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Q: pywikibot: how to handle user-config.py owned by someone else? I am probably using pywikibot in ways that were beyond the ways the project was intended.  I want several users to use the same user-config.py. Unfortunately this gives me this error:

WARNING: Skipped '...pywikibot/user-config.py': owned by someone else.

My current solution is to just comment some of this code at pywikibot/config2.py:
    _filestatus = os.stat(_filename)
    _filemode = _filestatus[0]
    _fileuid = _filestatus[4]
    if sys.platform == 'win32' or _fileuid in [os.getuid(), 0]:
        if sys.platform == 'win32' or _filemode & 0o02 == 0:
            with open(_filename, 'rb') as f:
                exec(compile(f.read(), _filename, 'exec'), _uc)
        else:
            print("WARNING: Skipped '%(fn)s': writeable by others."
                  % {'fn': _filename})
    else:
        print("WARNING: Skipped '%(fn)s': owned by someone else."
              % {'fn': _filename})

I.e. I'm only keeping this part:
    with open(_filename, 'rb') as f:
        exec(compile(f.read(), _filename, 'exec'), _uc)

It's really not a great way to handle this. So I'm curious, is there a better way?
Better: things won't break here if I (or someone else in the future) upgrades Pywikibot.
(Creating an issue in the Pywikibot bug tracker could be a good way to start work towards a more sustainable solution but the project is so spread out I can't really figure out where to do that.)

A: I found this thread when trying to debug this same issue. I'm using WSL and ended up using OP's workaround (commenting out those lines of code) but additionally had to comment one more line of code:
def file_mode_checker(filename, mode=0o600):
    """Check file mode and update it, if needed.

    @param filename: filename path
    @type filename: basestring
    @param mode: requested file mode
    @type mode: int

    """
    warn_str = 'File {0} had {1:o} mode; converted to {2:o} mode.'
    st_mode = os.stat(filename).st_mode
    if stat.S_ISREG(st_mode) and (st_mode - stat.S_IFREG != mode):
        # the following is the line I commented:
        # os.chmod(filename, mode)
        # re-read and check changes
        if os.stat(filename).st_mode != st_mode:
            warn(warn_str.format(filename, st_mode - stat.S_IFREG, mode))

The above is from __init__.py in pywikibot/tools. I haven't updated PWB in a couple years so not sure how much it's changed since, but hopefully this is relevant to someone (or at least it will be useful to me whenever I upgrade PWB lol).
The issue in WSL specifically is that I'm unable to chown to myself so afaik the only other option is to do everything as root, and I guess I'd rather comment this code than be root for everything.

Update - I wrote an entire blog post about making PWB work in WSL 1 if anyone else is interested in doing this

A: change the read/write permission to read-only with:
chmod 600 user-config.py

redpajama_set_name: RedPajamaStackExchange


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Speaking Up for the Voiceless
Massachusetts Attorney General Maura Healey tells a Tufts audience how she is pushing back on efforts to curtail rights, resources, and freedom of vulnerable people
"I don't wish for or want the opportunity to wake up and sue the president of the United States every day; I'd rather be doing other things. But if we don't do that now, in this time, nobody else will be there," said Maura Healey. Photo: Anna Miller
By Monica Jimenez
In June 2018, Massachusetts Attorney General Maura Healey was preparing to sue the Trump administration for separating undocumented immigrant families at the southwest border of the U.S., when a lawyer called her into a conference room to meet a thirty-year-old Guatemalan woman named Angélica, who had come to Massachusetts weeks earlier.
Fleeing violence in her home country, Angélica and her seven-year-old daughter had been detained just before Mother's Day, Healey told a Tufts audience on December 3 during her Tisch College Distinguished Speakers Series lecture.
"Happy Mother's Day. You may never see your daughter again," an ICE agent had reportedly told Angelica, before taking her daughter away to a detention facility in Texas. As Angélica cried in Healey's arms, Healey could only think of one thing to tell her: "That stuff's going down in Washington—but we're your government, too."
In her talk, moderated by Tufts political science professor Jeffrey Berry, Healey asked her Tufts audience to remember the same thing: that every time Trump acts to curtail the rights, resources, and freedom of vulnerable people, Healey and her fellow attorneys general and a legion of public servants will be there to push back.
"If we don't sue Betsy DeVos when she wants to let debt collectors and predatory loan servicers and predatory for-profit schools back into the education business, if we're not there to stop the EPA as it seeks to subsidize coal at the expense of renewables and seeks to roll back important regulations that are there to protect our air and water and soil—who will?" said Healey, a former prosecutor, litigation partner, and chief of the Massachusetts' Attorney General's civil rights division who is the first openly gay attorney general in the U.S. "And if we don't stop them from messing around with the census, which is fundamentally an effort to disenfranchise swaths of the population, who will?"
Healey recalled her message to Trump at the Women's March in Boston last January, the day after Trump's inauguration: "If you make good on any number of your illegal and unconstitutional campaign promises, we'll see you in court."
"Even I didn't expect that to be so often or so soon, but here we are," Healey said, to laughter from the crowd. "I don't wish for or want the opportunity to wake up and sue the president of the United States every day; I'd rather be doing other things. But if we don't do that now, in this time—nobody else will be there."
Responding to a student's question about Trump's proposed changes to the public charge determination process for immigrants, Healey didn't hesitate. "A decision like this is really in the wrong direction economically and certainly as a matter of fairness," Healey said. "And that hasn't stopped the Trump administration from doing any number of things. The fact is that it's counter to science, facts, fairness, economic principles that are sound—which is why we are prepared to go to court."
To another student question about former FBI director and Special Counsel Robert Mueller's investigation into Russian interference in the 2016 presidential election, Healey said, "We have a president right now who thinks he's above the law and thinks he can operate outside the law. Everyone in the country is subject to the law."
Healey recounted her decision to lead her fellow attorneys general two weeks ago in calling for the removal of acting U.S. Attorney General Matthew Whitaker—whom Trump appointed despite federal law governing the order of succession for that position, and who has spoken against the Mueller investigation.
"The president knows no bounds and will stop at nothing to protect himself and his family," Healey said. "A lot of continued pressure must be brought on Congress to make sure the right steps are taken to protect the Mueller investigation, because the findings are about the integrity of our democracy."
On a less political note, Berry asked Healey about her strategy to target drug manufacturers and distributors to help address the opioid crisis. "They are responsible for laying the groundwork and creating the circumstances for the nation's most devastating public health crisis and epidemic we have seen for a long, long time," Healey said.
She also spoke about her efforts to rein in doctors prescribing illegal amounts of opioids; work with the state legislature and governor to change how pain medications are prescribed and dispensed; promote Narcan access for first responders; and bring substance abuse education to public middle schools. "There's no way to put a price on a life, but we have to do all we can to make sure we're getting all we can for the families affected, and for the communities," she said.
Healey also weighed in on Massachusetts' recent reform of cash bail, stating that inability to pay bail is not a basis to keep someone in jail. "There's a lot else we need to do to make our criminal justice system fair, and address racial and socioeconomic disparities that exist around and throughout the system," she said.
But she is seeing a growing awareness of society's responsibility to not just punish, but rehabilitate. "The point is not just to protect victims and hold people accountable—the deterrence function—but to make sure we're using our resources to effectively address what led the person to commit this act," she said.
Healey ended her talk with a call to action, addressing the students in the crowd. "You are the future. You're where the action is at," she said. "You don't have to be the person running. It's not for everyone; I totally get that. But you can help run campaigns, knock on doors, volunteer. Honestly, the power is in your hands."
Healey urged students to speak up on campus, to apply to intern or work in her office, to run for public office in their communities, to help get people registered and voting, and above all not to become "burdened and jaundiced" by everything going on in politics now. "Don't let that happen. Resist every urge," Healey said. "Try not to give way to cynicism."
By getting involved, students will be meeting a great need, Healey said—and reaping a great reward. "You're not going to make a lot of money, but you're going to have tremendous satisfaction and the opportunity to impact people's lives in tangible ways, day in and day out," she said. She said she had faith that Tufts graduates will use that power well. "Whatever you do, I know you'll find ways to give to your communities and make this state and country a better place."
Monica Jimenez can be reached at monica.jimenez@tufts.edu.
The Politics of Division
A New Political Playbook
New Voices on Capitol Hill

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A highly scalable, resilient and future proofed telephone system with the freedom to deploy and tailor it to your exact business requirements. The open, fully modular architecture means the MiVoice Business can be implemented into any infrastructure or platform.
The MiVoice Business is the ideal platform to realising faster and more effective communications, thanks to its seamless integration of voice, email, presence, unified messaging, mobility and conferencing applications. Access to this breadth of tools allows you to tailor a communications package to meet a wide range of individual employee requirements.
Whether you're a single location or multiple offices, global or local, the MiVoice Business flexibility is designed to meet your needs.
Desktop twinning with your mobile. Active call hand off between your desk phone and mobile. Single number identity - thanks to a dynamic extension feature which enables all your devices to be linked to the same number.
Option to run the MiVoice Business software on certified Stratus servers, which deliver processor redundancy, RAID-protected hard drives, dual hot-swappable power supplies and fans, and redundant network connections.
A single, cloud-ready software stream which can be implemented on any network. It's flexible platform means you have the ability to also deploy in a VMware vSphere virtual environment.


Making Him Known: We are a missional church and each year we celebrate what God has done through Central Baptist, look forward to what he will do in 2019, and commit to seeing His plan through. This is a time of celebration of what the Faith Commitment Offering has assisted the church planters to do locally, nationally, and internationally.
Central steps out on faith every day with each of your commitments that God has placed on your hearts to help share The Good News to others who would normally never hear His message.
Let's continue our legacy of Making Him Known, by recommitting to Pray, Give, and Go in 2019! You will have the opportunity to do this on October 7 - 14 in each of the services. Canadian church planter, David Pothier will kick things off on Sunday October 7 in all services, showing you the lostness of Canada, and how we can help bring the Gospel to those in that region. You will not want to miss it!
This year we are asking for a commitment from you to help us reach our $466,800 missions budget for 2019.
We sense God wants us to accomplish these things in 2019.
In Jonesboro, we can do outreach in our city by adopting certain areas in Life groups through block parties and other activities and we will present a strong witness to ASU students, internationals, and High School students.
We continue to look ofr opportunities to plant churches in Arkansas.
New Orleans (Davises & Vandercooks), and Washington, D.C. (Waterworth's).
and Guatemala, Poland, Canada, volunteer team scholarships, and help missionaries.
TOTAL $400,000 FAITH COMMITMENT OFFERING.


