women's bodies in unmarked graves, which raised the scandal level in the country up to a kind of a roar again. And the touching thing about it was, to me, was that unmarried women in some very very moralistic parishes could be sentenced to a life of payless drudgery under Dickens-like conditions for life, simply because they were unmarried and the men were looking at them.
So I took these nice changes, and I put this rather tragic text to it, in the daylight. It could have been quite a cheery song, ya know?
I apologize for my voice, I was up late last night being rowdy.
[Joni performs Magdalene Laundries]
Joni: Oh, the drama!
Interviewer: Well I guess the first thing I'd like to say is, I'd like you to pinch me 'cause I can't believe I'm doing this. It's a real pleasure to have you come home again.
Joni: It's been so fun. Really. Thank you everybody, really. We had a good time last night. We discovered where the dart boards are, and the pinball machines.
Q: Well, what we're gonna' do here is have a conversation like we would around the kitchen table, I guess, you know?
Joni: That's good, yeah.
Q: I guess where I'd like to start is places like Creelman and Maidstone, Saskatchewan, and North Battleford. Back then in those days of great interest to a lot of people in Saskatchewan and around the world, kind of what influence, of that influence, do you…?
Joni: Oh yeah, the prairie is, ah… Well, the sky! Maureen and I talked about it. She's an English immigrant, and coming from northwestern England, she felt exposed here initially. She'd come from the enclosure of the water and the embrace of the mountains to this terrifically flat place. But, having come up here and knowing this first, other places seem initially enclosing. It's like the reversal, you know? And, I think of how the sky here influenced us. I remember playing in Regina, I was in a duo then with my first husband – like Elizabeth Taylor of rock, here! – Chuck Mitchell. And we were playing a concert there when it began to rain really heavily, and it was a one story building, and…we were playing quite nicely I do believe. But the whole audience got out and went to look at the rain, so how could we compete with that? Everybody was looking at the sky and saying "Oh gee, It's not a good time of the year for the crops…" and, you know!
Q: Was that - the sky and the landscape and that - was that part of the inspiration that pulled you to art? To interpret it? Or…
Joni: Actually it was Walt Disney, I think. It was Bambi. Yeah. I went to see Bambi and I don't know how old I was, but it horrified me that his mother died. And I came home and I painted forest fires for days. Just, it traumatized me, and I had to paint these fires, it was like, horrific. That was, I think, the beginning, wouldn't you say mom? Like, of compulsive drawing? Yeah.
Q: Were you nocturnal then, also?
Joni: Yeah. It just got worse. But I guess I was pretty much born that way. I missed a lot of morning school. By the time I got to art school, I missed nearly every morning. And then it just got worse and worse. Or better and better.
But then I'd just get for thinking, and I was under siege. In Los Angeles, we'd all draw down lunatics on ourselves and I had one, particularly. One or two at the same time, but one particularly aggressive one. So I became the night watchman. Even though I lived under armed guard for several years, he lived in the bushes next to the place. And when the guard changed, because there were no protection laws at that time – this was prior to, there wasn't stalking laws. So I pretty much listened for every twig snap for a long time, and that accelerated my nocturnalness.
Q: So raccoons must have haunted you then, eh?
Joni: Well the worst was, one night, my bedroom at that time was on the ground floor. And you know, LA being the natural disaster capital of the world, something is always falling. You know, trees are falling and floods are coming, mud is sliding and fires are raging. This was the year of a great flood and part of my yard had exploded and dumped itself on my neighbor's roof below. And, so there was a gap in the wall around the house, and there's a lot of wildlife up in the hills. Because these small towns have grown together and there are cougars and coyotes and deer in there. And, I was lying in bed and I heard a rustling in the bushes outside the window, and I laid real alert for a long time until I was kind of fight or flight, you know, and I thought that's it, I've had it with this guy! And I lunged towards the window and threw back the curtains and there stood three deer eating my rose bushes!
Q: When you were painting back then were you always working with watercolor, or did you…?
