text:
C S A R D A S:
Budapest: A Sustainable City?
Development in the Hungarian Capital
Gusztav Kosztolanyi
Sustainability is a fairly new concept, and not just in Hungary. In a situation where the majority of the population eke out a living month by month, it appears remote from ordinary concerns, a term to be trotted out by politicians paying obeisance to Europe in the hope of attracting funds or speeding up the accession process. It might even appear as something of a luxury, the prerogative of wealthy countries waking up to the need to salvage the appearance of a healthy environment, to breathe new life into deserted and inhospitable urban wastelands. Indeed, one of the areas singled out for particular attention in the most recent country report from the European Commission was Hungary's progress (or lack thereof) in the environment: "Some progress has been achieved in the areas of nature protection, pollution from industrial plants and large combustion plants as well as the control of major accidents. However, substantial efforts are still needed, in particular, in the areas of waste and waste management, water and air quality. Hungary has made steps to address the short term Accession Partnership priorities. If Hungary wants to achieve its ambitious target for full transposition in 2001 [the reference is to Mr. Orban's plan to implement the full corpus of Community legislation, the so-called acquis communautaire, by the end of next year, thereby enabling him to place the blame squarely on the shoulders of the EU itself if Hungary is not admitted forthwith - an adroit political move designed to help him avoid reaping the bitter harvest of failure to join the EU by the next elections] it will need to urgently speed up both legal alignment and investment in environmental technology and infrastructure" [Regular Report, p.49, English version].
Surveying the city of Budapest from Janos Hill on the Buda side, the image is similar to the artificial cityscapes throughout the rigidly planned former Communist domains, with the historical core enclosed by a depressing array of pre-fabricated buildings (panelhazak), rising from the haze like malignant growths. It is as if Pest, stretching to the horizon on its plain, consisted of two separate worlds: the chic, often strident world inhabited by tourists and the shifting population of diplomats, officials and company managers, and the grimy suburbs, with row upon row of blank, unadorned concrete frontages gazing resignedly upon a no-man's land where foreigners never dare to venture.
Pest is a city of decayed grandeur with a whiff of the decadence of a coffee house culture that produced the writers of genius whose names have become part of the literary pantheon. Her faded glory, bricks peeping out from behind the crumbling plaster, shrapnel holes gouged out of vast granite blocks, add a certain fin-de-si�cle melancholy to a stroll through her streets. In the semi-darkness of the inner courtyards, glass ceilings and intricate ironwork rot away in silence, unnoticed by the visitors in their air-conditioned buses and the passers-by with their bowed heads and shopping bags stuffed with loaves of bread and fresh paprika.
One of the most striking monuments of the Pest side, the New York Palace, familiar to generations of tourists as the building which houses the hidden architectural pearl which is the New York coffee house, is an emblem of the city and its aspirations. This month, it is expected to be handed over to a new owner, the Messerschmidt Foundation. What a strange irony of fate that this organisation, whose most famous product in the past was synonymous with deadly efficiency and destruction, should now be entrusted with the salvation of a once glorious monument, reversing the decline it has been subjected to for decades.
The building was erected by the New York Life Insurance Company as its headquarters according to plans drawn up by master architect Alajos Hauszmann. After it opened for business, the offices of the insurance company occupied a few rooms on the first floor, the rest being rented out as flats. The coffee house on the ground floor soon became the stamping ground of authors, transforming it into an intellectual and artistic power house. In 1918, it was bought over by the Est newspaper publishing house, only to be sold on to the Adria insurance company ten years later. It was taken over after 1937 by the Nova Transport and Industry Company, and its final owner before it was made the property of the State in 1950 was the Hungarian General Credit Bank. From 1951 onwards, it was placed in the charge of the Newspaper Publishing Company (Lapkiado Vallalat), housing the editorial staff of a variety of newspapers until the beginning of the 1990s. In 1993, Profit Invest, a company owned by the Postabank, acquired 100% rights to it. Plans to renovate the building did the rounds even then, one of the ideas being to make it the site of the National Theatre. As part of a portfolio swap, the Palace returned to State hands. At the moment it is owned by Valto 4 Libra, a subsidiary of the APV (the body responsible for privatisation in Hungary).
Initially, the APV only intended to sell off the building, charging 18 intermediaries with the task of offloading it. This was not to prove an easy task: the dizzying costs of restoring the premises and the difficulties in providing sufficient parking opportunities deterred potential investors. The Palace was and is a listed building, further restricting the uses to which it might be put. In the meantime, a neighbouring site was bought over by Valto with the prospect of conversion to parking spaces.
The buoyancy of the real estate market in recent years revived interest in the Palace. In the last 24 months, Valto 4 Libra has conducted negotiations with 18 companies over the Palace's fate. When he took over as presiding head manager in April, Mr. Istvan Nagy inherited 13 valid purchase bids from his predecessor. Competitors who had put in bids exceeding HUF 1.6 billion were invited to confirm their continued interest in the venture. The final selection was then made on the basis of three criteria: the bidder's ability to pay, compliance with the requirements of protection of listed buildings and the amount proposed. This led to a shortlist of seven. Valto then called in an international credit rating institute to look at the remaining candidates' economic activities. Once this examination was complete, the Messerschmidt Foundation had beaten off its main rival, Intas AG, a German-Swiss company specialising in the hotel branch, which had offered HUF 2.3 billion plus VAT. Intas was rejected mainly because it did not emerge that the company was actually in a position to put up the promised cash. Intas, moreover, blotted its copybook in proposing that shops, a restaurant, garage and multiplex cinema be installed in the Palace, a notion which sent shivers down the spines of the city planners. Not only would such blatantly profit-oriented plans be an affront to the historic past of the Palace and hence to its dignity, but the building was also subject to the rules of the City Framework Plan. This meant that it could only house public institutions, administrative offices, catering facilities, or hotel accommodation with the requisite parking spaces. The then chief architect of Erzsebetvaros (the district in which the Palace is situated) had also written a letter in which he specifically stated that a multiplex would not be appropriate.
The Messerschmidt Foundation, with its headquarters in Munich, has accumulated a great deal of experience in the field of restoring ailing listed buildings, and therefore appeared to be a more respectable candidate. Mr. Nagy travelled to Bavaria to inspect the Foundation's business accounts. The bid comprised HUF 2 billion plus VAT, to be transferred within 8 days of signing the contract. The Foundation agreed to undertake the full restoration of the complete building, including that of the New York Coffee House, returning it to its original condition from 1897. Hungarian contractors will provide the bulk of the restoration experts, converting the Palace into an exclusive office complex with the adjacent premises earmarked as a multi-storey car park. The Foundation has committed itself to completing the work within 16 months of being given the go-ahead in the form of planning permission.
Given that over 40 specialist authorities are required to give their approval to the finalised construction plans, red tape could hold up the project for quite some time. The Palace's listed building status means that the relevant department of the OMVH [Orszagos Muemlekvedelmi Hivatal, or National Monument Protection Office] will be responsible for granting planning permission rather than the municipal authorities. According to Mr. Csaba Bende from the OMVH, the work being carried out will be subject to continuous scrutiny by experts from the Office. Both planners and construction workers must comply with the law on monuments and they will be expected to engage in regular consultations with the inspectorate.
Although all this sounds very reassuring, not everyone is so confident that the plans will be executed satisfactorily. Mr. Ferenc Vadas, an art historian and author of a survey of the Palace's history and architectural significance running to over 180 pages, expressed his anxiety about the impact conversion plans would have on the character of the Palace. In an interview with Magyar Nemzet [9 October 1999, the interview conducted by Csilla Halasz], he gave a timely reminder of one of the more philistine notions put forward: that of employing the Palace as a department store with built-in escalators! The idea of creating a theatre was equally reprehensible to his mind, as it too would mean gutting the entire interior. Mr. Vadas believes that the entrance hall, main staircase, courtyard and halls on each of the floors should be preserved intact. The fact that the Palace contains at present a modest total of three staircases will give rise to difficulties from a fire safety point of view if it is to become a hotel or office complex.
Perhaps then the hapless tourist will not be forced to pick his or her way along the dank planks beneath an uninspiring arcade of heavy wooden supports whilst searching for the entrance to one of Pest's few remnants of a culture that has all but disappeared, the New York Coffee House...
Elsewhere in the city, a notorious eyesore, testimony to the embittered political feud between the government and the Budapest municipal authorities, has been dubbed by locals as a godor, or "the pit". On Erzsebet Square, having ousted the bus station, it is surrounded by billboards advertising the latest shopping centre developments on the outskirts of the capital as well as the fashionable accessories of a consumer society. The site was a gift from the Budapest corporation to the state with the intention of building the National theatre there [see my previous articles on the wrangling that ensued], and on 10 November it reverted to its previous owners. According to a document adopted jointly by the capital's Assembly and the National Cultural Heritage Ministry, an underground garage, shops and restaurants may be built there in the future, whilst a park will adorn the surface.
A much more lucrative and promising deal on the National Theatre was clinched by the government with the Canadian Trigranit Fejlesztesi (Development) Company. Once implemented, the declaration of intent signed last week will lead to the establishment of an entirely new urban centre, completely changing the face of one of the most run down parts of the city in the Eleventh District between the Lagymanyosi and Petofi bridges, which will at the same time represent the biggest single investment project in Central Europe. The estimated cost will be somewhere between USD 500 and 600 million. This is not the first costly investment Trigranit has made in Hungary: the West End City Centre shopping mall (the biggest in Central Europe!), opened on 12 November, was also paid for by Trigranit (a snip at USD 200 million).