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Ovidiu Hrubaru, Ron Adar
That's What She Said
Photo by Ovidiu Hrubaru, Ron Adar
Republicans in Jail Telling Jokes
Trump and his cronies wanna yuk it up? Ok, fine. But can we move this comedy venue somewhere more appropriate, like, behind bars, forever?
Fiona Landers Mar 12, 2018
I hate it when Republicans tell jokes.
Call the PC Police if you must, but they just… suck at it. Need proof? How about Rudy Giuliani telling tired Hillary fat jokes and bragging about his 9/11 SNL appearance—still! Or Mike Huckabee, the most dedicated Republican comedian, spends hours intricately crafting the most confusing, humorless swill you will ever read. Jokes so bad they haunt you. I have a legitimate fear of being on my deathbed and remembering this joke, leaving me to die in the midst of an unfinished nightmare:
I think he's getting the hang of it. pic.twitter.com/hAZnvY4Md1
— Tyler Huckabee (@TylerHuckabee) March 21, 2017
But these two are not as bad as the hobbling puddle of rancid marmalade that is our president. He did an infuriating standup set at the Gridiron Dinner last week that opened with this joke about his son-in-law, Jared Kushner:
"I wanted to apologize for arriving a little bit late. You know, we were late tonight because Jared could not get through security."
Oh, right, yes because Jared's White House security clearance has been downgraded, because he's a shady-ass CRIMINAL like his whole fucking family.
A few minutes or maybe years later, I don't know, I'm an exhausted ghost at this point, Trump had a great time joshin' Mike Pence:
"Mike is doing a fantastic job as our vice president. He really is. … But lately what bothers me, I have to tell you, he's showing a particularly keen interest in the news these days. He starts out each morning asking everybody, 'Has he been impeached yet?' "
Listen, I know I'm not his demographic and comedy is so subjective, but can there be a show like Comedians In Cars Getting Coffee but it's Republicans In Prison Telling Jokes? Or if you want to go for more of an abysmal Comedy Central 2009 feel, call it Trump.O. Call it whatever you want, but Trump and his family/co-workers/accomplices should be telling their terrible jokes in prison, on a show no one watches that is streaming in hell.
Also, if you're going to do half-assed-alluding-to-colluding and impending-impeachment jokes, why not commit and go full-on Andrew Dice Clay? Where were his jokes about paying off pornstars and pissing on girls and presidential beds? Know your brand and sell it, dipshit. He didn't even tell his best joke, "covfefe." He could've done an abstract, flying by the seat of his toilet, Chris D'Elia set but he didn't. His set was like if the captain of the Titanic did a tight five, or maybe a meandering, lukewarm, 20-ish. Post-iceberg, pre-everyone drowning, just confidently telling all the passengers how cool the Titanic is and what a blast it's gonna be to die on or near the boat.
Trump did some of his old stuff—calling Elizabeth Warren "Pocahontas" and incoherently rambling about a potential nuclear war with North Korea. He did a new patronizing Oprah bit and a joke about Maxine Waters needing to take an IQ test. These jokes are tough, because you wonder, "Are these racist or sexist? Oh, wait. Both, yep." I'll admit he told some jokes that felt like real jokes. Not good jokes but still, they could pass as jokes. I wonder who his comedy writers are? Maybe the rapists that get banished from comedy and turn into Nazi party-boys?
Please, Republicans In Prison Telling Jokes has to happen. Picture it. There's Kushner reading an upside-down geography book from the prison library, delivering his notorious "Where exactly IS the Middle East?" joke. There's Ivanka in the corner scribbling her refreshing feminist satire on a soggy roll of toilet paper. There's Donald Jr., incarcerated but free to be his truest self: the least funny person ever to have been born. There's Paul Ryan lifting weights in a backward hat, getting a prison tattoo on his back that he thinks will say, "I love yogurt" but will really say "I love yogurt (Pence's semen)" with the parenthesis and everything, so fun! Look, there's Steve Bannon dying on the toilet in front of everyone while workshopping an anti-Semitic joke! And there's 45. Can you imagine him in an orange jumpsuit? Orange is the new orange! There he is, safely starting to pretend trade and nuclear wars with his favorite thing, a wall. It's perfect.
I know our nation is a nation divided and I'm contributing to the divide, but why do I have to find common ground with eerily damaged people who tell shitty jokes and want me to die? I deal with that enough in regular comedy. I've realized fairly recently that I don't have to respect people who don't respect me. Like I don't have to respect Adam Corola. I don't even have to spell his name right, I would prefer to spell it incorrectly. I can write Adam Toyota if I want to, it's not even mean, it's just so nice to not have to care about him. My love for comedy supersedes the awful men who are a part of it. I am inspired by both Jerry Lewis's physical comedy and physical death. It's complicated! But the show I am pitching doesn't have to be. It's just Republicans telling jokes for no one, for nothing, in prison.
Trump's Gridiron set was similar to Richard Nixon's in 1970, in that they each reveled in their glaring corruption. To Nixon's credit, he did not tell foreshadowing-Watergate jokes at the Gridiron Dinner. He wasn't like, "Hey, heads up, the urinals are bugged and I'm timing everyone's pee streams. I'm a lil' rascal." He just performed an excruciatingly racist musical comedy bit about successfully suppressing the voting rights of Black people with his vile VP, Spiro Agnew. So, evil, but different? I need to lie down. In a cave.
Maybe no one will ever go to prison. Maybe everyone evil gets a pardon. Maybe we're all just Becca, heartbroken and confused. But impeachment is possible and the show must go on. There is a little glimmer of hope in me. There is Roger Wilkins sitting through Nixon's Gridiron set and having the guts to write his groundbreaking essay, "A Black at the Gridiron Dinner." There is President Barack Obama standing there, in that same room, on that same historically racist stage, 45 years later, telling a solid weed joke with the precision and swagger of a young, bathhouse-era Bette Midler. Barack, do you have that deal with Netflix?? I have a pitch about Repub—actually can you just hold me and tell me everything will be okay?
That's What She Said Russia Investigation Satire
Fiona Landers is a writer, actor, and singer. Her writing has been featured in Bust Magazine, The Hairpin, Ravishly and Eater LA. Fiona writes and performs musical and sketch comedy regularly at the UCB Theatre Los Angeles. She sometimes appears in films and tv shows but honestly never commercials for some reason. Follow her at: @fionasings4u
More by Fiona Landers
Melania's Guide to "Be Best" Parenting
The "Friend Zone" Is Just an Incel Euphemism
Love It or Loot It
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Corporates Have a Role to Play in Building Caring and Giving Society: Heng Swee Keat
Over the Champions of Good conferment luncheon, Mr Heng shared ways that companies can give back to society.
Singapore Business Owners
Vinleon Ang, Contributer
I cover almost anything under the sun.
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Last Friday, 60 companies were recognised by the National Volunteer & Philanthropy Centre (NVPC) as "Champions of Good 2018" for their corporate giving and commitment to amplifying the impact of giving.
The 60 Champions of Good are among more than 1200 companies big and small that are in the Company of Good network. The network is established in partnership with the Singapore Business Federation Foundation and aims to spark a giving movement through corporates to build a City of Good.
Some of the home-grown companies that were conferred include Ang Chin Moh Funeral Directors, Changi Airport Group (Singapore), Greenpac, Neo Group and Woh Hup.
Minister for Finance Mr Heng Swee Keat graced the conferment luncheon that was joined by 200 C-suite executives and business leaders.
"I commend our Champions of Good, who come from different industries, and range from large corporations to Small Medium Enterprises, and public agencies," said Mr Heng.
Giving as a collective effort
Mr Heng noted that "giving needs to be a whole-of-nation effort" and there are opportunities, especially for corporates, to do more.
"Let us tap on this willingness of our people to give, to mobilise everyone to help build a caring society, in Singapore and around the world. To catalyse discussion, I suggest three ways we can do so:
First, we should continue to build a giving culture in our young people and organisations;
Second, corporates can work together in closer partnerships; and
Third, the Government will continue to support and catalyse community efforts."
What companies can do
Mr Heng offered actionable steps that companies can take to help build a giving culture.
1. Empower your staff
"Corporates can encourage and empower their employees to take charge and be the catalyst of change themselves. For example, some of you allow room for employee-led initiatives to grow, by building a team of motivated staff volunteers and supporting staff-initiated CSR activities. This will ensure greater employee engagement and staff ownership in the CSR initiatives."
2. Leaders to lead the way
"Similarly, corporate leaders' emphasis and active participation in CSR activities are important to lead the giving movement. Results from NVPC's 2017 Corporate Giving Survey have shown that senior management's interest was a strong motivator for a firm's volunteerism and philanthropy movement. Corporate giving also increased when the firm's management communicated support and personally participated in giving initiatives."
3. Businesses and non-profit organisation partnerships
"Businesses and non-profit organisations can form partnerships to achieve better outcomes, and sustain these partnerships. Non-profit organisations can restructure volunteer roles to make it more suitable for corporate volunteers while meeting their own needs. At the same time, corporates can contribute to the partnership by encouraging and supporting their staff in their volunteering efforts."
4. Partnerships among businesses
"Corporates can also work together with other business partners for greater reach and impact. Large corporates often have more established CSR practices or capabilities that smaller corporates may not have. At the same time, smaller corporates can also bring new insights and networks, to build upon the CSR practices of larger corporates."
5. Do what you do best and influence others to do the same
"We can learn from our Champions. Many of you have proactively collaborated with other stakeholders, be it clients, business partners, non-profit organisations or the Government. You have taken the responsibility to support the needy and vulnerable, and shown that with collective efforts, we can better address these needs. You focus on doing what you are good at and bring others on board to complement your efforts. Together, we can achieve more with fewer resources."
6. Make use of government schemes
"The Government has been providing support to encourage philanthropy and volunteerism. We have extended various schemes in Budget 2018. For instance, to support corporates which are providing pro-bono services, and incurring cost in the process, we introduced the Business and Institution of a Public Character Partnership Scheme, or BIPs. It enables corporates to defray some of these costs, such as wages. I am glad to know that some of our Champions here have participated in BIPS. I hope more corporates can make use of BIPS, to support IPCs."
Corporate leaders need to lead and be the force for good
Melissa Kwee, CEO of NVPC, noted that in the recent 2018 Edelman Trust Barometer, 65 per cent of the respondents are of the opinion that CEOs should take the lead on change rather than wait for the government to impose it.
"Through our Champions, we witness examples of business as a force for good. The power is in the hands of CEOs and leaders to walk the talk and drive meaningful change. Corporate philanthropy and volunteerism in Singapore need to be more regular and driven right from the top of the organisation," she added.
Here is the list of companies conferred this year.
Featured image by NVPC
Wish to lead your company in giving back to society? Here's how.
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I'd rather write how-to guides and stories than about myself, unless absolutely necessary. Also, ironically, I hardly write with a pen and paper.
Category: Local, Entrepreneur Stories, Local
How Golden Moments Struck Gold Despite Everything Going Wrong in 2020
SBO Team
27 Sep 2020 September 28, 2020
Category: Local, Quick Word, Local
Quick Word: Jay Huang, CEO and Co-Founder of Pulsifi
Vinleon Ang
30 Jun 2020 November 25, 2020
Quick Word: Edmond Looi, Director of DVUCA
15 Feb 2020 September 15, 2020
Category: Learn, Opinion, Local, Happenings, Learn, Local
What the Singapore Government Has in Store for Companies and Workers This 2020
Jasmine Chua
04 Feb 2020 November 25, 2020
Category: Local, Happenings, Local
Circles.Life Announces $1m Crowdfunding Campaign with Whacky Video
29 Nov 2019 September 15, 2020
Category: Local, Happenings, Local, Business, Startup
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20 Nov 2019 November 25, 2020
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What Knowledge and Skills are Needed for Solving Sustainability Challenges?
As individuals, sometimes tackling sustainability challenges seems daunting. The Sustainability, Science & Society (SSS) program recognizes individuals must come together to solve our grand challenges. The program aims to (i) provide students with knowledge across a range of disciplines to help facilitate interdisciplinary communication, (ii) allow for disciplinary depth with which s/he can add value, and (iii) instill leadership and soft skills that are key to effective problem-solving.
The SSS degree brings these components together in a coherent, structured program. The structure of the SSS program ensures the first point is covered through coursework in three thematic pillars. In-depth disciplinary skills are obtained through one's minor requirements and/or electives. Finally, the SSS program uniquely aims to cultivate the leadership skills necessary for solving sustainability challenges through what we call core competencies.
III. Ethics, Equity, and Justice: to discuss why we need change, and the issues of equity and justice associated with taking action.
The courses in the SSS program are designed to expose students to these thematic pillars. The SSS program is an "Interfaculty" program between the Arts and Sciences, offered in close partnership between Geography and the McGill School of Environment and other departments at McGill. Program course requirements fall into one of the three "pillar" categories listed above (see the official McGill calendar or the SSS program planning; sss_programplanning.xlsx for more detailed course information).
Substantive efforts all require cooperation within a team, and teams are necessary to tackle the complex problems that we face.
One key challenge to sustainability is communicating complex topics and core scientific concepts in ways that are easily understood by society.
Predictions of the future are wrought with uncertainty. It is necessary we better understand its role in decision-making.
Values are produced in multiple ways. Sustainable solutions requires understanding stakeholders' wants and desires, finding ways to prevent or mitigate value conflicts, and still making progress toward viable solutions.
Gain a critical understanding of the concept of sustainability, its contested meanings, multiple dimensions, perspectives and scales.
Gain an in-depth understanding of a specific set of sustainability challenges, including the interconnection between the three pillars of SSS, scales of those challenges, and relationship to personal choices.
Acquire hands-on experience with a suite of analytical tools used to address sustainability challenges.
Will learn to shine a light, instead of cursing the darkness, and offer feasible alternatives to the status-quo.
Appreciate the role of science in society and also that societal decision making involves multiple perspectives and factors that go beyond science.
Be able to persuasively communicate ideas, orally and in writing, to multiple audiences.


