Since OASPA released its first response to the Science 'Sting' article published in October, the OASPA Board has been looking at the implications of the findings for the organisation and its members.
There has also been much discussion of the Science article, exploring the strengths and weaknesses of the exercise and associated data, along with the way that Science has presented this work to the media. In general, we feel that this follow-up has served to emphasise two key points: the data provide useful insight into editorial practices at a number of substandard publishers; no conclusions can be drawn as to whether poor practices are more or less prevalent at subscription-based or open-access journals.
The work at OASPA has been conducted, in consultation with the OASPA board, by the membership subcommittee, comprising Caroline Sutton, Catriona MacCallum, Claire Redhead and Mark Patterson.
We have looked at the data concerning the publishers who were identified in the Science sting as having accepted and rejected the article. Initially four publisher members were indicated as having accepted the article. However one of those, African Journals Online (AJOL), was incorrectly indentified. AJOL is not a publisher, but is a non-profit organisation that provides free online hosting and aggregation services to qualifying African journals. This information has been corrected on the Science website. AJOL has let OASPA know that the African Journal of Biomedical Research, published by Ibadan Biomedical Communications Group, was deemed in compliance with AJOL's inclusion criteria when it applied to AJOL for free hosting but has not sent content for upload by AJOL since 2008. To date, accepted journals have not been re-assessed to determine if they are continuing to adhere to AJOL's inclusion criteria. However, AJOL has been developing a process (which will be in place by the end of 2014) to address the need for ongoing quality assessment of partner journals.
Three further OASPA members publish journals that accepted the article: Hikari (Clinical and Experimental Medical Sciences), Dove Medical Press (Drug Design, Development and Therapy) and SAGE (Journal of International Medical Research). For each of these publishers we have carefully reviewed the correspondence made available by Science, the journal's editorial practices, and have contacted relevant individuals for further information. We have been very grateful in all cases for prompt feedback. Our key conclusion from these discussions is that there was a lack of sufficient rigour in editorial processes at all three of the journals in question, and that for Hikari and Dove the issues may extend wider than the single affected journal. Given OASPA's commitment to high standards in all aspects of open-access publishing, we are therefore reluctantly terminating the memberships of Hikari and Dove Medical Press. We have indicated that we will be willing to reconsider a membership application but not before 12 months have elapsed.
For SAGE, we have placed their OASPA membership 'under review' for the next 6 months, at which point we will review the journal in question and readmit SAGE as a full member if there is evidence that its processes have been sufficiently strengthened. The different course of action that we have taken with SAGE reflects several issues: (1) the editorial process at the Journal of International Medical Research is very unusual and not typical of any of the other journals at SAGE; (2) although the Science journalist was told that the article had been accepted, there was in fact a remaining step in the process (a detailed technical edit by domain experts) that is likely to have identified the deficiencies in the work; (3) SAGE acted promptly to cease taking submissions to the journal as soon as the problem had been identified, issued a press release explaining the situation, and has been very open about the problems that have been uncovered; and (4) SAGE has a very strong and longstanding reputation for responsible and ethical publishing practices.
We have also reviewed the correspondence released by Science in relation to members of OASPA that rejected the article, with a view to identifying any lessons that can be learned. The weakness that seems to account most frequently for the failure of the editorial process in the journals that accepted the fake article was a lack of expert editorial accountability for the key decision points: the assignment of reviewers; assessment of review comments and decision letter; and the final acceptance decision. Robust editorial processes require an engaged editor (usually an experienced academic researcher, but occasionally a suitably qualified staff editor) to take responsibility for these key decision points.
In conclusion, although we have unfortunately now terminated memberships as a result of the Science news article, positive outcomes have also arisen from its publication. The article highlights the need for organisations such as OASPA and DOAJ to act as important signals of reliable and high-quality publishing operations, and both organisations are strengthening their selection criteria. There will always be poor practices in any field, and if evidence of poor practice is identified, action can and will be taken. We encourage anyone with an interest in the integrity of research communication to report concerns to OASPA and DOAJ. At OASPA in particular our aim is to provide help and support where we can, so that new and genuine participants have the opportunity to thrive and so that we can build on the tremendous strides in open-access publishing that have been achieved throughout the world over the past 15 years.
2. Has OASPA any plan to encourage the small publishers who rejected Bohannon's article after rigorous peer review? May be an letter of appreciation to carry out good peer review practice.
We must find out way to improve the status of so called 'predatory publishers'. We must find out and relabel the small publishers who are sincerely trying to improve their practice by learning from the errors of the past. Working with elites is easy. But I believe OA is lacking a Mother Teresa (http://en.wikipedia.org/wiki/Mother_Teresa), who is ready to work with the 'untouchables' to clean their would with love, passion and patience. (I believe at least some of the so called predatory publishers now deserve a better treatment. If we can spread 'the story of their improvement' may be it can be an effective medicine to heal the remaining disease).
These are 3 pretty relevant issues raised by Akbar Khan back in November – has there been any follow-up in the meantime, I wonder?
Thanks Bill for the reminder. As it is the case of OASPA DOAJ focussed on the journals that accepted the article. We do not have resources to highlight and praise all the publishers who are doing a good job – other than continue to develop DOAJ in such a way that the public can trust, that when a journal is listed in the DOAJ it is a "good" journal. On that note we know that we still have a job to do. Yesterday we launched the new application form for journals to be listed in DOAJ – http://doaj.org/application/new – press release here: https://docs.google.com/document/d/1dr3jnOygvuDlONSBv8lho4McQsEPFd0a5gtxjCmKd9k/edit. The new application form will apply for both new journals to be listed and journals currently listed. So hopefully it will be a quality stamp in itself being listed in DOAJ. It is our mission to help publishers do a better job, and contribute to the transparency and credibility ofopen access publishing.
Thank you for these additional comments. I can only speak on behalf of OASPA and so am not able to reply to the questions regarding the inclusion of these journals on Beall's list, or any follow-up action that he may have taken. Neither can OASPA represent the DOAJ. Questions raised for other organisations or individuals should be put to them directly.
OASPA can only react in relation to our own members that have accepted the article and is not in a position to regulate or otherwise intervene with publishers or journals that are not members. At OASPA, an application to join is almost never immediately successful because there are usually issues that a publisher needs to improve on in relation to publication fee information, policy or presentation around licensing, clarity about peer review processes and so on – a considerable amount of work goes into providing guidance and helping smaller publishers or individual journals with these issues. We have also worked recently with DOAJ, WAME and COPE to promote best practices that are relevant to the members of all of these organisations. In these ways we hope to help all publishers – new as well as established – maintain the highest standards, and to ensure that membership is an indication that these standards are being achieved.
I would be grateful to hear OASPA's opinion about Bohannon's ethics. Very specifically, I am of the opinion that Bohannon violated all of the ethical requirements for submission to most if not all of the journals he "spoofed". Namely, he submitted false or manipulated data, he used false names, false emails and false institutions. In other words, all of the claims of originality usually required by a journal, OA or not, were severely violated, as I see it, by Bohannon. This becomes even clearer when we observe Bohannon's repeated violation of submission ethics in his chocolate-related "spoof" to IAM. That paper was later retracted. If the IAM was retracted, why then has the seriously flawed Science paper not been retracted? Surely any regular scientist who were to submit a paper with false or manipulated data, with false authorship, false emails and false affiliations would be severely punished by any publisher, OA or not? At least, this is how I see it. I would appreciate OASPA's position, therefore, on Bohannon's publishing ethics and why this methodology has been condoned, until today, by the AAAS.


text:
Laughing cop basher admits attack
Jay Stephens, 20, and Isaiah Stephens admitted to a cowardly attack on a high ranking cop. Picture: Facebook
by BENITA KOLOVOS
TWO brothers who bashed a high-ranking Victorian police officer may face up to 15 years behind bars, after their bid to keep their case in a lower court failed.
Jay Stephens, 20, and Isaiah Stephens, 18, have admitted to recklessly causing serious injury to Assistant Commissioner Chris O'Neill on the grounds of St Kevin's College at Toorak on June 15.
More serious charges of intentionally causing serious injury were dropped by prosecutors as part of the plea deal.
In Melbourne Magistrates Court today, the duo's lawyers applied for summary jurisdiction, which would mean their case would remain in the Magistrates Court, where the maximum penalty is two years in jail. In the County Court, the maximum penalty for the crime is 15 years.
Assistant Commissioner Chris O'Neill was attacked near Heyington station in Toorak.
Jay Stephens laughed as magistrate Peter Reardon rejected the application. The magistrate said he had "serious reservations" as to whether the lower court would be able to adequately punish the duo.
"These two young men were clearly out for trouble on this particular afternoon," Mr Reardon said.
"Whether it was Mr O'Neill or someone else there was going to be trouble and that's what happened."
Mr Reardon singled out Jay Stephens, who had absconded from Queensland at the time of the bashing.
The injuries to the police officer included broken ribs and bleeding on the lungs.
"One of the accused was on parole at that particular time for crimes of violence and he absconded in relation to it. In my view … two years imprisonment would seem inadequate," he said.
The court earlier heard Mr O'Neill, 60, suffered broken ribs, bleeding on the brain and lungs, and still had regular pain and dizziness since the bashing.
He was off duty when he followed the duo onto the grounds of St Kevin's College after they got off a train at nearby Heyington station.
Mr O'Neill was worried they would damage property or hurt someone before finding Jay Stephens urinating against a tree, prosecutors said.
"What are you looking at you old c …?" Jay Stephens said to the officer, before the brothers began kicking and punching him in the face, head, back and torso.
In the lead up, they were accused of being loud and abusive on a train, where one was allegedly heard saying he didn't care if they ended up in jail.
The brothers were arrested two days after the attack.
Isaiah Stephens had shaved his head in order to avoid detection and his hair was found in the bin of a Malvern East boarding house.
Jay Stephens remains in custody, while his younger brother is on bail.
- AAP
Isaiah Stephens is on bail. Picture: AAP.
Premium Content Men bashed while protecting woman from ex
Premium Content Accused cop bashers say injuries 'not serious'
Premium Content Call to arms: Players unite behind WBBL prankster
pleaded guilty
bashed pleaded guilty violent crime

redpajama_set_name: RedPajamaCommonCrawl


There's something to be said for doing things by hand. Don't underestimate the intimacy of the tactile connection to make you feel connected to your work. And it's worthwhile sometimes to slow yourself down and digest your ideas as you translate them to the page.
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Brezelkönig
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Intertech Pride - Thank you!
This weekend saw the end of a month of pride celebrations at the Pride in London 2018 march surrounded by over 150 fabulous Intertech members, friends and family!
Photos will follow shortly but Rob Farthing, our Pride & Engagement Lead, wanted to take a moment to thank the wonderful people who have all contributed significantly during the last half year of planning.
"We've hosted nearly 1,000 members at 7 pride events in the last month, finishing with our biggest pride march ever. All of this wouldn't have been possible without the amazing support of Team Pride. Jerry, Nick, David, James, Kevin, Michael, Eralp, Chris, Koen and of course, our volunteers yesterday too Melanie Olsen, Jean-Yves, John, Rory and Paul."
Thank you to all of the team, our members and sponsors for another fantastic Pride.