On the Pest side of the Danube, the development site comprises approximately ten hectares. In 1996, when Budapest cherished hopes of hosting the Expo, 15 building plots were registered individually as state property, three being bought over. The northernmost tip of the site has already been developed, though not all of the new owners have realised the full potential of their investment as well as MOL (the largest Hungarian oil company, in which the state has a 25% stake-holding) has with its petrol station. The total area of the remaining plots is 59,224 square metres, but there are 415,000 square metres open to development according to the city's development plan (planning permission stipulates the height of the buildings minus the underground garages, thus with the requisite number of storeys, the total gross area to be built on is the second figure). This does not include possible underground garages. The National Theatre is now due to be erected at an as yet undetermined location amongst the plots.
The Canadian firm does not intend to build yet another shopping mall on the Theatre site (shopping malls are a growth industry in and around Budapest, but in my opinion, the market has reached saturation point, with very few customers left to cater for), trying its hand instead at a multi-functional cultural and entertainment centre. This would involve three or four hotels, a congress centre with 5,000 seats, exhibition halls, cinemas, thermal baths, offices and residential developments. Work on the South Danube City Centre, as it has been christened, will in all likelihood begin next summer, depending on the speed and efficiency with which the bureaucratic and administrative hurdles are taken (and on where the National Theatre will be placed).
In order to be viable, the development on the Pest side will have to be accompanied by a parallel exercise on the ailing Buda side around Soroksari ut, which presently is in a depressingly dilapidated state. The project managers are convinced that the rehabilitation programme already underway in Ferencvaros will continue apace, given fresh impetus by the prospect of development on the opposite bank.
A second declaration of intent, also signed by the Prime Minister in Canada, concerned the fate of another of the city's architectural jewels (in a similarly scandalous state of disrepair to the New York Palace which likewise began its life as the headquarters of an insurance company) - the Gresham Palace, at the Pest end of the Lanchid (Chain Bridge): it will become a luxury hotel.
It is a far more difficult undertaking to attract investment in renewing the prefabricated blocks of flats or indeed in finding alternative forms of housing. Many of the ordinary Hungarians who live in these austere monoliths can barely scrape together enough money to pay their utility bills; eviction due to chronic arrears is becoming ever more common. They are not, in other words, likely clients of property developers with their well-appointed pieds-a-terre overlooking the Danube. Thus the real estate market reflects the growing gulf between the haves and the have-nots, the polarisation of Hungarian society.
In certain parts of the Hungarian provinces, however, the housing situation is not quite so bleak, and even panelhazak can be an appealing prospect, as the example of Esztergom-Komarom shows. Proximity to the Slovak border and the settling of multinational companies have sparked off a property boom in towns such as Tatabanya, Dorog and Esztergom itself, which has spread into the surrounding villages. Reconstruction of the Maria Valeria Bridge, linking Hungary and Slovakia, is the perfect illustration of how reconciliation pays off.
Sustainability cannot be achieved without the full co-operation of the state and the civil sector, as sociologist Zsuzsa Szeman demonstrates in her study of two Hungarian provincial towns, Ozd and Gyongyos [see the article on the subject in Magyar Nemzet, 14 August 1999]. Under the Communist regime, Ozd (in the vicinity of Miskolc in North-East Hungary) was selected as the location for the metal and engineering industries deemed necessary for the country in spite of the scantiness of its coal and iron ore deposits. The local economy that had been artificially sustained under Communism collapsed completely after the old regime's demise, deprivation and hardship becoming the norm. Zsuzsa Szeman characterises the three main problems as unemployment, the disadvantageous situation of the Roma and the top heavy age structure of the local population.
At the beginning of 1999, the unemployment rate was a disheartening 25%, with a further 25% not recorded in the official register. The Roma, who make up an estimated 14-20% of the population, are particularly vulnerable to long-term unemployment due to their lack of an adequate skills base.
The problem of a greying society is exacerbated by an exodus of the brightest young people, who flee the region as soon as they can to go to university and improve their prospects for the future. About 80% of the middle classes have thus left Ozd.
Rather than sink into fruitless despair, the local authorities have allied themselves closely to the voluntary (civil) sector, aware that job creation was the sole means of turning the tide. Favourable conditions were offered as bait to foreign companies seeking to relocate. So far, General Electric have given the most positive response, promising to create 1,000 to 1,200 new jobs by 2000. Workers are retraining and new blood is being recruited for the future. This involves guaranteeing equality of opportunity at school, since drop out rates are influenced as much by children's circumstances as they are by individual ability. Although the local authorities have succeeded in making free school lunches available, it depends for help in providing other activities on the civil sector. In 1998, the authorities had contacts with 44 associations of various types (although the total number of such bodies vastly exceeds that number), including charities and churches, funding them in return for assistance. 40% of these organisations deal specifically with young people and schools.
The civil sector is particularly active in helping people to cope with crises. One organisation in particular, the Maltai Szeretetszolgalat, has seen its workload increase exponentially. Initially, it began with 23 volunteers ranging in age from people in their early 50s to an 80 year old. They run a kitchen offering free meals to the needy, cooking, washing up and cleaning as well as distributing donations of furniture, food and clothing. Their other activities include running a legal advice office and a visitors' service for the sick. They receive no remuneration, a minibus ferrying them to and from work.
General Electric have played a more benevolent role than most companies in local society in Ozd, realising that it is ultimately in the company's own best interests to slow down the rate of migration from the town. As a result, the company gives support to the most disadvantaged sectors of the population and helps in the development of health care provision.
Gyongyos, by contrast, is the centre of an economically less backward region of Hungary, Heves county, and the twin scourges of unemployment and exodus do not affect it as severely as Ozd. One fifth of the local population is aged between 19 and 30, but a falling birth rate raises concern about a ageing population. Once again, the town has to contend with an inadequate skills base and half of the registered unemployed (including a substantial proportion of Roma) have been on the dole long term.
In Gyongyos, the burden of welfare is shouldered primarily by the local authorities. The civil sector has a vital complementary role to play here, with the Maltai Szeretetszolgalat taking care of the elderly with a comprehensive package of services ranging from physiotherapy to hairdressing. The agreement signed with the local government represents a huge relief on the latter's budget, as the volunteers work for a bare minimum.
In Gyongyos, however, there is no equivalent of General Electric. Zsuzsa Szeman points to the valuable work being done by the Munkanelkuliek es Allaskeresok Egyesulete (the Association of the Unemployed and Job Seekers) in trying to find placements for and additional psychological support to the unemployed and their families. In 1998, 1,600 people turned to the Association for assistance. 10% managed to find jobs with its help, a figure that could be improved if only companies adopted a more constructive attitude. As things stand at the moment, companies in Gyongyos reject candidates over the age of 45 (indeed even 35 is considered too old) and those who are "fortunate" enough to be taken on for a probationary period are terrorised into the kind of effort that would put Stakhanov to shame, only to be told at the end of the trial period that they are being dismissed (so that the companies can replace them with further trainees who represent cheap labour).
Thus Gyongyos, with its smaller scale involvement of the civil sphere in basic service provision, and its failure to attract the more philanthropic variety of multinationals that seek to enhance their reputations by involvement in the local community, ends up in a situation in many respects worse than that of Ozd, although the latter has for years been associated in the Hungarian mind with chronic decline.
Before concluding, I would like to make it clear that there is at least one respect in which Budapest may be described as a sustainable city (and where it would do the EU no harm to take a leaf out of Hungary's book): public transport. Budapest never went through a process of dismantling a functioning public transport system only to regret it bitterly later, rebuilding what was lost at enormous cost. A network of trams, trolley buses, buses, metros, the old underground line (the second to be built after London and the first on continental Europe) criss-cross the city whilst the suburban railways link the capital with nearby centres such as Szentendre. The frequency of timetabled services make it the envy of all but the most progressive cities further West. Not that all is rosy in the garden: the Budapest authorities constantly demand more resources from central government for BKV (Budapesti Kozlekedesi Vallalat, or Budapest Transport Company) in spite of state support having increased by 400% over the last five years and fares going up by 350% over the same period.
One of the flaws of the budgetary estimates for next year is that no provision is made for bicycle paths, improving the lot of pedestrians or traffic-calming measures, so there is room for improvement even here.
As an antidote to all fears concerning Hungary's environmental record compared with that of the EU, we would do well to recall that Brussels, the capital of the institutions, unceremoniously dumps its untreated waste water into the local rivers and is at long last on the verge of being fined heavily for failing to comply with waste water treatment directives. Before issuing sanctimonious prescriptions about what Hungary should and should not do, the EU ought to tackle the glaring offences of recalcitrants within its own ranks.
Gusztav Kosztolanyi, 14 November 1999
The sources used in the writing of this article were Magyar Nemzet, 14 August, 1 September, 9 October, 3 and 11 November 1999.
Magyar Nemzet online.
Poland's Silesian Conurbation
Building Politics in Berlin
Saving Sofia
Mall-land in Budapest
Interview: The Builder of Budapest
A Sustainable City?
Prague:
Car Capital
Czech Media Antics
Ten Years on in Estonia
Is Transition Possible?
Collected works of our regular authors
Kazi Stastna
BALTIC STATES:
HUNGARY:
Gusztav
Kosztolanyi
Andrzej Wajda's Pan Tadeusz
The Music of Krzysztof Penderecki
Albanian Immigrants
MINORITIES:
Hungary's
Jews and Roma
Cultural Round-up from Poland
Poetry by Marcin Swietlicki
The 1998 Parliamentary Elections and Democratic Rebirth in Slovakia