Century Iron Mines Corporation ("Century", "Century Iron", or the "Company") (TSX:FER) is pleased to announce that Rebecca Ng is a recipient of the Women's Executive Network's ("WXN") 2013 Canada's Most Powerful Women: Top 100 Awards. Co-Presented by Scotiabank and KPMG, these Awards celebrate and highlight the professional achievements of women across the country in the private, public and not-for-profit sectors at a time when corporate Canada is under growing pressure to promote more female leaders into senior management and corporate director roles.
Since its inception in 1997, WXN has created and delivered innovative networking, mentoring and professional and personal development opportunities for women in leadership roles, growing into a sizable community of more than 19,000 members strong across Canada and Ireland. As of today, WXN has honoured 728 of Canada's most powerful women and inducted 93 of these women into the Top 100 Hall of Fame.
"I have great respect for Ms. Ng's work as a seasoned finance executive and a leader in the global mining industry", said Sandy Chim, President and CEO. "Century was pleased to appoint her as CFO of the Company in September 2013." Ms. Ng has over 12 years of extensive experience in finance, controllership, governance and reporting in various multi-national mining companies, with significant expertise in finance integration, restructuring and capital management.
This year's Top 100 Leadership Summit and Awards Gala on December 4 is appropriately themed "What Glass Ceiling?" During the Summit held at the Sheraton Centre Toronto, Top 100 Award Winners will provide insights on how they managed to become leaders in their sectors to inspire more than 400 women in attendance, including the next generation of female leaders. Speakers at this year's Summit include Lisa Lisson, President of FedEx Express Canada, Christine Magee, President & Co-Founder of Sleep Country Canada, Dr. Fiona Costello, Clinical Associate Professor at the University of Calgary, and Sue Paish, CEO of Lifelabs.
"Every year we see the high quality of female leadership in this country as we review the applications for these Awards," said Pamela Jeffery, WXN Founder. "The 2013 Top 100 Winners are a testament to the broad range of talent and leadership found in Canada and we believe that by recognizing and sharing the accomplishments of these women, we are encouraging the next generation to reach higher so that one day there will be no ceiling, just possibility."
On the evening of December 4, over 1,100 attendees will honour the 2013 Top 100 Award Winners at a Gala dinner where the keynote speech will be delivered by Dr. Roberta Bondar, who shattered the glass ceiling when she became the first Canadian female astronaut and neurologist in space aboard NASA's 1992 space shuttle Discovery. Returning for the second year as the Gala Emcee is News Anchor Anne-Marie Mediwake, co-host CBC News Toronto and 2011 Consumer's Choice Awards' GTA Woman of the Year.
The full list of WXN's 2013 Canada's Most Powerful Women: Top 100 Award Winners can be found at https://www.wxnetwork.com/top-100/top-100-women/.
Founded in 1997, WXN is Canada's leading organization dedicated to the advancement and recognition of women in management, executive, professional and board roles. WXN is a Founding Member of the Canadian Board Diversity Council, dedicated to increasing the diversity of Canada's corporate boards. In the fall of 2008, WXN launched in Ireland, a first step in creating an international community of female leaders.
More information and details are available at wxnetwork.com or top100women.ca.
Century is an exploration and development company of iron projects in Canada. The Company has significant interests in several properties in western Québec and in the prolific iron ore-producing region of the Labrador Trough in eastern Québec and western Newfoundland and Labrador. Century has two key strategic partners in WISCO International Resources Development & Investment Limited ("WISCO") and Minmetals Exploration & Development (Luxembourg) Limited S.àr.l., both state-owned Chinese companies with the financial and technical resources to assist the Company with funding and technical expertise for the exploration and development of its projects.
The Astray, Grenville, Menihek and Schefferville projects acquired from Altius Minerals Corp. (TSX:ALS). These projects are 100% owned by Century, except that Century has sold 80% of its interest in the Astray project and retained a 20% interest.
The Company's mission is to enhance shareholder value through the development of iron projects in Canada and to become a major Canadian iron ore producer. Century Iron's website is: www.centuryiron.com.
THE FORWARD-LOOKING INFORMATION CONTAINED IN THIS PRESS RELEASE REPRESENTS THE EXPECTATIONS OF CENTURY AS OF THE DATE OF THIS NEWS RELEASE AND, ACCORDINGLY, IS SUBJECT TO CHANGE AFTER SUCH DATE. READERS SHOULD NOT PLACE UNDUE IMPORTANCE ON FORWARD-LOOKING INFORMATION AND SHOULD NOT RELY UPON THIS INFORMATION AS OF ANY OTHER DATE. WHILE CENTURY MAY ELECT TO, IT DOES NOT UNDERTAKE TO UPDATE THIS INFORMATION AT ANY PARTICULAR TIME EXCEPT AS REQUIRED IN ACCORDANCE WITH APPLICABLE LAWS.