Don't just hope for revival be about the business of the kingdom. SEEK revival fire by connecting to our Holy Spirit-led prayer meeting every Friday night @ 7:30. If you need healing, deliverance, faith to stand in hard times, if God has called you to intercede for others, if... THEN GET INVOLVED in PRAYER! Please note that this week's prayer meeting will end early inpreparation for the Omega Man Radio broadcast to follow. So show up early and come prepared for battle!


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(New page: Joy Hao 301133211 Amy Truong 301154486 IAT 206 Final Project: Grant Proposal
Life or Death: a short expository documentary
Michael Filimowicz David Newman
Pa...)
Joy Hao 301133211 Amy Truong 301154486
IAT 206 Final Project: Grant Proposal
Life or Death: a short expository documentary

Michael Filimowicz David Newman

Part I. Abstract
"Life or Death" will be an expository documentary that explores the existence of extreme fans in Korea, and the impact they have on the entertainment industry, and by extension, its economy and culture. We will be using video clips, articles, and first-person accounts to show how fans interact with their favourite celebrities, and the effects their actions have. We plan to interview some participants and show them some fan-taken footage, along with news articles related to fan activities in Korea; we will be recording their reactions and opinions towards this information to compile into a short film. The final video will be posted online for others to view and comment on, hopefully starting discussions that will give a more detailed insight into what people thought before watching, and if their views on the subject differed after.
 In particular, we will be exploring the aspect of stalker fans, and whether or not it is appropriate for idols to react with violence in self-defence. As a result, we will be briefly touching on the general views towards mental illnesses and gender roles in Asian countries. In creating this documentary, we are hoping to expose a part of fan culture that does not receive much attention, potentially educating viewers on the relationship between celebrities and their fans. Through the interviews and comments, we would like to discover what fans and non-fans alike may think of appropriate reactive behaviors, and whether or not there should be decisive actions taken against celebrity idols.

Part II. Project Narrative
Our proposed project will be a short video documentary, that depicts and exposes "sasaeng" fans in the Korean entertainment industry, using the idol groups "JYJ" and "TVXQ" as primary examples. It will not follow the format of a traditional expository documentary, as we intend for there to be as little bias or persuasion as possible. We are most interested in seeing what people in North America think of the phenomenon of extreme fans, regardless of their interest or knowledge in Korean pop music culture. This project is unique in that there is not much known about extreme fans in Korea, and few articles or videos exist that provide a full, unbiased view of this phenomena. Media attention tends towards condemning either the fans or the artists, but never pauses to consider what outside forces may have influenced the way both groups act. It is important that this information is shared, so that these fans and celebrities can better understand each other, and receive help for the issues addressed in the documentary. Everyone is a fan of someone, or something, and it is frustrating to see fellow human beings act reprehensibly towards others and other cultures because they are uninformed or prejudiced. We hope that by viewing this documentary, fans will begin to understand that they are an integral part of what makes an idol who they are, and that they should not act rashly in a way that insults a culture or its people; nor should they refuse to acknowledge that someone they idolize may have done a morally condemnable thing, and that apologetic actions should be taken. It is important that people realize that although much of society revolves around celebrities, they too are regular people that have imperfect reactions and thoughts, and should not above punishments or atonements. We want this project to become something that will be able to enlighten viewers on the subject of Korea's entertainment culture, encourage fans to act in a responsible and intelligent manner, as well as advocate a higher level of contemplation when considering behaviors between any groups of people, specifically concerning how behaviors are seen and influenced through networks, archives, tribes, gender, violence, and politics.
 There are several layers to the existence of extreme fans, usually dependent their portrayal in the media. "Sasaeng", literally meaning "private life" and also a homonym for "life or death" (Fortyninpointfivebananas, 2010), is used to describe the fans who stalk their favourite celebrities. These fans will follow idols around all day, waiting outside their homes, as well as any restaurants, salons, and boutiques they visit. This specific action alone is not particularly harmful, but some fans carry much a much deeper devotion and have done some very invasive things, such as breaking into the dormitories and apartments of idols, obtaining their private cell phone numbers and social security numbers, as well as purposely causing car accidents (Redfaith, 2012). Firstly, let us focus on the fact that "sasaeng" fans are essentially a tribe, being a very closed group that benefits from disclosing information sparsely, and only amongst each other (Millett, 2008). No one individual can benefit, as there will surely be repercussions through reduced information, and being rendered an outsider. Secondly, these extreme fans are highly dependent on networking, using social media platforms to constantly keep updated on where idols are, and what they are doing. As stated by Wellman and Haythornthwaite in New Media: The Key Concepts, "Their computer-mediated communication has become part of their everyday lives" (pp. 25). This becomes blatantly apparent, as there has to be a constant stream of information gathered and shared to different members of fan communities, and communication through cell phones and internet forums are the most common methods (tvN-ENews, 2012). This networking extends internationally, as fans in countries across the globe have a difficult time procuring news on these celebrities locally. Fancams are uploaded on YouTube, and shared amongst fansites that translate articles and press releases; photos, art, and fan accounts are also parts of these new media archives, making them "individualized and highly collaborative" (Beer & Gane, 2008, pp. 86). The issue then becomes one of authenticity, as much of the news relies on proper translations and fan interpretation. There exists "anti-fans" who would wish to damage the name and reputations of certain celebrities, and may post false accounts of a meeting, or intentionally provoke an artist into lashing out. All this information is user-based content with a high level of interactivity, leaving both the fan or anti-fan as well as the celebrity open to attacks from anyone online. In the case of the idol group "JYJ", there are even media outlets controlled by entertainment companies that would publish harmful rumors as a show of political power. These facts become the basis of many issues surrounding the controversy of "sasaeng" fans and relevant celebrities in relation to privacy and violence, along with mental and gender issues.
Celebrities obviously have a difficult time keeping their private lives separate from their public identities. Korean idols are representatives of popular music, and just like the genre itself, they must both "provoke the listener's attention" and yet remain natural and realistic (Adorno, 1941, pp. 71). To put it harshly, they are just as manufactured as the music they perform, and must constantly monitor their image (Yoon, 2010). As celebrities, they must be prepared for their lives to be open, but is there a line that cannot be crossed? As human beings, they have the right to keep certain things to themselves. The question here is whether or not "sasaengs" are going too far in their search for whatever may be behind the public personas, and whether or not celebrities are overreacting. This becomes especially serious when violence is introduced. If an artist hits a fan, who is as fault: the celebrity who has reacted violently, or the fan who has actively violated the celebrity? Furthermore, depending on the representation of events in the media, the violence may have been much less complex and compelling, or overdramatized and deliberately misleading (Prince, 2004, pp.181). Something else to contemplate is the role gender plays in these scenarios. If it was an older male fan who had groped a teenaged female celebrity, would the blame be placed entirely on the male fan? Because of societal views concerning what defines "masculine" and "feminine", males may be expected to never retaliate against females because they are stronger, and much more aggressive (Quigley, 2009, pp.6). And finally, some thought must be placed upon how idols are treated both by their management companies and their fans. Many artists are recruited at a young age, and suffer many hardships to debut as an idol. They are very isolated from regular society, and have limited interactions with members of the public. There is incredible stress placed upon them; they must always perform well, lest they are cut from the company and left without a proper education, or functioning social skills. Asian countries tend to "not accept the medical model of depression" (Karasz, 2005) and there is a "lack of knowledge and negative stereotypes" concerning mental illnesses (Jang, Kim, Hansen & Chiriboga, 2007) which means these celebrities do not undergo therapy or counselling. The obsessive behaviors of "sasaeng" fans are often seen as simply part of being young and infatuated.
We were inspired through reading articles and reports on this issue, being fans of Asian culture ourselves. We found it frustrating that the media was reporting with undisguised bias and superficial details. It was also very disappointing to see fellow fans instantly condemn each other or the celebrities without first ruminating on how and why these actions happened. This project will differ and build from past work by exploring all sides of the conflict instead of simply presenting either "sasaengs" or idols. It will be a collection of information that includes what people actually think on the subject, and how they have reacted. There will be research that supports both sides of the argument, using visuals as well as accounts. "Life or Death" will help advance the conversation through encouraging fans and non-fans alike to think critically about the issues we have addressed, specifically in researching the facts behind what the media reports, and looking for contributing factors that have not yet been mentioned.

Part III. Process
What we would like to do is introduce a range of people (in age, gender, and familiarity with Korean popular music) to an idol group, and explain how they become so popular. Specifically, we will describe how they were recruited and trained, how their schedules are arranged to achieve maximum exposure, and how the existence of their fans helps keep them relevant. Following this, we would show them "fancams" (short for fan cameras, meaning fan-taken footage) of these celebrities (or their managers) yelling, hitting, or shoving fans, before proceeding to ask our participants if these actions are justified. Then, we would proceed with showing them some other videos and photos of "sasaengs" following and calling these idols, as well as providing a list of intrusive and disturbing activities done by extreme fans that have been known to occur. Again, we will ask our participants if the previously shown violent reactions are justified. The entire time, we will be filming their reactions and responses to the clips and article. We plan on playing devil's advocate by giving them some more detailed facts concerning how entertainment companies maintain their idols and how society sees fan culture, as well as giving queries concerning the role gender plays in these scenarios. They will then be asked to put themselves in the position of both the artists and the fans, before being encouraged to share their final thoughts on the issue, and whether their opinions had changed throughout the experience. We will then take video cuts from the interviews and interject them with the footage and information shown in process during to create a short documentary entitled "Life or Death".
 After receiving the grant, we would start work on intensive research over two weeks, looking for articles, fan accounts, videos, and other types of media. The following two weeks, we would collect videos and articles to sort and show participants, interviewing and recording their thoughts. In the last two weeks, we would record a scripted voice over for the final project, mix sound, edit the film, and re-shoot footage if necessary.