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Die Abstauber ist eine österreichisch-deutsche Komödie von Wolfgang Murnberger aus dem Jahr 2011 mit Mišel Matičević und Ursula Strauss in den Hauptrollen.

Handlung
Anlageberater und Fondsmanager Chris Melzer hat große Probleme. Sein Chef macht ihn für den Verlust von 158 Millionen Euro verantwortlich und die Staatsanwaltschaft hat schon erste juristische Schritte eingeleitet. Seine Konten sind bereits gesperrt, sein Chef hat ihn suspendiert und seine Freunde ziehen sich plötzlich von ihm zurück. Einzig Putzfrau Carmen hat Mitleid mit ihm. Bisher hatten beide kaum miteinander gesprochen, doch als Carmen am Abend wie gewohnt Melzers Büro putzen will, kann sie ihn gerade noch davor bewahren, sich zu erhängen. Notgedrungen beginnt er mit der Putzfrau über das Leben zu philosophieren.

Da ihm wegen der angeblichen Unterschlagung Untersuchungshaft droht, nimmt die gutherzige Carmen ihn kurzerhand mit zu sich nach Hause. Das unorthodoxe Familienleben Carmens bereitet dem pingeligen Mann jedoch Probleme, nur mit Mühe kommt er damit zurecht. Während Carmen arbeiten geht, hält er sich weiter in ihrer Wohnung versteckt, übernimmt die Hausarbeit und beaufsichtigt Carmens Kinder. Dabei erfährt der erfolgsverwöhnte Manager, dass auch Carmen ein großes Problem hat, denn dem Vater ihrer Kinder "verdankt" sie ein gegen sie eingeleitetes Konkursverfahren. Da Chris Finanzexperte ist, kann er ihr in dieser Sache helfen und Carmen hilft ihm ihrerseits, etwas gegen seinen Arbeitgeber zu unternehmen, der ganz offensichtlich selbst hinter dem Finanzbetrug steckt. Sie überredet Chris zum Gegenangriff überzugehen, sich in einem Weihnachtsmannkostüm getarnt auf die Firmenweihnachtsfeier zu schleichen und seinen Chef Wachter zur Rede zu stellen.

Chris wird jedoch vorzeitig erkannt und von der Polizei abgeführt. Die kämpferische Carmen nimmt die Angelegenheit nun selbst in die Hand. Sie observiert Wachter und seinen Gehilfen. So wird sie Zeugin, wie die beiden die Unterlagen der Scheinfirma beseitigen wollen, über die sie die Gelder ins Ausland transferiert haben. Unbemerkt räumt sie alle Akten wieder ein und als am nächsten Morgen der angebliche Einbruch bei der Polizei gemeldet wird, findet man die Unterlagen, die Chris Melzers Unschuld beweisen, wieder an Ort und Stelle.

Nachdem Chris rehabilitiert ist, genießt er als erstes seine wieder erlangte Freiheit. Doch Carmen und die Kinder fehlen ihm. Er reist ihr nach und will sich bei ihr bedanken. Doch mit seinen mitgebrachten Geschenken erreicht er bei der stolzen Carmen genau das Gegenteil. Erst als er sich öffentlich zu ihr bekennt, gibt es ein Happy End.

Veröffentlichung, Quote
Der Film wurde in Österreich am 7. Dezember 2011 erstmals ausgestrahlt. Der österreichische Arbeitstitel lautete: Die Putzfrau und der Banker. In Frankreich wurde er unter dem Titel Poussières d'amour gezeigt.

In Deutschland konnte der Film bei seiner Erstausstrahlung in der ARD am 15. Dezember 2012 5,23 Mio. Zuschauer verzeichnen bei einem Marktanteil von 16,9 % und kam bei einer Wiederholung im Dezember 2013 auf 3,95 Mio. Zuschauer mit einem Marktanteil von 12,1 %.

Der Film wurde vom Studio Hoanzl innerhalb der ORF Edition am 28. September 2012 auf DVD veröffentlicht.

Kritiken
Rainer Tittelbach von Tittelbach.tv meinte zu dieser Komödie: "Österreichs Erfolgsautor Uli Brée hat ein intelligentes Wohlfühlskript geschrieben, hat Dialogfolgen in bester Screwball-Comedy-Manier mit Mut zur Romantik kombiniert, und Wolfgang Murnberger hat das Ganze flüssig, mit gutem Timing und Blick fürs Christmas-Ambiente in Szene gesetzt. Wundervolles Paar: Misel Maticevic und Ursula Strauss!"

Prisma befand: "Ein nicht immer treffsicherer, aber gut gespielter Mix aus Romanze und Komödie. Besonders Misel Maticevic und Ursula Strauss […] wissen hier als ungleiches, wenn auch etwas überkandideltes Paar auf Wahrheitssuche zu überzeugen."

Weblinks

Einzelnachweise

Filmtitel 2011
Deutscher Film
Österreichischer Film
Weihnachtsfilm

redpajama_set_name: RedPajamaWikipedia


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- JST	- https://www.jungmann.de/en -
Kategorie: Switch room.
Car manufacturer focuses on ergonomics
JST solutions: Since the screens behind the worktop are lowered by ten centimetres, an unobstructed view of the hall is possible. It also lowers the line of sight from the horizontal by 35° and ensures a relaxed head tilt (recommendation of the professional association for administrative staff).
The specialists from Jungmann Systemtechnik at BMW's Dingolfing plant have overcome an extraordinary challenge. The central energy control center of the plant was to be rebuilt while the plant was in operation. "We were able to complete this special task to the satisfaction of all involved", Christian Beck, Head of Technics of the JST team, sums up.
In accordance with customer requirements, Jungmann employees equipped the Bavarian car manufacturer's control center with operator desks from the StratosX11 furniture system, which was specially developed for control rooms. Those responsible at BMW AG were particularly concerned with workplace ergonomics for the employees in the control center, which is manned around the clock.
In order to meet these requirements, special tables were installed in Dingolfing which can be moved continuously and by electric motor to the optimum sitting or standing position. These Stratos X11 tables meet the highest requirements in terms of technical installations, ergonomics, stability and durability.
Energy control center after modernisation / before modernisation
The BMW plant Dingolfing
The entire energy supply of the BMW plant in Dingolfing is monitored and controlled by the central energy control center. The BMW plant in Dingolfing, Lower Bavaria, produces the BMW 5 Series, 6 Series and 7 Series. The BMW 3 Series Gran Turismo has also been rolling off the production line in Dingolfing since March 2013. Around 18,000 people work at this location.
REQUEST AN OFFER WITHOUT OBLIGATION
The components used in this project:
Stratos X11 control room desk – optional with height adjustment and proactive AlarmLight system
Other projects with a similar task
Deutsche Windtechnik
Energieservice Westfalen Weser GmbH
WindMW, Bremerhaven
Article printed from	JST: https://www.jungmann.de/en
URL to article: https://www.jungmann.de/en/references/bmw-plant-dingolfing
Click	here	to print.
Copyright © 2018 JST. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: First run gives subscript out of range error When I run the following code in MS Access I get a subscript out of range error on the first run only. If I click ok on the error and run again it is fine. If I close the database and reopen it I again get the error on the first run.
DoCmd.OutputTo acOutputTable, "tblOutput", acFormatXLS, "Output.xls", True
Excel.Workbooks("Output.xls").Worksheets("tblOutput").Rows("1:3").Insert Shift:=xlDown, CopyOrigin:=xlFormatFromLeftOrAbove 'or xlFormatFromRightOrBelow
Excel.Workbooks("Output.xls").Worksheets("tblOutput").Range("B2") = "data 1"
Excel.Workbooks("Output.xls").Worksheets("tblOutput").Range("D2") = "data 2"
Excel.Workbooks("Output.xls").Worksheets("tblOutput").Range("E2") = "date 3"
Excel.Workbooks("Output.xls").Worksheets("tblOutput").Range("F2") = "data 3"
Excel.Workbooks("Output.xls").Save

A: I'm surprised this works at all, ever. :o
Excel.Workbooks refers to the generic Excel class that is referenced in your VBA project, but not to the actual instance of Excel that you started with DoCmd.OutputTo.
You need to get the actual object. In your case the easiest method is to use GetObject() on the file, I think.
This works for me:
Sub TestOutput()

    Dim wb As Excel.Workbook

    DoCmd.OutputTo acOutputTable, "tblOutput", acFormatXLS, "D:\Output.xls", True
    Set wb = GetObject("D:\Output.xls")

    wb.Worksheets("tblOutput").Rows("1:3").Insert Shift:=xlDown, CopyOrigin:=xlFormatFromLeftOrAbove

End Sub

redpajama_set_name: RedPajamaStackExchange


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text:
Dark Star Orchestra (abgekürzt DSO) ist eine US-amerikanische Tribute-Band der Gruppe Grateful Dead, die 1997 in Chicago gegründet wurde.

Geschichte
DSO wurde aus der Idee gegründet, alte Grateful Dead Liveshows neu aufzuführen und sie komplett zu wiederholen. Diese Idee führte 1997 den Gitarristen John Kadlecik mit dem Keyboarder Scott Larned zusammen.

Die ersten Konzerte waren keine großen Erfolge. Sie traten vier Dienstage abends in Martyrs auf, einem Klub in Chicago, in dem schon andere Bands und Sänger wie Yardbirds, The Animals, Cake, Ian Hunter und John Entwistle auftraten oder ihre Karriere starteten.

Beim ersten Auftritt am 11. November 1997 sahen gerade einmal 78 Leute zu, jedoch beim letzten der vier Auftritte war der Klub ausverkauft. Im darauffolgenden Frühling tourten sie durch Colorado und traten anschließend weiterhin dienstags und mittwochs in dem Klub auf. Auf diese Weise feierten sie am 29. Oktober 2004 während einer Tournee durch Greensboro ihren tausendsten Auftritt.