text:
The Mill Museum – The Windham Textile and History Museum
Card Carrying
Mill of the Month Calendar
Mill of the Month
Museum Lyceums
Friends of the Mill Museum
2016 Strike!
Snow Ball 2015
2012 – Summer Steampunk
2012 Chocolate Festival
Swift Waters:
Swift Waters or Cedar Swamp
Preindustrial Mills
Exploring the Relicts
Early Industrial Ecosystem
Elm Grows
Din of Machines
Captains of Industry
William Elliot Barrows
Sewing Revolution
Sweat of Their Brows
Mills and Migrants
Mill Girls
Decline of Agriculture
Mill Boarding House
The Puerto Rican Experience
The Flight of the Cotton Fairies
Mill Documents
Labels and Receipts
Machinery and Schematics
Collapsible Ballingwinding Spindle
Loom Bobbin Winder
Picker Notebook
Tube Cutting Machine
Tube Rolling Machine
Practice Money
Postcards and Tradecards
Thread Mill Square
The Workers' House
The Mill Manager's House
Sewing Machine Room
Dunham Hall Library
The Dugan Mill
Overseer's Office
2019 Winter – Sidonia's Thread
2014-2015 Blue Collar, Pink Collar, White Collar
2011-2012 Civil War
2014 – Inspiration Quilts
2011 – Polish Immigrants
Polish Immigrants – Opening
2013 – Latino Migration
2010 – Shaboo Legends
2010 – Dollhouses
2009 – Treasures from Our Collection
2008 – Celebration Quilts
2008 – Victorian Furniture
Fire and the Industrial Revolution
Jamie H. Eves and Katherine L. S. Eves
Windham Textile and History Museum
The history of fire in Connecticut is closely linked to the history of industrialization, for the Industrial Revolution that brought the textile mills to eastern Connecticut also brought greater danger from fire.
Before the Industrial Revolution, fires were tragedies for individual families but didn't really pose problems for communities as a whole. In the 1600s and 1700s, Connecticut had few villages and no cities. Almost everyone lived on dispersed farms, separated from the neighbors by acres of fields and managed woodlots. Fires were unlikely to spread from one house to another, so fire departments, firefighters, and fire equipment seemed unnecessary.
Still, those families whose houses or barns caught fire were often devastated. One of the most evocative descriptions of a fire in rural colonial New England comes from the pen of the poet Anne Bradstreet, a Massachusetts Puritan, whose house burned in 1666.
"I waken'd was with thundring nois / And Piteous shrieks of dreadful voice," Bradstreet wrote, echoing the dread that also must have gripped fire victims in Connecticut. "That fearfull sound of fire and fire, / Let no man know is my Desire. / I, starting up, the light did spye, / And to my God my heart did cry / … Then coming out beheld a space, / The flame consume my dwelling place."
With no fire departments, firefighters, or fire equipment, victims like Bradstreet had little choice but to stoically endure the loss of their houses and possessions. Bradstreet tried to shrug off the loss, but lamented, "My pleasant things in ashes lye, / And them behold no more shall I." The fire consumed her entire house: the roof, the dinner table, the window where she lit candles for her husband when he was away, and – most painfully – the room where her children were married. "In silence ever shalt thou lye," she wrote sadly of her destroyed home, "Adieu, Adieu; All's vanity."
But in the nineteenth century, industrialization changed the ways that people confronted fires. A score of thickly settled mill villages and factory cities sprang up across eastern Connecticut, creating an environment where fires could jump easily from building to building. A fire in one house, store, shop, or barn could grow quickly into an inferno that could destroy an entire neighborhood, leaving dozens or even hundreds homeless.
Even outside of Willimantic, Danielson, Baltic, Putnam, and the other factory cities – and smaller mill villages like South Windham, Wauregan, South Coventry, and Atwoodville – fires became a more serious problem. The nineteenth century saw the development of rural villages, as well as mill cities – clusters of houses, shops, and other central-place activities that funneled farm produce into the mill cities and villages, to feed to hundreds of new industrial workers. Everywhere in Connecticut, urban growth occurred. By the 1820s, people throughout the state were worried.
So they took action. Bev York, the Educational Consultant at the Windham Textile and History Museum, showed us a copy of a booklet titled "A History of All the Fire Companies Ever Formed in Windham, Conn.," written in 1885 by Windham County historian Allen B. Lincoln and printed by the Willimantic Chronicle. Lincoln tells how in 1825 the residents of Windham Center – one of the many new rural villages – organized one of eastern Connecticut's earliest volunteer fire companies.
Knowing that those townspeople who still lived on dispersed, outlying farms would never agree to pay the taxes needed to support a fire company that would benefit only villagers, the residents of Windham Center voted to form their own fire district and pay for the equipment themselves. They drafted a set of bylaws and dispatched Dr. Chester Hunt, a village physician, to Hartford to secure the approval of the state's General Assembly.
Plenty of residents volunteered to join the 24-man Windham Center fire company. "Firemen then were not only exempted from poll tax," explained Lincoln, "… but also relieved from the more arduous and to many disagreeable duty of training with the militia."
Firefighters' duties were easier then than they are now. "Service in fire company consisted chiefly in brief monthly meetings and in service at fires, which were not only exceedingly rare, but generally engaged the efforts of all citizens whether firemen or not."
The Windham Center fire district erected an engine house and purchased a pumper engine, ladders, and hooks to keep in it. Men, not horses, pulled the engine. As Lincoln, who inspected the engine years later in 1885, described it, "the body is shaped like a miniature rectangular coal barge, in dimensions about 6 x 2 ½ feet at the top, and 5 x 2 ½ feet at the bottom, and a foot or more deep. The body is mounted on a pair of low wheels, calculated to bring about breast high, for easy working, the handles of the pump levers." Four men worked the pumps. Other firefighters used buckets to continuously load water into the engine. A four-foot pipe with a nozzle protruded from the engine, to which firefighters could attach a 20-foot hose.
"By vigorous working it could be made to throw a half inch stream fifty or sixty feet in the air," Lincoln wrote. "Soon after the district purchased it, persons went up into the old Presbyterian church belfry" – Lincoln was referring to the old Windham Center Congregational Church, since rebuilt – "and the engine on trial threw a stream that sprinkled them in their high perch." We enjoyed the thought of Windham Center residents racing to the belfry just to see if their grand new gadget could get them wet.
York showed us a vintage hand-pulled fire truck on display as part of the Museum's fire exhibit. Once used by Willimantic's Alert Hose Company, it was designed to transport fire hoses and unlike the Windham Center truck did not have a pumper engine. Still, it gave us a good idea of the size of these early vehicles. It has two large wheels, painted bright red and shiny black, a polished wooden drum around the axle, a wooden roller for carrying the coiled hose, a wooden tongue so that the firefighters could pull it, and two oak storage boxes. Without its hose, we could easily roll it across the Museum's smooth wooden floor.
Although Windham's first two fire companies were in the rural villages of Windham Center and North Windham, the mill city of Willimantic, located in the northeast corner of the town of Windham, soon followed suit, establishing not one, but four separate fire companies.
The first fire company in Willimantic was Fountain Company No. 1, named for the power of its fire hoses. The Company held its first meeting in the fall of 1872. Three years later it changed its name to Alert Hose Company No. 1.
In 1886 Willimantic erected two new fire houses with hose towers. The Alert Hose Company shared one of the houses with the newer Excelsior Fire Company. Located at 13-15 Bank Street, it was close to the city's more prosperous brick stores, shop, theaters, and hotels along "middle" Main Street, as well as the residential neighborhoods and silk mills along Valley Street.
The Montgomery Fire Company had its engine house in the thickly settled immigrant neighborhood along lower Jackson Street, where Jillson Square is today. This was a neighborhood of smaller houses, tenements, and less prosperous shops and stores, mostly made of wood.
Later in the century, in 1897, as scores of ornate gingerbread middle and upper class homes appeared on the slopes of Prospect Hill, a third fire company, the Hilltop Fire Company, was organized to service that neighborhood. The Hilltop Fire House, today a private residence, still stands on Summit Street.
In 1926 all four of the Willimantic fire companies were combined and located in the Bank Street firehouse.
Initially, we were surprised to learn that Willimantic had firehouses near Main Street and several residential neighborhoods, but not close by the most valuable – and vulnerable – businesses in the city: the Willimantic Linen Company's (later the American Thread Company's) gigantic thread mills along Lower Main Street and the two large cotton mills on either side of Bridge Street.
Fires were particularly hazardous for textile mills. Flammable lint and fabric dust hung heavy in the air, oil saturated the porous wooden floors, grease lubricated the machinery, and stacks of cloth, paper, wood, and coal lay all around. Workers often smoked. In the winter especially, when the air was dry, static electricity could build up in the fabrics, sometimes causing sparks to fly, according to Dale Plummer, the Norwich town historian. Until the introduction of electric lights in the late 1800s, the only artificial light came from the dangerous open flames of candles or oil lamps.
And as if all that wasn't bad enough, in the mid-to-late 1800s the mills augmented waterpower with coal-fueled steam boilers, further increasing the chances of a fire. Mill fires occurred frequently in both the United States and Europe.
Throughout the industrialized world, the textile mills responded to the threat of fires in several ways. Workers were ordered not to smoke. Large windows and long, narrow building designs – an architectural style that permitted sunlight to penetrate into the centers of the structures – increased natural light and reduced dependence on candles and lamps.
Humidifiers and sometimes even potted plants reduced static electricity.
Steam boilers were frequently relocated to outbuildings or ells – the Willimantic Linen Company placed theirs in a low, one-story addition next to the Willimantic River – where any fires that might start could be contained.
And early in the nineteenth century, beginning in Britain but soon spreading to the United States, textile mills pioneered so-called fireproof buildings.
Fireproof construction meant replacing old-fashioned wooden floors, walls, beams, and posts with modern iron, steel, stone, brick, or concrete. Some English factories tried covering their floors and ceilings with sheet iron, but that proved too expensive for most mills. More practical were cast iron beams and posts. Some mills covered their walls and ceilings with fireproof plaster, or even installed massive, vaulted masonry beams – although their weight made brick, stone, or concrete beams impractical for upper stories. Boiler houses in particular were likely to have sheet iron ceilings and cast iron beams, and stone, brick, or concrete floors.
Fireproof construction only protected the building itself, however. The people, equipment, and materials inside were still in great danger.
Like other textile mills, the Willimantic Linen Company and American Thread Company employed numerous strategies to reduce the risk of fires. According to insurance maps drawn in 1908 and 1915, ATC attempted to make its buildings fireproof, with plaster walls, masonry construction (stone, brick, and concrete), cast iron roof trusses in some buildings, water tanks placed in strategic locations, sheet iron roofing on the boiler house, asbestos shingles on a few of the other roofs, about a dozen hydrants in the mill yards, fire ladders leading to the roofs, and even automatic sprinklers.
But the maps also reveal that most of the floors were made of flammable wood planks, and most of the beams, joists, and posts were wooden, as well.
ATC had its own fire brigade as well, the American Fire Brigade, which it organized in 1899, the year after it acquired the Willimantic Mills plant from the old Willimantic Linen Company.
We learned more about the brigade just as the Museum exhibit was going up. Willimantic resident and venerable local historian Tony Clark dropped by with some interesting information. While reading back issues of the Willimantic Chronicle, he had come across several stories about the brigade.
In 1908 the American Fire Brigade consisted of 25 men, who drilled regularly. Other workers were expected to assist the brigade in fighting any fires that might occur.
At first, the brigade met in the mill's office building (today, the Museum's main building), but in 1903 it moved to the Hickey Building on Lower Main Street, opposite ATC's new, brick No. 6 Mill building – today a small, gray-painted wooden storefront under repairs.
In 1915 ATC renovated a brick warehouse – now the Museum's Dugan Mill exhibit building – as the brigade's new headquarters. According to a story in the December 10, 1915, issue of the Chronicle:
"This summer the Thread Company decided to do a little something for the boys and altered over the upper floor of the brick stock house just west of the main office building which stands between Union and Main streets. The roof was raised nine feet and three large rooms partitioned off which include an assembly room, a locker quarters with 15 lockers which accommodate two members and a commodious kitchen well equipped. A fine pool table is part of the furnishings of the assembly besides easy chairs and other furnishings."
(C) 2019 – Windham Textile and History Museum