Part IV. Biography
I have taken courses on video production and journalism, and I believe the skills I have learned then have since been built upon, and will allow me to produce a quality documentary. The experiences I have gained from writing articles, interviewing others, and researching for relevant and legitimate information will contribute towards creating a thought-provoking documentary that explores the feelings of those who belong to the fan community, while encouraging the general public to think more deeply about media portrayals and societal pressures on celebrities and fans alike. In the past, I have created short films on other subjects, which has given me feedback that helped me understand what it is an audience needs to engage with and understand specific meanings and messages, in regards to both compelling imagery and factual information. I am dedicated to the subject as a fan of Korean pop culture myself, and I believe my passion on this matter will transfer through to the final project. Currently, I am attending Simon Fraser University, majoring in Design under the School of Interactive Arts and Technology. In the future, I hope to become an industrial designer, as well as a novelist.

Part V. Outcomes
This project will of course further my interest in Korean pop culture through intensive research. It will also provide a portfolio piece that showcases my ability to put together a communicative and engaging piece of film. Through this opportunity, I hope to furthur develop my interview, writing, research, editing and filming skills, granting me experience with which I may use to attain work with other films and documentary pieces, or journalistic investigations and reports.
The specific media format of "Life or Death" will be an online film (.AVI or .MOV depending on sourced video clips) presented and released through YouTube or Vimeo. We believe there is no better venue nor format that would adequately convey the messages we hope to share, nor facilitate discussion as smoothly. We would plan to release the documentary online through the video-sharing sites stated, after promoting it on Facebook, Twitter, and Tumblr for a fortnight, roughly three weeks after post-production is completed.
I have taken courses on video production and journalism, and I believe the skills I have learned then have since been built upon, and will allow me to produce a quality documentary. The experiences I have gained from writing articles, interviewing others, and researching for relevant and legitimate information will contribute towards creating a thought-provoking documentary that explores the feelings of those who belong to the fan community, while encouraging the general public to think more deeply about media portrayals and societal pressures on celebrities and fans alike. In the past, I have created short films on other subjects, which has given me feedback that helped me understand what it is an audience needs to engage with and understand specific meanings and messages, in regards to both compelling imagery and factual information. I am dedicated to the subject as a fan of Korean pop culture myself, and I believe my passion on this matter will transfer through to the final project. Currently, I am attending Simon Fraser University, majoring in Design under the School of Interactive Arts and Technology. In the future, I hope to become an industrial designer, as well as a novelist.

Part VI. Budget
For our purposes, we would need to purchase the following specific items:
$2500 Canon EOS 5D Mark II body
$1400 Canon EF 70-200 mm F4.0 lens
$1600 Canon 100mm 2.8L Macro lens
$600 Sony Vegas Pro 11 Software
Other non-specific items we would still require would be:
$70 Microphone Boom Arm
$200 Camera Tripod
$200 Shotgun Microphones
$150 Lapel 2-Microphone Kit
$100 32" 5-in-1 Reflector Kit
$500 Fluorescent 2-Light Kit (6 Lamps)
Along with other miscellaneous items, such as lens filters and caps, wireless remotes, camera bags, cables and extension cords, cloths and wipes, etc. at an estimated $1000.
Finally, we would also require an estimation of $1000 to pay for licensing fees incurred on any footage we purchase from KBS, MBC or SBS, the three major telvision networks in Korea.
Altogether, this amounts to roughly $8000, but if possible, we would like to receive a grant of $10,000 to cover any additional expenses we may not have not yet predicted.
References:

Adorno, T. W. (1941). On Popular Music. In A. Easthope & K. McGowan (Eds.), ''A Critical and Cultural Theory Reader'' (pp. 211-222). Surrey, BC: Simon Fraser University.
Beer, D., & Gane, N. (2008). ''New Media: The Key Concepts''. New York, NY: Berg Publishers.
Dana. (2012, March 7). ''JYJ and Sasaeng Fans: An Ugly Controversy''. Retrieved from http://seoulbeats.com/2012/03/jyj-and-sasaeng-fans-an-ugly-controversy/
Fortyninepointfivebananas. (2010, March 1). ''What it means to be a "sasaeng" fan''. [Translation]. Retrieved from http://fortyninepointfivebananas.tumblr.com/post/419904902/
Jang, Y., Kim, G., Hansen, L. and Chiriboga, D. A. (2007). Attitudes of Older Korean Americans Toward Mental Health Services. ''Journal of the American Geriatrics Society, 55(4)'', 616–620. doi: 10.1111/j.1532-5415.2007.01125.x
Kapuscinski, R. (2008). ''The Other.'' Brooklyn, N.Y.: Verso Books.
Karasz, A. (2005) Cultural differences in conceptual models of depression. ''Soc Sci Med, 60(7)'', 1625-1635. Retrieved from http://www.ncbi.nlm.nih.gov/pubmed/15652693
Millett, J.J. (2008). ''People Unlike Us''. Amherst, N.Y. : Humanity Books.
Prince, S. (2004). Violence. In M. Filimowicz (Ed.), ''Media Across Cultures ''(pp. 173-181). Surrey, BC: Simon Fraser University.
Quigley, T. (2009, February 22). ''A Brief Outline of Psychoanalytic Theory'' [PDF Document]. Retrieved from http:homepage.newschool.edu/~quigleyt/vcs/psychoanalysis-intro.pdf
Redfaith. (2012, March 8). ''What JYJ/DBSK's sasaeng fans had done?'' Retrieved from http://www.gokpop.com/news/what-jyj-dbsks-sasaeng-fans-had-done-list-of-crazy-activities::10789.html
tvN-ENews. (2012, March 20). ''Reality of Sasaengs'' [Video file]. Retrieved from http://www.youtube.com/watch?v=Rp8wZHV3Taw&feature=player_embedded
Yoon, L. (2010, August 27). ''Korean Pop, with Online Help, Goes Global''. Retrieved from http://www.time.com/time/world/aricle/0,8599,2013227,00.html

References:

Adorno, T. W. (1941). On Popular Music. In A. Easthope & K. McGowan (Eds.), ''A Critical and Cultural Theory Reader'' (pp. 211-222). Surrey, BC: Simon Fraser University.
Beer, D., & Gane, N. (2008). ''New Media: The Key Concepts''. New York, NY: Berg Publishers.
Dana. (2012, March 7). ''JYJ and Sasaeng Fans: An Ugly Controversy''. Retrieved from http://seoulbeats.com/2012/03/jyj-and-sasaeng-fans-an-ugly-controversy/
Fortyninepointfivebananas. (2010, March 1). ''What it means to be a "sasaeng" fan''. [Translation]. Retrieved from http://fortyninepointfivebananas.tumblr.com/post/419904902/
Jang, Y., Kim, G., Hansen, L. and Chiriboga, D. A. (2007). Attitudes of Older Korean Americans Toward Mental Health Services. ''Journal of the American Geriatrics Society, 55(4)'', 616–620. doi: 10.1111/j.1532-5415.2007.01125.x
Kapuscinski, R. (2008). ''The Other.'' Brooklyn, N.Y.: Verso Books.
Karasz, A. (2005) Cultural differences in conceptual models of depression. ''Soc Sci Med, 60(7)'', 1625-1635. Retrieved from http://www.ncbi.nlm.nih.gov/pubmed/15652693
Millett, J.J. (2008). ''People Unlike Us''. Amherst, N.Y. : Humanity Books.
Prince, S. (2004). Violence. In M. Filimowicz (Ed.), ''Media Across Cultures ''(pp. 173-181). Surrey, BC: Simon Fraser University.
Quigley, T. (2009, February 22). ''A Brief Outline of Psychoanalytic Theory'' [PDF Document]. Retrieved from http:homepage.newschool.edu/~quigleyt/vcs/psychoanalysis-intro.pdf
Redfaith. (2012, March 8). ''What JYJ/DBSK's sasaeng fans had done?'' Retrieved from http://www.gokpop.com/news/what-jyj-dbsks-sasaeng-fans-had-done-list-of-crazy-activities::10789.html
tvN-ENews. (2012, March 20). ''Reality of Sasaengs'' [Video file]. Retrieved from http://www.youtube.com/watch?v=Rp8wZHV3Taw&feature=player_embedded
Yoon, L. (2010, August 27). ''Korean Pop, with Online Help, Goes Global''. Retrieved from http://www.time.com/time/world/aricle/0,8599,2013227,00.html