Joni: No, I don't really work in watercolor, I worked in oils. People think - the only watercolor was the Court and Spark cover - that's watercolor and ink. But everything else is gouache, or oils, or acrylics sometimes too. When I started to work abstract there I worked with acrylic because it was a thicker material for the texture, I needed it.
Q: Have you ever sculpted at all, or…?
Joni: I'm so into color. Not that you couldn't apply color to sculpture, but no, I haven't really ventured into that.
Q: Okay. I guess the thing that I would like to focus on a little bit is, maybe the pursuit of…of truth through art. Do you believe that really good art has hidden truths in it that maybe become self-evident, through the exhibition of it?
Joni: Truth and beauty is kind of the essence of the pursuit, I think. Although, falsehood and ugliness is giving it a good run right now.
Q: I was going to say, don't look at me when you say that. Joni: Oh no! Nothing personal! If the shoe fits…
Q: Well, who were your musical inspirations, did you listen to the radio at night, while you were painting?
Joni: Yeah, as a kid I used to take it under the covers, and turn it down. The Saskatoon stations would shut down about 12 or something. There was one really strong Texas station that would wave in and out, and you know, between 1 and 3 in the morning. That's why I was always, like, kind of dopey in Mr. Hinitt's class, forgive me Bob! But you know, there would be, you could hear the hit parade 4 months in advance and things, so it'd give you an air of a clairvoyant.
Q: A musical visionary. So were there favorites at all, Joni, that uh…?
Joni: Yeah. The first record that I had to have, absolutely had to have, was a classical piece of music. At that time we were living in North Battleford, and my best friend was a musical protégé, Frankie McKitrick. He…his feet could barely reach the pedals of the church organ but he could play the thing. And we had gone to a movie. Kirk Douglas was in it. I remember very little about the movie. It was called "The Story of Three Loves" and the theme was Rachmaninoff's "Variations on a Theme" by Paganini. Beautiful melody. I had to have that record. And at that time, you could go down and you could go into a listening booth and play. I used to go down and listen to it in the booth, and finally acquired it. So that was my first piece of inspirational music.
The second thing I heard, I was at a birthday party for a little girl named Helen Lafreniere, who lived in a tin shack on the outskirts of town. Her mother was a single parent and not well, there was something, I don't know what she had but she had red around the rims of her eyes. And that birthday party was the first cake-mix cake I had ever had. I came back raving. My mother was horrified, with her make-it-from-scratch methods, you know. It was pink icing, it was all pink! And, while we were sitting around in this little shanty having this birthday party - Lafreniere was her name - the French station was on in the kitchen, and I heard Edith Piaf for the first time: "Trois Cloches." Correct me, Bob, how do you say that?
Bob: Trois Cloches
Joni: Ah, not bad! And, oh, all the hair on my arms stood up. When she, her voice comes boiling up from the bottom of this men's choir. That was the second piece of influential music I would say.
Then, rock and roll was born, and Chuck Berry. And, at that point, I was about twelve I think…Karen, we were 7th grade when that hit? 7th or 8th? And, rock and roll dancing became an obsession. And, so I went from listening and musical raptures and melody to really active rhythm, for most of my teens.
Q: When you started out, I think you started on, was it bass ukulele?
Joni: Baritone ukulele.
Q: Baritone ukulele.
Joni: 36 dollars. I couldn't afford a guitar.
Q: Did you buy it?
Joni: Mm-hmm.
Q: Oh great! Did you get it at the army and navy, or?
Joni: No. No, I got it at – oh, what was his name, the jazz musician?
From Audience: Gordie Brandt.
Joni: Gordie Brandt's. Yeah, I got it at Gordie's.
Q: Ah. Fine tradition in this community with that name there.
Q: A lot of musical inspiration. Did you teach yourself, or did you get a book, or…?
Joni: I got Pete Seeger "How to Play Folk Style Guitar," and I tried to teach myself from that "cotton-picking." I couldn't get my thumb to go like that. It always had a mind of its own, and I developed kind of a version of that, but…
Also in high school, I got introduced to Miles Davis. Brian Anderson had me paint - he and some of the boys that I danced with went to New York and came back all dressed up like beatniks, you know, sandals and berets and striped t-shirts - and he wanted a mural of a jazz trio on his bedroom wall. And he paid me in jazz records. So that began to leak in. And Lambert, Hendricks and Ross, somebody gave me that I think for doing the Unicef Christmas card. So, I was bartering art for jazz, in my teens.
Q: Well, when you were doing that, did you ever tell Pete Seeger thanks for teaching me how to play…