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Capitol Music Group (U.S.)
Virgin EMI (U.K.)
1972 (1972) (as Virgin Records and Tapes)
Virgin Records America 1986 (1986)
Simon Draper
Nik Powell
Tom Newman
March 2013 (U.K. only)
Active in the U.S.
Defunct in the U.K.
Virgin EMI (UK)
Capitol Music Group (US)
Universal Music Distribution (Int'l)
Virgin Records America
Virgin Records is a major record label first founded by English entrepreneur Richard Branson, Simon Draper, Nik Powell and musician Tom Newman in 1972. The company grew to be a worldwide phenomenon over time with the success of its platinum performers such as Janet Jackson, Roy Orbison, Devo, Genesis, Keith Richards, the Human League, Culture Club, Simple Minds, Lenny Kravitz, dc Talk, the Smashing Pumpkins, Mike Oldfield, Spice Girls and more on their list of artists.[1] It was later sold to Thorn EMI in 1992.
Currently wholly owned by Universal Music Group after its purchase of EMI in 2012, UMG absorbed Virgin's British operations, Virgin Records, Ltd., to create Virgin EMI Records in March 2013, which in turn absorbed Mercury Records' UK operations.[2]
Today, the operations of Virgin Records America, Inc. (a unit of Virgin Records, Ltd.) are still active and headquartered in Hollywood, California, as it operates exclusively under the Capitol Music Group since 2007.[3] A heavily minor amount of artists remain on Virgin Records America's roster, which today is mostly occupied with European artists such as Bastille, Circa Waves, Corinne Bailey Rae, Ella Eyre, Grizfolk, Walking on Cars, Seinabo Sey, and Prides. US artists include Knox Hamilton, L'Tric and Rise Against.
Virgin logo designed by Roger Dean for the fledgling Virgin Records label
Branson and Powell had initially run a small record shop called Virgin Records and Tapes on Notting Hill Gate, London, specialising particularly in "krautrock" imports, and offering bean bags and free vegetarian food for the benefit of customers listening to the music on offer.[4] In fact the first real store was above a shoe shop at the Tottenham Court Road end of Oxford Street. After making the shop into a success, they turned their business into a fully fledged record label. The name Virgin, according to Branson (in his autobiography), arose from Tessa Watts, a colleague of his, when they were brainstorming business ideas. She suggested Virgin – as they were all new to business – like "virgins".[5] The original Virgin logo (known to fans as the "Gemini" or "Twins" logo) was designed by English artist and illustrator Roger Dean: a young naked woman in mirror image with a large long-tailed serpent and the word "Virgin" in Dean's familiar script. A variation on the logo was used for the spin-off Caroline Records label.
The first release on the label was the progressive rock album Tubular Bells by multi-instrumentalist Mike Oldfield, who was discovered by Tom Newman and brought to Simon Draper – who eventually persuaded Richard and Nik to present it as their first release in 1973, produced by Tom Newman, for which the fledgling label garnered unprecedented acclaim.[6] This was soon followed by some notable krautrock releases, including electronic breakthrough album Phaedra by Tangerine Dream (which went Top 20), and The Faust Tapes and Faust IV by Faust. The Faust Tapes album retailed for 49p (the price of a 7" single) and as a result allowed this relatively unknown band to reach number 12 in the album charts. Other early albums include Gong's Flying Teapot (Radio Gnome Invisible, Pt. 1), which Daevid Allen has been quoted as having never been paid for.
Although Virgin was initially one of the key labels of English and European progressive rock, the 1977 signing of the Sex Pistols (who had already been signed and then dropped by both EMI and A&M) reinvented the label as a new-wave outpost, a move that plunged the record company into the mainstream of the punk rock era.[6] Under the guidance of Tessa Watts, Virgin's Head of Publicity (and later, also Director of Production), the Pistols rocketed the label to success.[7] Shortly afterwards, the Notting Hill record shop (above which the label's office was located) was raided by police for having a window display of the Sex Pistols' album Never Mind the Bollocks, Here's the Sex Pistols in the window. Afterwards they signed other new wave groups: Boxer, Culture Club, Fingerprintz, Gillan, Holly and the Italians, Human League (whose "Don't You Want Me" was the label's first chart-topping single, in 1981), Magazine, Skids, the Motors, Penetration, the Ruts, Shooting Star, Simple Minds, and XTC.
After modified versions of the twins label came the red, white and blue design introduced in 1975, which coincided with the height of punk and new wave.[8] The current Virgin logo (known informally as "the scrawl") was created in 1978, commissioned by Simon Draper, then managing director of Virgin Records Limited. Brian Cooke of Cooke Key Associates commissioned a graphic designer to produce a stylised signature. The logo was first used on Mike Oldfield's Incantations album in 1978 and by the Virgin Records label exclusively until gradually other parts of the Virgin Group adopted it, including Virgin Atlantic, Virgin Mobile and Virgin Money.
Subsidiary labels
In 1983 Virgin purchased Charisma Records, renaming it Charisma/Virgin, then later Virgin/Charisma, before folding the label in 1986 and transferring its remaining artists to Virgin. In the process they acquired Genesis and comedy group Monty Python. The Charisma label was reactivated in the US in 1990 and enjoyed success with signings such as Maxi Priest, Right Said Fred, 38 Special and Enigma. When this Charisma label was retired in 1992, all of its artists were, as before, transferred to Virgin.
In 1987, Venture Records was created for new age and modern classical artists including Klaus Schulze, who had been associated with Virgin since the early 1970s. (Virgin had distributed UK editions of his German albums since 1974, and he had almost been signed as a Virgin artist in 1976, but the deal was cancelled after a conflict between Virgin and his German label.)
Immortal Records
Delabel (France)
Caroline Records was a budget label used from 1973 to 1977. The name and logo were later used for some American editions of Virgin records in the 1980s and 1990s. Caroline was primarily used for independent distribution until the label was reactivated in 2013. Today, Caroline Records acts as an independent label taking the place of EMI Label Services, after Virgin's former parent company EMI was purchased by Universal Music Group.
Front Line Records (or Virgin's Front Line) was a label for issuing Jamaican and English reggae music from 1978 to approximately 1987. It became an actual label name in 1978 when it succeeded a category of Virgin albums and singles marketed as "The Front line Series" which went back to 1976, when a reggae compilation album titled The Front Line was issued on Virgin. Front Line artists included U-Roy, U Brown, The Mighty Diamonds, Keith Hudson, Althea and Donna, Jah Lloyd, Johnny Clarke, The Gladiators, Peter Tosh, I Roy, Tappa Zukie, Sly Dunbar, The Twinkle Brothers, Prince Far I, Big Youth, The Abyssinians, Culture, Gregory Isaacs and Linton Kwesi Johnson.
A short-lived associated label, Dindisc, had Orchestral Manoeuvres in the Dark and The Monochrome Set during its brief existence (1980–1981), after which its recordings became part of Virgin's catalogue.
Noo Trybe Records was a hip hop record label that existed from 1994 to 1999. The label consisted of mostly West Coast hip hop artists such as the Luniz. The label also became the distributor for releases under Rap-A-Lot Records after they switched distribution from Virgin's sister label under EMI, Priority Records in 1994. Noo Trybe also became the home of East Coast rappers AZ and Gang Starr after their respective labels EMI and Chrysalis were folded in early 1997.
The Virgin label was distributed in the USA by Atlantic from 1973 to 1975. During this period, 14 albums were issued. All had been previously issued in the UK on Virgin, although one album, Marjory Razorblade by Kevin Coyne, was truncated from a 20-song double album to an 11-song single album.
Beginning with Mike Oldfield's Ommadawn album in 1975, American distribution switched to Columbia Records. Columbia was unwilling to release all Virgin artists, and so many were licensed to other labels: Epic (the sister company of Columbia) (Mike Oldfield (in the 1980s), Culture Club, Holly and the Italians, some XTC (1982), and Shooting Star), Atlantic (Julian Lennon), A&M (UB40, Human League, Simple Minds, Breathe), Warner Bros. (Sex Pistols, Scritti Politti, DEVO), Geffen (XTC - 1983 on), and MCA (Tangerine Dream, Belinda Carlisle). Some of these records had a small Virgin logo added to the regular company design on the label. One of Virgin's and Epic's biggest acts of the 1980s was Culture Club.
In 1978, Virgin set up US operations first in New York on Perry Street under Atlantic distribution, and then moved operations to New Jersey along with a short-lived subdivision called Virgin International, handled by independent New Jersey-based distributor Jem Records. Virgin International used mainly for progressive rock artists with a smaller following in the USA, including reissues of earlier Virgin / Atlantic albums such as Hergest Ridge by Mike Oldfield, and Fish Rising by Steve Hillage, which Columbia chose not to reissue. Virgin International also issued albums by some of Virgin's reggae artists, including Gregory Isaacs. At the same time, Virgin releases distributed by Columbia continued, distribution returning to Atlantic (later WEA) in 1980, at which time Virgin International ceased operations.
In 1986, Virgin Records opened up another American division, Virgin Records America. Its first release was the debut album by Cutting Crew which included the hit single "(I Just) Died in Your Arms". Other Virgin America signings included Camper Van Beethoven, Bob Mould, Warren Zevon, Paula Abdul, T'pau, Ziggy Marley & The Melody Makers, Redhead Kingpin & The F.B.I., Neneh Cherry, Steve Winwood and Hindsight. Virgin Records America's releases were distributed through WEA again by Atlantic Records until 1992. Virgin Records America was founded by the executive team of Jordan Harris, Jeff Ayeroff and Phil Quartararo.
Another American company called Caroline Records co-existed during this time. Caroline records rarely mentioned a connection with Virgin, and some UK and European Virgin albums that were distributed internationally (instead of being manufactured in each country) named Caroline as their American distributor. Some Caroline records bore the label name Caroline Blue Plate.
Canadian editions
The first Canadian editions were distributed by WEA, and were parallel issues of the same early 14 albums issued in the USA by Virgin/Atlantic.
In 1975, distribution transferred to Columbia (as it had in the USA), but the following year distribution was transferred again to Polydor Records (which changed its name to PolyGram by 1980), and issued a different and larger selection of records from what was being issued in the USA. Canadian editions of the Dindisc label were issued as Dindisc/Virgin. Virgin's Canadian division arranged to have Canadian artists Martha and the Muffins and Nash the Slash signed to Dindisc in the UK as well; both artists had releases in Canada and the UK on Dindisc.
In 1983, an independent Virgin Records Canada Inc. company was created, three years before a similar move occurred in the USA. From this time onward, Virgin Canada used unique label designs not seen in other countries: a red label with five horizontal bars across the top and an extra-large "scrawl" logo from 1983 to 1985, followed by a purple label with round logo up to 1992 when Virgin was acquired internationally.
Purchase by Thorn EMI
Virgin Records was sold by Branson to Thorn EMI in June 1992 for a reported US$1 billion (around £560 million),[9][10] with a special non-competition clause that would prevent Branson from founding another recording company during the five years following the agreement (see the final paragraph in E.U. Merger Decision IV/M202 of 27.04.1992). It now faces competition from Branson's new label: V2 Records. Branson sold Virgin Records to fund Virgin Atlantic Airways which at that time was coming under intense anti-competitive pressure from British Airways. (In 1993 BA settled a libel action brought by Branson, giving him £500,000 and a further £110,000 to his airline).
After being acquired by Thorn EMI, Virgin launched several subsidiaries like Realworld Records, Innocent Records, blues speciality label Point Blank Records, and Hut Records, and continued signing new and established artists like Korn, A Fine Frenzy, Thirty Seconds to Mars, Tina Turner, Depeche Mode, Beenie Man, The Rolling Stones, Spice Girls, The Smashing Pumpkins, We Are Scientists, Darren Hayes, The Kooks, Lenny Kravitz, dcTalk (mainstream releases, contract ended in 2000), Captain Beefheart, Meat Loaf, Placebo, Janet Jackson (contract ended in 2006), Daft Punk, My Favorite Highway, Does It Offend You, Yeah?, Massive Attack, The Future Sound of London, Blur (US), The Chemical Brothers, Gorillaz, Paula Abdul (contract ended in 1999), Brooke Allison, The Red Jumpsuit Apparatus, The Almost, Mariah Carey (contract ended in 2001), N.E.R.D., Laura Marling, Swami, RBD, Thalía and Priscilla Renea.
In 1997, Virgin absorbed EMI Records USA (distinct from EMI America Records which was absorbed by Manhattan Records) and in 1998, opened a country music division called Virgin Records Nashville, of which record producer Scott Hendricks was president.[11] The label's signees comprised Julie Reeves, Jerry Kilgore, Roy D. Mercer, Tom Mabe, Chris Cagle, Clay Davidson, and River Road. In 2001, Virgin Nashville closed and its roster was folded into Capitol Records' Nashville division.[12]
Main article: Capitol Music Group
Capitol Records and Virgin Records America were merged in 2007 to create Capitol Music Group after a massive restructuring of EMI Group Ltd.[13] Stepping down as chief executive of Capitol Records was Andy Slater, with Jason Flom, former executive of Virgin, taking the reins as chairman and CEO of the newly created company.
Virgin Music international companies
Virgin EMI Records is Universal's main label in the United Kingdom after Mercury Records UK has been reduced to a local Universal imprint and its artist moved to the new Virgin EMI label.[14]
Virgin Schallplatten GmbH was the German subsidiary of Virgin Records. It was consolidated into EMI Germany (which is now part of Universal Music Germany).
Virgin France was consolidated into EMI France, which has been renamed Parlophone and sold to Warner Music Group, just like the divisions in Belgium, Czech Republic, Denmark, Norway, Poland, Portugal, Spain, Slovakia and Sweden.
Virgin Japan has had three incarnations:
The first was founded by Pony Canyon in 1987 as a distributor for Virgin's artists in the country when Virgin was still independent. After EMI's purchase of Virgin in 1992, this incarnation of Virgin Japan was renamed Media Remoras, and it closed in 1997.
The second incarnation was part of Toshiba-EMI, and had three sublabels: Virgin Domestic, Virgin Tokyo, and Virgin DCT (exclusive to releases from the band Dreams Come True). All three were folded in 2004 into the label Virgin Music, which was folded into EMI Records Japan in 2013 after its merger with Universal.
The third incarnation, Virgin Music Japan, was founded in 2014 by Universal Music Japan as a sublabel under EMI Records Japan. It was formed after the merger of EMI R, which was renamed Virgin Records, and Delicious Deli Records.
Virgin Records artists
Virgin Schallplatten
Virgin Classics, France
Virgin Records Japan
↑ Virgin: A History of Virgin Records by Terry Southern, URL accessed 6 July 2011.
↑ EMI Music | Universal Music UK launches Virgin EMI Records
↑ https://twitter.com/virginrecords
↑ Lott, Tim (26 March 2004). "The day my music died". The Guardian. Retrieved 17 September 2007.
↑ Then Came Branson by Erik Larson at Inc Magazine Online, 1 Nov 1986, URL accessed 7 July 2011
1 2 "Simon Draper: Virgin Records – timeline". Google.com. 12 August 1978. Retrieved 28 February 2013.
↑ Nathan Joseph – Renaissance Man by Transatlantic Records at Transatlantic Records Online, URL accessed 2 June 2010.
↑ http://www.45cat.com/label/virgin/2
↑ "About Us – About The Virgin Group". Virgin.com. Retrieved 28 February 2013.
↑ "EUROPA – Competition – Cases from 200 to 249". Ec.europa.eu. Retrieved 28 February 2013.
↑ Frank Hoffman (ed.). Encyclopedia of Recorded Sound. p. 973.
↑ "Virgin Nashville to be folded into Capitol". Billboard. 3 February 2001. Retrieved 24 May 2014.
↑ "Capitol Records Merges With Virgin". Rapbasement.com. Retrieved 28 February 2013.
Virgin A&R team contact list
Official Virgin Music Blog
Official Virgin Music News Channel, as well as the international and Canadian branches
Rob Stevenson
Astralwerks Records
Back Porch Records
Caroline Records
Charisma Records
Dindisc
E.G. Records
Higher Octave Music
Hut Records
Narada Productions
Noo Trybe Records
Point Blank Records
Rap-A-Lot Records
Real World Records
Vernon Yard Recordings
List of Virgin Records artists
Thorn EMI
Capitol Music Group
Virgin EMI Records
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text:
AccueilTURKISH DRAMADe Cecco new commercial with Can Yaman and Claudia Gerini directed by Ozpetek
De Cecco new commercial with Can Yaman and Claudia Gerini directed by Ozpetek
RIRI NANO janvier 05, 2021
On social media the well-known Abruzzo brand De Cecco confirms a commercial, which will be shot in these days in Rome, starring the actress Claudia Gerini and the actor revelation of international cinema Can Yaman.
The commercial will have the theme of the social period we are living in: the difficulties in the midst of the pandemic. There will be a keen eye on the economic condition of restaurants that have been put to the test by these restrictions that have led to the closure of many catering businesses. So it will not be the classic spot focused on the family but also on the restaurant business in Italy.
While in the previous commercials an attentive Claudia Gerini discovered production through a journey to discover the places where pasta is made, the new commercial should focus on consumption. Therefore not only private houses but, above all, catering activities.
Of course, Director Ferzan Ozpetek will make the message that De Cecco will bring into the consumer's home in this brand new commercial poetic and socially conscious. Can Yaman will have a very special role even if at the moment the commercial has been defined but not revealed. And we know that Ferzan captures many nuances always making a breach in the heart of the viewers.
There is talk of multiple commercials being aired over the next few months. So not a single spot but almost a story in episodes. The set will be protected by security and will be in full compliance with Covid regulations in Italy. We still don't know the locations chosen by Ferzan Ozpetek but we know how much he loves the heart of Rome and its neighborhoods that have become a second home for the director of Turkish origin. Certainly, the heart of Roman restaurants is Trastevere so it could be one of the open-air sets chosen for the De Cecco advertisement.
Can Yaman will arrive in Rome today with a direct flight from Istanbul and will stay in Rome until January 12th. In fact, Can and Claudia will be filming a commercial for De Cecco these days. While the Turkish actor has an appointment set for January 11th with Lux Vide to define the terms of his contract as the protagonist in the new TV series Sandokan. He will dress the shoes of Sandokan as a debutant Kabir Bedi.
Can Yaman become the Malaysian tiger as well as a face of Made in Italy thanks to the choice of De Cecco.