IAT 206 Final Project: Grant Proposal
Life or Death: a short expository documentary
Michael Filimowicz David Newman
Part I. Abstract
"Life or Death" will be an expository documentary that explores the existence of extreme fans in Korea, and the impact they have on the entertainment industry, and by extension, its economy and culture. We will be using video clips, articles, and first-person accounts to show how fans interact with their favourite celebrities, and the effects their actions have. We plan to interview some participants and show them some fan-taken footage, along with news articles related to fan activities in Korea; we will be recording their reactions and opinions towards this information to compile into a short film. The final video will be posted online for others to view and comment on, hopefully starting discussions that will give a more detailed insight into what people thought before watching, and if their views on the subject differed after.
In particular, we will be exploring the aspect of stalker fans, and whether or not it is appropriate for idols to react with violence in self-defence. As a result, we will be briefly touching on the general views towards mental illnesses and gender roles in Asian countries. In creating this documentary, we are hoping to expose a part of fan culture that does not receive much attention, potentially educating viewers on the relationship between celebrities and their fans. Through the interviews and comments, we would like to discover what fans and non-fans alike may think of appropriate reactive behaviors, and whether or not there should be decisive actions taken against celebrity idols.
Part II. Project Narrative
Our proposed project will be a short video documentary, that depicts and exposes "sasaeng" fans in the Korean entertainment industry, using the idol groups "JYJ" and "TVXQ" as primary examples. It will not follow the format of a traditional expository documentary, as we intend for there to be as little bias or persuasion as possible. We are most interested in seeing what people in North America think of the phenomenon of extreme fans, regardless of their interest or knowledge in Korean pop music culture. This project is unique in that there is not much known about extreme fans in Korea, and few articles or videos exist that provide a full, unbiased view of this phenomena. Media attention tends towards condemning either the fans or the artists, but never pauses to consider what outside forces may have influenced the way both groups act. It is important that this information is shared, so that these fans and celebrities can better understand each other, and receive help for the issues addressed in the documentary. Everyone is a fan of someone, or something, and it is frustrating to see fellow human beings act reprehensibly towards others and other cultures because they are uninformed or prejudiced. We hope that by viewing this documentary, fans will begin to understand that they are an integral part of what makes an idol who they are, and that they should not act rashly in a way that insults a culture or its people; nor should they refuse to acknowledge that someone they idolize may have done a morally condemnable thing, and that apologetic actions should be taken. It is important that people realize that although much of society revolves around celebrities, they too are regular people that have imperfect reactions and thoughts, and should not above punishments or atonements. We want this project to become something that will be able to enlighten viewers on the subject of Korea's entertainment culture, encourage fans to act in a responsible and intelligent manner, as well as advocate a higher level of contemplation when considering behaviors between any groups of people, specifically concerning how behaviors are seen and influenced through networks, archives, tribes, gender, violence, and politics.
There are several layers to the existence of extreme fans, usually dependent their portrayal in the media. "Sasaeng", literally meaning "private life" and also a homonym for "life or death" (Fortyninpointfivebananas, 2010), is used to describe the fans who stalk their favourite celebrities. These fans will follow idols around all day, waiting outside their homes, as well as any restaurants, salons, and boutiques they visit. This specific action alone is not particularly harmful, but some fans carry much a much deeper devotion and have done some very invasive things, such as breaking into the dormitories and apartments of idols, obtaining their private cell phone numbers and social security numbers, as well as purposely causing car accidents (Redfaith, 2012). Firstly, let us focus on the fact that "sasaeng" fans are essentially a tribe, being a very closed group that benefits from disclosing information sparsely, and only amongst each other (Millett, 2008). No one individual can benefit, as there will surely be repercussions through reduced information, and being rendered an outsider. Secondly, these extreme fans are highly dependent on networking, using social media platforms to constantly keep updated on where idols are, and what they are doing. As stated by Wellman and Haythornthwaite in New Media: The Key Concepts, "Their computer-mediated communication has become part of their everyday lives" (pp. 25). This becomes blatantly apparent, as there has to be a constant stream of information gathered and shared to different members of fan communities, and communication through cell phones and internet forums are the most common methods (tvN-ENews, 2012). This networking extends internationally, as fans in countries across the globe have a difficult time procuring news on these celebrities locally. Fancams are uploaded on YouTube, and shared amongst fansites that translate articles and press releases; photos, art, and fan accounts are also parts of these new media archives, making them "individualized and highly collaborative" (Beer & Gane, 2008, pp. 86). The issue then becomes one of authenticity, as much of the news relies on proper translations and fan interpretation. There exists "anti-fans" who would wish to damage the name and reputations of certain celebrities, and may post false accounts of a meeting, or intentionally provoke an artist into lashing out. All this information is user-based content with a high level of interactivity, leaving both the fan or anti-fan as well as the celebrity open to attacks from anyone online. In the case of the idol group "JYJ", there are even media outlets controlled by entertainment companies that would publish harmful rumors as a show of political power. These facts become the basis of many issues surrounding the controversy of "sasaeng" fans and relevant celebrities in relation to privacy and violence, along with mental and gender issues.
Celebrities obviously have a difficult time keeping their private lives separate from their public identities. Korean idols are representatives of popular music, and just like the genre itself, they must both "provoke the listener's attention" and yet remain natural and realistic (Adorno, 1941, pp. 71). To put it harshly, they are just as manufactured as the music they perform, and must constantly monitor their image (Yoon, 2010). As celebrities, they must be prepared for their lives to be open, but is there a line that cannot be crossed? As human beings, they have the right to keep certain things to themselves. The question here is whether or not "sasaengs" are going too far in their search for whatever may be behind the public personas, and whether or not celebrities are overreacting. This becomes especially serious when violence is introduced. If an artist hits a fan, who is as fault: the celebrity who has reacted violently, or the fan who has actively violated the celebrity? Furthermore, depending on the representation of events in the media, the violence may have been much less complex and compelling, or overdramatized and deliberately misleading (Prince, 2004, pp.181). Something else to contemplate is the role gender plays in these scenarios. If it was an older male fan who had groped a teenaged female celebrity, would the blame be placed entirely on the male fan? Because of societal views concerning what defines "masculine" and "feminine", males may be expected to never retaliate against females because they are stronger, and much more aggressive (Quigley, 2009, pp.6). And finally, some thought must be placed upon how idols are treated both by their management companies and their fans. Many artists are recruited at a young age, and suffer many hardships to debut as an idol. They are very isolated from regular society, and have limited interactions with members of the public. There is incredible stress placed upon them; they must always perform well, lest they are cut from the company and left without a proper education, or functioning social skills. Asian countries tend to "not accept the medical model of depression" (Karasz, 2005) and there is a "lack of knowledge and negative stereotypes" concerning mental illnesses (Jang, Kim, Hansen & Chiriboga, 2007) which means these celebrities do not undergo therapy or counselling. The obsessive behaviors of "sasaeng" fans are often seen as simply part of being young and infatuated.
We were inspired through reading articles and reports on this issue, being fans of Asian culture ourselves. We found it frustrating that the media was reporting with undisguised bias and superficial details. It was also very disappointing to see fellow fans instantly condemn each other or the celebrities without first ruminating on how and why these actions happened. This project will differ and build from past work by exploring all sides of the conflict instead of simply presenting either "sasaengs" or idols. It will be a collection of information that includes what people actually think on the subject, and how they have reacted. There will be research that supports both sides of the argument, using visuals as well as accounts. "Life or Death" will help advance the conversation through encouraging fans and non-fans alike to think critically about the issues we have addressed, specifically in researching the facts behind what the media reports, and looking for contributing factors that have not yet been mentioned.
Part III. Process
What we would like to do is introduce a range of people (in age, gender, and familiarity with Korean popular music) to an idol group, and explain how they become so popular. Specifically, we will describe how they were recruited and trained, how their schedules are arranged to achieve maximum exposure, and how the existence of their fans helps keep them relevant. Following this, we would show them "fancams" (short for fan cameras, meaning fan-taken footage) of these celebrities (or their managers) yelling, hitting, or shoving fans, before proceeding to ask our participants if these actions are justified. Then, we would proceed with showing them some other videos and photos of "sasaengs" following and calling these idols, as well as providing a list of intrusive and disturbing activities done by extreme fans that have been known to occur. Again, we will ask our participants if the previously shown violent reactions are justified. The entire time, we will be filming their reactions and responses to the clips and article. We plan on playing devil's advocate by giving them some more detailed facts concerning how entertainment companies maintain their idols and how society sees fan culture, as well as giving queries concerning the role gender plays in these scenarios. They will then be asked to put themselves in the position of both the artists and the fans, before being encouraged to share their final thoughts on the issue, and whether their opinions had changed throughout the experience. We will then take video cuts from the interviews and interject them with the footage and information shown in process during to create a short documentary entitled "Life or Death".
After receiving the grant, we would start work on intensive research over two weeks, looking for articles, fan accounts, videos, and other types of media. The following two weeks, we would collect videos and articles to sort and show participants, interviewing and recording their thoughts. In the last two weeks, we would record a scripted voice over for the final project, mix sound, edit the film, and re-shoot footage if necessary.
Part IV. Biography
Part V. Outcomes
This project will of course further my interest in Korean pop culture through intensive research. It will also provide a portfolio piece that showcases my ability to put together a communicative and engaging piece of film. Through this opportunity, I hope to furthur develop my interview, writing, research, editing and filming skills, granting me experience with which I may use to attain work with other films and documentary pieces, or journalistic investigations and reports.
The specific media format of "Life or Death" will be an online film (.AVI or .MOV depending on sourced video clips) presented and released through YouTube or Vimeo. We believe there is no better venue nor format that would adequately convey the messages we hope to share, nor facilitate discussion as smoothly. We would plan to release the documentary online through the video-sharing sites stated, after promoting it on Facebook, Twitter, and Tumblr for a fortnight, roughly three weeks after post-production is completed.
$2500 Canon EOS 5D Mark II body
$1400 Canon EF 70-200 mm F4.0 lens
$1600 Canon 100mm 2.8L Macro lens
$600 Sony Vegas Pro 11 Software
$70 Microphone Boom Arm
$200 Camera Tripod
$200 Shotgun Microphones
$150 Lapel 2-Microphone Kit
$100 32" 5-in-1 Reflector Kit
$500 Fluorescent 2-Light Kit (6 Lamps)
Adorno, T. W. (1941). On Popular Music. In A. Easthope & K. McGowan (Eds.), A Critical and Cultural Theory Reader (pp. 211-222). Surrey, BC: Simon Fraser University.
Beer, D., & Gane, N. (2008). New Media: The Key Concepts. New York, NY: Berg Publishers.
Dana. (2012, March 7). JYJ and Sasaeng Fans: An Ugly Controversy. Retrieved from http://seoulbeats.com/2012/03/jyj-and-sasaeng-fans-an-ugly-controversy/
Fortyninepointfivebananas. (2010, March 1). What it means to be a "sasaeng" fan. [Translation]. Retrieved from http://fortyninepointfivebananas.tumblr.com/post/419904902/
Jang, Y., Kim, G., Hansen, L. and Chiriboga, D. A. (2007). Attitudes of Older Korean Americans Toward Mental Health Services. Journal of the American Geriatrics Society, 55(4), 616–620. doi: 10.1111/j.1532-5415.2007.01125.x
Kapuscinski, R. (2008). The Other. Brooklyn, N.Y.: Verso Books.
Karasz, A. (2005) Cultural differences in conceptual models of depression. Soc Sci Med, 60(7), 1625-1635. Retrieved from http://www.ncbi.nlm.nih.gov/pubmed/15652693
Millett, J.J. (2008). People Unlike Us. Amherst, N.Y. : Humanity Books.
Prince, S. (2004). Violence. In M. Filimowicz (Ed.), Media Across Cultures (pp. 173-181). Surrey, BC: Simon Fraser University.
Quigley, T. (2009, February 22). A Brief Outline of Psychoanalytic Theory [PDF Document]. Retrieved from http:homepage.newschool.edu/~quigleyt/vcs/psychoanalysis-intro.pdf
Redfaith. (2012, March 8). What JYJ/DBSK's sasaeng fans had done? Retrieved from http://www.gokpop.com/news/what-jyj-dbsks-sasaeng-fans-had-done-list-of-crazy-activities::10789.html
tvN-ENews. (2012, March 20). Reality of Sasaengs [Video file]. Retrieved from http://www.youtube.com/watch?v=Rp8wZHV3Taw&feature=player_embedded
Yoon, L. (2010, August 27). Korean Pop, with Online Help, Goes Global. Retrieved from http://www.time.com/time/world/aricle/0,8599,2013227,00.html
Retrieved from "https://wiki.its.sfu.ca/public/index.php?title=301154486-206grantproposal&oldid=2132"