Im November 1998, am Vorabend ihres Jahrestages, traten Mike Gordon und Jon Fishman von Phish als Gastmusiker auf, nachdem ihr eigener Auftritt vorbei war. Diese gelungene Show erhöhte das nationale Ansehen in Amerika immens. Während ihrer Tournee durch Colorado waren ihrer Auftritte weitgehend ausverkauft, die MP3-Dateien auf ihrer Website erzielten Millionen Klicks und gerade die Ähnlichkeit von Sound und Gesang zu den Grateful Deads faszinierte die Fans und die Kritiker. So nannte Washington Post DSO als "die heißeste Grateful Dead Tribute-Band" und USA Today sagte, dass DSO nicht nur eine Tribute-Band sei, sondern vielmehr die Fortführung der Liveshows in der langen Zeit von Grateful Dead.

Zu diesem Zeitpunkt traten DSO bis zu 200 Mal im Jahr auf und gewannen eine zunehmend wachsende Fangemeinde aus neuen und alten Deadheads. Sie mieteten und füllten größere Klubs und Konzerthallen und gewannen Gastmusiker wie Bob Weir, Bill Kreutzmann, Donna Godchaux, Vince Welnick und Tom Constanten, die allesamt selbst Mitglieder von Grateful Dead waren.

2004 trat DSO bei 155 Konzerten vor 110.000 Fans auf. Neben den Original-Livesetlisten, führte die Gruppe inzwischen auch eigene Zusammenstellungen vor.

Während der Frühjahrstour 2005 verstarb Scott Larned am 28. April an einem Herzanfall. Statt dass sein Platz wiederbesetzt wurde, traten Gastmusiker auf. Darunter waren bekannte Musiker wie Dan Klepinger und Rob Barraco (u. a. The Other Ones), der den Platz schließlich übernahm.

2009 verließ Mitbegründer John Kadlecik die Band, um mit Phil Lesh und Bob Weir die Band Furthur zu gründen. Seine letzte Show war der 5. Dezember 2009. Jeff Mattson von den Zen Tricksters übernahm dessen Part.

Überblick
Inzwischen hat das Dark Star Orchestra mehr als 1.700 Liveshows weit überwiegend in Amerika gegeben. Grateful Dead haben vergleichsweise in 30 Jahre über 3.000 Konzerte gegeben, wobei anzumerken sei, dass Grateful Dead bei weitem mehr Fans in die Konzerthallen und Stadien geholt haben. Bei den meisten der Konzerte übernahmen DSO originale Setlisten von Grateful Dead und traten in der Nähe der originalen Showplätze auf. Doch verwendeten sie auch eigene Setlisten und improvisierten während ihrer Auftritte.

Neben der Übernehme der Setlist versuchen DSO, die komplette Show von Grateful Dead zu wiederholen, indem sie versuchen, das Equipment zu verwenden und in Nähe des eigentlichen Auftrittes aufzutreten.

Mit dieser Art erreichten sie nationale Bekanntheit. Das Rolling Stone schrieb ihnen eine fanatische Aufmerksamkeit zum Detail zu. The Dallas Morning News schrieb "the next best thing to being there" (nur noch selbst dabei gewesen zu sein, ist schöner). The Denver Post beschrieb DSO als eine perfektionsoriente Hommage und Associated Press schrieb, dass DSO ein Level an Details erreiche, das sich für eine erfolgreiche Band wie Grateful Dead geziemt.

Zu ihrem 941. Auftritt am 5. Mai 2004 im Fillmore Auditorium, San Francisco, gaben sie eine Doppelt-DVD heraus. Sie verwendeten die Setlist vom Grateful Dead-Konzert am 5. Mai 1977.

Zu ihrem 1000. Auftritt, bei dem sie eine eigene Setlist spielten, gaben sie eine Dreier-CD-Box heraus.

Kritik
Die Detail- und Präzisionstreue und die Wiederholung der Shows stößt auch auf Kritik der alten Grateful Dead Fans. Für viele Fans ist das das genaue Gegenteil von dem, das Jerry García stets forderte: Dass jedes Lied in einer einzigartigen Art und Weise bei jedem Konzert kreativ neu gespielt werden muss.

Zudem interpretieren viele die Konzertwiederholungen von DSO als eine reine Wiederholung jeglicher Abfolgen, nicht nur der Setlisten, sondern auch Song für Song, Solo für Solo und Note für Note. Doch auch wenn DSO die Setlisten kopiert, kopieren sie nicht die Lieder, sondern improvisieren und jamen. Auch Grateful Dead spielte niemals ein Lied auf dieselbe Weise hintereinander. Zudem verwendet DSO selbst zusammengestellte Setlisten, die nicht nur alte Songs von Grateful Dead, sondern auch Songs von Nebenprojekten wie Ratdog oder The New Riders of the Purple Sage.

Freigabe von Bootlegs
Wie auch Grateful Dead und deren Nebenprojekte stellt DSO seine Bootlegs zur freien Verfügung. Die Fans können Konzerte selbst mitschneiden und tauschen. Des Weiteren bietet DSO Aufnahmen auf ihrer eigenen Homepage und bei Internet Archive an.

Diskografie/Videos
 2005: Live at the Fillmore (DVD)
 2007: Dark Star Orchestra at All Good Music Festival 7/12/07
 2008: Ithaca 30 Years Later (DVD)

Weblinks
 Offizielle Website
 Live Dark Star Orchestra im Internet Archive

 [ DVD-Kritik bei All Music Guide]