Joni: Yeah. Yeah, I've met Pete, and yeah.
Q: Oh that's great.
Joni: For trying to teach me!
Q: So the next step then brought you into kind of a folk genre, I guess.
Joni: Yeah. I started off as a folk singer. It was easy, you know, within six months I was a professional, well… And in art school there was a folk campus organization just for fun, and I ended up traveling to Edmonton there, and picking up a little pin money on the weekends. It wasn't 'til I crossed the border that my own music began to come in, and it was no longer folk music, but it was steeped in all different kinds of music, kind of funneling out classical and jazz, and then it began to change.
Q: When was it that you discovered that basically your unique tunings, or was it your ear that brought you to those tunings, or did somebody else tutor you, or…?
Joni: Well there were certain tunings that were kicked around, you know. The Wyans had the slot key tradition. That was mainly major chords. And the old black blues, Robert Johnson, playing those cheap apple crates that they had. To make them musical, they developed certain…Open G, which Keith Richards plays in pretty much exclusively. Open C was known. There was a D Modal. Buffy St. Marie had a couple of tunings of her own. Eric Anderson showed me - well D Modal - that was just kicking around everywhere - but Eric showed me Open G tuning. And then I began to tune to the chords that I heard in my head, which were more like my favorite pocket of Miles. It began…it was my interpretation once again of a pocket of music, but it really wasn't the same harmony. It had elements of country harmony, hybrid with jazz harmony, hybrid with classical architecture; and you know, it was different. Didn't belong to a tradition, really.
Q: I'm gonna' ask a long question so you can light that.
Joni: Oh okay!
Q: Okay so we find you now down in maybe the north, northeastern states, I guess it would be mid-sixties or so. Did you run into Buffy St. Marie at that time?
Joni: Yes.
Q: And was she very actively aware of her Saskatchewan roots at that time?
Joni: No. Not at that time. She used to play at the Chessmate in Detroit and that was kind of like – Chuck Mitchell and I were the resident artists there, so we played there quite regularly. And whenever Buffy played I went down. She and Tom Rush were the first artists to begin to sing my songs, and carry them around, which enabled…it opened up my club circuit. It was hard to get in there without a record deal, and being an unknown. But where they went, my songs went. Initially it was "Circle Game" and I think Buffy did "Song to a Seagull" and, so the songs began to travel and they paved the way for club work on the eastern seaboard, primarily.
Q: So, when a song, some of the songs started to get a life of their own, go out there, and you would go out to perform, and people would start singing along with you and stuff like that…Did that really give you a perspective on what good music and poetry could do to kind of enhance the human spirit?
Joni: Ah. I don't know exactly when I began to take it seriously. It was kind of just a lark, initially. I think it was when… I think it… Well, a lot I owe to Kratzmann. I think he made me take it seriously in the 7th grade in a certain way, but then I forgot about that. But once you began to record and then the work really began to travel internationally, you realize that you had a public voice, or I did. And I felt a responsibility to that.
And I'm a double Scorpio; we are very secretive by nature. It was a peculiar transition to become a kind of a public confessor. But something that Kratzmann said - which I later discovered to be an idea "Thus Spake Zarathustra," the German philosopher Nietzsche - he told me in the 7th grade to "write in my own blood."
Which is basically what Zarathustra says, having completely slandered the poets, rips them to shreds, you know. Like, in the last statement he says, I see a new type of poet and he's a penitent of spirit. And he writes in his own blood. So basically Nietzsche's feeling at the turn of the century was that poetry was basically adulterated with chimeras, and a lot of… "They muddy their waters that they might appear deep," was one of the things he said. Some pretty funny stuff! I've looked among them for an honest man and all I've dredged up are old god's heads.
So it's pretty scathing and the poets at the time really objected to it, but I've found it rang incredibly true. And that the duty of the poet in this latter part of the century was the illumination of the spirit. And although it was the antithesis of the pop posture, I was going to have to do it in the pop arena.
This article has been viewed 1,700 times since being added on December 30, 2017.
Comments on Lifetime Achievement Award Interview