Modern refrigeration consisting of an insulated box with its own refrigeration unit began entering home in the early 1900's. With this invention perishable food was able to be stored at its optimal temperature (37°-41° Fahrenheit) in order to lower the reproduction rate of bacteria. When freezing foods below (0° Fahrenheit) they can be kept safe indefinitely. Today refrigerators and freezers come in a large variety of sizes, shapes and configurations.
The Common Refrigerator: These units are usually a combination freestanding refrigerator/freezer approximately 30"-36" wide, 65"-72" tall, 20"-30"deep, the most common size being 36"x72". These come in many configurations including; side-by-side, top-freezer, bottom-freezer and French door. A counter-depth model is built to fit into the cabinetry using a 24" or less, unit without the door. They offer models that can be paneled but the functioning components of the unit will be very visible.
The Built In Refrigerator: These units are usually wider and taller than the common refrigerator, are mounted/secured to the cabinetry and built to fit into a 24" depth. They usually are closer to 84" tall and up to 48" wide. They also come as combinations in similar configurations the "Common Refrigerator" but they also offer individual refrigerator and/or freezer so they can be combined to even offer larger than 48" units. They offer models that can be paneled with cabinetry but you can see some of the functioning components of the unit.
The Intergraded Refrigerator: These units offered are very similar to the "Built In Refrigerator" except they offer the ability to integrate the cabinetry in a way that you will no longer see any of the functioning components of the unit. Special articulating hinges, bottom or remote venting are just a few of the parts that help these units to completely disappear into the cabinetry.
Other Refrigeration: There are many other types of units that have now worked their way into or modern kitchens. Some these include, refrigerator and freezer drawers, under counter units and that include beverage and wine models and even a unit for you Beer Keg!
So when planning your new kitchen the Refrigeration being the most important place to start I would look at these things first. Your traffic patterns in the room, how your family lives and where you are loading/unloading your refrigerator.
Traffic Patterns: Are you placing by an entrance? Do you have to go through the cooking zone to get to the refrigerator?
Today if possible I like to situate the refrigerator centrally between the cooking and eating areas, this way traffic to the refrigerator is not interfering with the cooking, especially with children.
The Family: 2 adults, 2 boys and 1 girl all under 10, 1 medium dog? Retired Couple, grandkids visit?
All design not just the refrigerator is developed with the family and your usage in mind. You really should look at how much food storage is needed? Do you shop in bulk? Do you want the kids to have access to certain things? Sometimes we have used separate beverage refrigerators or drawers for child access. When looking at built-ins and integrated they are not as deep as some but maybe taller so the cubic foot size and interior configurations are really important when looking at these models.
Loading / Unloading: Make sure the refrigerator configuration and the kitchen design work together as a team. When taking item in and out of your refrigerator you need a place to put them down without traveling. As an example of this is when using a French door style you tend to load/unload behind you, the doors are in the way on the sides making it awkward to place things there. Side-by-side refrigerators load/unload to the left side or behind and the freezer to the right or behind. Also keep in mind door size is important, as an example; 36" single door on an articulating hinge can come out over 40" at 90 degrees and hit the island.
There are so many variables in the Refrigerator part of the design that I could probably write an entire book on "Designing Refrigeration in the Modern Kitchen". My ultimate advise for anyone that is looking for their dream job not to turn into their nightmare….Hire a professional that has made his/her career doing this right! Happy Planning!


Use Perfect Property to find your next perfect house to buy in Dublin 9.
Dublin 9 is a bustling, green neighbourhood located 2.9-4km north of Dublin's city centre. The area is comprised of: Drumcondra, Glasnevin, Santry, Beaumont, and Whitehall. It is about a 15-minute drive by car via the R802, M1, and M50 Motorways. The Luas and a number of Dublin Bus routes primarily service the area. Much of Dublin 9 is within a 5-minute commute to the Dublin Airport. The area is a desirable place for families of all ages, as it is in close proximity to the city centre, yet it retains a leafy countryside feel.
Dublin 9 homes are a mix of traditional and modern. The eclectic mixture boasts old-world charm and new technologies. Homes are treated to views of: beautiful rivers, verdant parkland, leafy terraces, mature trees, blossoming gardens, pristine landscaping, magnificent shrubbery, and lovely acreage. Many homes are within convenient walking distance to quaint Village centres. Dublin 9 properties retain Period charm and aesthetic, and one can expect to find styles of: Victorian, Georgian, Mid-Century, Red Brick, Terraced, Tudor, cottage, modern, and contemporary. New construction and refurbished dwellings are outfitted with: modern amenities, tasteful décor, spacious living quarters, and sustainable energy efficiency.
Dublin 9 is equipped with all conceivable shopping efficiencies. The Omni Park Shopping Centre, Gullivers Retail Park, and the many Village Centres within the district provide ample: retail shopping, health care facilities, banking, post office, small and large businesses, pharmacies, convenience stores, cinemas, and supermarkets. The neighbourhood is also rich in delicious restaurants, cafes, coffee shops, and pubs, many of which feature delectable International cuisine. Dublin 9 is uniquely green and offers various parks for walking, cycling, picnicking, recreation, and leisure, including: Ellenfield Park, Griffith Park, Santry Park, and National Botanic Gardens. Dublin 9 is abundant in sporting facilities, such as: Ni Fanna GAA Club, Ierne Social and Sports Club, ALSAA Sports Centre, Tennis Ireland, and Tolka Rovers.
Dublin 9 is host to a number of well-respected primary, national, secondary, and Scoil schools. Academic excellence is a high priority, and school awards include: Golden Shamrock Awards, Student Enterprise Awards, UniTY Awards, and Community Champion Awards.
You can filter Dublin 9 properties by price, bedroom size, square footage and more. There is also the option to filter by a property must-have, such as a shed if you are seeking a house to buy in Dublin 9 where you have additional storage in your garden, or even a fireplace or large kitchen. You can also check apartments for sale in Dublin 9 if you are looking for something a little smaller. Don't let the perfect apartment, townhouse or house for sale in Dublin 9 get away. Looking to rent in Dublin 9? Search houses for rent in Dublin 9 and filter by home types, price and size.


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Ianthe Warlow
Satellite Stories - Cut Out The Lights
With an impressive 10-year history behind them, Finnish indie pop band Satellite Stories recently announced their decision to leave the band behind them. While often likened to seasoned indie rock act Two Door Cinema Club, Satellite Stories have come into their own; going from strength to strength after several consistently catchy albums.
It seems only right that they end this chapter of their lives by giving us one last taste of their irresistibly upbeat indie repertoire with a final album and a goodbye tour that spans some of the most prominent cities in Europe.
Entitled Cut Out The Lights, this album has distinct echoes of the tunes that define the earlier Satellite Stories sound but feels fresh and mature: truly the right way to mark the end of an era. The band themselves say they "went back to basics and just made music the way [they] wanted to". The production is clean and crisp, and each track brings a new kind of indie magic to the table, while staying true to the sound they've built over the years.
The 10 tracks that make up this album are relentlessly catchy, which is made clear right from the opener Green River. This track feels nostalgic as summer draws to an end, but still features their classic gorgeous pop synth sounds, keeping it light and very danceable. The album is littered with occasional segments of speech which tie the songs together into a perfectly cohesive piece of work; Cut Out The Lights is a gift.
Wild Wind flaunts perfectly jangly guitars and strong but smooth vocals before building into an intensely summery masterpiece. The vocals fight the catchy riffs for attention, but the balance is perfectly executed in the mix.
A definite highlight is Sunglasses, which boasts sassy speech to begin with and refined vocals throughout-with a punchy riff carrying them through. It comes to a sudden end that leaves you craving more; until the next song Mercury, which swiftly picks up the pace again. The lyrics are sophisticated and reflective, and effortlessly exhibit the genius behind Satellite Stories' songwriting.
Title track Cut Out The Lights is echoey and dreamy; repetitive but artfully so. The guitars are sparky and inventive and fade in and out in all the right places, leaving this track sounding like the kind of music to make your best summer memories to. Combining lyrics such as "I'm heartless, I know" with poppy, anthemic riffs is quintessentially Satellite Stories and is part of what makes this album feel so special. No Adagio flaunts a little bit of falsetto, reinforcing the sheer talent this band is capable of bringing to the table. Perfectly reflecting the title, this song is fast-paced and jumpy.
Alone In Eldorado deserves its place as the final goodbye on the album. Suitably repeating "adios, adios, adios" but in an optimistic tone, it is the epitome of what they've built as a band over the course of their 10-year history.
It's hard to listen to such a cohesive and lovely album without a tinge of sadness that this is the last we'll hear of Satellite Stories. This album was a perfect way to say goodbye; distinctive and bittersweet. Cut Out The Lights is unapologetically poppy but the skilful use of intricate guitar parts and quirky vocals is always going to leave fans wanting more. Satellite Stories are going out with a bang.
Satellite Stories' goodbye tour The Final Story will send them to several European countries, including a large run of home shows in Finland.
#satellitestories #cutoutthelights #albumreview #newmusic
2020: Top Of The Bops
OGS x The Rodeo Magazine: Ones To Watch 2021
Friendly Whiskey - Last Orders EP
One Great Song - Supporting the best new music from upcoming artists.