Einzelnachweise

Rockband
US-amerikanische Band
Grateful Dead
Tribute-Band
Coverband


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BEST SEAT IN THE HOUSE
LONGTIME ATLANTA SYMPHONY ORCHESTRA VIOLINIST RONDA RESPESS PAYS IT FORWARD WITH FOUR STRINGS AND A FULL HEART
STORY: Neal Howard
PHOTOS: Sara Hanna
For veteran Atlanta Symphony Orchestra violinist Ronda Respess, classical music isn't just a profession. It's in the blood. "I started taking lessons at age 4," says Respess. "My mother was a wonderful pianist who started concertizing during World War II, and she played a lot of [Army bases] and even accompanied [noted singer] Marian Anderson on several occasions. She always played with me. I had a built-in accompanist all the time."
Respess' father, an MIT graduate and cellist who founded the school's first official orchestra, met his future wife, an alumnus of Wellesley College and the Longy School of Music, outside Boston. Her aunt was a concert violinist in Boston as well. And Respess' only daughter is also a professional violinist who, until recently, played with The Florida Orchestra in Tampa-St. Petersburg.
"My aunt died before I was born," says Respess, "and before she passed away, her son asked if there was anything my parents wanted. They said, 'We'd love her violin.'" The famed Guarneri, recognized as one of the best made instruments in the world, later fell into their unborn child's eager hands. If there was ever an argument to be made for believing in destiny, this would be it.
Now, some 50 years after Respess nailed her first audition with the ASO and set her career alight, her love of the music that filled her home as a young girl and, later, afforded her what she calls "a beautiful lifestyle," still hasn't abated. She has played the most esteemed concert halls in all of classical music—gilded venues spanning the globe—and to this day, the thrill of tuning up with her fellow chamber mates still induces an endorphin rush like no other. "For me, that's all of it—besides the love of just playing," says Respess. "Just to be able to hear it and be part of it, then sit in the middle of it, that's the best seat in the house." But that level of elation rarely comes without a cost, and ASO musicians certainly aren't spared this truth. It's a grueling, full-time schedule gearing up to perform a minimum of three shows per week, and Respess somehow retains the stamina to also juggle several side passions. For starters, she is actively engaged in Franklin Pond Chamber Music, the nonprofit school for talented young string students that she founded in 2001, and she teaches private lessons from her home in Sandy Springs.
"If Google Calendar didn't exist, I don't think I could live," she says with a laugh. "It's really hard work, but extremely rewarding."
WHERE TO CATCH HER: Atlanta Symphony Hall, 1280 Peachtree Street N.E.
UPCOMING CONCERT HIGHLIGHTS:
Oct. 5-7: Harry Potter and the Chamber of Secrets in Concert
Oct. 13: Vive la France
Oct. 20: Hanson: String Theory Live with the ASO
Oct. 25, 27: Britten War Requiem
Oct. 26: The Tenors: Fan Favorites Tour
Oct. 28: Halloween at Hogwarts
Nov. 1, 3: Mahler's 10th Symphony
Nov. 15, 17: A Tchaikovsky Thrill Ride
Nov. 16: Matt Morrison with the ASO
Nov. 18: Music for the Very Young: Peter & Friends
Nov. 23-24: Love Actually in Concert
Nov. 25: Disney in Concert: A Silly Symphony Celebration
Nov. 29: Rachmaninov Revisited
Cover Story|2 Comments
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Anne Kocsis October 12, 2018 at 11:32 pm - Reply
I LOVE the sound of the violins tuning. A perfect fifth is such a gorgeous sound as it slips into perfection.
Mary Underwood October 13, 2018 at 1:46 am - Reply
She taught my daughter for years and reveled in the fact she wanted to play soccer, not violin in college. That says it all about Ronda. A true Renaissance Woman. We adore her. Mary Underwood.
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text:
What is Tubi TV? Everything to know about the free streamer
By Nick Perry and Derek Malcolm June 17, 2022
These days, there's a streaming service for practically everything. They're not cheap, though, and it seems like the major streamers announce price hikes every few months. That's what makes one option particularly compelling: Tubi TV is free.
What is Tubi?
What can you watch on Tubi?
But just because it's free doesn't mean you should jump ship from all of your other streaming services. After all, can this Fox-owned streaming platform really compete with the likes of Netflix, Hulu, and others? Here's everything you need to know about the free streaming service, including the features and content that define it for better or worse.
The best streaming devices for 2022
Best TVs for 2022
What is Pluto TV?
Tubi is a streaming service with a twist: It's free. Granted, that isn't an entirely new concept, but the fast-growing company offers up a combination of on-demand movies and TV shows, originals, and live TV streaming channels without you having to shell out for a monthly subscription. Think of it as a sort of commercialized version of Netflix without the subscription fees.
San Francisco 49ers vs. Philadelphia Eagles live stream: where to watch 2023 NFL Conference Championships
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Since Tubi is free, you're going to have to make some compromises, though. First and foremost, there are ads. They aren't overwhelming, but they're there. Second, the on-demand content is mostly older movies and shows rerun on cable and other broadcast services. However, while Tubi has yet to produce any of its own original content, the streamer has a ton of it made for them, which can be found in their relatively-new Tubi Originals section. More on that below.
Since it was bought by Fox in 2020 for $440 million, the free, ad-supported streaming service (FAST — yes, it's a thing) has more than doubled its viewership, with Fox reporting 51 million users at the end of 2021.
Don't be fooled: There's plenty to watch on Tubi — it boasts the largest catalog of film and TV titles of any AVOD (advertising-based video on demand) service at 40,000. The free streamer is also gearing up to add more than 100 new original titles throughout 2022, spanning several genres, including thriller, sci-fi, horror, romance, adult animation, and Black cinema titles. It's also bringing in some original content from its siblings TMZ, MarVista Entertainment, and animated specialist Bento Box Entertainment.
In the meantime, sift through Tubi and you'll find several diamonds in the rough. A quick five-minute search unearthed several decent selections, including Malcolm X, Antwone Fisher, Training Day, Coraline, The Masked Singer, and Hell's Kitchen. Tubi also offers live TV channels across entertainment, news, sports, and more, including ABC News, NBC News Now, Fox, TMZ, People TV, the NFL Channel, Fox Sports, and MLB. There's also a fairly impressive offering of shows and movies on Tubi Kids, including Naruto, Ninjago, The 13 Ghosts of Scooby-Doo, and A Turtles Tale: Sammy's Adventure.
The catalog also isn't available in 4K Ultra HD resolution and tops out at Full HD, depending on how old the material you're watching is. There's no option to upgrade for a better viewing experience, either. Tubi is free through and through, so if you aren't happy with the experience as is, you will need to seek out an alternative. Fortunately, there's no shortage of them.
Chances are that if you own a (modern) device that can connect to the internet, it supports Tubi. The streaming service is accessible via your web browser and as a mobile app for both Android and iOS. It's also available on streaming devices and systems such as Apple TV, Roku, Amazon Fire TV, Google Chromecast, Android TV, and TiVo. There are even dedicated apps for the PlayStation 4 and Playstation 5, as well as Xbox One, Series X, and Series S.
If you don't own a set-top box or streaming stick, you may be able to install it on your television itself. If you're a Comcast Xfinity X1 or Cox Contour cable customer, you can add it to your plan. Plus, owners of Samsung, Sony, Vizio, or LG smart TVs can find the Tubi application available in the respective app store.
If you're outside the U.S., however, the list of supported devices varies from country to country.
Given the nonexistent price, there isn't a whole lot to Tubi when it comes to features. If you want to watch something aimed at mature audiences, you'll need to register for an account — and that's where the tools come in. Doing so will allow you to continue watching where you left off (on any device), create a queue, and receive recommendations based on your viewing habits.
You get something for nothing in this world; if you want to watch a show for free, you're going to need to put up with an ad or two, both before and during the show. The ads aren't as intrusive as you might think. You'll typically watch a 20-second ad before your show starts and then sit through a 40-second commercial about halfway through.
The only real downside is the content. Since Tubi only makes money from advertising, it has little money to spend on content, so it licenses more affordable older material. Things look to be getting better now that Fox is holding the purse strings, and Tubi's growth continues on its current trajectory — it can only mean more and better content.
Let's not look this gift horse in the mouth, though: Tubi is free, and for that reason alone, it's worth sifting through the catalog in the hopes of striking gold — and that's happening more frequently lately. After all, if you find at least one thing you like, it was time well spent.
In summary, we don't think it's worth having Tubi as your only streaming service, but it is a no-risk platform with some really interesting and quality niche content for fans. Throw it in among your regulars like Hulu, Netflix, and Disney+, and you've got all your bases covered no matter what you're in the mood for.
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The 1 GB Sansa M240 will hold approximately 16 hours of CD-quality MP3 tracks (encoded at 128kps) or 32 hours of WMA tracks (at 64kbps). It's compatible with MP3, WMA, secure WMA, and Audible audio file formats. The digital FM radio allows you to access local radio stations, as well as preset up to 20 of your favorite stations. With five equalizer types for the FM radio and music player, you can optimize your sound for your favorite style of music, such as, Rock, Jazz, Classical, Pop, and Custom (user-defined). You can also use the built-in microphone and voice recording function to capture interviews, classes, and short voice notes to yourself.
The compact yet robust industrial design offers an easy-to-use interface with an indigo-backlit LCD screen showing ID3 tag information from currently playing tracks (song title, artist, and album, as well as battery level and playlist). Sophisticated music library sorting lets you browse the music in your player by artist, album, song title, genre, year, playlist, and other useful criteria. The AB playback feature allows you to select a start point and an end point within an audio file so you can play that segment over and over–helpful for learning languages. It's easy to transfer songs to the Sansa–just connect it to your PC via the included USB 2.0 connection cable, where it will appear as a Windows Portable Device on your computer. Then, just drag and drop music files from anywhere on your hard drive or use a variety of music software to move licensed music to the device. The Sansa is compatible with PCs running the Windows XP operating system.