text:
Genre: Literary
On itunes Buy on Amazon
Named a Most Anticipated Book of 2023 by LitHub!
From Jeannette Walls, the #1 New York Times bestselling author of The Glass Castle, comes a riveting new novel about an indomitable young woman in Virginia during Prohibition.
Most folk thought Sallie Kincaid was a nobody who'd amount to nothing. Sallie had other plans.
Sallie Kincaid is the daughter of the biggest man in a small town, the charismatic Duke Kincaid. Born at the turn of the 20th century into a life of comfort and privilege, Sallie remembers little about her mother who died in a violent argument with the Duke. By the time she is just eight years old, the Duke has remarried and had a son, Eddie. While Sallie is her father's daughter, sharp-witted and resourceful, Eddie is his mother's son, timid and cerebral. When Sallie tries to teach young Eddie to be more like their father, her daredevil coaching leads to an accident, and Sallie is cast out.
Nine years later, she returns, determined to reclaim her place in the family. That's a lot more complicated than Sallie expected, and she enters a world of conflict and lawlessness. Sallie confronts the secrets and scandals that hide in the shadows of the Big House, navigates the factions in the family and town, and finally comes into her own as a bold, sometimes reckless bootlegger.
You will fall in love with Sallie Kincaid, a feisty and fearless, terrified and damaged young woman who refuses to be corralled.