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One Text or Call could Wreck it All
Even the most LOL-worthy text message is not worth risking your life to read while driving. That's the message of National Distracted Driving Awareness Month, or as you may know it, April.
The U.S. Department of Transportation's (DOT) catchy slogan for its third annual campaign: "One Text or Call could Wreck it All."
In 2009, distracted driving killed nearly 5,500 people and injured almost half-a-million. Another disturbing stat: 16% of all fatal crashes that same year involved distracted driving.
But the campaign does have some hopeful statistics to share. Now that California's ban on texting and talking on a handheld cellphone while driving has been in effect for two years, road fatalities have fallen 22%.
Other states are catching up. In West Virginia, a law prohibiting texting and using a handheld phone while driving will go into effect July 2012. West Virgina will be the 10th state to outlaw texting and handheld devices while driving, not counting Washington DC, Guam and the Virgin Islands.
The DOT still has a lot of work to do to lower the incidences of car accidents caused by distracted drivers. A study by researchers at the University of Utah shows using a cellphone while driving — whether it's handheld or hands-free device — delays a driver's reactions the same as having a blood alcohol level at the legal limit of .08%.
But cellphones are just the first frontier in distracted driving. The DOT is continuing to conduct research about whether or not GPS devices and hands-free headsets distract drivers by affecting cognitive abilities, Ray LaHood, secretary of transportation for the DOT, says in this YouTube video.
During one pilot program in 2010 conducted by the National Highway Traffic Safety Administration (NHTSA) — called "Phone in One Hand, Ticket in the Other" — law enforcement witnessed a decrease in cellphone use while driving. The program was enforced in four waves over the course of a one-year span in Hartford, Connecticut and Syracuse, New York.
In total, nearly 20,000 tickets or citations were issued.
The results were impressive. In Syracuse, handheld cellphone use while driving decreased by one-third. In Hartford — where the instance of driving while using a cellphone was unusually high — there was a 57 percent decrease in handheld cellphone use while driving and a nearly three-quarter drop in texting while driving.
To drive home the point, the DOT also hosts a series of video on its YouTube called, "Faces of Distracted Driving." Each of the videos highlight one story of fatalities caused by distracted driving. AT&T presented a similar campaign in 2010 with a 10-minute documentary called, "The Last Text," which has nearly three million views to-date.
But not all countries are tackling the driving and cellphone use issue the same way. The Swedish National Road and Transport Institute recently said texting or using a handheld phone while driving is "harmless."
The organization said there are no official statistics of how many car accidents are caused by distracted drivers in Sweden, but there are numerous studies that show driver focus is equally impaired whether drivers are using a headset or a phone. The biggest difference between the two was that drivers using headsets were more confident.
In the U.S. at least it seems drivers and car companies alike have welcomed the idea of using hands free devices to communicate while driving. In-car technology such as Ford Sync allows driver to have their text messages read aloud to them or adjust music via voice control.
But such technology walks the line between convenient and distracting. Plus, it's facing opposition by the DOT.
What, if any, legislation would you support that restricts drivers' use of cellphones or other devices while operating a vehicle? Sound off in the comments.
Ready to Put Down The Phone?


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Hunor [] ist ein männlicher Vorname aus Ungarn.

Herkunft und Bedeutung

Hunor und Magor waren einer ungarischen Sage nach die Vorfahren der Hunnen und Magyaren und waren angeblich die Söhne Nimrods bzw. Jafets, die auf der Krim am Schwarzen Meer gelebt haben sollen.

In der Sage geht es um einen Wunderhirsch, den die beiden Prinzen Hunor und Magor versuchen zu jagen. Der Hirsch verschwindet auf einmal spurlos, worauf Hunor und Magor plötzlich himmlische Gesänge hören und den Gesängen folgen, bis sie auf einen See treffen, in dem bildhübsche junge Mädchen baden. Die Mädchen ergreifen sofort schreiend die Flucht, unter ihnen sollen auch zwei Töchter des Alanen-Fürsten Dula gewesen sein. Die Prinzen reiten hinterher und die Vier treffen sich. Sofort entflammt leidenschaftliche Liebe und Hunor heiratet daraufhin die eine, Magor die andere. Die Nachfahren des Hunor werden als Hunnen bezeichnet, die des Magor wiederum als Magyaren (Ungarn). Schriftlich festgehalten wurde diese Sage von dem Hofchronisten Simon Kézai, etwa von 1282 bis 1283, in seiner Gesta Hunnorum et Hunharorum.

Die Legende stellt eine kollektive Erinnerung der Ungarn dar, so ist z. B. der hunnische Name "Attila" bis zum heutigen Tag ein recht beliebter männlicher Vorname in Ungarn. Auf diese Verbindung mit den Hunnen geht auch die in zahlreichen europäischen Sprachen übliche Schreibweise des ungarischen Landesnamens mit "H-" zurück, vgl. deutsch (veraltet) Hungarn; französisch Hongrie; englisch Hungary.

Namensträger

Vorname

 Hunor Kelemen (* 1967), rumänischer Politiker, Schriftsteller und Tierarzt ungarischer Volkszugehörigkeit
 Hunor Mate (* 1983), österreichischer Schwimmer
 Hunor, Csergő (* 1995), ungarischer Eishockeyspieler in Rumänien
 Hunor, Farkas (* 2001), ungarischer Skispringer in Rumänien