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text:
Heavy Metal Del—How a Cover Is Born
The following video was created by the cover artist as he was working on TEARS OF HEAVEN. It's so cool to see this process, and how a good artist can take a model and make the right adjustments to create the cover.
Has your image of a character changed after seeing the cover? Tell me the character and book title in the comments below!
Wubba Lubba Dub Dub!—Tears of Heaven Cover Reveal
Let's do this thing!
Here's the new cover for the re-published version of TEARS OF HEAVEN (December 2018). You should be able to click on it for a larger view.
I'm including a version of just the front cover and then the entire book wrap.
What do you think of the cover!? Tell me in the comments below.
Deadly and determined!
There can be only one . . . but two with a wrap!
Posted by RobRoy McCandless at 11:41 AM 4 comments:
But I wanna know, NOW!
Cover reveal for TEARS OF HEAVEN tomorrow.
Release date for the republished version in a few days after that.
Posted by RobRoy McCandless at 3:34 PM No comments:
Cover Art Coming Soon!
Everyone is excited!
NEWS! NEWS! NEWS!
We have cover art for TEARS OF HEAVEN and HELL BECOMES HER!
We're getting close to having a release date for TEARS OF HEAVEN also, so I'll be sharing the cover art in the next couple of days.
Tell your friends, family, acquaintances, enemies, and the date you took to the prom!
Who did you take to the prom? Or who took you?
Misadventures in Publishing Part 2—More Flags, More Red
But I've never been wrong before!
Last time, I talked about the red flags that went up when I was accepted far too quickly (within hours) and didn't have an attorney vet the contract (dumb, dumb-dumb-dumb!). The next flag went up when Maya asked me to change Del's name.
It wasn't much of a change, but it was strange. The reasoning behind it was even stranger. Tears of Heaven had released in 2013, so it had been out for three years prior to WildChild Publishing's demise. Between GoodReads and Amazon, the book had 70+ positive reviews and a few hundred copies had been sold.
No one had commented on Del's name.
That doesn't mean someone didn't shake their head at it, but I'd received no reports along these lines. I'd been accused of all manner of other things, but no one had a problem with Del's name.
Her full name appears a grand total of five times.
I counted. Twice.
The Rob will abide.
Now, to be fair, I haven't always been the paragon of Dudeness that you see before you today. When I finally did have the chance to work with an editor, I almost blew it. Out of naivete, inexperience, and a misplaced sense of ego—No! UR FACE is an inappropriate point of view shift—I sometimes went off the rails. Fortunately, my first editor was great, incredibly talented, and ginormously endowed with the patience of a host of saints. By the time WildChild Publishing closed, I had mostly lost my ego when it came to editing. Mostly. According to every editor I've been assigned since then, I'm "easy to work with".
Their words!
Initially, the discussion about Del's name lasted through about three email exchanges. As with most of my character names, Del's name was specifically chosen. It even had explanatory paragraphs in one of the original drafts. That was boring, didn't feed plot or character, and so I cut it.
I used terms like "Afro-Asiatic/Assyrian proto-language."
Fun, huh?
I thought the matter was dropped. Re-reading the emails today, it all seemed reasonable.
I still love this cover!
So, it was strange about week later, as we were reviewing cover art concepts—which became its own fiasco—Maya accused me of being a "difficult" author. Additional requested edits contained the same frustrated and accusatory rhetoric. This is when the next red flag went up. Understanding that tone and nuance can be lost in email and chat exchanges, I requested a phone call to discuss issues and concerns. Maya balked. If setting up and managing phone discussions wasn't something I'd done over the past twenty years of my career, I probably would have given up.
Maya offered an endless stream of reasons why she couldn't speak with me on the phone. She insisted that her schedule was too packed. She refused to name a time when she could spare fifteen minutes. Any times I offered were flatly rejected.
Eventually, we did have a phone conversation, and it seemed to go well. The conversation covered her concerns, my concerns, and what we were both trying to accomplish. It seemed that the bumpy road had been smoothed.
It wasn't, but we'll pause here with the takeaway for this set of red flags:
1 – There are rocks to die on, and this isn't one. The issue with Del's name wasn't a major one. It shouldn't have been a big issue for either a publisher or an author. I had reasons, but they weren't explained in the story. Maya had reasons, but they didn't make sense given the publishing history of the book. Small issues shouldn't be the rock on which a working relationship dies. If battle lines are being drawn on little things, then there are bigger, more fundamental concerns at play.
2 – Communication, communication, communication. The ability to discuss, listen, understand, and come to a reasonable conclusion with a co-worker is a must. If your publisher isn't willing or able to communicate with you, that's a big problem. One of the first things my new publisher and I did was have a phone conversation. It was only supposed to be ten or fifteen minutes—it ended up being an hour. My confidence with her is amazingly high because I know that even if we disagree, she's not afraid to talk to me.
By itself, the name change was a minor nit-pick. Coupled with the other red flags that were already waving the in breeze the picture was becoming clear. Maya's accusation that I was "difficult" should have been a sign that we weren't compatible as publisher and author. The inability to get a quick phone call was another. There were some other signs along that way that I'll mention in my next post. That's when I should have pulled the plug, given Maya my regrets, and backed out of the contract with as much grace as could be mustered.
Alas, it seemed that the damage to the publisher-author relationship had been done. This was driven home very clearly by the drama that surrounded the cover art which will be the focus of my next post—Misadventures in Publishing Part 3.
Misadventures in Publishing Part 1—Red Flags
I wonder if I should be nervous at all?
"No, the point is you don't seem to have read the contract. I don't have to clear business decisions with you, Rob, and what constitutes marketable copy is a business decision."—Maya the Publisher
Caveat: To be fair, Maya the Publisher (that's not her name but that's the name we'll use) isn't an evil publisher—she's just not a good publisher. She's forgetful, often and overly nitpicky, and when called on a mistake, she was quick to anger. She cited my contract in almost every disagreement we ever had. A publisher/editor works WITH the author, and in some ways works FOR the author. The goal is to deliver the best product to readers, and hopefully make some money. While fights between authors and publishers is the stuff of legends, usually, it's a much more amicable process.
I was shocked the first time Maya confronted me on what was an altogether very small issue. Her response was far and away beyond what I'd encountered with other publishers and editors since signing my first contract.
Way back in November of 2016, an email went out to all WildChild Publishing's authors, which included me. WildChild was closing their doors, and we would all be homeless.
I panicked.
I think a lot of us panicked.
WildChild had been our home. WildChild had taken a chance with me, opened the door and let me into the world of publishing. To say that there was a lot of uncertainty is to say that the ocean is wet and space is cold. WildChild's group forum was filled with authors asking all kinds of questions. Our soon-to-be-former publisher talked with other publishers, and there was a short list of those who said they'd take on our orphaned titles.
I reached out to several, including Maya. I submitted to Maya on December 8, 2016, and received a contract offer the same day. This is where the first red flag of many went right up the pole.
That should not have happened.
There should have been a request for a sample, or Maya should have said that she'd read my book already, or something. None of that was the case.
My first cover. I have this framed!
I reached out to my writing mentor and editor. She let me know that several other WildChild authors, including herself, had also received contracts. She'd also been offered an editing position. It felt like everything was going to be OK. We'd move, and there might be a short delay in offering our books, but everything would continue as usual.
It seemed too good to be true.
We all jumped at the offer without looking too closely at the details.
This is where I made a very common, and very obvious, mistake—I didn't have an attorney vet the contract. I read through it, and to me it seemed a bit haphazard, but overall standard stuff. I was simply thrilled—and very, very, VERY relieved—that I'd have a home again.
I'd republish TEARS OF HEAVEN and HELL BECOMES HER and release COMPANY OF THE DAMNED. I figured they'd all come out in 2017.
By the time I learned my mistake, it was already too late. But we'll get to that later.
There are two main takeaways from this post:
1—A too-quick response is a major red flag. A real publisher will take time to vet your query, and won't immediately send you a contract. Don't believe your own hype—even the best authors have been rejected. There are precious few stories of an author being immediately handed a "Rich & Famous" contract.
2—Have an attorney read over your contract. This can't be stressed enough. It's been said by so many authors on so many blogs and in so many forums that really anyone who doesn't, deserves what's coming to them. You don't deserve it, but once you put your name on that line, everything becomes tricky. Having an attorney look at a contract will cost you, but this is like the money you pay a home inspector to make certain there are no termites in the attic and the foundation isn't floating on sand, and the pipes aren't all busted.
On January 1, 2017—New Year's Day—in my hope and my joy and my relief, I signed the contract with Maya. I had sealed my doom. The next eighteen months would be a frustrating, sad, aggravating learning experience.
In my next blog—Misadventures in Publishing Part 2 of this story—we'll talk about how Maya wanted to change Del's name. In Misadventures in Publishing Part 3, I'll discuss the importance of cover art and my final takeaway lessons.
Have you ever made a purchase that you instantly, or slowly, regretted? Tell me about it in the comments below!
Posted by RobRoy McCandless at 1:08 PM 1 comment:
You Too!?
With or without ewe?
I wasn't going to discuss my ex-publisher. Heavy emphasis on "ex".
It was a brutal, horrible, no-good, very-bad two years of my life as an author, and I really didn't want to revisit it.
Until . . .
Last week, I found a really interesting-funny-odd edit to the last edition of HELL BECOMES HER. I was getting the manuscript ready to send to a new editor, and I came across a scene in which Del and Marrin are trying to get into a casino/night club:
"Hundred-dollar cover," one of the bouncers said.
"Hundred what?" Del stammered. "Is that the going rate for tourists in the middle of nowhere?"
"Everyone pays the same," the man replied.
"They all paid a hundred dollars to get inside?" Marrin asked and gestured to the small crowd that milled around the front of the casino. "Is U-Two serving drinks filled with gold nuggets from platinum mugs between sets with the Phil Collins and the Stones?"
Now, I'm human. I make mistakes. That's what editors are for!
It was entirely possible that I'd typed out "U-Two" in my submissions and it slipped through the various rounds of editing that the book has been through. Sometimes I get typing so fast that I'm not thinking of proper "spellink" or "grammar rulz".
So, I went back to the previous version of the book that had been edited for the first release.
The error was not there.
SR-71—Where the streets have no names!
I went through the version that my ex-publisher's (heavy emphasis on EX) assigned editor had completed.
There was not a single iteration of the manuscript in which I'd made the change, or an editor had provided the change. This means that the change was made by my ex-publisher made changes without my acknowledgement.
This is the same woman who once told me about some marketing text: "I don't have to tell you I'm replacing it. And likely won't."
Yep, she said those exact words to me. I saved the conversation—and several others—for later reference. So, I'm gonna take you back through some of the history, drama, and lessons learned, from that period of my life as an author.
Have any WTF moments have happened between you and a superior? Tell me in the comments below!
Han Solo—The Conspiracy Theory
What? Me a spy!? C'mon, trust me!
Han is secretly a double-agent and a villain? I LOVE this theory. It tracks too. With special thanks to my friend, Roy Upton, at every point, you can see how a slight twist, and Han is in the shadows:
The Long Game.
In the Solo movie Han willingly joins the Empire's forces. He wants to be a pilot but ends up as a front line soldier.
Or does he?
It's noticeable that wherever Han goes the Empire isn't far behind, scooping up rebels while, somehow, Han escapes.
So let's entertain the possibility Han was an agent for the Empire. Recruited when he first joined the military, placed on Mimban to run into Beckett, join his crew and infiltrate Vos' part of the Crimson Dawn syndicate. Innocuously teamed up with Chewbacca.
Through various escapades Han manages to smash Vos' organisation and kill Beckett. The Rebellion is so insignificant it's not even a target so with Chewbacca he returns to smuggling.
Years Later Han appears on Tatooine as a marginal smuggler still working for the Empire and infiltrating underworld syndicates. He is contacted by a couple of wannabe rebels with some droids, all on the wanted list. The rebels are more of a threat now so he co-operates willingly. He also kills a contact who may be about to expose him prior to easily smuggling the rebels off planet.
He ensures the Falcon comes out of hyperspace in the Alderaan system close
Alderaan was going to blow up anyway. It's not my fault!
enough to the Death Star to be captured. There, in a series of actions that, viewed in hindsight, are farcical, he is able to rescue Princess Leia and also, by destroying the Death Star, embed himself so deeply in the rebellion to be above suspicion. He is careful not to kill Darth Vader in the battle around the first Death Star.
Having betrayed the rebels on Hoth, Han escapes with Leia and brings her to Vader on Bespin. There he hands her over and, under the guise of being sent into hibernation, has a long debrief by his handler, Snoke.
Han is again embedded with the rebels after they seem to rescue him from a wealthy but expendable member of the Hutt clan.
The Emperor deals a major blow to the rebellion, destroying much of its forces in an attritional space battle Han helped plan but did not take part in. Conveniently he once again falls into Imperial hands and manages to easily escape.
A second Death Star is destroyed, the Emperor killed but Han's handler, Snoke, remains. The rebellion has been dealt a heavy blow, its military forces unable to recover from the losses suffered fighting the Empire.
Han, after a suitable period with Leia, goes back to his deep cover as a smuggler, Chewbacca remains at his side. There is a period of instability as the First Order is established but Han remains in touch with Snoke, awaiting further orders.
The Resistance grows and Han is ordered to infiltrate it.
Picking up Finn and Rey in the Falcon as they leave Jakku is no coincidence.
On Takodana, having led the First Order there and, predictably, having been captured and escaped, Han is able to make contact with the elusive General Organa and, through her, find the location of Luke Skywalker.
Han's mission is now complete and he is killed by Kylo Ren.
Snoke sacrifices his Starkiller base having, earlier, ensured that it destroyed the
Rawr-rawr-rr-rawr-rawr-rrrr!
only military and economic power that rivaled The First Order for galactic supremacy.
Chewbacca, significantly, only wounds Kylo Ren prior to escaping with Finn and Rey. Together Chewbacca and Rey locate Luke Skywalker and, through various strategies, lure him to his death. Kylo Ren supplants Snoke and takes over the handling of Chewbacca who, through more than 200 years, has been at the heart of the defeats of the Republic, The Rebellion and The Resistance.
What's your favorite fan-theory? What theory was proved false but that you wanted to be true? Tell me in the comments below!
There Will Be Video!
Eyes, closed by the sun
but sharp as a hawk's!
Not sure if I mentioned this, or not, but the cover artist I'm working with does videos of some of his process. It was, in fact, one of his videos that sold me on him as an artist. If I hadn't seen the video, I would never have known how much he'd changed the original model on the cover, and how seamless he made it look.
We're getting close to the cover reveal. I'm waiting on a couple of other authors for book recommendation quotes. When we get those, we'll make the final edits, and then we'll release the cover for everyone to see.
What I like most about these covers is that because I'm working with one artist, they will all have the same look and feel. I loved my other covers for different reasons.
I'm loving this process and re-release as well.
Who would you cast as a model/actor for Del? Tell me in the comments below!
Re-Re-Release News!
Also, there will be some steampunk news soon!
Hey, thanks for still following me on this wild and crazy adventure into publishing. I'm told I've been working on being an actual, published author for about five years now. That's a bit nuts. I am very excited to announce some very tentative dates for the re-release of my books:
Cover Reveal for TEARS OF HEAVEN—November
Publisher edits of TEARS OF HEAVEN—November
Re-release of TEARS OF HEAVEN—November/December
Cover Reveal for HELL BECOMES HER—December/January
Publisher edits of HELL BECOMES HER—December/January
Re-release of HELL BECOMES HER—January/February
Depending on how far I've written on the tentative stand-alone JANE IVEY story, I'll either push to release that one OR we're looking to release the third and final installment of Del's adventures in COMPANY OF THE DAMNED.
Would you prefer to read the final Del story first, or the in-between Jane book? Tell me in the comments below!
Misadventures in Publishing Part 2—More Flags, Mor...