text:
The Highlands Current (https://highlandscurrent.org/2018/03/20/fluxional-clay/)
Fluxional Clay
By Staff | March 20, 2018
Studio to open new exhibit
Peekskill Clay Studios will open an exhibit, Fluxional Clay: Ceramics at the Crossroads, on Saturday, March 24, with a reception from 1 to 3 p.m.
These works by Natalia Arbelaez are part of an exhibit at Peekskill Clay Studios that opens March 24. (Photo provided)
The artists in the juried show — Susan Tunick, Bre Pettis, Natalia Arbelaez, Debra Freidkin, Sarah Coble, Tina Piracci and Liz Luna-Gagnon — were chosen for the way they incorporated found materials, digital processes and multimedia. The studios are located at 1000 N. Division St. See peekskillclaystudios.com.


Call us +662 309 3600 to arrange to visit today!
The prestigious location; Located in CBD of Bangkok and surrounded by several top 5 star hotels within a few hundred meters such as Okura, Novotel, JW Marriott, Plaza Athenee, Conrad and the most important embassies such as the British, American and Dutch embassies are all located within a few 100 meters.
The exquisite environment of the floor; clean and modern interior design with unique oil on canvas paintings by local Thai artists, a variety of abstract paintings, and an exclusive selection of black and white photographs of The Grand Palace by Simon Bonythonm as decorations.
The modern architecture; the building and its area are well known as one of the most premium and expensive real estates in Thailand.
An easy direct access to BTS Ploenchit station offers a seamless connection with Bangkok's public transport system, Sukhumvit Road, the main residential, restaurant and nightlife area in Bangkok.
A direct connection to the highway from where you can easily reach to Suvarnabhumi International Airport as well as to Don Mueng Domestic Airport.
A short walk or ride to Lumpini Park, one of the biggest parks in Bangkok, so you can exercise before or after work.
Multinational companies are also located in the same building such as Google, Paypal (Servcorp client), Oishi, Embassies, Cartier.


I splurged on a new pair of sunglasses and met up with the girls at the beach. We spent a few hours going for swims, reading, and just staring out into the sea. I went back to my room to get a cold shower, and fully enjoy the air-conditioning. I ended up napping for awhile. I was probably dehydrated because I was low on energy. In the back of my mind, I was hoping not to have a recurrence of the hotel-bound Phuket days.
While I was napping, the girls went off to explore the lookout point, though they arrived after the sun had gone down. Meanwhile, I roused myself out of bed to hit the beach for yet another amazing sunset. The sky was filled with pinks and blues, though I was a bit bummed to have no one to share it with.
After sunset, I went back to my room where I met up with the girls. We went to dinner at Ciao Bella, an Italian restaurant on the beach. Along the way, we met up with another French Canadian. I had no appetite for the pizza or beer I ordered due to anxiety around my lack of energy. Lots of French was being spoken. My mind drifted around as I tried to involve myself in the conversation from time to time. The Canadian guy had been living in Hong Kong for four months, and was starved to speak some French with Josie and Catharine who were happy to oblige.
Later, I learned how little English Josie and Catharine would've been speaking if I weren't around, and I decided a pinch of patience during such occasions was within myself.
We watched a bit of the fire dancing on the beach (it never gets old) and I saw women doing it for the first time. The music was a bit too loud at some of the bars though.
Before retiring for the night, we stopped in at the island's reggae disco club which has a big Muay Thai ring where tourists can fight one another for a free drink. I found it rather obscene, and wondered why anyone would want to risk their health on vacation for such a stupid reason. We watched two tourist bouts – one was a draw after 3 rounds, and the other resulted in a win by an Israeli over an Italian.
Roll up, roll up! Break ya buddy's nose for a bucket!! – yeeeaaaaaaah!!!!
I'm trying – that's about as tan as you'll see me (after 4 months in India and Thailand)!!


text:
#pragma once
#include <aws/amplify/Amplify_EXPORTS.h>
#include <aws/amplify/model/Branch.h>
#include <utility>

namespace Aws
{
template<typename RESULT_TYPE>
class AmazonWebServiceResult;

namespace Utils
{
namespace Json
{
  class JsonValue;
} // namespace Json
} // namespace Utils
namespace Amplify
{
namespace Model
{
  /**
   *
 The result structure for the update branch request.

See
   * Also:
   AWS
   * API Reference

   */
  class AWS_AMPLIFY_API UpdateBranchResult
  {
  public:
    UpdateBranchResult();
    UpdateBranchResult(const Aws::AmazonWebServiceResult<Aws::Utils::Json::JsonValue>& result);
    UpdateBranchResult& operator=(const Aws::AmazonWebServiceResult<Aws::Utils::Json::JsonValue>& result);

    /**
     *
 The branch for an Amplify app, which maps to a third-party repository
     * branch.

     */
    inline const Branch& GetBranch() const{ return m_branch; }

    /**
     *
 The branch for an Amplify app, which maps to a third-party repository
     * branch.

     */
    inline void SetBranch(const Branch& value) { m_branch = value; }

    /**
     *
 The branch for an Amplify app, which maps to a third-party repository
     * branch.

     */
    inline void SetBranch(Branch&& value) { m_branch = std::move(value); }

    /**
     *
 The branch for an Amplify app, which maps to a third-party repository
     * branch.

     */
    inline UpdateBranchResult& WithBranch(const Branch& value) { SetBranch(value); return *this;}

    /**
     *
 The branch for an Amplify app, which maps to a third-party repository
     * branch.

     */
    inline UpdateBranchResult& WithBranch(Branch&& value) { SetBranch(std::move(value)); return *this;}

  private:

    Branch m_branch;
  };

} // namespace Model
} // namespace Amplify
} // namespace Aws

redpajama_set_name: RedPajamaGithub


text:
Q: Change font color for a part of text in cell I have cells which will contain the below value
"Image not allowed|png"

I want to change the color of |png alone or whatever comes after "|"
Now i am trying to change the font color using the below code
Cells(4,2).Font.Color = RGB(255, 50, 25)

It will change the entire cells font color, Is it possible to change only the selected text color(|png) using VBA?

A: You can use Characters cell's property like :
Cells(1,1).Characters(Start:=2, Length:=3).Font.Color = RGB(255, 0, 0)

This should be a good start :
Sub vignesh()
Dim StartChar As Integer, _
    LenColor As Integer

For i = 1 To 5
    With Sheets("Sheet1").Cells(i, 1)
        StartChar = InStr(1, .Value, "|")
        If StartChar <> 0 Then
            LenColor = Len(.Value) - StartChar + 1
            .Characters(Start:=StartChar, Length:=LenColor).Font.Color = RGB(255, 0, 0)
        End If
    End With
Next i

End Sub

A: Yes this is possible.  A good way to explore the Excel object model is to use the macro recorder to record a macro where you manually carry out the manipulation you're interested in.
In this case, you can use:
Cell.Characters(Start:=1, Length:=5).Font

to set font properties of a substring in a cell.

A:
Is it possible to change only the selected text color

Simple
Option Explicit
Sub Test()
    With Selection.Font
        .ColorIndex = 3
    End With
End Sub


GETTING THAT DOWNPAYMENT: It might be easier than you think!
For many first-time homebuyers, that down payment is one of the big obstacles to home ownership. Saving up cash – especially if you're paying rent, paying down student loans, and trying to live a life – can be slow and difficult work.
1. Home Buyers' Plan (HBP) lets first-time homebuyers withdraw up to $25,000 each (or $50,000 for a couple) tax-free from their RRSPs. You'll need to pay those funds back, of course, on a repayment plan.
2. A financial gift from a parent or blood relative can be used as a down payment. This cannot be a private debt; you'll need to document in writing that the funds are a gift and you are not required to pay the money back at any time.
3. Start small. If your dream home is out of reach, look for a starter home. Use today's low interest rates to start hammering down your first mortgage, then watch for the opportunity to get the home of your dreams – using the equity and credit rating you've been building!
To discuss this, any other Real Estate items, or just to say hi please call me at 780-908-1224.


Bedroom bath house plans beautiful is one images from 18 4 bedroom 3.5 bath house plans that look so elegant of House Plans photos gallery. This image has dimension 825x770 Pixel and File Size 67 KB, you can click the image above to see the large or full size photo. Previous photo in the gallery is bedroom bath house plans real estate. For next photo in the gallery is bedroom bath house plans real estate. You are viewing image #2 of 18, you can see the complete gallery at the bottom below.