Männlicher Vorname
Ungarischer Personenname
Sage, Legende

redpajama_set_name: RedPajamaWikipedia


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Military Sci-Fi Oddities: The Mighty Orbots (1984)
Memories are an odd thing, especially from childhood. For years, I half remembered this big robot/mecha Saturday morning TV series that I barely watched due to the time slot it came on and I wondered about it from time to time. With the advent of the internet, I went searching for the identity of these memories, like some Replicant. It took months, but in 2014 I located the identify of this long lost big robot Saturday morning cartoon: 1984's The Mighty Orbots. It is finally time to discuss of one of the oddities of 1980's Saturday morning cartoons.
Just What the Hell is "The Mighty Orbots"?
This was a very short-lived American-Japanese giant robot TV series that aired for 13 episodes between September and December 1984 on ABC on Saturday mornings. This series featured some heavyweights in the animation industry on both sides of the Pacific and was noted for the catchy theme song that still echoes in the ears of fans. The series was created by Barry Glasser, with Fred Silverman & Yutaka Fujioka as executive producers. Tons of talent, love, and attention were poured into the series, making this short-lived show and one of the best looking at the time. Airing between September 8th, 1984 and December 15th, 1984 on the ABC Saturday Morning lineup at 9am Pacific time, it was a show that firmly followed in the steps of similar giant combinator robot shows.
The show takes place in the 23rd century, with an Terran engineer constructing six robots that have various powers and abilities on their own, but can combine to form the giant Mighty Orbot with greater power to protect the members of the United Planets. The format was episodic, not serial in focus, but did feature an end of sorts when the big bad of the series was defeated when the Orbot team decides to throw their lives away when they discovered new Orbot models on the drawing board by their creator on their collective one year birthday. One interesting note, the pilot for the show done by TMS had the show titled "Broots" instead of The Mighty Orbots. This simple change may have avoided the Tonka GoBots lawsuit that ended the show.
The Orbots and their World
It is the 23rd century and Earth is the headquarters for the Galactic Patrol, the militarY, police, AND exploration arm of the United Planets, which is also headquartered on Earth as well. This is a time of aliens and robots living along side Terrans, and it seems to be a paradise. Beyond the borders of the United Planets, is the crime/terrorist syndicate known as "Shadow", which is commanded by the organic computer known as Umbra. The Shadow organization is bent on domination over the galaxy and destruction of the United Planets. Living on Earth is the cybernetic engineer Dr. Rob Simmons, who is a secret employee of the Galactic Patrol, and he develops the six members of the Mighty Orbots for use by Galactic Patrol to defend the member worlds.
Dr. Rob Simmons has a Clark Kent/Superman identity when not saving the United Planets from harm as the leader of the Mighty Orbots team in his fancy "beam car". His love interest is an alien female commander in the Galactic Patrol, Agent Dia (The Lois Lane of the series) and her father, Commander Rondu, oversees the Galactic Patrol.
The Mighty Orbots team is comprised of six humanoid robots that form the more power and large Mighty Orbot:
1. Ohno: small fembot child that is the "heart" of the Mighty Orbot
2. Tor: The center of the Mighty Orbot, and the leader with a heart of gold and vast strength.
3. Bort: is the right leg of the Mighty Orbot and a shape-shifting Swiss Army Knife robot
4. Crunch: the left leg of the Mighy Orbot and able to consume metals and ores into energy.
5. Bo: is the left arm of combined Mighty Orbot form and is one of the fembots that controls the four elements of nature.
6. Boo: is the right arm of the combined Mighty Orbot form and ithis Fembot s able to channel energy.
The Historical Context of the Mighty Orbots
When the series was first created, it was at a very special time-period known as the early 1980's. As we peer through the mist of time and nostalgia, we must remember that Saturday Mornings were like the Thunderdome, were cartoons and their toylines battled for survival. Often a series would get its first order of 13 episodes and not survive to earn more, like STARCOM: The US Space Force. Backing up the production cost of these cartoons were toy companies, using the cartoons as a 30-minute advert. This concept was pioneered by Mattel's Master of the Universe. At this time as well, the titan of the toylines, Star Wars, was winding down and other toylines were jockeying for the space that Star Wars left on the shelf. Another tread existing along side was the Giant Robot Craze.
This fueled the importation of Japanese robot toys, model kits, and anime into the US shores. This about the same that when Harmony Gold and World Event Productions were making deals to import anime TV series for syndication. American TV was starting to take serious notice of the power and beauty of the anime style and some American firms were turning to noted Japanese animation firms to jazz up their planned cartoon. The Mighty Orbots aired on ABC on September 8th, 1984, just one week prior to one of the juggernauts of the Robot Craze, The Transformers. For the 8 year old me, this was a great time to be alive and I was spoiled by choice to satisfy my hungr for giant Japanese robots at the comic book store, at the toystore, and on TV.
Why is the Mighty Orbots an Oddity?
One of the FAQs mentioned on the best Orbots fansite, is "Why am I the only one who seems to remember this show?" and this brings us to our first oddity, it seems that few if anyone seems to remember The Mighty Orbots. Why is that? This show only aired on one American network (ABC), aired for 13 episodes in the fall of 1984, and aired earlier in the Saturday Morning Cartoon time schedule. According to some databases, The Mighty Orbots was aired at 9am Pacific time at the same time as The Smurfs and The Muppet Babies, both titans of Saturday Morning TV at the time. While the ratings were relatively good, they were not beating those two shows in their timeslot and with the Tonka lawsuit, it was decided by ABC, MGM/UA Television, and TMS to give up the fight, and not order any more episodes, allowing The Mighty Orbots to die.
One of the most interesting oddities of this 1984 cartoon was that is was a rare Japanese-American Hybrid cartoon. This show was developed with noted Japan animation studio, TMS in conjunction with MGM/UA Television and was unlike other similar TV shows at the time and soon after. Some Japanese animation TV shows were imported and dubbed during the 1st Wave of Anime into the West, like Astroboy and Speedracer. Unlike the Mighty Orbots, Astroboy and Speedracer were dubbed, but were made and designed in Japan for a Japanese audience. When the 2nd Wave of Anime into the West started in the mid-1970's. with titles like Space Cruiser Yamato and Science Ninja Team Gatchaman, these were, again, made and designed in Japan for a Japanese audience. The Mighty Orbots was made for both the Western and Eastern audiences, and The Mighty Orbots was released in Japan by TMS on home media with some evidence of Japan-only Orbots toys. More on that later. As far as I know, The Mighty Orbots, maybe the first American-Japanese partnership series in history that were both made for both audiences. TMS (Tokyo Movie Shinsha) had some experience with this, due to their work on Ulysses 31 in 1981. Another series like this as well, also with a French firm was the Mysterious Cities of Gold that aired in 1982. Another project that TMS was involved with was being in the running for working on the Star Wars Droids animation series.
With this being a American-Japanese project, there was considerable talent behind The Mighty Orbots. The director was Osamu Dezaki, who was involved in Astroboy and Space Cobra, and was later involved in another American TV series: Visionaries: Knights of the Magical Light. The character designer, Akio Sugino, also worked on Astroby, Goigo 13, and Space Cobra. The animator was Shingo Araki, who worked on Arcadia of my Youth, Ulysses 31, and Tomorrow's Joe. On the American side of the production, the people involved with the show, where involved in most of the iconic 80's and 90's cartoons. For example, George Singer was involved with nearly everything, including the Transformers and the Smurfs. Lastly, one of the oddities was that The Mighty Orbots fate lays squarely on not the ratings or the fucking Smurfs, but one of the worst robot cartoons of all time: The Challenge of the GoBots.
The Tonka Corporation vs. TMS Entertainment 1985 Lawsuit
Just how and why did The Mighty Orbots get caught up in a lawsuits with the fucking GoBots? First off, the GoBots were the cheaper, less cool, Transformers of their day and are mocked today generally as they were then. The Challenge of the GoBots was the TV show that premiered on the same damn day as The Mighty Orbots (9/8/84) and running until December of 1985. This show was a combination between the noted American studio of Hanna-Barbera, the Tawinese studio of Wang Films, and Tonka Toys.
The imported transformable robots toys were repackaged and sold by Tonka between 1983-1987 under the title of "GoBots Mighty Robots, Mighty Vehicles!" The original marker of the toys was none other than our friends Popy Pleasure, and those toys were released under their 1982 "Machine-Robo Series 600" in Japan. Now, the Lawsuit by Tonka Corporation was filed in the US District Court of Minnesota on May 20th, 1985 against TMS. It the case was filed in the home state of Tonka, which was headquartered at Spring Park, MN against the TMS offices in L.A. According to the court papers and the Toy Galaxy YouTube video, Tonka was playing an interesting game with their lawsuit against The Mighty Orbots TV show. Tonka alleged that TMS was using the term "Mighty" to piggy-back on the "success" of the GoBots toyline and that TMS was fully aware of this, and violated the trademarks that Tonka had for their Japanese imported transformed robot toyline. In addition, Tonka wanted to count every viewer of the Mighty Orbots TV show from September 1984 to February 1985 as a separate trademark violation! This 697,659, according to rating figures.
Tonka was also making the case that these trademark violations could be extend to nationwide…which could be millions. Tonka was seeing dollar signs in damages and the possibility of taking one of the major threats against their GoBots. This theory comes from Toy Galaxy and it makes sense. Tonka's transforming robot toys were losing against the Transformers and Voltron, and if Mattel did indeed created or import toys for The Mighty Orbots (which was a much better cartoon than the Challenge of the GoBots), it would be that much more powerful than Tonka's offering.
Tonka needed to strike down The Mighty Orbots, now before the toys came into play. If successful, Tonka could sue the Mighty Orbots out of existence along with getting some much needed cash to offset the losses from the cracking GoBots empire. Given all of these factors, it was decided to end the Mighty Orbots and offer some sort of settlement to Tonka. Karma reaped its payment on the GoBots soon after, and the Transformers became the dominate robot cartoon/toy masters of the 1980s'.
Was There Going to be Mighty Orbots Toys?
Yes, there was going to be. In scans of an 1985 Mattel toy catalog, a prototype of an aborted The Mighty Orbots combinator robot toyset was seen prior to the plans to scrap the TV series likely due to the Tonka toys lawsuit. This prototype toy was likely a repaint and slightly modified variant of the Popy Pleasure Chogokin GB-68 DX Godmarz that came out in 1981. This combinator robot came from the 1981 TV anime series called Rokushin Gattai Goddomāzu (AKA Godmars).
As we know, six different Popy robot toys were imported for the iconic Voltron TV series by Matchbox and it seems history would have repeated itself for Mattel Orbots line. While never released, some fans have modified some of the Popy Godmarz Chogokins and there have been some knockoffs by Korean firms that feature the Orbot name and these are rare in of themselves. There no rumors or prototypes of any other of the characters from the show, like Dr. Simmons or Ohno. It is likely that the Mighty Orbots toyline would have been like the original Voltron toyline from Matchbox from 1984 with a deluxe set and a miniature set for different price points.
The Impact and Legacy of The Mighty Orbots
Despite the quick cancellation, The Mighty Orbots did make an impact with kids and fans of Japanese animation due to the arresting and bold style. Even today, it still looks great. However, the impact was limited and without any toys, it made less than other series at the time. With advert of the internet and members of my generation going onto the world wide web to scour for pieces of nostalgia, the Mighty Orbots found a home to finally be remembered. The legacy of The Mighty Orbots is complex due to its short lifespan and being sued by Tonka over the GoBots. For some, it was a beloved part of their childhoods, for others, it was a barely remembered memory. For others, it is a example of the Japanese influence into Western animation. Of the oddest legacies has been some of the art created by fans concerning two of the shows characters: Boo and Bo. These fembots are depicted in some very NSFW, and it is not limited to a few. I found way too many of these robotic pornography artworks for my comfort level. Bad internet! While the show may have been limited in lifespan, it was finally released on DVD in 2018 by Warner Brothers.
- Next Time on FWS...
Near the end of the Soviet Union, their very successful space agency pushed out one last program that stunned the world in how much the USSR had copy-&-pasted the NASA Orbiter for their own space shuttle, the so-called "Buran". The single launch of the Buran space shuttle under autopilot was an event I clearly remember and it is time for FWS to discuss the oddity that is the Soviet Union Buran Space Shuttle. Please note: this article is going to be massive and it will take time to research and write it up. It could take up to one month before we see it. Thank you for your patience and stay frosty!
Ken Mann August 22, 2020 at 8:28 PM
I too remember the Mighty Orbots and it's ridiculous to have had them cancelled because of fear basically. But dude, did we really need the f word in the article? As smart as you are you could make your points without it.
GMpilot August 28, 2020 at 5:49 PM
I had just returned from two years' duty in Japan (and watched God Mars while I was there) when I saw the Orbots on tv and rejoiced "God Mars has a cousin in America!!" Alas, it was not to be. I recorded the episodes on my VCR, and down the years I showed it to others: "No, you didn't dream that. It really existed."
tom September 12, 2020 at 7:09 AM
Another great article, That Saturday morning line up picture is great, I remember watching Spiderman and Thundar but that was about it. The giant robot craze you mentioned reminded me of the shogun warriors. Could you do a post about them at some point?
FWS Broken Promises: StarCraft GHOST