I wish there was a way to adequately describe the overall ambience of Colorado College. Of course, the "energy" here buzzes about campus, jumping from place to place, ebbing and flowing depending on the time of day and the weather outside.
When you meet for a campus tour outside Cutler Hall, your guide will tell you that she will cater the tour to you and your interests — you have the same luxury here on the website. There is something at CC for everybody, and while the virtual tour can't bring you everywhere, inside you'll find a good sample of the spaces on campus where you will be living, working, and socializing. If you're interested in science, you'll get a look at our state-of-the-art lab and research facilities. If performance art is your passion, you might be particularly interested in our experimental, interdisciplinary art space. You'll find information about living and eating on campus, about our academic facilities, and about many of the diverse spaces in between. Enjoy our campus!


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Home / 49th IFFI / bollywood / Closing Ceremony / Diana Penty / Goa / IFFI 2018 / india / International Film Festival of India / praveen morchhale / Walking with the Wind
49th IFFI comes to an end with Donbass winning the Golden Peacock and Walking with the Wind receiving the ICFT-UNESCO Gandhi Medal
Murtaza Ali Khan 8:22:00 PM 49th IFFI , bollywood , Closing Ceremony , Diana Penty , Goa , IFFI 2018 , india , International Film Festival of India , praveen morchhale , Walking with the Wind Edit
Shri K.J. Alphons, Union Minister of State for Tourism (I/C) has said that Indian movie industry has made millions of people happy, not only in India but also in other parts of the world. Movies can be transformative. Nowhere else in the world have we seen feature films on sanitary pads or toilets made. He was addressing the valedictory ceremony of 49th International Film Festival of India in Panaji, Goa today November 28, 2018.
Drawing a parallel between tourism and movies, Shri Alphons said that tourism and movie industry are closely related, since they have the single objective of bringing people close together and making them happy. In a country where many people have sacrificed their lives for their nation, there is plenty of subject matter for amazing realistic movies, he added.
Col. Rajyavardhan Rathore, Union Minister of State for Information & Broadcasting (I/C) said, through a video message, that cinema knows no language and that the 49th International Film Festival of India in Goa proves just that. "Films inspire all of us, they entertain us, they make us strive and above all, they connect us all as human beings", he added.
Smt. Mridula Sinha, Governor of Goa; Shri Shripad Naik, Union Minister of State for AYUSH (I/C); Shri VP Singh Badnore, Governor of Punjab; Shri Vijay Sardesai, Minister for Town and Country Planning, Goa; Shri Manoj Tiwari, Member of Parliament; Shri Amit Khare, Secretary, Ministry of Information & Broadcasting; Shri Dharmendra Sharma, Chief Secretary of Goa; and other officials were present on the occasion.
Many renowned film personalities such as IFFI 2018 Lifetime Achievement Awardee Dan Wolman, Anil Kapoor, Arbaaz Khan (son of master screenwriter Salim Khan), Indian Panorama Jury Chief Rahul Rawail, Rakeysh Omprakash Mehra and Kabir Bedi too attended the closing ceremony.
Stating that the 49th edition has been a great success, Shri Khare said that film bazaar has elicited response from various countries across the world. He said that Israel has been the focus country and Jharkhand the state focus. Noting that the preparations for the golden jubilee celebration of the festival next year has begun, the Secretary said that the government would like to showcase the film culture of each and every region of the country and trace the history of IFFI from the 1st to the 49th. He added that the facilities at Goa would be enhanced, given the overwhelming response received from film-lovers. He said that this is being done, so tha the 50th IFFI can have many more delegates than this year.
Shri Vijay Sardesai, Minister for Town and Country Planning, Goa said that regional cinema has to find a place in national cinema. Film makers should be encouraged to come forward to know Goan way of life, he added.
The nine day long festival of quality cinema concludes with the world premier of German film 'Sealed Lips'. Various prestigious awards including Golden Peacock, Silver Peacock, Lifetime Achievement Award were conferred during the star-studded ceremony.
On the occasion, the IFFI Special Award has been conferred to Salim Khan for his Lifetime contribution to Cinema. Arbaaz Khan, son of Salim Khan, received the award on behalf of his father. Salim Khan revolutionized Indian cinema in the 1970s, transforming and reinventing the Bollywood formula, pioneering the Bollywood blockbuster format, and pioneering genres such as the masala film and the Dacoit Western. Salim Khan was also responsible for creating the "angry young man" character archetype and launching Amitabh Bachchan's career.
Ukrainian film Donbass, directed by Sergei Loznitsa bagged the award for Best Film in IFFI 2018. The award comes with the Golden Peacock trophy, certificate and a cash prize amount of Rs. 40,00,000, shared equally between the Director and the Producer.
Donbass tells the story of a hybrid war taking place in a region of Eastern Ukraine, involving an open armed conflict alongside killings and robberies perpetrated on a mass scale by separatist gangs. In Donbass, war is called peace and propaganda is uttered as truth. A journey through Donbass unfolds as a series of curious adventures. This is not just a tale of one region or a political system; it is about a world lost in post-truth and fake identities.
The Best Director award was given to Lijo Jose Pellissery for the film 'Ee. Ma. Yau.', who bagged the Silver Peacock Trophy and a cash prize of Rs. 15,00,000. While Anastasiia Pustovit was awarded the Best Actor (Female) for the Ukrainian film "When the Trees Fall", Chemban Vinod won the Best Actor (Male) for the film 'Ee. Ma. Yau'. Both received the Silver Peacock Trophy and cash Prize of Rs 10,00,000 each.
'Ee. Ma. Yau.' is a stunning satire on death and how it affects human lives. Chemban Vinod plays the role of 'Eeshi', the son who tries to arrange a worthy funeral for his father but is met with unpredictable obstacles and reactions from different quarters. 'When the Trees Fall' is the story of the 5 years old rebellious girl Vitka, her teenage cousin Larysa and her boyfriend Sear. The film describes the gross poverty, ignorance and racism of rural Ukraine and takes place in the extraordinary physical ugliness of the nearest city. Anastasiia Pustovit plays the role of Larysa in the film.
Special Jury award, which carries the Silver Peacock Award and a cash prize of Rs. 15,00,000, was awarded to Milko Lazarov for his Yakut movie 'Aga'. Aga' tells the story of Sedna and Nanook, an elderly couple from Yakutia, and the particular challenges in their life in the midst of a frigid landscape. Alberto Monteras II received the Centenary award for 'Best Debut Feature Film of a Director' for his Filipino Movie 'Respeto'. The winner received Silver Peacock, a certificate and a cash prize of Rs. 10 lakh. The movies 'To Let' and 'Volcano' got special mention under this category.
The ICFT –UNESCO Gandhi Medal was awarded to Ladakhi Movie 'Walking with the Wind', directed by Praveen Morchhale. This award, instituted by the International Council for Film, Television and Audiovisual Communication, Paris and UNESCO, is given to a film that portrays the Gandhian values of peace and harmony. 'Walking with the Wind' tells the story of a 10 year old boy in Himalayan Terrain, who mistakenly breaks his friends school chair. Receiving the award, Praveen Morchhale said that he dedicates the award to the people of Ladakh. 'Los Silencios', the Portuguese, Spanish movie directed by Beatriz Seigner, got the special mention under ICFT-UNESCO Gandhi medal category.
Jury members Robert Glinski, John Irvin, Adrian Sitaru, Anna Ferraioli Ravel and Rakeysh Omprakash Mehra were felicitated by Union Tourism Minister Shri K.J. Alphons. The closing ceremony of IFFI 2018 was anchored by film stars Arjan Bajwa and Sophie Choudry. Eminent Indian film personalities such as Chitrangada Singh and Diana Penty graced the closing ceremony. The ceremony also witnessed scintillating presentations by actor Kabir Bedi and singer Vipin Aneja, who enthralled the audience with their soulful lyric and music while X1X dance group from Mumbai set the stage on fire with their fast-paced dance performance.
Over the last nine days, more than 220 movies from 67 countries were screened at IFFI. While the festival opened with the world premiere of English film 'The Aspern Papers', the world premiere of German film 'Sealed Lips' marks the conclusion of this festival bonanza. 26 feature films and 21 non-feature films were screened in the Indian Panorama section. While Israel was the focus country, Jharkhand was the focus state this year. This is for the first time that any state was made focus state at IFFI. Veteran Israeli filmmaker Dan Wolman was given he Lifetime Achievement Award at the opening ceremony. Another new section at IFFI this year was the screening of six Indian sports biopics as an extension of the Khelo India initiative.
In the International competition section, 15 movies were screened, out of which 3 were Indian. Festival Kaleidoscope section carried 20 critically acclaimed international films that have been to major film festivals and majority of them being multiple award winners. World Panorama section had 67 films which are specially curated for the festival. This included 4 World Premiers, 2 International Premiers, 15 Asia Premiers and 60 India Premiers. This year World Panorama section presented 15 films which are Oscar submissions from respective countries.