Lots of minute detailing makes this piece very special. Made to look of aged concrete it features the face of a smiling sun along with numbers on the top of the dial. A special selection from the "Enchanted Gardens" Collection.
DIMENSIONS: 1.25" x 1.25" x 2.25".


text:
How Much Water Does a Dishwasher Use?
April 26, 2019 by Team HomeServe Top Tips and Lists Know Your Equipment
I have a rule. If it is not marked "dishwasher safe", then it's a no go. (I refuse to spend my hard earned money on anything I have to hand wash.) Yep, that's right. In my opinion, life's too short to spend hours washing dishes. I know that some think dishwashers aren't as necessary as other kitchen appliances -- as those on Team Hand Washing think it's a better option. But not me. I love the convenience of letting my built-in dishwasher do the dirty work for me.
In my effort to conserve water at home, I started to wonder about my beloved dishwasher. How much water and energy use went into each load, and if there was any way I could cut down on those numbers? Here's what I found out:
So, tell me: How much water does a dishwasher use?
Conventional dishwashers use about 10 gallons of water per load, according to CNET. However, standards established in 2013 require dishwashers to cap their water usage at 5 gallons per load. Energy saving models can even cut it down to 3 gallons, saving nearly 5,000 gallons of water each year, as calculated by the Department of Energy.
But wait: How do dishwashers compare to the kitchen sink?
Good news: The dishwashing vs. hand-washing debate tilts in favor of the oh-so-convenient appliance. (Phew, TG!) If you cleaned a full dishwasher's worth of dishes in your sink, it could use up to 27 gallons of water, as noted by CNET.
Learn More About Home Warranty Plans Near You
Models certified according to the joint DOE and Environmental Protection Agency Energy Star standards actually use less water than hand-washing your dishes. In fact, doing the dirty work yourself costs an average of $413 more in water and energy use than using a certified dishwasher, according to Energy Star. Plus, dishwashers can handle higher temperatures than your hands, which means there will be far more sanitary action.
How to cut down on dishwasher water use
As you might expect, the best way to save water without changing your dishwashing habits is to install an Energy Star-qualified model. However, there are other tricks to boost the efficiency of both conventional and energy saving dishwashers.
Try these water and energy saving tips:
Only run your dishwasher when it's completely full: Make sure you load it properly so you don't waste water on inefficient loads.
Skip the pre-rinse: Scrape away the large chunks of food, but modern dishwashers can handle the rest. You'll save 55,000 gallons of water over the life of the appliance by skipping the rinse, according to Lowe's.
Maintain your appliance: It may seem counterintuitive, but you do need to clean your dishwasher about once a month.
Know the easy fixes: Here's how to tackle common dishwasher problems so you aren't stuck washing by hand - and wasting water while you're at it.
While these efforts will help improve your dishwasher's efficiency, there's one more thing you can do to protect your dishwasher: Be prepared in advance for unexpected breakdowns and repairs with an appliance home warranty.
See how plans from TotalHome Warranty by HomeServe can help with the costs of covered appliance and home system repairs.


text:
EatTheCorn.com
X-Files mythology, TenThirteen Interviews Database, and more
The Hollywood Reporter: TV Talk
It has become an annual ritual: "The X-Files" wraps its season with a cliffhanger on- and offscreen. Will the show return for another season? That drama has been as engaging as the onscreen pursuit for the truth that everyone knows by now is out there.
Now the show's creator, Chris Carter, who renewed his vows with 20th Century Fox TV for another season in a midnight call to Fox TV Entertainment Group chairman Sandy Grushow in July, and the rest of the "X-Files" gang are back and ready to re invent the long-running series.
The trademark "X-Files" humor also is set for a comeback, and there will be new faces, including Cary Elwes and Annabeth Gish, who is starting her first season as a regular. "There are new characters who are sharing the stage with the old characters and, by necessity, they're driving the show in new directions," executive producer Frank Spotnitz said of the upcoming season, set to launch Nov. 4. "So it's definitely the 'X-Files' television series that we've all come to know so well over the past eight years, but it feels very fresh and different."
Agent Scully's (Gillian Anderson) baby, whose birth was the culmination of the series' cliff hanger season finale in May, will be central to the plot this year.
"There's something afoot, and it involves what could be looked at as a new conspiracy, but one far different from the one that Agent Mulder (David Duchovny) pursued all those years," Carter said.
While they're all energized for the new season, the show's creative team feels a little disappointed that the series spinoff, "The Lone Gunmen," didn't come back. On the bright side, though, it is a break from recent years when they had to split their time between "X-Files" and another show. First it was "Millennium," then the short-lived "Harsh Realm" and, earlier this year, "Gunmen."
"Now that we're just doing 'The X-Files' again, it feels like a luxury to be able to concentrate solely on one series, and it's a pleasure to focus exclusively," Spotnitz said.
This fall, the Lone Gunmen trio will be back on "X-Files," as will goofy humor. "Last year we were establishing Robert (Patrick)'s character, so we didn't do any lighthearted episodes like we've been known to do over the previous seven years of the show," Carter said. "This year, I think you will see a number of those."
Of the three leads this season _ Anderson, Patrick and Gish _ only Anderson is an original cast member, and she has said she will leave at the end of the season.
Carter and Spotnitz believe they "still (have) plenty of stories left to tell," even without the original leads.
"I never imagined telling these stories without David to a point, and now I have to imagine telling them without Gillian, but I think that it's possible," Carter said.
Rebuilding the show around new central characters could give the long-running series a new lease on life, Spotnitz said. "Strictly creatively, we all feel like (the show) has new life and could go on indefinitely," he said.
But Carter is not that certain about his future on the show.
"This has already been a decade of my life because it took a year to take ('X-Files') off the ground," Carter said. "You have to think about how you want to spend your creative energy."
Tags: chris carter, frank spotnitz, x-files
Posted in Interviews: Press | 1 Comment »
Cinescape: Fall TV Preview: The X-Files
Oct-??-2001
Cinescape
Fall TV Preview: The X-Files
[typed by Megan]
High Concept: FBI agents searching for intelligent life in the universe also find conspiracies, monsters and big ratings.
Major Players: Gillian Anderson, Robert Patrick and Annabeth Gish.
Why Should You Watch: With Mulder (David Duchovny) and Scully (Anderson) finally consummating their relationship (with a kiss) at the end of last season, the originator of the "X-Files" will be suspiciously absent, leaving Scully to contend with her new baby (and its secrets) all by herself. How producers handle Mulder's absence will be an amazing sleight of hand trick, but seeing if new partners Doggett and Reyes click will be what most X-Fans will be watching.
Reasons To Be Concerned: It's season nine – and no Mulder. The show's mythology was tired in season five and there are very few adversaries left from the monster gene pool to exploit. Doggett revitalized the show last season while we waited for Mulder to return, but will Gish do the same?
Buzz-O-Meter: 5 (out of 10)
It was sealed with a kiss and now he's gone…again. At the end of The X-Files' eighth season, Agent Mulder (David Duchovny) and Agent Scully (Gillian Anderson) admitted to each other the "truth" that was out there all along – their love for each other. And with that, X-fans finally got what they wanted – confirmation that indeed Mulder and Scully did have something going on.
If the series ended on that note, it would have been a fitting conclusion to one of the TV's most challenging and interesting genre television shows. Yet, FOX wanted another season. They got their wish, but not without a price – sans Duchovny. Now, the show is going to have to find a suitable way of resolving that kiss without making Mulder's absence seem like he's a deadbeat sperm-donating dad.
"I care how they resolve Mulder kissing and running [away]," Duchovny admitted to Cinescape, while promoting his summer feature Evolution.
Of course, the writing staff is well aware of this dilemma, but executive producer John Shiban feels they've come up with an adequate solution.
"I think we all share David's feeling about the character," says Shiban. "We have come up with a way for Mulder to still be at the heart of the show and be absent. If he does the movies, it works. If he comes back for a cameo, it works, though right now the latter is not going to happen, but you never know. We came up with a beautiful way that fits with the mythology that has already been established to still have Mulder be in Scully's heart, be the father of her child and not be present. He will still be the center of The X-Files."
Whereas last year, the subtext of the show focused on "the search for Mulder," this year the major subplot will be "what's up with Scully's baby," explains Shiban.
"We intend to use Scully in ever episode in some very interesting ways," says Shiban. "She has been left with a big question: 'What is with my baby? Why did the aliens want it and then let it go?' Her relationship with Mulder is still central to the show – if not there in person, he'll be there in spirit. Still, this new world for Scully – motherhood – is very important."
The season ender also paired up Agent Doggett (Robert Patrick) with recurring character Agent Monica Reyes (Annabeth Gish) the new "head" of the X-Files. Predictably, Gish joins this season as a full-fledged cast member.
"Agent Reyes is very important next year, and so is Agent Doggett," says Shiban. "We will get into Doggett's past with his son and what happened with that."
Making an appearance in a key arc next season will be Xena star Lucy Lawless, whose character has yet to be revealed, and Shiban says you should never count out the Cigarette Smoking Man for making an appearance despite being dead.
Tags: david duchovny, john shiban, x-files
Posted in Interviews: Press | No Comments »
The X-Files: Eat The Corn
Eat The Corn
Mytharc Primer
Mythology Episodes Database
Analysis Dossiers
1013 Interviews Database
Feedback & LinX
Mythology Q&A
Dossier: Hybridization
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Feature: Massive Music Compilation
Video/BluRay news
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Season 10 & Season 11 issues list
IDW comics: issues beyond
Category: Comics
Vancouver, 25 years later!
11X10: My Struggle IV
11X09: Nothing Lasts Forever
11X08: Familiar
11X07: Rm9sbG93ZXJz
orodromeus on Story and visual influences on The X-Files : Season 3
Arn on Story and visual influences on The X-Files : Season 3
Antonis Bestas on More Music from the X-Files
orodromeus on More Music from the X-Files
orodromeus on EatTheCorn's interview database
X-Files Lexicon
The X-Cast (blog & podcast)
X-Files Universe
XFilesNews
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