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Monkfish fishery management plan : secretarial emergency action to eliminate monkfish possession limits in the Northern Fishery Management Area during fishing year 2013, environmental assessment
Secretarial emergency action to eliminate monkfish possession limits in the Northern Fishery Management Area during fishing year 2013, environmental assessment	; Final environmental assessment for a secretarial emergency action to eliminate monkfish posession limits in the Northern Fishery Management Area during fishing year 2013	;
Bullard, John K. (John Kilburn)
United States, National Marine Fisheries Service., Northeast Region,	; United States, National Oceanic and Atmospheric Administration., Office of Program Planning and Integration,	;
United States, National Marine Fisheries Service., Northeast Region,	; United States, National Oceanic and Atmospheric Administration., Office of Program Planning and Integration,	Less ▲
"The monkfish fishery is jointly managed by the New England Fishery Management Council (NEFMC) and the Mid-Atlantic Fishery Management Council (MAFMC), with the NEFMC having the administrative lead. The fishery extends from Maine to North Carolina out to the continental margin. The Councils manage the fishery as two stocks, with the Northern Fishery Management Area (NFMA) covering the Gulf of Maine (GOM) and northern part of Georges Bank (GB), and the Southern Fishery Management Area (SFMA) extending from the southern flank of GB through the Mid-Atlantic Bight to North Carolina (see Figure 1). The monkfish fishery is primarily managed by possession limits in conjunction with a yearly allocation of days-at-sea (DAS) calculated to enable vessels participating in the fishery to catch, but not exceed, the target total allowable landings (TAL) and annual catch target (ACT) (landings plus discards) specified for the NFMA and SFMA for each fishing year (FY). Monkfish are often landed while fishing for species managed by the Northeast (NE) Multispecies (groundfish) Fishery Management Plan (FMP), particularly in the NFMA. During FY 2009, 73 percent of vessels issued limited access monkfish permits were also issued limited access groundfish permits. Such vessels are limited to landing a smaller incidental amount of monkfish unless the vessel declares into the directed monkfish fishery and fishes under both a monkfish and groundfish DAS on the same trip. Monkfish are currently not subject to overfishing, and are considered rebuilt in both the NFMA and SFMA (NEFSC 2010). In recent years, the monkfish fishery has failed to fully harvest the ACT specified for each year, particularly in the NFMA. This suggests that monkfish landings could be increased with little risk of overfishing monkfish. In contrast, several groundfish stocks managed under the NE Multispecies FMP, including GOM cod, GOM haddock, GB cod, and GB yellowtail flounder, are overfished and subject to overfishing. Updated assessments for these stocks conducted in 2012 indicate that substantial reductions in the fishing mortality rate (F) for these stocks are necessary to prevent overfishing and rebuild overfished stocks consistent with rebuilding plans required under the Magnuson-Stevens Fishery Conservation and Management Act (MSA). At its January 2013 meeting, the NEFMC adopted Framework Adjustment (FW) 50 to the NE Multispecies FMP (NEFMC, 2013) to address the results of updated assessments for several groundfish stocks. Among other measures, that action would specify annual catch limits (ACLs) for these stocks for FYs 2013 through 2015 that are substantially reduced when compared to ACLs specified for previous fishing years. These reductions, if approved by the Secretary of Commerce (Secretary), would likely become effective May 1, 2013, and would result in substantial adverse economic impacts to vessels participating in the groundfish fishery. To help mitigate the adverse economic impacts of reduced fishing opportunities in the groundfish fishery during FY 2013, the NEFMC requested that NOAA's National Marine Fisheries Service (NMFS) implement an emergency action to eliminate monkfish possession limits for sector vessels fishing under a groundfish DAS in the NFMA at its November 13-15, 2012, meeting. The Secretary finds that emergency action, under the authority of the MSA, is necessary to increase monkfish landings from the NFMA to help mitigate the substantial adverse economic and social impacts associated with substantial reductions to several groundfish ACLs during FY 2013. This is based on recent updates to groundfish stock assessments that would likely result in substantial adverse economic impacts to the groundfish fishery and associated communities that can be, at least in part, mitigated by increasing monkfish landings during FY 2013. This Environmental Assessment (EA) analyzes the environmental impacts of an emergency action that proposes to eliminate monkfish possession limits for vessels issued both a Federal limited access NE multispecies and monkfish permit (i.e., vessels issued a Federal limited access monkfish Category C or D permit) while fishing under a monkfish DAS in the NFMA during FY 2013. This EA compares alternatives, as required under the National Environmental Policy Act (NEPA), to quickly implement measures that would help mitigate adverse economic impacts in the groundfish fishery"--Executive summary (pages 2-3).
Catch Effort
Environmental Impact Analysis
Environmental Impact Statements
Fishery Policy
Groundfish Fisheries
Lophiidae
United States	; Atlantic Coast (New England)	;
United States	; Atlantic Coast (New England)	Less ▲
National Environmental Policy Act (NEPA)
urn:sha256:74133fc8a4e086d1ee113dbade8b93ab88a5ffa86e6904f4eb9288644c99d360
NOAA National Environmental Policy Act (NEPA) home page
United States, National Marine Fisheries Service., Northeast Region,. United States, National Oceanic and Atmospheric Administration., Office of Program Planning and Integration,.
"The monkfish fishery is jointly managed by the New England Fishery Management Council (NEFMC) and the Mid-Atlantic Fishery Management Council (MAFMC), with the NEFMC having the administrative lead. The fishery extends from Maine to North Carolina ou...
Fishing year 2012 northeast multispecies sector operations plans and contracts : a supplememental environmental assessment
Whitmore, William D.; Bullard, John K. (John Kilburn);
"This action expands on a previously approved sector exemption by allowing groundfish sector trawl vessels to harvest redfish using nets with codend mesh as small as 4.5 inches. In addition, this action allows for sectors to develop an industry-funde...
Final reef fish amendment 32 : gag grouper - rebuilding plan, annual catch limits, management measures : red grouper - annual catch limits, management measures grouper accountability measures
Crabtree, Roy E.; Rauch, Samuel Dean, III, 1966-;
Gulf of Mexico Fishery Management Council. United States, National Marine Fisheries Service., Southeast Region,. United States, National Oceanic and Atmospheric Administration., Office of Program Planning and Integration,.
"The Magnuson-Stevens Fishery Conservation and Management Act (MSFCMA) requires NOAA's National Marine Fisheries Service (NMFS) and the Gulf Council to prevent overfishing, and achieve, on a continuing basis, the optimum yield from federally managed ...
Final amendment 19 to the Northeast Multispecies FMP (small-mesh multispecies), environmental assessment, regulator impact review, and initial regulatory flexibilty analysis
United States, National Marine Fisheries Service,. New England Fishery Management Council. Mid-Atlantic Fishery Management Council (U.S.). United States, National Oceanic and Atmospheric Administration., Office of Program Planning and Integration,.
"This document serves as Draft Amendment 19 to the Northeast Multispecies FMP, the Draft Environmental Assessment (EA) which updates and supplements the original EIS for the small-mesh multispecies fishery (available at http://www.nefmc.org/nemulti/p...
Fishing year 2013 northeast multispecies sector operations plans and contracts, additional exemptions, year-round closed areas : an environmental assessment
"The National Marine Fisheries Service (NMFS) prepared this analysis to evaluate potential impacts that would result from the approval of additional exemptions for each of the 17 fishing year (FY) 2013 Multispecies sector operations plans and complim...


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a piece of brilliance from Sarah Williams
Posted on June 28, 2007 by smoyle
Fellow Shoalwater 5 member Sarah Williams just sent this through…absolutely brilliant.
O TALISMAN
I dream of a day when the story that is told in the news is not about missing persons, arrests, indecent exposure or billion dollar war ships. I dream of a day when the stories that are told are of the brave people who gathered for the Peace Convergence in June 2007 to protest Operation Talisman Sabre where approx 26,000 U.S. and Australian troops practiced for war in Shoalwater Bay, QLD. Their message was very simple but profound: "We want to live in a world of peace and not war."
The stories not told are those of the people willing to step over the line saying we do not accept your barbwire fences, your blank faces and your lies about sovereignty. The stories not told are of a young man who was arrested for doing the hokey pokey;
A couple of young lovers exposing their nakedness and their humanity declaring love not war;
A story of whole communities in their diversity working together for a common goal;
A group of seven comrades prepared to risk their lives whilst camping in pristine national park, which happens to be military training ground the size of Belgium;
Another group who do what Australians love most – spending time at the beach;
A group of five Christian activists who walked down Samuel Hill tarmac wanting to play peace games not war games;
Stories of thousands marching together in colour and slendour to the beat of a different drum;
Independent media who follow their hearts in living for the truth;
Stories of strong women leaders from the Darumbal people (indigenous tribe of the area), from Hawaii and Guam who tell tales of what the U.S. bases have done in their countries;
Of a photographer who continues to be persecuted for taking photographs of deformed children from the effects of the Gulf War;
The forgotten people who really are heroes.
Australia needs to wake up from its comfort and lives lived in fear and start opening up our hearts to the atrocities that go on every day in this world even in our own backyard. We need to ask the question: "Does our affluence fuel our apathy?" We need to say no to that plasma screen, a new flashy car and yes to our neighbours who are dying everyday in unnecessary wars. Our governments need to start operating under true democracy where people have freedom of speech and a right to stand up for what they believe in.
Sadly, these stories will not be told because of big dollars and control. I was one of the five who was voluntarily arrested on Samuel Hill airbase on the 21st June. I walked down the tarmac with four other Christian activists armed with a peace flag, a Frisbee, two letters for the U.S. and Australian and the hope for dialogue. Before we were finally taken by police we enjoyed many in depth conversations with military personnel who shared their inner feelings about the Iraq war and what they saw there (e.g. use of depleted uranium and its effects). We got to share about our concerns for their lives and civilian's lives and about our worry over the environmental effects that war and these games have. To my utter disbelief the hypothetical mission for the day at the games was in regards to potential "terrorists" coming into the country to destroy what is ours. We pointed out to them that we could have been those "terrorists" and just because we are Aussies does not mean we were not capable. We were just everyday Australians armed with another message: Love at all costs! As we were driven out I saw tanks and soldiers scattered all throughout the bush that had cease-fired as the base was closed whilst we were on the grounds. That day our concerns for our friend's safety that were still on the base went to parliament, as no one believed it was possible. To me it was worth it just to have the conversation we wouldn't have had whilst we were kept in silence. Please don't silence it anymore!
As all the protesters go home the local are left with the night sky blaring, the sound of bombing, their homes shaking and the real threat that because this base is located where it is they will be a likely target. These exercises this year will continue until the 2nd July and will go on every two years for the next twenty years or so. Australia continues to spend $55 million a day on its military whilst where I live in Doveton, Victoria many social problems are unaddressed and experienced daily such as lack of affordable housing, social isolation, mental health issues, lack of education to name a few.
http://www.peaceconvergence.com
For our press release (June 21st, 2007) please look at the link "Activists Still Inside War Games Zone, More Go In: Press Conference in Action." http://www.peaceconvergence.com/news/25
Sarah Williams – 0418 146 601