At Master classes and In-Conversations, a host of film personalities interacted with delegates. Two movies, Sholay and Hichki, were also screened at this year's IFFI as part of a special package for visually impaired persons. Retrospective section of Ingmar Bergman in connection with his birth centenary celebration was another specialty of the festival. The next edition will mark the 50th anniversary of India's premier film festival.
This was first published at:
http://pib.nic.in/PressReleseDetail.aspx?PRID=1554155
Previous Post: Directors of World Panorama films in IFFI meet the press
Next Post: The annual cinema carnival of Macao IFFAM'18 to be held from December 8-14
49th IFFI comes to an end with Donbass winning the Golden Peacock and Walking with the Wind receiving the ICFT-UNESCO Gandhi Medal Reviewed by Murtaza Ali Khan on 8:22:00 PM Rating: 5
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A two-day exploration of building beautiful and performant experiences on the web, with content on how to ship fast and modern Progressive Web Apps, as well as new and exciting features coming to the web platform.
Connect with Chrome engineers and other leading developers for a two-day exploration of building beautiful and performant experiences.
I actually blogged separately about my experience with the PWA Roadshow - check it out!
Progressive Web App Roadshow San Francisco 2017 Google Launchpad Space - 301 Howard Street San Francisco, CA - 4th Floor Sunday, October 22nd - 9:00 AM to 5:00 PM Participant - I participated this event as part of the Chrome Dev Summit. Registration was super limited so I'm glad I was able to attend.
On the way to work, in our homes, offices and fields, in times of peace, conflict and emergencies, radio remains a crucial source of information and knowledge, spanning generations and cultures, inspiring us with the wealth of humanity's diversity, and connecting us with the world.
But I believe the web can become the next radio by becoming the most accessible platform for every human being on the planet.
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I got my badge early - ey!
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HOME ABOUT PAUL BRUNTON PUBLICATIONS PB ARCHIVES PB NOTEBOOKS ABOUT PBPF GALLERY STORE DONATIONS LINKS CONTACT
Ohio Group
Paul Brunton's influence in Columbus, Ohio, U.S.A.
Paul Brunton's influence in Columbus, Ohio was evident as early as 1947 when a student of his work, Mrs. Margaret Burkley went to Croton-on-Hudson to assist with secretarial work. Later, PB visited his son, Kenneth Hurst, in Dayton, Ohio in 1948, 1950, and 1952. During these visits he also visited students and readers in Columbus. Among these students was the Reverend Dr. Roy Burkhart, minister of the First Community Church. Dr. Burkhart would write later in his book, The Person You Can Be, that he had accepted PB's offer to be his teacher in the life of the spirit; he called PB one of the radar stars of his life.
Among those who met PB in these early years was Ione Fagan, one of four sisters who became devoted to PB's works after she had found Discover Yourself at the library. Ione was not associated with First Community Church but happened to be there at a meeting when Dr. Roy Burhkart stopped in and announced that Paul Brunton was coming to Columbus. Ione asked to meet him as she was most interested in his work. Dr. Burkhart arranged a meeting, and Ione met with PB several times on his subsequent visits to Columbus. Her sister, Inez, had also studied at the Yogananda Center in California, but thereafter became an avid student of PB's. Ione began a small study group that included others who studied PB's books, including Jean Wharff, Margaret Burkley, Helen French, and several others. Paul Brunton suggested that the group be exposed to an Indian guru, Dr. R.S. Mishra, a neurosurgeon at Bellevue Hospital in New York City, and subsequently, Dr. Mishra met with this group. Dr. Mishra later founded Ananda Ashram in Monroe, N.Y. and had written a preface to one of PB's earlier books.
In 1962, Ione introduced two of her young neighbors, Barbara Plaisted and Judy Borders, to PB's book Discover Yourself, and for a brief time a new study group formed that included Patti Witter. Patti had learned about PB's books through Dottie French. Barbara and Inez went to Ananda Ashram to meet with Dr. Mishra.
In l964, Barbara Plaisted met Cleta Rudolph in a Yoga class at the YMCA. Barbara began teaching the class at the request of the teacher, Kanwal Kumar. Thereafter, Barbara and Cleta went to Ananda Ashram in N.Y. to meet with Dr. Mishra and to learn more about meditation and related teachings. Cleta began teaching classes also throughout the Central Ohio area, which brought her into contact with many new and old students. In 1968, Linda Baldeck attended a study group at First Community Church where Barbara gave a talk on PB and Meditation. Thereafter Linda and Charles Baldeck began a continuing yoga class with Cleta. In January of 1969 Cleta established the Yoga Study Center of Columbus and continued teaching for over ten years. During these years, Barbara and Cleta continued their Yoga studies while reforming the PB study group (this study group has continued to meet throughout the years).
Barbara, Cleta, and Charlie and Linda Baldeck attended a Yoga Convocation in the summer of 1969, at Painted Post, N.Y. During this Convocation, Cleta and Barbara unexpectedly ran into a yoga student who was studying with "a student of Paul Brunton's." This was quite a surprise, as they thought only they had such a study group and were not aware that there were active study groups elsewhere. That afternoon they met Anthony (Tony) Damiani at his home in Valois, N.Y.
In the Fall of 1969, Cleta attended a Yoga Retreat in upstate N.Y. and again met with Anthony. She invited him to Columbus to address various Yoga Groups and the PB study group. In 1970 Anthony came to Columbus; he met with Ione Fagan and with the PB study group, and he addressed students in the Yoga classes. He also spoke to a study group at First Community Church.
Margaret Burkley had remained devoted to PB and had met periodically with individuals over the years including Jane Maguire. Mary Ann Flory was introduced to PB's works through Jane. Jane and Cleta had formed the Yoga Study Services in 1970.
In June, 1970, an open-to-the-public workshop series was held in Columbus at Willowhaven; Anthony gave talks on "The Hidden Teaching Beyond Yoga" and the "Wisdom of the Overself." Over the next fifteen years many of the PB study group students visited Anthony in New York in order to meet him and to attend his classes. Anthony broadened the PB study group's studies, introducing them to the significance of the ancient roots of Astrology, metaphysics, Plotinus, Eastern Philosophy, Carl Jung's psychological works, and Paul Brunton's deeper works.
Anthony continued visiting Columbus and meeting with the PB study group two or three times a year over the next fifteen years. Often he brought his son, Paul Damiani, or other students including Avery Solomon, Micha-El [Dr. Alan Berkowitz], and Timothy Smith. In 1975, Barbara Plaisted went to Switzerland to meet with PB. She brought with her a photo of the group and letters from various members.
The PB study group opened a bookstore in a basement room on First Avenue where volunteers sold books, classes met, and Yoga classes were open to the public. They initially named the bookstore Avalokiteshvara, and later the Philosopher's Stone Bookstore. When PB visited the bookstore in 1977, he suggested to Beverly Bennett and several others that the name needed to be westernized, which was was the motivation for calling it the Philosopher's Center. The bookstore was in operation several years with help from numerous volunteers/workers including Jan Meeder, Barbara Plaisted, Judy Borders, Linda Baldeck, Judy Strickland, and Maryann Flory. Later the bookstore closed and became a library and meeting room for philosophy students.
In 1977, PB returned to Columbus as part of a larger visit to the U.S. that had Anthony Damiani had scheduled. PB spent two weeks in Columbus, staying at the home of Richard (Red) and Patty Witter and met with students individually as well as in a group.
Later, the Columbus group had the opportunity to work on developing the Christopher Reeves "Discover Yourself" audio tape. Beverly Bennett coordinated these efforts with the New York group. The initial manuscript included material from The Secret Path and Discover Yourself.
The Columbus study group has continued to meet and remains connected to Anthony Damiani's students and Wisdom's Goldenrod.
Send enquiries to: information@paulbrunton.org
Contributions by and/or reviewed by Barbara Plaisted, Maryann Flory, Linda Baldeck, Beverly Bennett and Cleta Rudolph. Early historic information was taken from Kenneth Hurst's book.
ABOUT PBPF
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Demonstration planned before Parliament
[TamilNet, Thursday, 04 December 1997, 23:59 GMT]
The People's Liberation Organisation of Tamil Eelam (PLOTE) will hold a protest demonstration before the Sri Lankan Parliament tomorrow, said a spokesman for the group today.
He said that about one hundred members of the ex-Tamil militant organisation will gather before the legislature tomorrow morning for the protest, despite several moves by the Sri Lankan government to compel them to call it off.
The PLOTE demonstration will focus on four issues said the spokesman.
the government's silence on those who disappeared in Jaffna after the Sri Lankan army took control of the peninsula in early 1996.
the removal of the transit camp in Vavuniya where Tamil civilians wishing to travel south are held under inhuman conditions for long months along with the removal of the draconian pass system for temporary stay in Vavuniya.
the indiscriminate arrests of Tamil civilians in Colombo and its suburbs and in the hill country.
the indefinite detention of more than 600 Tamil youth in the Kalutara and Magazine prisons without any judicial process being initiated.