text:
Q: how to call def from another .py in different folder I have following structure:
utils_dir has generator.py file which has 3 defs.
I have test.py in inline_dir. And I am trying to use defs from generator.py in test.py.
inline_dir and utils_dir are in different folders.
How can I achieve it to use defs?
Tried with creating _init_.py and then calling import generator. - Not worked.
Tried from utils import generator - Not worked
Dir structure

Support_dir
├── dir_A
│   ├── dir_aa
│   └──----- main.py   [Want to use a and b from generator.py]
└── utils
    |
    └── generator.py
             |
             |___ def a
             |___ def b

A: It sounds like you're trying to execute a .py file in a subdirectory.
Assuming the following directory structure:
.
├── inline
│   ├── __init__.py
│   └── main.py
└── utils
    ├── __init__.py
    └── generator.py

And your main.py containing a simple import like (the function a() being defined in generator.py):
from utils.generator import a

if __name__ == '__main__':
    a()

And generator.py would look something like this:
def a():
    print "hi there"

You won't be able to run your program using python inline/main.py because this will set the module search path to inline/
If you want to execute a file in a subdirectory while importing from your project-level, you could do the following:
PYTHONPATH=. python inline/main.py

UPDATE: Added example generator.py

A: This is a kind of a python path problem. When you import, python will search current directory and default system path directory. Since utils_dir is not your current work directory (when import, you work in inline_dir), nor in default python search system path, that is why the import not work.
A simple way to solve is
a). First make utils_dir as python package: simply add init.py in the directory.
b). Then, add path of parent folder of utils_dir to PYTHONPATH environment variable.
export PYTHONPATH=/home/user/parent_of_utils_dir:$PYTHONPATH

You can add this line into your .bashrc to make it available all the time.
c). In your test.py, import the function
from utils import generator

or
import utils.generator

A more python development way is to use setuptools, and write python script setup.py, which will solve dependency problem. And then you can use
python setup.py develop

to use in develop mode.
Check more python package development guide at https://packaging.python.org/
Hope this will help you.

redpajama_set_name: RedPajamaStackExchange


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And to top it all, there is the 'hong bao', the traditional red envelope that everyone receives from their employer and children from their parents with cash money inside, which plasters an even bigger grin to the faces of China's population.


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Market Watch Southern Advantage
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Woodbury, MN
Pezzo Points
Coal-Fired Pizza
Baking and Reheat
Gluten Friendly
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The roots of New York style pizza go all the way back to the Greek and Roman empires, where fire-cooked flatbreads were topped with oil, cheese, and herbs. Then, in the 1800s, Italian immigrants brought the style we know and love today to America.
Gennaro Lombardi founded a grocery store in New York's Little Italy neighborhood in 1897. In 1905, employee Antonio Totonno Pero began making pizzas. The simple pies, topped with tomato sauce and a sprinkling of Romano cheese, sold for five cents each. But many of his customers couldn't afford a whole pie. So, Lombardi's began selling smaller portions of pizza corresponding to the price each customer could afford to pay — and thus the New York slice was born.
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